A few examples of appraisal values for
TO MARKET

• Helen Hyde (1868-1919, CA) matted (not
  Helen Hyde (1868-1919, CA) matted (not framed) color woodcut on paper titled "Going to Market - 6", pencil signed with copyright 1912. 12" x 5" ss / 20" x 16" oa Condition: Good condition.
• Sir Henry Edward Bunbury (1778-1860,
  Sir Henry Edward Bunbury (1778-1860, UK) framed and matted (no glass) watercolor titled "Going to Market" with a Fry Gallery, London label. 10.25" x 14.5" ss / 16.5" x 21" oa Condition: Some foxing, no glass.
• NISABURO ITO (JAPAN, 1910-1988), KYOTO
  NISABURO ITO (JAPAN, 1910-1988), KYOTO MARKET., WOODBLOCK PRINT, 19" X 13.5". UNFRAMED.NISABURO ITO, Japan, 1910-1988, Kyoto Market. Uchida watermark lower left margin. Dimensions: Woodblock print, 19" x 13.5". Unframed.
• A FINE LARGE J.B. MOORE QUALITY NAVAJO
  A FINE LARGE J.B. MOORE QUALITY NAVAJO CRYSTAL RUGThe impressive work of a Navajo master weaver in the Crystal Trading Post tradition bears similarities to plate XVIII on page 48 of Catalog for J.B. Moore Indian Trader and Collector, Crystal, New Mexico. This large rug lies very straight and square, displaying balanced, well-resolved design and exceptional color. Completing a rug of this size requires hard work given the height at which one would have to work, plus the weaver almost assuredly had to work on this large weaving outdoors, as her hogan would never accommodate a loom of this size. And given the difficulty of keeping the design of a rug this size from becoming compacted and distorted as the process becomes more difficult near completion also requires a high degree of skill and experience. Add to this the condition of this weaving and it becomes clear that this an exceptional example.John Bradford Moore re-opened the Crystal Trading Post, for which certain Navajo regional rug styles are named, around 1896. His remote location on Navajo lands made acquiring rugs much easier than reselling them. So in 1903 he printed a mail order catalog enabling him to market rugs of specific patterns and qualities to buyers in the east. The plates, or pictures, in this catalog have become a point of reference for weavings commissioned by J.B. Moore and for other rugs of this quality.Measures 59.5 x 94 inches.Very good condition, noting an area 4 x 6 inches along one edge of color run caused by moisture (see the last images), no odor, does have good intact edges, and ends, no damage of any type as evidenced by the last images which are backlit with bright, natural sunlight and reveal no holes, thinning, mothing, separation or fray. The corner tassels appear to be added.
• GREEN, AL (AMERICAN, 20TH C.) GLAZED
  GREEN, AL (AMERICAN, 20TH C.) GLAZED POTTERY. A rare to market grouping of 4 pieces of assorted glazed pottery from an important American Artist Al Green. From the artist's estate. Dimensions: Square pottery: 19" h, Vase 14.5" h, Pots 8.5" h x 7.5" dia & 3" h x 5" dia. Condition: Good with craquelure.
• GREEN, AL (AMERICAN, 20TH C.) GLAZED
  GREEN, AL (AMERICAN, 20TH C.) GLAZED POTTERY 5 pieces of glazed pottery from rare to market and important American artist Al Green. From the artist's estate. Dimensions: square pottery: both 9.75" h x 7.25" x 3.5, Large bowl: 11.5" dia x 9.5" h (has a small crack at the foot), pots both approx 3" dia x 2.75" h. Condition: Good with craquelure. One with an oven hairline crack to glaze
• GREEN, AL (AMERICAN, 20TH C.) GLAZED
  GREEN, AL (AMERICAN, 20TH C.) GLAZED POTTERY 5 pieces of glazed pottery from rare to market and important American artist Al Green. From the artist's estate. Square pottery: 10" h & 19.25" h, Cylinder pottery 15.5" h, Pot 5" dia x 3" h, Footed pottery 8.5" h x 7" dia. Condition: Good with craquelure. One with a hairline from the firing in the glaze.
