The star of the sale was Albert Bierstadt’s “Sunrise,” which attained $386,100. The last time it was sold at auction, at Sotheby’s in 2006, before the general downturn, it brought $553,600.

Review and Onsite Photos by Rick Russack, Catalog Photos Courtesy Thomaston Place Auction Galleries

THOMASTON, MAINE — A consignment of 31 fine paintings, being sold without reserves, generated $1,594,418, about 40 percent of the three-day total at Thomaston Place Auction Galleries’ August 27–29 sale. The paintings came from a Midwestern collection and included Albert Bierstadt’s “Sunrise” which brought the highest price of the sale, $386,100.

“On the Hudson Near Tappan Zee,” an oil on canvas in the original frame, by Francis Augustus Silva, signed and dated 1888, fetched $163,800, more than two and a half times its estimate.

The group, which included five other paintings that sold for more than $100,000 each, included several major marine paintings and there were several other good marine paintings throughout the auction. The sale included about a dozen cased ship models, one of which brought $52,650, an 1832 fire fighting pumper, which sold for $70,200, a Samuel Robb cigar store Indian, and more than 1,500 other lots. The salesroom was full, even though it was a beautiful summer day, six phone lines were active, absentee bids were processed, and internet bidding was available on three platforms. There were 568 successful bidders. The sale grossed $3,925,262.

Bierstadt’s “Sunrise” had last publicly sold in May 2006 at Sotheby’s, where it reached $553,600. In addition to “Sunrise,” several other paintings from the same collection did quite well, often substantially exceeding the high estimate. “On the Hudson Near Tappan Zee,” an oil on canvas in the original frame, by Francis Augustus Silva, signed and dated 1888, sold for $163,800, more than two and half times its estimate. Silva returned to New York in 1867 after serving in the Civil War as a hospital steward and opened his first studio, launching his professional painting career. Silva traveled along the New England and mid-Atlantic coastlines throughout the summer months, executing sketches that he later developed into finished works in his studio. He exhibited regularly at prestigious New York institutions, including the National Academy of Design and the Brooklyn Academy of Art, garnering a reputation as an important Luminist painter.

“Near Cape Elizabeth, Portland, Maine,” an oil on canvas, signed and dated 1887, by Alfred Thompson Bricher, (1837–1908) realized $175,500, the second highest price of the three day sale. “Conanicut Island, Rhode Island,” an oil on panel, signed and dated 1885, by William Trost Richards (1833–1905), achieved $117,000. Each of these paintings, plus the Bierstadt, were bought by a floor bidder. The other six-figure painting was “The Start of the 1866 Great Transatlantic Yacht Race, an oil on canvas by James Edward Buttersworth (1817–1894), also going out at $117,000.

“Conanicut Island, Rhode Island,” an oil on panel by William Trost Richards, signed and dated 1885, realized $117,000.

Two other paintings by the same artist: “The National Line’s Steamer Italy Amidst Other Vessels at Sea, Packet Mercury to Stern,” an oil on canvas, and “American Steam-Sail Ship Star of the South, Passing an American Full Rigged Ship at Sea” each brought $40,950, slightly over estimate. A painting by Thomas Buttersworth (1768–1842), father of James Edward Buttersworth, “HMS Meander, a Penance and a Cutter,” signed and titled by the artist, realized $58,500. A New England institution purchased “Twilight Seascape,” an oil on canvas, by William Trost Richards, for $76,050.

The sale included several other marine paintings and cased, scale, ship models from the MBNA collection, which Thomaston Place has been dispersing. MBNA was the country’s largest credit card processor before it was sold to the Bank of America for $35 billion in 2006. The company’s offices and call centers throughout Maine were furnished with the ship models, marine paintings and contemporary paintings, many by Maine artists.

Interest was strong in this group of models, with a huge boardroom model of the RMS Mauretania reaching $52,650. The word “huge” is appropriate; the model was more than 10 feet long and the catalog stated that “the fittings are purportedly gold plated.” The Mauretania was built for the Cunard line and launched in 1906. At 790 feet long, launched when it was the world’s largest and fastest ship. It remained in service until 1934. Another very large model, this one of the whale ship Lagoda, was more than 6 feet long and more than 8 feet tall on its custom-made stand. The fully rigged model, with sails and longboats, sold for a surprisingly low $6,435. The Lagoda was built in 1826 and converted to a whaler in 1846 by Jonathan Bourne of New Bedford, who is believed to have earned more than $650,000 with the ship. A half-sized model of the ship, 89 feet long, is in the New Bedford Whaling Museum and is the largest whale ship model in existence. Other fine cased ship models sold as low as $2,450.

