A few examples of appraisal values for
TRAPPER

• BEV DOOLITTLE, SACRED GROUND
  BEV DOOLITTLE, SACRED GROUND EDITION PRINT. HAND SIGNEDBev Doolittle, Sacred Ground Edition Print. Hand Signed with Edition number 65380/69996 in pencil. A Fur Trapper passing through a Birch Forest. Sight: 11" x 38 1/2"; Frame: 22" x 48 3/4". Very good c
• 4 STERLING & SILVERPLATE
  4 STERLING & SILVERPLATE COLLECTOR'S PLATES4 limited edition collector's plates. Reed & Barton C.M. Russell damascene silver plate Free Trapper, 1972, numbered 456/2500, 11"-diameter; Franklin Mint Mother's Day sterling silver plate Irene Spencer, Mother and Child, 1972, numbered 8941, 8"-diameter; Franklin Mint sterling silver plate James Wyeth, Along the Brandywine, 1972, numbered 6137, 8"-diameter; George Washington Mint Pablo Picasso sterling silver plate Don Quixote de la Mancha, 1972, numbered 5193, 8"-diameter. Picasso plate 352 grams including plaque. All with original boxes and papers. Boxes all with some wear. Provenance: From the Estate of Angela Gross Folk.
• 2 Vintage Baseball Mitts and a
  2 Vintage Baseball Mitts and a Speed Bag . 1 vintage Spalding brand baseball mitt with form pocket in used/fair condition. 1 vintage Spalding trapper model 42-447 baseball mitt with form pocket and ez flex. 1 vintage Everlast leather speed bag with mounting hardware. All items in fair condition. If you have any doubt, please ask questions! We will provide extra pictures, or can schedule an in person or video conference preview at your convenience. In house Flat Rate Shipping of $15 is a domestic shipping estimate for first lot and includes insurance. We will gladly combine multiple lots for your convenience and economy. Each additional lot we can pack in the same box is $5 each. Please feel free to contact us with any questions.
• HENRY BEGUELIN & OTHER SHEARLING
  HENRY BEGUELIN & OTHER SHEARLING HATS, 2 Two vintage shearling hats, comprising one bucket hat with fuzzy brown fur interior and one Henry Beguelin trapper hat with leather cap, suede band and ear flaps with fuzzy sand brown fur interior, label to interior. Larger: 19" circumference.
• (LOT) FRANKLIN MINT PEWTER
  (LOT) FRANKLIN MINT PEWTER FIGURINES SET & KEY(lot) Franklin Mint "Colonial People of America" thirteen well-detailed figurines, with title engravings under each figure, including: The Silversmith, The Planter, The Butter Churner, The Printer, The Schoolmaster, The Candlemaker, The Trapper, The Sea Captain, The Shoemaker, The Innkeeper, The Blacksmith, each accompanied by certificate of authenticity, retained in velvet-lined wood box, sizes varied, largest: 3.5"h, 2.5"diam; together with: (1) Franklin Mint Collectors Society pewter key, approx 6"l, 1.5"w; 20.5lbs total
• WINCHESTER MOD. 94 TRAPPER SADDLE
  WINCHESTER MOD. 94 TRAPPER SADDLE RING CARBINE 30Winchester Model 94 Trapper Saddle Ring Carbine, .30-30 caliber, lever action, tubular magazine, 16" barrel, adjustable rear sight, hardwood stock, SN 4943XXX *REQUIRES FFL TRANSFER*
• A PACIFIC NORTHWEST SEAL PELT A
  A PACIFIC NORTHWEST SEAL PELT A Pacific Northwest seal pelt, with alternating patchwor scenes of a trapper pulling his catch, a walrus, otter, fox and goose, and polar bear, 47"l x 37"w
• ARTHUR FITZWILLIAM TAIT
  ARTHUR FITZWILLIAM TAIT (1819-1905)Quail and Chicks, 1867 signed and dated "AF Tait N A 1867" lower right oil on board, 10 by 14 in. signed and dated on back Kennedy & Co., New York and Winsor & Newton labels on back This painting is number 67.5 in Henry Marsh's Tait checklist. This little gem recalls Tait's famous "The Cares of a Family," with a pair of attentive quail and six baby chicks framed by delicate grasses and flowers. Known as one of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While working for