| Sale: | Private Collection Thursday March 18th at 6:00 p.m. IMPORTANT AUCTION OF HISTORIC ARMS, MILITARIA, AMERICANA AND ARTWORK FROM THE PRIVATE COLLECTION OF JAMES L, KOCHAN The Lukens-Lenox Papers, c. 1740-c. 1870 |
 200 Thomas Baxter (1782-1821) Design for a pattern [a feather] on Worcester porcelain, c. 1815 Watercolor and pencil on paper, 6 x 5 in. (view). Baxter, a native of Worcester, excelled in fruit, flowers, and landscapes, which he painted in watercolors. He also did portrait miniatures, both originals and copies after Reynolds and others. He also assisted John Britton in his work on Salisbury Cathedral. He worked in Swansea during 1816-19 and later went to London, where he died in 1821. $500/600 | |||
 201 Edward Francis Burney (1760-1848) Illustration for a book Pencil, ink and watercolor wash on paper, 7 ¾ x 5 1/8 in. Drawing showing a comical, corpulent gentleman in front of door with sign above with “MEN TRAYS” on it. Inscribed in pencil below scene: Now this is beautiful ow fresh the hair is ow rewiving—ow inwigorating Ow wery pretty this is. Viol: teasing made easy Act 1. Born near Worcester, Burney was sent at age 16 to London and there admitted to the Royal Academy schools, where he gained the friendship of Sir. Joshua Reynolds. He exhibited 19 pictures, mostly portraits, at the Academy between 1780-1803. His professional output consisted largely of book illustrations, which were both charming and graceful and his clever designs were often used to decorate women’s trifles, much as sewing boxes. However, he is remembered primarily as a comic master, although it was not until around 1810 that he began to work in this mode, which reached its culmination in the 1820s from which period this drawing most likely dates. $300/400 | |||
 202 George Chinnery, RHA (1774-1852) Busy Harbor Scene Pencil drawing on paper, 5 x 5 ¼ in. Waterfront scene with walled city in the background (with rough pencil sketch of river scene on reverse). George Chinnery exhibited portraits at the Royal Academy from 1791-1846. He at one time resided in Dublin and in 1798, was elected a member of the Royal Hibernian Academy. He etched some portraits, which show much ability and made spirited sketches of scenes in India and China, where he lived for nearly 50 years, dying at Macao in 1852. Chinnery’s renderings in watercolor and pencil, in addition to oil, have only received the recognition they so justly deserve over the past 50 years and are now highly sought after by collectors. $650/850 | |||
 203 W. Copeland Market Fair Pencil drawing on paper 3 ¼ x 5 ½ in. A view of a market fair in a town, showing vendor booths and entertainments, c.1730. $250/300 |
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 204 George Cruikshank Lacing in Style-or a Dandy Midshipman preparing for |’Attr’-crossed outjaction!| Colored etching by the artist, published 6 March 1819 by T. Tegg, Cheapside; 9 ¾ x 13 ¾ in. $300/400 | |||
 205 Matthew Darty (fl. 1760-1776) Darly’s Comic-Prints of Characters, Caricatures, Macaronis, &c, Dedicated to David Garrick, pub. by Mary Darly, London, 1 January 1776; each print approx. 7 x 5 in. within plate-mark; all with good margins. This is an exceptionally fine collection, consisting of 50 of Darly’s famous caricatures and frontispiece from the above rare imprint, including his famous Macaroni series. They are in near-mint condition and in their original uncolored states and have the corresponding British Museum catalogue numbers penciled on the lower margins. $1200/2500 | |||
 206 Anthony Devis (1724-1817) Three Rustic Figures Ink over pencil on laid paper, 4 ¼ x 2 7/8 in.; recto has sketch of cows going to water and is inscribed “Derwentwater” [Deventer?]. $400/500 | |||
 207 After Peter Paul Rubens Achilles Angry Sepia wash, ink and pencil on laid paper, inscribed: “P.P. Rubens pinxit” (llc) and “Joshua Gosselin fecit 17[?]”; 17 5/8 x 16 ¼ in. (view), some conservation work to tears in lower left corner. $900/1200 |