The sale included four ship portraits by Antonio Jacobsen (1850–1921), which sold between $4,680 and $14,040; that was achieved by his portrait of the steam-sail ship Curacoa of the Red Devil Line. Selling for more than twice its estimate was a stormy sea scene, “Tacking Starboard in a Storm” by Jack Lorimer Gray, (1927–1981), which ended up at $37,440. A particularly attractive painting by Harrison Bird Brown, (1831–1915) fetched $16,380. It was titled “Ship Salvage in the Cove, Cape Elizabeth, Maine,” and depicted a rough sea, rocky coast, two ships and several men on the shore with a horse and wagon.

“The Start of the 1866 Great Transatlantic Yacht Race,” an oil on canvas signed by James Edward Buttersworth, earned $117,000. There are 16 figures on the deck of the yacht in the foreground.

Two marine scenes by American Impressionist Reynolds Beal (1866–1951) each sold over estimate, with the “USS Constitution off Annapolis” signed and dated 1924, bringing $9,945. Interestingly, Northeast’s August sale had eight lots of watercolors and drawings by the same artist. Each lot had multiple examples and all went inexpensively to the same bidder — perhaps a New Hampshire institution.

Paintings of New England scenes were popular. “A Village Road in Vermont” by Aldro Thompson Hibbard (1886–1972) earned $21,060. Hibbard summered on Cape Ann, painting many scenes of Rockport and the Cape Ann area, and he wintered in Vermont, painting snowy scenes, such as this one. “Painting the Pram,” an Impressionist Maine coastal scene of a man painting a small boat on a rustic dock, by George J. Stengel (1872–1937), achieved $11,700.

About 120 lots of contemporary paintings, formerly in the MBNA collection, were sold on the third day of the sale. It was a good opportunity to acquire works by well-respected artists at very fair prices. “Round Pond, Fall Morning,” by William Brewster Hoyt (b 1945) made $6,435, and two other paintings by the same artist went for $3,803 each. Some went home with new owners for less than $1,000. For example, a stormy sea scene, “Small Craft Warning” by Ron Fletcher, a contemporary Maine artist, brought only $685.

The most sought-after piece of folk art in the sale was a large, impressive cigar store Indian, attributed to New York master carver Samuel Robb, which achieved $39,780. The 76-inch figure of a Native American chief, with a carved headdress and one hand raised to his brow, was on its original plinth. Another interesting Nineteenth Century tobacconist figure, a bare breasted woman with upraised arms, japanned with black and gold, went to a bidder in the room for $2,457, which seemed quite reasonable.

Kaja Veilleux is shown with one of the two Alfred Thompson Bricher paintings in the sale.

Other folk art included a full-bodied bull weathervane, thought to have been made by Cushing or Jewell, which ended up at $16,380. It had a well-weathered patina and was 26 inches long. Of the three scrimshawed pie crimpers in the sale, one was quite unusual. It had two pierced wheels and a diamond-shaped tortoiseshell inlay. It had descended in the Howland family, a prominent New Bedford whaling family, and it realized $2,106. A polychrome, circa 1850, whale tooth, depicting a fully rigged merchant ship flying three flags, was bought by a bidder in the room for $3,393.

A small, risqué figurehead, probably from a yacht given its small size — only 28 inches tall — achieved $21,060. The attractive woman, wearing a large hat with carved gilt feathers, had earrings in each ear, and a low cut dress. It was cataloged as Dutch, circa 1820, with an old surface. A schoolgirl map of the world by Hannah Comstock, Danbury, Conn., 1815, ink and gouache on paper, reached a final price of $1,521, going to a dealer in the room.

For the most part, furniture was well received. An early Nineteenth Century satinwood Adams lady’s dressing table inlaid with bellflowers, drapes and swags, had a top that when lifted revealed a mirror. It reached $5,265. A large George II two-part secretary of highly figured walnut with cross-banded edges finished at $4,388. A Federal period, bonnet top, tall case clock made by Solomon Parke & Co., Philadelphia, circa 1800, earned $5,850.

Aside from the paintings, one of the most interesting and heavily contested items in the sale was an 1832 fire pumper, known as “Lady Washington.” It was described as a “gooseneck tub pump engine,” which had been made for Engine Company 40 of Manhattan by James Smith of New York. It had a fancy mahogany and oak case, gilt moldings and a pump tower decorated with hand painted scenes, one of which depicted Victory laying a wreath on a bust of George Washington and another panel depicted Pocahontas asking her father not to kill Captain John Smith. It had been professionally restored and spirited bidding took it to $70,200.

Selling late on the first day was an item of particular California interest. A pencil drawing of Sutter’s Fort, dated 1836, it may be the earliest known view of the fort, which was the site of the Sutter’s Mill built by John Sutter, whose employee discovered a nugget that led to the California Gold Rush of 1849. This drawing had been made early on when there was just one building, as it appeared in 1836 or shortly after. It was inscribed Sutter’s Fort as seen from the SW about two miles. One can not form much of an ID from this — tis built of mud brick, there is a trench about it and hay stacks, old carts, logs &c &c, these are out lines.” The catalog description indicated that the drawing may have been cut from a letter. That did not seem to deter bidders, as it sold for $3,510, nearly three times the estimate.