the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others. In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait. In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivaled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England. With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular "American Field Sports" series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs "A Chance for Both Barrels," "Flushed," "On a Point," and "Retrieving." These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as "An Anxious Moment," "A Tight Fix," and "Trappers at Fault: Looking for the Trail," have become embedded as part of our heritage and serve as signposts along our path as a nation. Today, Tait's wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others. Provenance: Charles Porter Schutt Collection, acquired from The Old Print Shop, New York Sarah S. Harrison Collection, by descent Renee du Pont Harrison Collection, by descent Literature: Henry M. Reed, "The A. B. Frost Book," Charleston, SC, 1993, p. 87, illustrated. Henry M. Reed, "The A. B. Frost Book," Rutland, VT, 1967, illustrated. Henry W. Lanier, "A. B. Frost The American Sportsman's Artist," New York, 1933, illustrated.
• ARTHUR FITZWILLIAM TAIT
  ARTHUR FITZWILLIAM TAIT (1819-1905)On the Qui Vive!, 1871 signed and dated "A.F. Tait N.Y. 1871" lower right oil on panel, 12 by 16 in. numbered, titled, signed, and inscribed on back "On the Qui Vive" is old slang for "on the alert," another common title for Tait's deer paintings. Depicting four deer with flying mallards behind on the shore of Racquette Lake in the Adirondacks, this bright and lively jewel of a painting reveals the artist at the peak of his painting abilities. This important work is titled and described in Tait's 1871 register entry as No. 19. It is illustrated in Cadbury and Marsh's text on the artist: "[No.] 19. Deer. on the qui vive! Buck & 3 Does. 16 x 12. Mr. Dorman, 109 E 27th St. Del'd to him March 17th & paid same time [$125.00] in his own frame by [blank]." Known as one of America’s earliest sporting artists, Arthur Fitzgerald Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While in the employ of the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others. In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait. In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivalled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England. With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular "American Field Sports" series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs "A Chance for Both Barrels," "Flushed," "On a Point," and "Retrieving." These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as "An Anxious Moment," "A Tight Fix," and "Trappers at Fault: Looking for the Trail," have become embedded as part of our heritage and serve as signposts along our path as a nation. Today, Tait's wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others. Provenance: Dorman Collection Mrs. J. Augustus Barnard Collection The Metropolitan Museum of Art, New York, 1979 Private Collection Literature: Warder H. Cadbury and Henry F. Marsh, "Arthur Fitzwilliam Tait: Artist in the Adirondacks," Newark, DE, 1986, pp. 215-16, no. 71.10, illustrated.
• STEVE SELTZER (1945- ), TWO
  STEVE SELTZER (1945- ), TWO TRAPPERS Fine Art
• OIL PAINTING, NICHOLAS HENDERSON,
  OIL PAINTING, NICHOLAS HENDERSON, SMITH FALLSAn oil on canvas by Nicholas Henderson, Smith Falls, Ontario, with a folky image of a camp site, tent, canoe and trappers. Unusual for Henderson who is better known for his marine paintings. Signed and dated "NH '99". A small tear has been professionally repaired. Dimensions, 56" x 36". FRANCAIS: Huile sur toile de Nicholas Henderson, Smith Falls, Ont., scène folklorique d'un camping, d'une tente, d'un canot et de trappeurs. Inhabituel pour Henderson qui est mieux connu pour ses peintures marines. Signé et daté "NH '99". Petite déchirure réparée professionnellement.