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 208 An Dutch Lugger, c.1770 Watercolor on laid paper, 5 ¼ x 7 ¼ in. $400/600 | |||
 209 English Tavern and Bridge, 1778 Sepia over yellow wash, on laid paper, 5 x 5 in., with view done in circular inset; initialed “J.G. 1778” on recto. $250/350 | |||
 210 A Bridge with Tower, c.1778 Sepia over yellow wash, on laid paper 3 7/8 x 4 5/8 in., probably done 1778 as per lot above. $200/300 | |||
 211 A Man Feeding a Dog – copy of a Master Drawing Sepia wash and pencil on laid paper, 3 7/8 x 4 ½ in., c. 1770 $250/350 |
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 212 A Ship Sailing Past a Guernsey Castle Gray and gray-black wash on laid paper, 4 3/8 x 5 5/8 in. $100/200 | |||
 213 A Tower by a Stream with Castle in Background Gray and gray-black wash on laid paper, 4 3/8 x 5 5/8 in. $150/200 | |||
 214 A Bridge and Tavern with Sign Gray and gray-black wash watercolor on laid paper, 3 ½ x 6 in. (view) $150/200 | |||
 215 Dutch Fisherfolk with Their Catch, c.1760 Gray-toned watercolor on laid paper, 10 7/8 x 18 1/8 in. $300/400 |
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 216 Italian Landscapes with Ruins and Figures (4 views), c.1760 Brown sepia watercolor on laid paper, each 11 x 18 ¼ in. Four companion or related studies of mountainous Italian landscapes, showing peasant figures before buildings and ruins. Set of four: $2000/2500 | |||
 217 Gosselin Family Drawings, c.1770-1840 (6) Five watercolor drawings and one profile by Joshua Gosselin and his children. The cut-paper profile is of unidentified gentleman, while the watercolors are three landscape views, a view of Itailian (?) peasants, and a mercator of the earth showing four of the five continents (“Zealand” for Austrailia). $100/250 | |||
 218 Attributed to Hugh Douglas Hamilton (c.1734-1806) Reclining Gentleman Beneath a Tree, c.1795 Pastel, pen, and watercolor on paper,21 x 16 ¼ in. $1500/2000 | |||
 219 Lancelot Hope (fl. 1815-22) Portrait Miniature of a Lady, c.1815 Watercolor on ivory, 3 x 2 ½ in., initialed “L.T.II’ in llc; within gilded original frame. $350/450 |
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 220 After George Morland Sailors Conversation [No. XIII] Fine color mezzotint by W. Ward, pub. by L.R. Smith, London, 25 Oct. 1802; 17 7/8 x 21 7/8 in., trimmed inside plate-mark. $1000/1500 | |||
 221 After George Morland Fishermen on Shore [No. XVI] Fine color mezzotint by William Hilton, pub. by L.R. Smith, London, 10 Feb. 1806; 17 7/8 x 21 ¾ in. trimmed inside plate-mark $1000/1500 | |||
 222 H. Myddleton Floral Arrangement Watercolor on paper 4 5/8 x 3 3/16 in. Inscribed on verso. H. Myddleton/17 June/1827. $200/250 | |||
 223 Patrick Nasmyth, RBA (1786-1831), c. 1815 Oak Lane/7 Oaks Pencil drawing on paper, 5 ¾ x 7 ¾ in. (view) Wooded scene with a cottage, inscribed under mount “Oak Lane 7 Oaks”, from one of the artist’s sketchbooks. Verso bears artist’s signature and a listing of pigments used in watercolors. Nasmyth was the son of Scottish landscape painter Alexander Nasmyth (1758-1840) and specialized in the same. He studied under his father, coming to London in 1807, and his subject matter was usually drawn from the countryside around the city. Is style was based on the Dutch 17th c. artists, especially Hobbema, and he is sometimes called the “English Hobbema”. His landscapes are very pleasing and he achieved considerable success in his lifetime and exhibited at the Royal Academy Society of British Artists and the Royal Society of British Artists. (RBA), of which he was a founding member. $500/600 |
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 224 Robert Heysham Noble, RBA (fl. 1821-1861) Beckenham Signed and dated in ink: ‘Beckenham/H. Noble 1854’, Watercolor on paper, 8 x 6 ¼ in. (view) Picturesque rural Kentish scene with sheep grazing before stone clamped and flower grouping in foreground. Noble was a London-based painter of landscapes and coastal scenes, who exhibited from 1821-61 at the Royal Academy, the Society of British Artists and the British Institution. $600/700 | |||
