A few examples of appraisal values for
WATER MILL

• CONTINENTAL SCHOOL, DUCKS BY WATER MILL,Continental
  CONTINENTAL SCHOOL, DUCKS BY WATER MILL,Continental School(19th century)Ducks by water milloil on canvas20 x 21 1/2in (51 x 55cm)
• CONTINENTAL SCHOOL UNTITLED WATER MILL
  CONTINENTAL SCHOOL UNTITLED WATER MILL SCENE O/C Continental School Untitled water mill scene, late 19th century, oil on canvas, depicting a running water mill, apparently unsigned, in a carved gilt frame. Approximate dimensions: canvas h. 20.375", w. 24"; frame h. 26", w. 29", d. 2.5" (to hardware)
• FRAMED FRENCH MACHINE-WOVEN PASTORAL
  FRAMED FRENCH MACHINE-WOVEN PASTORAL TAPESTRYFramed French machine-woven tapestry, 20thc., pastoral landscape with water mill, sight: approx 27.25"h, 62.25"w, overall: approx 34"h, 69"l, 18lbs
• GRAND CURLEWCharles Sumner Bunn (1865-1952) Shinnecock,
  GRAND CURLEWCharles Sumner Bunn (1865-1952) Shinnecock, NY, c. 1900 17 1/2 in. long In 1971 Milton Weiler’s “Classic Shorebird Decoys” portfolio was published with text by William J. Mackey Jr. Across from Weiler’s Plate No. 3, illustrating a closely related curlew, Mackey writes, “In hand [the maker's] decoys have the feel of real birds. His knowledge and study of the live bird and his skill with a knife transferred the feel of the wishbone, the unfolded wings, and the modeling of the bone structure to blocks of wood. His was a unique talent not given to any other decoy maker.” Mackey also states, “Nothing finer has been found ever since.” This newly discovered and exceptionally rare Long Island shorebird now joins a small and elite group of curlew by this celebrated carver and guide. It has been passed down through a prominent New York family who lived in the city and escaped to Long Island and specifically the Hamptons. The family had a strong sporting heritage dating back to at least the 19th century and played host to figures, including Ogden M. Pleissner. This decoy, along with one rigmate, was retired from gunning to be displayed in their Upper East Side apartment. The bird is now making its debut to the decoy community on the heels of its mate, capping one of the greatest shorebird decoy discoveries in recent memory. Very few decoys of this coveted model have surfaced, with fewer still held in private collections. One example from the William J. Mackey Collection was acquired by Dr. James McCleery in the 1970s, setting a record price for any decoy at the time. After that bird traded again in the McCleery auction decades later, it rejoined the ranks of the top decoys ever sold. The second comparable in private hands recently reached the market from the estate of Dr. Lloyd Griffith. And, lastly, this decoy’s rigmate reached the auction block in the Sporting Sale 2022. Condition reports provided for the aforementioned private collection examples suggest that all four have survived in fairly comparable condition. Rounding out his monumental curlew model, two related examples from the rig of T.F. Norton have been held in the Long Island Museum at Stony Brook since they were gifted in 1966. One of these two appears to be the model for Weiler’s illustration. This survey makes this lot the sixth of this model to surface publicly, and only the fourth to come to auction. The grand body is larger than some waterfowl and accordingly was made with two-piece construction, held together by wooden pegs. "The shorebirds are ‘sui generis,’” writes historian and curator Bob Shaw, “carved to suggest nuances of body forms and underlying bone and muscle that no other carver even attempted.” Regarding his best works, Shaw states, “[They] transcend the decoy genre to rank among the finest bird portraits created by an American artist.” Original paint with moderate gunning wear and a replaced bill. Shallow flat area around stick hole has been restored. Provenance: Private Collection, by descent in a prominent New York City family Literature: Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, pp. 180-181, related example illustrated. Robert Shaw, "Call to the Sky: The Decoy Collection of James M. McCleery, M.D.," Houston, TX, 1992, back cover and pp. 36-37, related example illustrated. Milton C. Weiler and William J. Mackey Jr., "Classic Shorebird Decoys: A Portfolio of Paintings," New York, NY, 1971, pl. 3, related example illustrated and discussed. Timothy Sieger, "The Decoys of Long Island," Water Mills, NY, 2010, front dust-jacket cover, frontispiece, and pp. 38-39, related example illustrated. E. Jane Townsend, “Gunners Paradise: Wildfowling and Decoys on Long Island,” Stony Brook, NY, 1979, p. 106, Norton rig pair illustrated. Sotheby's and Guyette and Schmidt, "American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery," New York, NY, January 22–23, 2000, lot 207, related example illustrated. Quintina Colio, "American Decoys," Ephrata, PA, 1972, p. 69, related examples illustrated (image reversed).