• GREEN, AL (AMERICAN, 20TH C.) GLAZED
  GREEN, AL (AMERICAN, 20TH C.) GLAZED POTTERY 5 pieces of glazed pottery from rare to market and important American artist Al Green. From the artist's estate. Square pottery: 10.5" h, Vases: 18" h & 16.75" h, Pots: 4.75" dia x 3" h, 5" dia x 3" h & 9.5" dia x 6" h. Condition: Good with craquelure.
• GREEN, AL (AMERICAN, 20TH C.) GLAZED
  GREEN, AL (AMERICAN, 20TH C.) GLAZED POTTERY 5 pieces of glazed pottery from rare to market and important American artist Al Green. From the artist's estate. Dimensions: Square pottery: 19" h and 11.25" h (has hairline cracks), Pots: 4.5" dia x 3h, 6" dia x 3" h, 8" dia x 6" h. Condition: Good with craquelure. See description.
• WILLIAM TROST RICHARDS (1833-1905):
  WILLIAM TROST RICHARDS (1833-1905): THREE LANDSCAPE SKETCHES (GROUP NO. 2)Three watercolor and gouache on paper, unsigned, with label from Raydon Gallery, NY. Two approximately 4 5/8 x 8 1/2 in. (sheet), one 4 x 7 3/4 in. (sight), 15 1/2 x 33 in. (frame). Note: The labels on the back of the frame indicate that these works were in the collection of C. Nelson Richards III who was the great-nephew of the artist. Other works with similar provenance have come to market from the same collection via Spanierman Gallery, NY. Exhibited: Weatherspoon Art Gallery, University of North Carolina, Art on Paper , 1979. The Collection of C. Nelson Richards III. Condition Sheets laid down on paper. Image on the right with staining and a tiny speck of paint lower right. Otherwise in good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• CANE WITH PIQUÉ HANDLE 18TH CENTURY
  CANE WITH PIQUÉ HANDLE 18TH CENTURY LENGTH 36".CANE WITH PIQUÉ HANDLE, 18th Century, Ivory knob handle and throat with silvered metal piqué scroll, tassel and floriform designs and "R.H. 9.2" at top. Throat pierced for a wrist cord (no cord present). Malacca shaft with metal collar and tip. Dimensions: Length 36". Provenance: Notes:This type of pique cane is believed to have been produced by Huguenot refugees working in London during a small window of time at the end of the 17th and beginning of the 18th Century. The similar style, design and lettering of these canes that have come publicly to market suggests they were made in a single workshop.
• RARE AND EARLY BLUE-WINGED TEAL PAIREvans
  RARE AND EARLY BLUE-WINGED TEAL PAIREvans Duck Decoy Co. (1921-1932) Ladysmith, WI, c. 1921 13 1/2 in. long "Considering the number of Evans teal that come to market over the years," writes Terry Smart, "it appears that Evans made very few teal." This species has been far and away the most popular among collectors over the years. Original paint with even gunning wear. Drake has restoration to left edge of bill and hen has age line along right side. Provenance: Terry Smart Collection Literature: Andy Schoneich and Terry Smart, "Evans Duck Decoy Factory," Lawsonville, NC, 2017, p. 55, exact pair illustrated. Exhibited: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, "Evans Duck Decoy Factory: Collection of Terry Smart," 2021-2023.