 225 William Pyne’s The Costume of Great Britain (3 Plates) Color aquatints, pub. by William Miller, London, 1805; each 11 ½ x 9 in. (view) with full margins inside mat. 1X. Welsh Peasants Washing; XL. The Grass Roller; [and] LVIII. Butcher $300/500 | |||
 226 William H. Pyne Etchings of Rustic Figures for the Embellishment of Landscape London: James Rimmel and Son, 400 Oxford Street, 1814. 8p., 60 plates, 10 7/8 x 7 in. 19th century marbleized boards with leather spine, title in embossed gold leaf. $400/500 | |||
 227 Attributed to Paul Sandby, RA (1730-1809) Mounted Figure, d.1760 Pen and ink on vellum, 4 ½ x 2 ¾ in. Sketch studies of a running dog and a gentleman on a running horse, his hand upraised. From a 18th century scrapbook of British drawings in which it was identifies as the artists work |
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 228 Attributed to Paul Sandby, RA (1730-1809) Studies of Cambridge Dons, c.1760 Pen and ink on vellum, 3 3/8 x 2 ¼ in. A cariacature sketch of 2 university scholars conversing, with a pencil study of a head in upper left corner. From a 19th century scrapbook of British drawings. $250-350 | |||
 229 After John Webber, RA (1750-1793) [South Pacific grouping of Cook’s Third Expedition consisting of 10 engravings] All of the engravings by various engravers, fine and crisp impressions, each plate-mark ranging from 9-11 x 10-16 in., on sheets approx. 14 x 19 in. A man of Van Dioman’s Land (6); A Man of Manges (11); A Boxing Match in Japaee (15); Poulaho, King of the Friendly Islands (18); A Flatooka, or Morai, in Tongataboo (21); The HOdy of Tee, a Chief, as preserved after Death, in Otaheite (26); A Morai, in Atooi (33); The Inside of the House, in the Morai, in Atooi (34); A Man of the Sandwich Islands, with his Helmet (64); Various Articles of the Sandwich Islands (67) $1500/2500 | |||
 230 After John Webber, RA (1750-1793) [Alaskan-Siberian Views from Cook’s Third (1776-79) Expedition, consisting of 13 engravings] All line of mixed method, by various engravers, fine and crisp impressions, each plate-mark ranging from 9-11 x 10-16 in., on sheets approx. 14 x 19 in. Various Article sof Nootka Sound; A Sea Otter (43); Canoes of Oonalashka (50); The Tachuktschi, and their Habitations(51); The Inhabitants of Norton Sound, and their Habitations (54); Cap of the Natives of Oonalashka (56); Natives of Oonalashka, and their Habitations (57); A Sledge of Kamtschaka (71); A View of Bolcheretzkoi, in Kamtschatka (72); A White Bear (73); A Man of Kamtschatka (75); A Woman of Kamtschatka (76); The Inside of a Winter Habitation, in Kamtschatka (78). $1500/2500 | |||
 231 After John Russell (1745-1806) (2) Sir Joseph Banks and Mrs. Joseph Banks Mezzotint engravings by J. Collier, published 10 May 1789; each 4 x 3 in. (view)—Sir Joseph’s is inscribed on recto in pencil: “Mr. Bligh 5952 Meeting”. Sir Joseph Banks figured prominently in the voyages of exploration conducted by Captain James Cook and later, Captain William Bligh. Banks, a wealthy young man and talented botanist, essentially “bought his way in” as part of the Royal Society team of scientists on Cook’s first voyage to the South Pacific in the HMS Endeavor. However, he preformed stalwart service during the epic voyage—resulting in his eventual election as President of the Royal Society (a position that he held for nearly half a century). Bligh fostered a friendship with Banks after he sailed with Cook on his third and last voyage of discovery and this friendship continued throughout their lives. $300/400 Provenance: Captain (later Rear Admiral) William Bligh: by descent in Bligh family until 2001 |