“Near Cape Elizabeth, Portland, Maine,” an oil on canvas signed and dated 1887 by Alfred Thompson Bricher, earned $175,500, the second highest price of the three-day sale. Another painting by the same artist, “Twilight Seascape,” went for $76,050 to a New England institution.

There were three lots of albumen photographs of yachts, circa 1895, with each containing four to six similarly matted and identified boats. For some reason, two lots sold but one did not. The lot of four brought $644 and the lot of five brought $819. The group of six did not sell.

The third day of the sale included several lots of Oriental material, which did well, and more than two dozen pieces of Brother Thomas pottery. Brother Thomas (1929–2007) was a Benedictine who began making pottery in 1953. He was strongly influenced by Asian pottery, often adapting traditional Chinese and Japanese methods and materials to his work and the glazes he developed. He was said to be an exacting artist, often destroying as much as 80 percent of a firing. He is considered one of the preeminent midcentury potters. Bringing $3,510 was a canteen shaped vase in his distinctive honan tenmoku glaze, which was incised on base “Benedictine Monks, Weston, Vermont.” Most other pieces sold between $585 and $1,990, but one piece, a 12-inch charger with a blue and copper-red glaze, went out well under the estimate, at only $293.

The surprise among Oriental material was a pair of woodblock prints by Katsusika Hokusai (1760–1849) from the series “Thirty-six Views of Mount Fuji.” Each was signed in the print; one was titled “At Sea off Kazusa” and the other was “View from Lake Suwa in Shinano Province.” The lot had been estimated at $800 but sold for $15,210. A black and white print by the same artist brought $1,872.

Also doing well was a Twentieth Century Japanese embroidery, “The Lone Wolf,” after the original by Alfred Kowalsky-Wierusz (1849–1915) done by S. Nishimura, Kyoto & Tokyo, circa 1920. Estimated at $700, it realized $7,020. There were several mixed metal pieces from the Meiji period, 1868–1912. A pair of three-part temple vases, about 20 inches tall, in bronze with silver, gold and copper inlay, each decorated with scenes, sold for $12,870. A pair of vases signed by Atsuyoshi Ikko Dou, circa 1880, with silver, gold and copper inlay and a cinnabar enamel field decorated with cranes, fish, sparrows, blossoms and prunus, achieved $10,530. A very elaborately rosewood davenport desk, carved with dragons, bamboo, floral vines and more, went for $4,095, and a marble top rosewood Anglo-Indian center table, with a reticulated skirt and heavily carved pedestal, reached $12,870.

The sale included several pieces of fine estate jewelry. The top selling piece was a hallmarked Nineteenth Century caduceus-form gold and ivory hairpin by Italian maker Castellani, circa 1875, which earned $17,750. It is a well-known form, with an identical piece in the Metropolitan Museum of Art, and it has been illustrated in the book on Castellani’s work. An Art Deco platinum sugarloaf sapphire and diamond lady’s ring, centered with an estimated 14.75-carat Burmese star sapphire flanked by tapered diamond baguettes, achieved $14,625, and a Burmese ruby brooch, set in yellow gold, with a large, natural oval ruby, finished at $5,850.

All in all, it was a strong three-day sale. All prices include the buyer’s premium.

For additional information, www.thomastonauction.com or 207-354-8141.

This 41-inch turned and painted wood trade sign, circa 1925, in the form of a fountain pen, lettered for the Eagle Pencil Company, was one of several unusual trade signs in the sale. It achieved $ 6,435.

There was not a lot of silver in the sale but what was there was high quality. This Tiffany and Co. sterling silver covered soup tureen, circa 1880s, with intricate floral and foliate repousse decoration and rooster heads at edges of both handles, was engraved “Cook.” It realized $ 6,435.

A carved marble figure, probably an actor, dating to the First or Second Century, with a water spout in the form of a theatrical mask, was one of several antiquities in the sale. It finished at $ 7,020.

“Automation (In the International Paper Mill, Jay, Maine),” an oil on canvas by contemporary Maine artist Joel Babb, surprised most folks when it sold for $ 11,700, far over the estimate of $ 1,500.

A small group of photographs included two by Edward Steichen. This one, “Female Nude,” circa 1902, later appeared in Camera Work magazine and it reached $ 4,973. Also included in the group were photographs by Alvin Langdon Coburn and Berenice Abbott.

Known as the “Lady Washington,” this 1832 fire pumper had been fully restored with historic scenes painted on the pump tower. It was made by James Smith of New York for Engine Company 40 in Manhattan. Aside from the paintings, this was the highest priced item in the sale, finishing at $ 70,200. Fireman Mose Humphrey, who appears in some Currier and Ives prints, was a member of this engine company.