• VINTAGE TRAPPER POINT WOVEN
  VINTAGE TRAPPER POINT WOVEN BLANKETSTwo Trapper Point woven blankets in red with black stripes, very good condition. Both with labels, made in England. FRANCAIS: Deux couvertures en laine Trapper Point en rouge avec des rayures noires, très bon état. Les deux avec les étiquettes, fabriqués en Angleterre.
• TWO VINTAGE HUDSON'S BAY
  TWO VINTAGE HUDSON'S BAY BLANKETSLot of two: A vintage Hudson's Bay traditional 3.5 point wool blanket with green, red, yellow and black stripes, with label, made in England (small hole at one end). Also included is an Eaton's Trapper Point blanket in red with black stripes, with label, in very good condition, mid 20th century. Largest (plus grande), 91" x 61". FRANCAIS: Lot de 2: couverture en laine traditionnelle 3,5 points de la Baie d'Hudson avec rayures vertes, rouges, jaunes et noires, avec étiquette, fabriquée en Angleterre (petit trou à une extrémité); couverture Trapper Point de Eaton en rouge avec des rayures noires, avec étiquette, en très bon état, milieu du 20e siècle.
• T. S. Driskell (American/Louisiana,
  T. S. Driskell (American/Louisiana, 20th Century) \"Louisiana Herons in the Bayou Country\" and \"Trapper\'s Camp in the Bayou Country\", pair of grisaille oils on canvas board, 1961, titled and signed verso \"T.S. Driskell\". Presented in ebonized and silvered wood frames.
• After Frederick Sackrider Remington
  After Frederick Sackrider Remington (1861-1901) \"Rocky Mountain Trapper\", patinated bronze group of an equestrian Western trapper on a slope, signed at the facade edge of the slope \"Frederic [sic] Remington\", presented on an ovoid polished Egyptian black marble base, h. 14-1/4\", w. 8-3/4\", d. 6-1/2\".
• THREE HAND FORGED AXES: THE
  THREE HAND FORGED AXES: THE FIRST, AN EUROPEAN FELLING AXE WITH INCISED DESIGN Three hand forged axes: the first, an European felling axe with incised design; the second, a trapper's axe and a fur trade axe, the longest 25"l
• HUBLEY TRAPPER BOY ASH TRAY AND
  HUBLEY TRAPPER BOY ASH TRAY AND MATCH HOLDER.Hubley Cast Iron Trapper Boy Ash Tray and Match Holder. 7"h. Good with some wear and repaint. Condition: Good with some wear and repaint.
• THREE LARGE ROYAL DOULTON CHARACTER
  THREE LARGE ROYAL DOULTON CHARACTER MUGS.Three Large Royal Doulton Character Mugs; Lumberjack, The Trapper and Gone Away. 7-1/2"h. Condition: : Very Good. Condition: Conditon: Very Good
• 3 LG ROYAL DOULTON COLONIAL
  3 LG ROYAL DOULTON COLONIAL CHARACTER JUGSTrapper D6609, North American Indian D6611, Lumberjack D6610. Stamped on the bottom. Issued: 20th c. Dimensions: 8"H, tallest Manufacturer: Royal Doulton Country of Origin: England Condition: Overall good
• 6 SMALL ROYAL DOULTON CHARACTER
  6 SMALL ROYAL DOULTON CHARACTER JUGSCollectible set of English ceramics. Doulton backstamps. Beefeater, Sam Johnson, W.C. Grace, The Gardener, The Engine Driver and The Trapper. Issued: 20th c. Dimensions: 4.25"H, tallest Manufacturer: Royal Doulton Country of Origin: England Condition: Overall good
• TRAPPER D6609 - LARGE - ROYAL