• An antique toleware box holding six
  An antique toleware box holding six toleware tea boxes, 4”H x 9.5”W x 6.5”D. An antique dome topped toleware box with painted water mill scene, 5.5”H x 6”W x 4.25”D. Condition: paint wear to decoration on both CT Transfer Fee $10
• Two Pottery Groups, one a diminutive
  Two Pottery Groups, one a diminutive Staffordshire pottery \"bocage\" group of a girl seated beside the millrace of a towered water mill, second quarter 19th century, and the other a small two-towered pottery pastille castellated burner, third quarter 19th century, h. 4\" and 6-1/2\".
• ANTIQUE OIL ON CANVASDESCRIPTION:Antique
  ANTIQUE OIL ON CANVASDESCRIPTION:Antique Oil on Canvas depicting a farmhouse with a water mill next to a river. Signed " Leunis J.S" lower right. CIRCA: 19th/20th DIMENSIONS: H: 25" x W: 20" CONDITION: Good condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. 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."
• FOUR PIECE ART LOT FROM LISBETH FIRMIN
  FOUR PIECE ART LOT FROM LISBETH FIRMIN (AMERICAN 20TH A...Four Piece Art Lot From Lisbeth Firmin (American 20th and 21st Century) to include, "Windmill, Water Mill" gouache on paper, 2000 signed lower right "Firmin" 7" x 7" along with, "Old Clock Tower, Roslyn" gouache on paper, 2000 signed lower right "Firmin" 7" x 7" "Sag Pond Vineyards" gouache on paper, 2000 signed lower right "Firmin" 7" x 7" along with, "Jackson Pollock's Studio" gouache on paper, 2000 signed lower right "Firmin" 7" x 7" 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. Condition: Reports are available by request and answered in the order they are received starting the week of the sale.
• 19TH C. FRENCH GILT BONZE AUTOMATON
  19TH C. FRENCH GILT BONZE AUTOMATON CLOCK c. 1860, France, the case in the form of a water mill with semophore on top and animated water wheel, 8 day movement, unsigned, 17"h x 8"w x 5"d
• CONTINENTAL SCHOOL, 19TH CContinental
  CONTINENTAL SCHOOL, 19TH CContinental School, 19th c., "Village Road with Water Mill", oil on canvas, faintly inscribed "m. hobbema / 1663" lower left, 32 in. x 47 1/2 in., framed, 36 3/4 in. x 52 1/4 in. x 2 1/4 in.
• ALFRED THOMPSON BRICHER, AMERICAN (1837-1908),
  ALFRED THOMPSON BRICHER, AMERICAN (1837-1908), ROCKY COAST AT GRAND MANAN, OIL ON CANVAS, 18 X 38 INCHESALFRED THOMPSON BRICHER, American, (1837-1908) Rocky Coast at Grand Manan, oil on canvas signed lower left "A T Bricher" oil on canvas Dimensions: 18 x 38 inches Provenance: Kennedy Galleries, New York, New York (label on the reverse); Christie's, New York, New York, December 4, 1997, lot 13; Private Collection, Georgia Framed dimensions: 29 x 49 x 3 inches Alfred Thompson Bricher was one of America's best-known seascape painters of the nineteenth century. Unlike the artists of the two generations preceding, who sought untamed wilderness in the Catskill Mountains, the White Mountains, and the Adirondacks, Bricher specialized in picturesque scenes of the New England seaboard. Today Bricher is widely appreciated by art historians for his mastery of Luminist realism. As a Luminist painter, he was predominantly interested in the pictorial effects of light and translucency. It is always possible to ascertain specifics such as the time of day, weather conditions, and geography in his work, yet his paintings manifest a spiritual quality that was an important component of the Hudson River School. In 1879 Bricher was elected an Associate member of the National Academy of Design. His work was seen regularly in the annual exhibitions of both the Academy and the American Watercolor Society. Bricher also exhibited at the Art Institute of Chicago, the Boston Art Club, and the gallery of James Gill in Springfield, Massachusetts. Following a second marriage in 1881, he built a summer home and studio in Southampton, Long Island. "Here he interpreted the expansive coast and quaint village areas