• HOWARD L. HILL (1822-1888)Quail signed
  HOWARD L. HILL (1822-1888)Quail signed "H. Hill" lower right oil on canvas, 14 by 20 in. Howard Hill was Norman Rockwell's grandfather, who immigrated to the United States in the 1860s. From New York, he created sporting and genre scenes, exhibiting at the National Academy of Design in 1865 and 1866. Rockwell kept a small painting of quail and chicks by Hill in his studio, now the Norman Rockwell Museum in Stockbridge, Massachusetts. This accurate depiction of a bobwhite quail represents one of the finest works by this mid-19th century artist to ever come to market. Provenance: Private Collection, Minnesota
• OUTSTANDING SALESMAN’S SAMPLE CANOEOld
  OUTSTANDING SALESMAN’S SAMPLE CANOEOld Town Canoe Company (1903-present) Old Town, ME c. 1925 48 in. long The Old Town Canoe Company of Old Town, Maine, is a historic maker of canvas-covered wooden canoes. Incorporated in 1901, Old Town is the largest and most well-known American canoe maker and they are still in business today. The individual build records for Old Town’s canoes that were built prior to 1976 still exist and disclose that approximately thirty-five forty-eight-inch-long samples were made between 1922 and 1927. It is believed that Old Town rewarded its wholesale distributors with a free forty-eight-inch sample if they ordered a railway boxcar load of canoes, about forty full-size canoes. Distributors received two forty-eight-inch-long samples or one eight-foot sample if they ordered two boxcar loads. Thus, the samples were really used as “premiums” to recognize favored distributors, not routinely handed out to salesmen, though they are often called such. Old Town Canoe Co. was by far the greatest maker and distributor of “display” samples, which were also often referred to as “sign” canoes. Display samples were not sold to individual buyers. Most were distributed prior to the 1930s and were placed in window displays or hung prominently in outfitter stores. Given the relatively low production numbers and disappearance through attrition, they are scarce and highly sought-after collectibles today. This represents one of the finest examples to come to market. Literature: Stephen B. O’Brien Jr. Fine Arts, “American, Sporting & Western Paintings, Antique Decoys & American Folk Art,” 2004 Catalog, Boston, MA, 2004, lot 35, related canoe illustrated. Susan Audette & David Baker, "The Old Town Canoe Company: Our First Hundred Years," 1998, pp. 1-3, 70, 72.
• AIDEN LASSELL RIPLEY (1896-1969)Dove
  AIDEN LASSELL RIPLEY (1896-1969)Dove Shooting, 1947 signed and dated "A. Lassell Ripley (c) 1947" lower left watercolor, 17 by 24 1/2 in. By the 1930s and 40s, Aiden Lassell Ripley had established himself as the most sought-after painter of southern plantation scenes. Business executives and political leaders traveled to estates during the dreary northern winters to hunt for wild turkey, quail, and dove. In Dove Shooting, Ripley includes the elements of a good southern dove hunt. The hunter, in sporting attire, raises his gun on the birds, the dog handler stands by, and the canine waits its turn to retrieve. Ripley’s dove shooting depictions rarely come to market, relative to his quail and turkey scenes. Provenance: Charles Porter Schutt Collection Sarah S. Harrison Collection, by descent Renee du Pont Harrison Collection, by descent
• 1879-CC CAPPED DIE MORGAN SILVER DOLLAR,
  1879-CC CAPPED DIE MORGAN SILVER DOLLAR, PCGS MS63An 1879-CC (Carson City) Morgan silver dollar, VAM 3 capped die (VAM Top 100), PCGS certified and graded MS 63 in slab. Exceptional condition for one of the rarest entries in the early Morgan dollar series. PCGS estimates that of the 5770 of this coin still in existence, only 19 are MS 65 or better condition, so at MS 63, enthusiasts are unlikely to see many better examples come to market.