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 232 Philip James de Loutherbourg [Smugglers on the English Coast] Untitled, colored aquathint by the artist with inscription “Dedicated to David Garrick, as a Testimony of His Regard, by P. J. de Loutherbourg”, pub. 9 Jan. 1776 by M. Picot, The Strand, London; laid down on an early collector’s mount, initialed “p.B/do” in llc., 12 x 18 in. After leaving France, de Loutherbourg’s successful career in England began as a set designer and painter of theatrical back-drops His friendship with Britain’s leading actor, who may have also been a patron, is reflected in this, one of the artist’s earliest engravings. With Britain’s tax system on imports, smuggling was very real, perilous, but quite innovative business; why this topic was chosen for a homily to a friend remains unclear. $250/450 | |||
 233 Midshipman Basil[?] Hall, RN after Maria Spilsbury (1777-1820) Moravian Missionary Conversing with the Eskimos at Nain, Labrador Watercolor over pencil with black ink on wove paper, 20 5/8 x 27 in., in later frame This watercolor depicting Labrador Inuit with a Moravian missionary was acquired at an American auction in New England in early 2002, where it had been misidentified as “Father Marquette Among the Native Americans”; fortunately I had recalled seeing this work before and know the dress to be Inuit. My good friend Rene Chartrand, retired Chief Curator of Parks Canada, verified the existence of a near-identical work in the National Archives of Canada (NAC) the one I had recollected. Subsequent correspondence with Martha Maricau (NAC drawings curator), and Betty Issenman (Inuit clothing expert) fleshed out the story behind his fascinating drawing and to them belongs the credit for most of the scholarship reflected in the below description. The works of Maria Spilsbury, in the words of a contemporary, artist Jarmes Northcote, were “her own, and are often very natural & beautiful”. She exhibited A Missionary of the United Brethern conversing with the Esquimeaux. Scene in the Terra Labrador, month of June; with a distant view of Nain at the Royal Academy in 1807. Quite different from her usual portrait and genre (especially rural and childhood) subjects, Spilsbury’s connection with this American subject was linked to her father’s membership in the Moravian Church (and there is evidence that she, too, may have been admitted). It has been suggested that she may have seen the c.1781 sketch of the Moravian mission at Nain done by Jens Haven, who founded it in 1771. The scene shows a missionary, probably Haven, with Inuit converts. According to Marleau, the “small boy to his side might be his son John-Benjamin, of whom the Inuit were ‘exceedingly fond’.” Her original painting of 1807 may have been done for the church, but its whereabouts are now unknown. It survives, however, in two watercolor copies by the same hand—the NAC watercolor before-mentioned, and this work. The identity of the copyist-artist is suggested by an inscription on the lower margin of the paper on which the NAC watercolor was laid-down in the early 19th century: “Mid. H (B?) Hall delint…Labr[?]” There were a few Royal Navy midshipman with the name of Hall that are the most likely candidates: Basil Hall, Henry John Hall, and Henry Watson Hall, all of whom served in Newfoundland during the early 19th century. Basil (1788-1844) was a midshipman in 1807 when the work was publicly exhibited and the brother of artist James Hall. An quite-competent, amateur artist, he later produced to books about his travels in America, at least one of which was illustrated by engravings from his original drawings; whether the two other midshipman displayed any artistic tendencies is unknown. $5000/8500 Literature: Jim Burant, et. Al. A Place in History: Twenty Years of Acquiring A Place in History Paintings, Drawings and Prints at the National Archives of Canada (Ottawa: 1990) 34-38 (essay by Martha Marleau); Betty Kobayashi Issenman. Sinews of Survival: The Living Legacy of Inuit Clothing (Vancouver: UBC, 1988), 166-167; personal correspondence with Betty Issenman and Martha Marleau, 2002; Basil Hall. Forty Etchings From Sketches Made with the Camera Lucida in North America. London & Edinburgh, 1830. | |||