A pair of Japanese, Meiji period, three-part temple vases, about 20 inches tall, in bronze with silver, gold and copper inlay, each decorated with scenes, realized $ 12,870.

“Colette,” a 1938 oil on canvas portrait by Howard Chandler Christy (1872–1952), went for $ 7,020. Christy, well-known as an illustrator, was a close friend of Ramsey, and a photograph of him painting this portrait accompanied the lot.

Thomaston Place sales include a wide range of material. This pair of very large clam shells, together over 32 inches wide, achieved $ 1,287.

A rare jewelers #57, astronomical wall regulator by E. Howard & Co., Boston, sold well over the estimate, bringing $ 47,970. The case was walnut with burl highlights and it had a broken arched pediment.

A drawing important to California history, a circa 1836 drawing of Sutter’s Fort, site of the Sutter’s Mill, achieved $ 3,510. A nugget of gold found at Sutter’s Mill started the 1849 California gold rush, and this may be the earliest view of the site.

Emma Cloyd, with her mother, Carlie, work the jewelry counter. Emma is a sophomore at Babson College, studying political science. When asked what she planned to do with her degree, she answered, “Work at a think-tank in Washington.” Her mother’s answer? “Run for president.”

The salesroom was full as Kaja Veilleux got ready to start with the first lot, a Connecticut redware bowl with yellow slip decoration. It sold to an absentee bidder for $ 761.

Marine arts specialist Justin Cobb, 89, had been at three auctions during the week and exhibited at one antique show. At 89, he is still keeping a busy schedule.

A pair of woodblock prints from the series “Thirty-six Views of Mt Fuji” by Japanese master Katshuska Hokusai, realized $ 15,210, more than 19 times its estimate.

An Art Deco, platinum, sapphire and diamond ring went for $ 14,625. The Burmese star sapphire was flanked by tapered diamond baguettes.

Possibly by Jewell or Cushing, this 26-inch copper and zinc full-bodied bull weathervane, with a great patina, realized $ 16,380.

Rogers groups used to be in every Victorian parlor. One of the rarer groups, “Polo,” dated 1879,
realized $ 1,404.

Dated to the Eighteenth Century, a pair of French miniatures, one depicting the ascent of the first manned hot air balloon in Paris on November 21, 1783; the other depicting the December 1, 1783, launch of the first manned hydrogen balloon. The pair, under domed lenses, reached $ 1,989.

There were about two dozen pieces of art pottery made by Brother Thomas, a member of the Benedictines. Bringing $ 3,510 was a canteen shaped vase in the distinctive honan tenmoku glaze. Incised on the base was “Benedictine Monks, Weston, Vermont.”

This unusual bare-breasted Nineteenth Century tobacconist figure was very well carved, in a feathered skirt and necklace, and she sold below estimate for $ 2,457.

The cased model of the RMS Mauretania, built for Cunard Steamship Co. Ltd was nearly 10 feet long, and purportedly had gold plated fixtures. When the ship was built in 1906, it was the largest and fastest ship afloat. The model earned $ 52,650, more than three times the estimate.

By Carroll Thayer Berry, this three-fold painted screen depicted a scene of the shipyard in Camden, Maine. It achieved $ 10,530.

Made by Hannah Comstock, Danbury, Conn., and dated 1815, this schoolgirl ink and gouache map of the world earned $ 1,521.

“Low Tide, Labrador,” an oil on canvas by William Bradford signed and dated 1888, finished at $ 52,650.

A well-carved, small polychromed figurehead earned $ 21,060. It was cataloged as probably Dutch, circa 1820 and probably from a yacht, due to its small size. The slightly risqué woman had a hat with carved feathers, earrings and a low-cut dress.

The sale included several pieces of garden furniture. This three-part bench, with carved stanchions and a slab top, ended up at $ 1,755. A large pair of cast stone seated lions sold for $ 585.

At more than 6 feet long and 7 feet tall, this fully rigged cased model of the whale ship Lagoda might not fit in every home but it fetched $ 6,435. A half-sized replica of the ship is in the New Bedford Whaling Museum. As the story goes, the Lagoda earned its owner more than $ 650,000 from its whaling voyages.

There were several pieces of Victorian wicker furniture in the sale, all in good condition. This pair of platform rockers fetched $ 1,989.

A 1980s silver gelatin satin print by Berenice Abbott “Hardware Store, 316-318 Bowery, Manhattan. January 26, 1938” was one of four photographs by Abbott, and it brought $ 2,574.

Attributed to Samuel Robb, this circa 1880–90 cigar store Indian sold for $ 39,780. The 76-inch figure of a Native American chief, with a carved headdress and one hand raised to his brow, was on its original plinth and had an old finish.