• ANDY WARHOL / PETE ROSE (1985), SIGNED
  ANDY WARHOL / PETE ROSE (1985), SIGNED BY BOTHAndy Warhol (American, 1928-1987) Pete Rose , 1985 Serigraph on paper 38" x 30" (image) Pencil-signed edition of 50 Pencil-signed to the bottom margin by both Andy Warhol and Pete Rose. Hand numbered 43/50, with the publisher's blind stamp to the bottom left corner. Archivally presented behind glass in a white frame that measures 49" x 41". Warhol's image of baseball legend Pete Rose stands as one of the most fascinating 20th century intersections between the disparate worlds of sports and fine art. When the Cincinnati Art Museum commissioned the portrait in anticipation of Pete Rose surpassing Ty Cobb as the all-time hits leader, the two superstars had purportedly not heard of one another. The unusual pairing didn't prevent the commission from being an overwhelming success, as the edition of 50 screenprints offered by the museum sold out very quickly. Because of the small size of the edition and the lasting legacies of both artist and subject, the prints remain scarce to market and popular with collectors of sports memorabilia and pop art alike. Rarer still are impressions signed by both Warhol and Rose-- only a handful from the edition were signed by the Cincinnati Reds great. Pete Rose began his career with a Rookie of the Year award, quickly developed into a perennial All-Star, garnered a handful of Golden Gloves, was named MVP in 1973, and retired with 4256 hits to his name, a record that will continue to stand for a very long time. His unparalleled effort and tenacity earned him the nickname "Charlie Hustle" from Whitey Ford. Despite his legendary status on the field, Rose has been barred from the Baseball Hall of Fame for betting on the sport, a decision that remains the subject of much contention and debate, perhaps leading to an even more eminent stature in baseball history. Artist and iconoclast Andy Warhol stands comfortably inside the pantheon of 20th century culture. His status in pop art is arguably unrivaled, injecting the world of fine art with a generous dose of commercial imagery and celebrity appeal, and influencing generations of artists across a variety of media. Provenance : A private Kansas City collection, thence from a private Arizona collection, thence from the Cincinnati Museum of Art. Condition Very good condition, with no evidence of toning or acid burn to the sheet. In the left margin along the extreme edge of the mat sight is a bit of faint creasing (contained outside of the image and running parallel with the mat). Otherwise pristine. The sheet has not been removed from the frame.
• Clementine Hunter (American, Louisiana,
  Clementine Hunter (American, Louisiana, 1886-1988) \"To Market\", c. 1970, oil on board on masonite, 13\" x 31-1/2\", conjoined monogram lower right: \"C.H.\", bears gallery labels of Arnold Klein Gallery, Royal Oak, Michigan; and the Sheldon Ross Gallery, Birmingham, Michigan. Presented in a carved frame with linen liner.
• GOEBEL HUMMEL FIGURINE, TO MARKET 49Boy
  GOEBEL HUMMEL FIGURINE, TO MARKET 49Boy and girl shopping. Goebel backstamp. Issued: 20th C. Dimensions: 5.5" tall Manufacturer: Goebel Country of Origin: Germany
• 2PC GOEBEL HUMMEL FIGURINE, TO MARKET
  2PC GOEBEL HUMMEL FIGURINE, TO MARKET 96Matte finished over soft coloration figural of market girl (96) and paper boy (Free Flight, first issue 569). Hummel impressed mark. Goebel backstamp. Largest piece: 2"L x 2"W x 4.5"H. Issued: 1972 - 1999 Manufacturer: Goebel Hummel Country of Origin: Germany Condition: Age related wear.
• GOEBEL PORCELAIN FIGURINE, TO MARKETVintage
  GOEBEL PORCELAIN FIGURINE, TO MARKETVintage Hummel Goebel Figurine, To Market #49/0. Goebel backstamp TMK6. #goebel #hummel #figurine Issued: 1979-1990 Dimensions: 4.5"L x 2.75"W x 5.5"H Manufacturer: Goebel Hummel Country of Origin: Germany Condition: Age related wear.