  TRAPPER D6609 - LARGE - ROYAL DOULTON CHARACTER JUGRoyal Doulton Character Jug, Trapper D6609 (dark green and white hair; brown and green clothing). Designed by Max Henk and David B. Biggs. Series: Canadian Centennial Series 1867 - 1967, issued 1967 - 1983. Size: 7.25"H (large)An integral part of Canadian history, the early trappers, or voyageurs, were largely responsible for the early exploration of the country. In search of animal pelts for export to the European market, these rugged men spent the winter traveling by canoe, snowshoe and foot through the Wild Canadian north. The miniature version of the Trapper character jug was put into production briefly in 1983; however, before any quantity was produced, the decision was made to withdraw the character. Several dozen have appeared on the market. The Trapper is one of three jugs that received a special backstamp in 1967. The other two, the Lumberjack and the North American Indian, complete the three-jug Canadian Centennial Series. Manufacturer: Royal Doulton Country of Origin: England
• NORTH AMERICAN INDIAN D6611 - LARGE
  NORTH AMERICAN INDIAN D6611 - LARGE - ROYAL DOULTON CHA...Royal Doulton Character Jug, North American Indian D6611 (red, white and black feathers; yellow and white band; green robes; dark brown handle). Designed by Max Henk, issued 1967 - 1991. Size: 7.75"H (Large)The North American Indian is one of three jugs which received a special backstamp in 1967. The other two, the Lumberjack and the Trapper form a three- jug Canadian Centennial Series. Manufacturer: Royal Doulton Country of Origin: England
• UNGLAZED MINI ROYAL DOULTON JUG,
  UNGLAZED MINI ROYAL DOULTON JUG, THE TRAPPERRare, unglazed character jug. Stamped Royal Doulton to bottom. Issued: Mid 20th c. Dimensions: 2.75"H Manufacturer: Royal Doulton Country of Origin: England
• UNDECORATED MINI ROYAL DOULTON JUG,
  UNDECORATED MINI ROYAL DOULTON JUG, THE TRAPPER D6615Rare, unpainted character jug. Stamped Royal Doulton to bottom. Hand signed by Michael Doulton to bottom. Issued: Mid 20th c. Dimensions: 2.25"H Manufacturer: Royal Doulton Country of Origin: England
• BORDER FINE ARTS POLLAND SCULPTURE,
  BORDER FINE ARTS POLLAND SCULPTURE, SHOOTING THE RAPIDS...Hand made sculpture; limited Ed. Portrays an Indian guide with a Western trapper in their canoe battling the river rapids. Border Fine Arts sticker. Artist: Don Polland Issued: 1983 Dimensions: 4.75"H x 11.75"L Edition Number: 451 of 2250 Manufacturer: Border Fine Arts Country of Origin: Scotland
• THE TRAPPER D6609 - LARGE - ROYAL
  THE TRAPPER D6609 - LARGE - ROYAL DOULTON CHARACTER JUG...Part of the Professions series. Royal Doulton backstamp. Artist: Max Henk, David B. Biggs Issued: 1967 - 1983 Dimensions: 7.25"H Manufacturer: Royal Doulton Country of Origin: England
• TRAPPER - MINI - ROYAL DOULTON
  TRAPPER - MINI - ROYAL DOULTON CHARACTER JUGIssued: 1983 -1983 Dimensions: 2.5"H Manufacturer: Royal Doulton Country of Origin: England
• NORTH AMERICAN INDIAN D6665 -
  NORTH AMERICAN INDIAN D6665 - MINI - ROYAL DOULTON CHAR...Royal Doulton Character Jug, North American Indian D6665 (red, white and black feathers; yellow and white band; green robes; dark brown handle). Designed by Max Henk, issued 1981 - 1991. Size: 2.75"H (mini)The North American Indian is one of three jugs which received a special backstamp in 1967. The other two, the Lumberjack and the Trapper form a three- jug Canadian Centennial Series. Manufacturer: Royal Doulton Country of Origin: England
• LUMBERJACK CENTENARY D6610 -
  LUMBERJACK CENTENARY D6610 - LARGE - ROYAL DOULTON CHAR...Royal Doulton Character Jug, Lumberjack Centenary D6610 (red cap, green jacket, pink sweater). Designed by Max Henk. Series: Canadian Centennial Series, 1867 - 1967. Issued: 1967 - 1967. Size: 7.25"H (Large)The Lumberjack is one of three jugs that received a special backstamp in 1967. The other two, the North American Indian and the Trapper, complete the three-jug Canadian Centennial Series. A small quantity of miniature Lumberjack prototypes are known to exist. Manufacturer: Royal Doulton Country of Origin: England