 234 [St. Clair’s Defeat] Jonathan Stagg ALS, 1 p. quarto to William Knox, War Department (Philadelphia), 11 August 1791 Written by the Chief Clerk of the War Department (on the orders of the Secretary of War Henry Knox) to “furnish Serjeant Reinbach with arms and accoutrements complete, also knapsacks, haversacks and Canteens…[and] Short linen Coats”, in addition to other military clothing for a detachment of 14 recruits marching to join their regiment on the Ohio frontier. These men were recently enlisted into the 2nd U.S. Infantry Regiment and on 3 November 1791, many of them would be casualties in the disastrous defeat of General Arthur St. Clair’s army by the Ohio Indians on the banks of the Wabash River the greatest defeat the U.S. Army would ever experience. This is one of a handful of documents extent that mention the linen fatigue jackets furnished to the infantry on this campaign. $150/250 | |||
 235 [St. Clair’s Defeat] Jonathan Stagg ALS, 1 p. quarto to William Knox, War Department (Philadelphia), 11 August 1791 Written by the Chief Clerk of the War Department (on the orders of the Secretary of War Henry Knox) to “furnish Serjeant Reinbach with arms and accoutrements complete, also knapsacks, haversacks and Canteens…[and] Short linen Coats”, in addition to other military clothing for a detachment of 14 recruits marching to join their regiment on the Ohio frontier. These men were recently enlisted into the 2nd U.S. Infantry Regiment and on 3 November 1791, many of them would be casualties in the disastrous defeat of General Arthur St. Clair’s army by the Ohio Indians on the banks of the Wabash River the greatest defeat the U.S. Army would ever experience. This is one of a handful of documents extent that mention the linen fatigue jackets furnished to the infantry on this campaign. $150/250 |
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 236 William Moffat (English, 1775-1850) The Phoenix at Anchor off Tillicherry, 1801 Watercolor on early Bristol board, 16 ½ x 20 ½ in., inside original carved and gilded frame. Signed and dated: “W. Moffat” on buoy in lower right corner and inscribed on bottom margin: “The Phoenix at Anchor off Tillicherry 1801. Wm. Moffat delin.” Contact auctioneer for further condition/description information! $6500/9500 | |||
 237 Poll of Plymouth’s Prayer Hand colored etching by Thomas Rowlandson after George M. Woodward, published 20 September 1801 by Rudolph Ackermann, London: 16 ½ x 9 7/8 in. The return of the annual East India convoy, with its rich cargoes, was impatiently awaited not only by the Honorable East India Company, but by many other parties with vested interest in the wealth to be reaped therefrom. In this case, a Plymouth prostitute residing at a waterfront tavern, anxiously prays to the sea-nymph Thetis to safely convey the fleet homeward so that she may “partake of the spoils” from her favorites among the ships crews, once paid off and ashore for a “cruise” $250/450 | |||
 238 An early UEIC Fusil, possibly Coote’s Pattern (1770) Length: 53 in. Barrel: 37 1/8 in x 0.68 bore, Lockplate: 6 ¼ x 1 ¼ in. Weight 7.6 lbs. Contact auctioneer for further description information! $2500/4500 | |||
 239 A Windus Pattern Artillery Fusil Length: 52 7/8 in. Barrel: 37 in. x 0.68 bore, Lockplate: 6 ¼ x 1 1/16 Weight: 7.6 lbs. This is the only-extant example of a Windus Pattern Artillery Fusil, produced for the East India Company between c.1771-1818; this example being from 1793. From its date markings, noted arms historian David Harding has deduced that it was almost certainly part of the parcel taken into Ordinance stores during the arms emergency of 1793. It was probably issued later to a British Army sergeant, which is supported by the addition of a late 18th century 1 ¼ in.-wide, buff leather, sergeant’s sling with brass D-buckle (attached to forestock by a swivel and an iron ring to the rear of the triggerguard.) Contact auctioneer for further description information! $9000/12000 |