• ANTIQUE STAFFORDSHIRE PORCELAIN FIGURESDESCRIPTION:
  ANTIQUE STAFFORDSHIRE PORCELAIN FIGURESDESCRIPTION: Two porcelain figures of couple on horse with gilded titles "Going To Market" and "Returning Home" on bases. Textured foliage between forehooves and hind hooves of horse, painted vines below horse on front of pieces. CIRCA: 19th Century. ORIGIN: England DIMENSIONS: W: 7" H: 8.625". Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
• GEORGE OHR POTTERY JOE JEFFERSON SNAKE
  GEORGE OHR POTTERY JOE JEFFERSON SNAKE HANDLED MUG OR C...George Edgar Ohr (American, Biloxi, Mississippi 1857 - 1918) earthenware art pottery mug having an applied looped handle with snake head terminus, dark and light brown glaze and inscription to the body reading "Here's your good health and your family's and may they all live long and prosper J. Jefferson". Impressed stamp on the base reading "G. E. OHR. Biloxi, Miss." with additional inscribed letters and numbers "U G81-81". 3 3/4" H x 4" W. Circa 1900. Note: An undated typed letter from the Smithsonian Institution accompanies this lot. It states that this piece was part of the collection of a private dealer that was available for sale at the Renwick Gallery Museum Shop. Biography: (Adapted from the Smithsonian Institution & The Everson Museum of Art & The Ohr-OKeefe Museum) The second of five children with little formal education, Ohr learned to make pottery as an apprentice to his friend Joseph Meyer who worked at the Newcomb College Art Pottery, and who also worked in Biloxi, Mississippi. After mastering the art of clay under the tutelage of Meyer, Ohr spent two years traveling the United States visiting various potteries. He returned to Biloxi in 1883 and established his own pottery studio. He prepared his own clay and glazes and was known for his exceptional ability to produce pieces with thin walls. Ohr was also adept at creating new shapes by "twisting, folding, crushing or denting the clay while the pot was still in a flexible state". He also was known for creating a great variety of glazes that were rich in color and also used in unusual combinations. Ohr would receive honors for his work at the New Orleans Cotton Exposition of 1884-1885 and at the St. Louis Exposition of 1904, among others. According to the Ohr-O'Keefe Museum "Ohr closed his pottery in 1910, packed away his collection, and asked that his heirs keep the collection untouched until 50 years after his death". His heirs honored this request and subsequently around 1972, Ojo Ohr sold approximately 7,000 pieces, to James and Miriam Carpenter, and antique dealers from New Jersey who began to market Ohr's work to collectors in the Northeast. Condition: Overall excellent condition with no visible cracks or chips.
• GEORGE OHR ART POTTERY BOTTLE FORM VASEGeorge
  GEORGE OHR ART POTTERY BOTTLE FORM VASEGeorge Edgar Ohr (American, Biloxi, Mississippi 1857-1918) earthenware art pottery bottle form vase with an extended cylindrical neck, pronounced shaped shoulder and beaded base edge. Copper oxide and manganese glaze. Impressed stamp on the base reading "G. E. OHR. Biloxi, Miss." 6" H. Circa 1900. Biography: (Adapted from the Smithsonian Institution & The Everson Museum of Art & The Ohr-OKeefe Museum) The second of five children with little formal education, Ohr learned to make pottery as an apprentice to his friend Joseph Meyer who worked at the Newcomb College Art Pottery, and who also worked in Biloxi, Mississippi. After mastering the art of clay under the tutelage of Meyer, Ohr spent two years traveling the United States visiting various potteries. He returned to Biloxi in 1883 and established his own pottery studio. He prepared his own clay and glazes and was known for his exceptional ability to produce pieces with thin walls. Ohr was also adept at creating new shapes by "twisting, folding, crushing or denting the clay while the pot was still in a flexible state". He also was known for creating a great variety of glazes that were rich in color and also used in unusual combinations. Ohr would received honors for his work at the New Orleans Cotton Exposition of 1884-1885 and at the St. Louis Exposition of 1904, among others. According to the Ohr-O'Keefe Museum "Ohr closed his pottery in 1910, packed away his collection, and asked that his heirs keep the collection untouched until 50 years after his death". His heirs honored this request and subsequently around 1972, Ojo Ohr sold approximately 7,000 pieces, to James and Miriam Carpenter, and antique dealers from New Jersey who began to market Ohr's work to collectors in the Northeast. Condition: Overall excellent condition with no visible cracks or chips.