• TRAPPER D6609 - LARGE - ROYAL
  TRAPPER D6609 - LARGE - ROYAL DOULTON CHARACTER JUGGlazed, hand painted ceramic. The trapper is in a dark green and brown hair, and brown and green clothing. The handle is horn and pair of snowshoes. Condition: Good
• TRAPPER D6612 - SMALL - ROYAL
  TRAPPER D6612 - SMALL - ROYAL DOULTON CHARACTER JUGDark green and white hat; brown and green clothing. Series: Canadian Centennial Series, 1867 - 1967. Royal Doulton backstamp. Artist: Max Henk and David B. Biggs Issued: 1967 - 1983 Dimensions: 3.75"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good
• TRAPPER CENTENNIAL D6609 - LARGE
  TRAPPER CENTENNIAL D6609 - LARGE - ROYAL DOULTON CHARAC...Dark green and white hair; brown and green clothing. The Trapper is one of three jugs that received a special backstamp in 1967. The other two, the Lumberjack and the North American Indian, complete the three-jug Canadian Centennial Series. Series: Canadian Centennial Series 1867 - 1967. Royal Doulton and Centennial backstamp. Artist: Max Henk and David B. Biggs Issued: 1967 - 1967 Dimensions: 7.25"H Manufacturer: Royal Doulton Country of Origin: England Condition: Age related crazing.
• NORTH AMERICAN INDIAN D6611 - LARGE
  NORTH AMERICAN INDIAN D6611 - LARGE - ROYAL DOULTON CHA...Red, white and black feathers; yellow and white band; green robes; dark brown handle. The North American Indian is one of three jugs that received a special backstamp in 1967. The other two, the Lumberjack and the Trapper form a three-jug Canadian Centennial Series. Royal Doulton backstamp. Artist: Max Henk Issued: 1967 - 1991 Dimensions: 7.75"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good.
• NORTH AMERICAN INDIAN D6614 - SMALL
  NORTH AMERICAN INDIAN D6614 - SMALL - ROYAL DOULTON CHA...Variation One. Red, white and black feathers; yellow and white band; green robes; dark brown handle. The North American Indian is one of three jugs that received a special backstamp in 1967. The other two, the Lumberjack and the Trapper form a three-jug Canadian Centennial Series. Series: Canadian Centennial Series, 1867 - 1967. Royal Doulton backstamp. Artist: Max Henk Issued: 1967 - 1991 Dimensions: 4.25"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good
• ROYAL DOULTON LARGE CHARACTER
  ROYAL DOULTON LARGE CHARACTER JUG, TRAPPER D6609Canadian Centennial Series; a man in a brown and green clothing, and a black and white cap. Snowshoes and horn handle. Royal Doulton backstamp. Artist: Max Henk and David B. Biggs Issued: 1967 Dimensions: 7.25"L x 5.25"W x 7"H Manufacturer: Royal Doulton Country of Origin: England Condition: Age related wear.
• LUMBERJACK D6613 - SMALL - ROYAL
  LUMBERJACK D6613 - SMALL - ROYAL DOULTON CHARACTER JUGRed cap; green jacket; pink sweater. The Lumberjack is one of three jugs that received a special backstamp in 1967. The other two, the North American Indian and the Trapper, complete the three-jug Canadian Centennial Series.Series: Canadian Centennial Series, 1867 - 1967. Royal Doulton backstamp. Artist: Max Henk Issued: 1967 - 1982 Dimensions: 3.5"H Manufacturer: Royal Doulton Country of Origin: England Condition: Age related wear.