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 240 Charles Balthazar Fevret de St. Memin (1770-1850) Lieutenant-Colonel Anne-Louis Tousard, c. 1801 Mixed-method, inscribed “Drawn & engrd. By St. Memin Philada”, n. (1798-1801); 3 x 2 ½ in. (oval), within an original Boulton-type oval frame (gilded stamped-brass face with wood body), 3 7/8 x 3 ¼ in. Tousard (1749-1817) was a French officer who accompanied Lafayette to America in 1777 and served with great merit as a volunteer during the Revolutionary War, losing an arm during the 1778 siege of Rhode Island, for which he received the thanks of Congress, a brevet promotion and a small pension. He reentered American service in 1795 as a major in the Corps of Artillerists & Engineers and was promoted to lieutenant-colonel-commandant of the 2d Regiment of Artillerists & Engineers in 1800. He served as inspector of artillery and at Washington’s request, compiled a draft of the first artillery manual for the United States Army during 1798-1801. Extremely able and talented, he fell afoul of Jeffersonian politios due to his foreign birth and Federalist leanings, being forced-out during the peacetime reduction of the army in 1802. His draft manual was subsequently published in 1809 (see lot 132) $1400/1600 Literature: Kochan (2001), in which it is also illustrated on p.34, see also Miles (1994), 407 | |||
 241 US Infantry Officer’s Swordbelt Plate, c. 1804 Silver, 3 ¼ x 2 ¾ in., with 4 (1 now missing) silver loops on recto for securing to belt This fine silver swordbelt plate with engraved Federal eagle motif was a type worn by U.S. Army infantry officers during c.1804-1812. Although it bears no maker’s mark, it was probably made by a Philadelphia silversmith (based on comparison with other known Philadelphia-produced pieces of the period). The space below the eagle would normally have been reserved for engraving the regimental number of the wearer and sometimes his initials; being left blank, it was probably never sold to a specific officer. The plate was excavated more than 30 years ago (from a Southeastern Indian site by a private collector) and was found in close context with the blue & white glass trade beads (restrung) shown with it. As such, the original owner and 2nd owner above both believed it to be some sort of trade gorget or pendant. While perhaps a trophy of war, it is more likely that the plate was presented by the War Department (who oversaw both the Army and Indian affairs during this period) in lieu of a “peace” medal or other fine silver piece. There are numerous instances of such martial gifts (including complete U.S. Army Officer’s uniforms) being presented to Choctaw, Cherokee, and Osage deputations or as annual tribal gifts, whenever standard, high-quality “trade” goods were unobtainable or deemed inadequate. $7000/9500 Provenance: a private Georgia collection until c.1973; Robert Converse collection until 1998 Literature: Duncan Campbell and Michael O’Donnell, American Military Belt Plates, 2nd Edition (Alexandria, VA: O’Donnell Publications, 2000), 26: Kochan (2001), illustrated on p.37 | |||
 242 After Feverl St. Memin Captain Meriwether Lewis, 1806 Line engraving by William Strickland, published Philadelphia 1812; approx. 8 x 5 in. Taken from the original watercolor portrait done by St. Memin in 1807, shortly after the return of the Lewis & Clark Expedition from their epic journey of discovery. Lewis is shown the otter and ermine “tippet” or mantle given to him by a chief of the Shoshone nation, over his hunting frock, pantaloons and moccasins. $300/400 | |||