• GEORGE E. OHR ART POTTERY VASEGeorge
  GEORGE E. OHR ART POTTERY VASEGeorge Edgar Ohr (American, Biloxi, Mississippi 1857-1918) earthenware art pottery vase having an "in-body" twist at the shoulder and translucent periwinkle blue glaze. Impressed stamp on the base reading "G. E. OHR. Biloxi, Miss.". 4" H. Circa 1900. Biography: (Adapted from the Smithsonian Institution, The Everson Museum of Art, & The Ohr-O'Keefe Museum) The second of five children with little formal education, Ohr learned to make pottery as an apprentice to his friend Joseph Meyer who worked at the Newcomb College Art Pottery, and who also worked in Biloxi, Mississippi. After mastering the art of clay under the tutelage of Meyer, Ohr spent two years traveling the United States and visiting various potteries. He returned to Biloxi in 1883 and established his own pottery studio. He prepared his own clay and glazes and was known for his exceptional ability to produce pieces with thin walls. Ohr was also adept at creating new shapes by "twisting, folding, crushing or denting the clay while the pot was still in a flexible state". He also was known for creating a great variety of glazes that were rich in color and also used in unusual combinations. Ohr would receive honors for his work at the New Orleans Cotton Exposition of 1884-1885 and at the St. Louis Exposition of 1904, among others. According to the Ohr-O'Keefe Museum, "Ohr closed his pottery in 1910, packed away his collection, and asked that his heirs keep the collection untouched until 50 years after his death". His heirs honored this request and subsequently, around 1972, Ojo Ohr sold approximately 7,000 pieces to James and Miriam Carpenter and antique dealers from New Jersey who began to market Ohr's work to collectors in the Northeast. Condition: Overall excellent condition with no visible cracks or chips.
• THOS. WORTHINGTON WHITTREDGE 1846 OIL
  THOS. WORTHINGTON WHITTREDGE 1846 OIL PAINTING, SHAKER ...Early miniature landscape view of Pleasant Hill, KY, by Thomas Worthington Whittredge (New Jersey/New York/Ohio, 1820-1910). The oil on paper laid on board painting, titled "Shaker Ferry- View on Kentucky River," depicts a landscape with a small ferry boat containing a figure and donkey moored on the river bank. A dirt path runs along the right shoreline and two toll road operators man an erect, pole-like boom barrier or boom gate at center right. Behind them, smoke rises from the chimney of a small house. On the opposite side of the river a waterfall flows from a rocky cliff. The view portrayed is of the historical ferry at Shaker Landing, located near the Shaker Village of Pleasant Hill in Harrodsburg, KY, along the Kentucky River. Titled, signed, and dated "1846" en verso. Housed in an ornate gilt and gesso frame with cartouche corner decoration. Sight: 3 1/4" H x 4 1/4" W. Framed: 9 1/2" H x 10 1/4" W. Note: This painting is among the earliest extant, dated works by Whittredge. It was likely painted during the self-taught artist's formative years as a painter while living in Cincinnati, OH from 1837-1843, or during his period in Charleston, WV, c. 1843-1849, before traveling abroad. A nearly identical signature appears in Whittredge's 1849 sketchbook in the collection of the Smithsonian Archives of American Art. (See Worthington Whittredge; Worthington Whittredge sketchbook of a trip down the Rhine River, 1849; Worthington Whittredge Papers, circa 1840s-1965; Archives of American Art, Smithsonian Institution) Biography: Born on a farm near Springfield, Ohio, Thomas Worthington Whittredge would later establish himself as one of the foremost painters of the Hudson River School. Growing up with little formal art education, Whittredge moved to Cincinnati at the age of 17 to work for his brother-in-law as a house and sign painter. He taught himself portrait and landscape painting and opened a daguerreotype studio in