in paintings displayed at annual exhibitions from 1882 until 1894. He painted all along the south shore of Long Island. He exhibited views of rugged Montauk Point at the eastern tip between 1882 and 1885; Water Mills, adjacent to Southampton from 1882 to 1888; Patchogue and Blue Point on Great South Bay protected from the Atlantic by Fire Island from 1886-91; further west, Freeport and Far Rockaway from 1888 to 1891; and Wantagh in 1893."1 By the time he died in 1908, Bricher's career had spanned a period of momentous evolution in American art, indeed from the era of the Hudson River School to the imminent appearance of Synchromism, or color abstraction. When Bricher died at New Dorp on September 30, 1908, his obituary commented, "[Bricher] did not receive the notice in the press that the artist's ability and reputation deserved." Today New England seascapes by Bricher are in the permanent collections of many of America's most prestigious museums, the Metropolitan Museum of Art, the Brooklyn Museum of Art, the Smithsonian American Art Museum, the White House, The Wadsworth Atheneum and the Pennsylvania Academy of Fine Arts, to name only a few. 1 Jeffrey R. Brown, assisted by Ellen W. Lee, Alfred Thompson Bricher, 1837-1908, (Indianapolis, Indiana: Indianapolis Museum of Art, 1973). Tags: oil painting, seascape / coastal / marine, listed artist, 19th century Condition: in very good overall condition; unlined canvas; very minor crazing in the lower half of the painting; no restoration apparent under UV We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
• 19th Century Continental School/The
  19th Century Continental School/The Water Mill/oil on board, 43cm x 57cm
• THOMAS MCKNIGHT (AMERICAN, B. 1941).
  THOMAS MCKNIGHT (AMERICAN, B. 1941). 21" x 23" "The Hamptons", 1987 Set of 12 original serigraphs printed by Wilcox Fine Art, New York, on Somerset Soft White texture rag paper, each signed in pencil lower right, from the edition of 175, each numbered in pencil lower left 143/175, each stamped verso copyright Thomas McKnight 1987, in a silk portfolio with gold text. Titles: Southampton, Mecox Bay, Wainscott, Water Mill, Bridgehampton, East Hampton, Maidstone, Georgica, Sagaponack, Westhampton, Sag Harbor, and Amagansett.
• BAKUFU OHNO NOCTURNAL WATER MILL WOODBLOCK
  BAKUFU OHNO NOCTURNAL WATER MILL WOODBLOCK PRINT Japan,1888-1976First print, depicting a water mill with warm illuminated interior casting the shadow of a woman as a man walks with his horse illuminated by a vibrant yellow full moon.
• Thomas Thomas (act 1854-1896)/The Water
  Thomas Thomas (act 1854-1896)/The Water Mill/signed/oil on canvas, 50cm x 75cm
• Three Staffordshire Ceramic Articles
  Three Staffordshire Ceramic Articles comprising a figural group a water mill scene and a cottage. Height of tallest 12 5/8 inches.
• 4 vols. + 1 portfolio. Book & Paper-Making
  4 vols. + 1 portfolio. Book & Paper-Making Arts: The Studio. The Art of The Book. London, etc., 1914. Edited by Charles Holme. 4to, orig. wrappers; chipped along edges. Color plates, other illus., adverts. Minor internal spotting & toning. * The Bookman. "Special Christmas Number 1928." London, 1928. Sm. folio, orig. wrappers, pictorial color label; creased & repaired. Mounted color plates, other illus., adverts. With John Galsworthy, Christmas, 1928 Bookman portfolio, orig. wrappers, 4 plates; some creasing, custom cloth box (worn). * Japan Paper Company. "Hand Made Papers" [cover label title]. New York, etc., n.d. [ca. 1920]. Folio format portfolio, orig. bds.; some wear & fraying. Holding ca. 45 printed paper specimens. * Carter, Jane Levis. The Paper Makers: Early Pennsylvanians and Their Water Mills. Kennett Square: KNA, 1982. 1st ed., 1/1000. 8vo, orig. clot, d/j. Illus. NF. * Henry Lindenmeyer & Sons. Cloth or Gold Covers. New York, n.d. [ca. 1920]. Oblong 8vo, orig. gilt & color stiff wrappers. Ca. 30 specimens.