 243 Frederic Remington Mountain Man Cast bronze, 28 in. high on black marble base; marked below figure “Copyright by Frederic Remington” np. Nd (but a fine, early casting, probably from 1920’s) $1500/2500 |
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 244 James Warren Childe (c. 1778-1862) Samuel Harrison, Royal Commissariat Corps Watercolor miniature on paper, signed “JW Childe/1817”; 4 ¾ x 3 ¾ in. (view) in gilded original frame; inscribed on backing board (recto): “S. Harrison Junr./Born Novr. 21st 1795/Died Octr. 8th 1817/ at Grenada” Child worked as a miniaturist in London and exhibited at the Royal Academy and Society of British Artists from 1798 – 1853. He is said to have painted portraits of actors, but clearly our sitter is a military man. Samuel Harrison wears the gold-bullion trimmed dress uniform of the Commissariat Corps, in which he served until dying of fever in the West Indios—a too frequent hazard of such exotic foreign service. $1400/1600 | |||
 245 George Rodney Mundy Sketches from Nature in Portugal and South America Portfolio or sketchbook of 30 leaves, 5 3/8 x 10 ¾ in., ¼ leather and marbled board covers with clasp (male portion missing) and inked “GRM/1824” on front board This is an important, unpublished, visual chronicle of Revolutionary South America, showing the appearance of places and events during this tumultuous period. See auctioneer for further condition/description information! $3000/3500 Provenance: George Rodney Mundy to Geraldine Mundy; to Godfrey H. Brydges Mundy, 1892 | |||
 246 Unknown artist, British School (c. 1828) Commander George Rodney Mundy, RN Watercolor miniature on ivory, 4 ¼ x 3 ¼ in., in later, matted frame Probably done shortly after his promotion to commander on 25 August 1828, Mundy is depicted in the full dress uniform established for that rank in 1825 and worn until 1830. Mundy enjoyed a long and successful career (Captain 1837, Rear Admiral 1857, Vice Admiral 1863) and was promoted to Admiral in 1869. With the miniature comes an album (labeled on spine “Reviews/H.M.S./HANNIBAL/AT/PALERMO/AND/NAPLES/1863” which began as a scrapbook of reviews for his book of that title, dealing with his service in the Mediterranean during the Italian Revolution (1859-61) and a memorial case of c.1865, containing a tinted image and watercolor relating to a deceased family member. The 156 page album has additional clippings related to Mundy’s entire career and contains a number of albumen images, including a full-length of Mundy in uniform, 1860. A number of important autograph documents are pasted in, such as his 1818 appointment to the Royal Naval College and an 1828 note to his father from William, Duke of Clarence (later King William IV) notifying him of his son’s promotion to commander. $1400/1800 (3 items) Provenance: George Rodney Mundy; to Geraldine Mundy; to Godfrey H. Brydges Mundy, 1892 | |||
 247 George Cruikshank Puzzled which to choose!! Or, The King of Tombutoo offering one of his daughters in marriage to Capt. __ {anticipated result of ye, African mission Hand-colored etching, approx. 9 ¾ x 13 ½ in., trimmed to borders, np, nd. (1820s) $150/250 |
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 248 Rare U.S. Consular Uniform Grouping, c. 1840 In 1817 the Department of State formally prescribed by a circular letter to all legations, an official uniform for American ministers and legation secretaries consisting of an gold-embroidered blue coat with white silk lining. The uniform adopted had previously been described and first worn by Henry Clay and 4 other U.S. delegation members to the Treaty of Ghent proceedings at the conclusion of the War of 1812. With the exception of minor changes in cut to suit changes in fashion over the 3 succeeding decateds, this consular uniform continued to be worn with little modification. An 1838 State Department circular reaffirmed that it should be worn for “visits of ceremony…and on