Charleston, West Virginia. However, his business failed, and he began focusing on landscape painting after 1843. In 1849, he was sponsored to travel to Europe where he enrolled in the Royal Academy in Dusseldorf, Germany, and traveled to Switzerland, Paris, and Rome where he studied naturalism and the Barbizon school. In 1855 he began to sign his work W. Whittredge, as opposed to his earlier signature of W. T. Whitridge or W. T. Whitredge. He returned to New York City in 1859 and began painting American landscapes in the Hudson River School style of New York and New England. In the 1860's he took a few trips west sketching oil landscapes of Western subjects, and traveled to Mexico with Frederic Church in 1896. He passed away in Summit, New Jersey in 1910. Today his work is represented in the Metropolitan Museum or Art (which the artist helped to develop), the Worcester Museum of Art, the Cincinnati Art Museum, and the Brooklyn Museum, among others. (Adapted from "Worthington Whittredge" by Esther T. Thyssen in AMERICAN PARADISE: THE WORLD OF THE HUDSON RIVER SCHOOL, ed. John O'Neil, New York: Metropolitan Museum of Art, 1987) About Shaker Landing: "The Pleasant Hill Shakers began acquiring land for river access as early as 1813, when they purchased Fulkerson’s Ferry a few miles downriver. By 1843 the Shakers had amassed an additional 200 acres of land on both sides of the Kentucky River. At its peak, Shaker Landing spanned from Brooklyn to the mouth of the Dix River, about a mile upstream. Along this site the Shakers built 13 structures, including a dwelling, warehouses and a stable. Shaker Landing served as the launch point for Shaker trade deacons for almost 50 years. The river connected the Shakers to markets as far south as New Orleans, where they would sell their goods and return with precious cargo such as sugar and coffee. Shorter trade routes were more common, with Louisville and Cincinnati as the most visited destinations. For nearly 100 years, the Shakers operated a ferry that would shuttle travelers across the Kentucky River for a small toll. Due to the construction of High Bridge and the increase of railroad travel, operation of the Shaker Ferry ceased in the late 1890s.The Pleasant Hill Shakers sold their ferry, and Shaker Landing, in 1909. Non-Shakers continued to run the ferry as a tourist attraction under its original namesake until 1940." (Source: Billy Rankin, "Landing in the Right Place," Shaker Village at Pleasant Hill website). Condition: No retouching visible under UV light. Craquelure and grime throughout. Top coating of grime has been lightly professionally removed. It is recommended that the buyer consult a specialist of oil on paper on board paintings for further cleaning.
• NUMETAL STORE DISPLAY FROM BEDFORD HARDWARENumetal
  NUMETAL STORE DISPLAY FROM BEDFORD HARDWARENumetal Weather Strip store display from Bedford Hardware (1897 - 2015) of Virginia. Numetal, the Macklanburg-Duncan Company got its start in manufacturing and marketing in 1920 when Louis August Macklanburg (1888–1965) began building a new home. Frustrated with existing weather stripping products available for use in the house, the recently discharged World War I veteran developed a springy, tempered brass material for sealing his doors and windows. In association with his first partner and lone salesperson, H. M. Duncan, Macklanburg began to manufacture and to market the invention under the name Numetal, and in 1920 it became the primary product for the home products company that he started at 211 West First Street in Oklahoma City. Included with the store display are numerous installation instruction packets for Numetal Weather Strips and product handbills having Bedford Hardware Company Bedford Virginia printed to the back. Display measures approximately 56" high, 16-1/2" wide and 12" in depth. In Fair to Good condition with age appropriate wear.
• TWO ENGLISH INLAID MAHOGANY TEA CADDIEScomprising
  TWO ENGLISH INLAID MAHOGANY TEA CADDIEScomprising a rectangular caddy with paterea inlay and a square box with figural inlaid scene of woman going to market. Age and use wear, inlay and veneer losses, square missing lid, other with losses and missing one lid. Largest: 5" high, 7 1/2" wide, 4 1/2" deep. Provenance: An Oyster Bay NY Estate. Condition: Any condition information included in our lot descriptions is not the equivalent of a written condition statement, and the absence of condition information does not imply that the lot is free of defects. Our auction lot descriptions reflect our effort to provide accurate, objective and fair information on all lots for sale, and we encourage bidders to request written condition statements and large file images on any lots of interest by emailing condition@woodburyauction.com. We also strongly advise that you or someone on your behalf inspect the lot personally before bidding. All lots are sold "as is" and "where is" and neither we nor any consignor makes any warranties or representation of any kind or nature with respect to the property. There are no returns and no refunds based on condition
• CHINESE SILK HAND FAN LACQUER + EMBROIDERED
  CHINESE SILK HAND FAN LACQUER + EMBROIDERED W/ BOXChinese export silk and lacquer hand fan with feather accents, displaying exquisite detail in the silk embroidery and lacquer work. With custom lacquered box. One of the finest hand fans both in terms of condition and quality to come to market in a long time. Chinese export lacquer items of this age usually have profound condition issues. This one has survived in remarkable condition. Fan; length: 11 7/8 in. Box; length: 15 in. x width: 3 1/2 in. x height: 2 1/2 in. Condition: Fan in very good condition. Box with wear as expected with age. Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• C. ROBERT PERRIN WATERCOLOR ON PAPER
  C. ROBERT PERRIN WATERCOLOR ON PAPER "BOSTON BRIDGE ON ...C. Robert Perrin (1915-1999) Watercolor on Paper "Boston Bridge on the Charles River" , signed lower left C. Robert Perrin AWS 14 ½ in. x 21 ½ in. Overall 23 ½ in. x 27 ¾ in. The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz. C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association 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.
• C. ROBERT PERRIN WATERCOLOR ON PAPER
  C. ROBERT PERRIN WATERCOLOR ON PAPER "WINTER LIGHT, BOS...C. Robert Perrin (1915-1999) Watercolor on Paper “Winter Light, Boston”, signed lower left C. Robert Perrin 14 ½ in. x 21 ½ in. Overall 23 ½ in. x 28 in. The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association 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.
• C. ROBERT PERRIN WATERCOLOR ON PAPER
  C. ROBERT PERRIN WATERCOLOR ON PAPER "BURRAGE MANSION, ...C. Robert Perrin (1915-1999) Watercolor on Paper "Burrage Mansion, Back Bay, Boston" , signed lower right C. Robert Perrin AWS, depicting the Burrage Mansion, 314 Commonwealth Avenue at Hereford Street, Boston 14 in. x 21 ½ in. Overall 22 in. x 29 in. The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz. C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association 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.
• C. ROBERT PERRIN WATERCOLOR ON PAPER
  C. ROBERT PERRIN WATERCOLOR ON PAPER "BOSTON RESTAURANT...C. Robert Perrin (1915-1999) Watercolor on Paper "Boston Restaurant Scene" , signed lower right C. Robert Perrin 14 in. x 21 ¼ in. Overall 23 in. x 27 ½ in. The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz. C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association 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.
• C. ROBERT PERRIN WATERCOLOR ON PAPER
  C. ROBERT PERRIN WATERCOLOR ON PAPER "BOYLSTON STREET A...C. Robert Perrin (1915-1999) Watercolor on Paper "Boylston Street at Copley Square, Boston" , signed lower left C. Robert Perrin, depicting Copley Square looking toward Old South Church. 14 in. x 21 ½ in. Overall 22 ½ in. x 27 in. The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz. C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association 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.
• C. ROBERT PERRIN WATERCOLOR ON PAPER
  C. ROBERT PERRIN WATERCOLOR ON PAPER "SNOWFALL ON NEWBU...C. Robert Perrin (1915-1999) Watercolor on Paper "Snowfall on Newbury Street, Boston" , signed lower right C. Robert Perrin AWS, depicting Newbury Street Church Boston, 67 Newbury Street at Berkley Street, Church of the Covenant. 29 in. x 10 in. Overall 40 ½ in. x 21 ½ in. The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz. C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association 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.
• C. ROBERT PERRIN WATERCOLOR ON PAPER
  C. ROBERT PERRIN WATERCOLOR ON PAPER "ZERO MAIN STREET ...C. Robert Perrin (1915-1999) Watercolor on Paper "Zero Main Street Reflections" , signed lower left C. Robert Perrin. 20 ½ in. x 19 ½ in. Overall 30 in. x 28 in. The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association 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.