all proper occasions.” Until 1853, when diplomats were advised to wear “the simple dress of an American citizen.” This fine and mint, c. 1840 uniform grouping consists of an indigo blue undress coat with gold-embroidered velvet collar and cuffs, and pocket flaps, and white silk lining. Its buttons are gilded brass, convex, one piece “U.S. Official” buttons of the type listed in Albert (1976) as OD20. With the coat is the matching pair of blue, superfine trousers (with a 1 ½ in. wide gold lace stripe down the outscam of the leg) and a lapelled vest with rolling collar, of embroidered white satin. A pair of black morocco leather men’s pump of the early 19th c. and a fine linen shirt with ruffled “chitterling” at the breast com with the grouping. They were acquired from the same estate, although at a different time; the shirt is inked on the tail: “John Bryant/No. 4 April 1854”. Whether the shirt or shoes have any direct association with the consular uniform or its wearer is at present unknown. $6500/8500 Provenance: Boston estate sale (family name not known); purchased by Richard Graney | |||
 249 After Stanley (2) Fort Union and the Distribution of Goods to the Assiniboine [with] Old Fort Walla Walla Toned lithographs, pub. by Sarony, Major & Knap, New York, nd.; each 7 x 10 in. (view) 2 plates (nos. XVI and XLII, respectively) from the Report of the United States Pacific Railroad Exploration and Survey. $100/200 | |||
 250 Anthony Lewis DeRose (1803-1836) Lieutenant Washington Hood, 1834 Watercolor and pencil on Bristol board, signed “DeRose 1834” in llc, and inscribed on recto in the artist’s hand, “Washington Hood/ Lieutenant U.S. Army/ Painted by De Rose, Washington City, DC/ January 1834”; 9 ¾ x 7 13/16 in., within 19th century frame. DeRose was a talented portrait, historical and miniature painter who spent most of his life in his home city of New York, where he exhibited at the American Academy and Nation Academy. During 1834, he was working in the nation’s capitol, where he took portraits of such notables as Senator Davy Crockett, in addition to this fine rendering of young Lt. Hood of the 4th U.S. Infantry (the Crockett portrait, now in the NY Historical Society, is executed in a similar manner and size), then attached to the Topographical Bureau. Both men were talented artists (Hood was the top of his drawing class at West Point and an accomplished draughtsman and watercolorist) and sadly, they both died in their early thirties before they had the opportunity to reach their full potential in life. DeRose portraits and paintings rarely appear on the market and few are listed in public collections. Washington Hood (1808-1840) was a member of the class of 1827 and 500th graduate from the U.S. Military Academy. His Irish-immigrant father was a successful merchant-grocer with strong political connections in Philadelphia, where Hood was born and raised. Although possessing great talent, Hood’s overall class standing was not high enough to secure him a coveted appointment in the Corps of Engineers, but he spent the majority of his career detached from his regiment working as a civil and topographical engineer on various public projects, from public works in the Capitol to canal surveys and even the design of territorial seals and presentation swords. With Robert E. Lee in 1835, Hood determined the boundary line between the state of Ohio and Michigan Territory, thus ending the so-called “Toledo War”. He resigned from the Army in 1836 and worked as a civil engineer in Cuba until 1838, when he received an appointment as captain in the new Topographical Corps of Engineers (TE). He died on 14 July 1840 from an illness contracted while conducting a boundary survey of the Indian Territory in 1839. $3500/5500 Provenance: John W. Hood (father of Washington) and by descent in the family to Thomas R. Hood; acquired in 1999. |
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