2026 Americana Week, Sessions Three and Four

JULY 21-24, 2026

AMERICANA

FEATURING THE PETER AND DIANA BENNETT COLLECTION OF NEW ENGLAND REDWARE AND HINGHAM WOODENWARE AND PROPERTY OF OTHER COLLECTORS INCLUDING A PRIVATE COLLECTION, OHIO

Previews:

July 20 from 10 a.m. to 4 p.m. July 21-23 from 8:45 a.m. to 4 p.m July 24 from 8:45 a.m. to 11 a.m. and by appointment

Auction location:

Cape Cod headquarters: 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com View all

Americana Week

Auction runs July 21-24, 2026, with each session beginning at 9:30 a.m. Eastern.

Please see separate catalogs for The Collection of Nancy and Larry Dickson and the Collection of William E. Strole, Jr. All lots can be viewed online at www.eldreds.com.

Bidding Options

In-person, online, phone and absentee bidding is available. To register for absentee and telephone bidding, visit our website, or call 508-385-3116. Online bidding is available through www.eldreds.com. Bidding through third-party auction platforms may incur additional fees beyond the buyer's premium.

Terms

A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 26 percent of the hammer price up to and including $2 million, 20 percent on the portion of the hammer price between $2,000,001 and $8 million, and 15 percent on the portion of the hammer price exceeding $8 million.

We accept checks, cash, money orders, wire transfers and major credit cards for payment. Please note we will not accept credit card payment for lots of jewelry, credit cards may only be used for up to $5,000 of the invoice total, and the credit card must have a U.S. billing address.

Bidders holding a resale number must provide the certificate or copy thereof when registering to bid or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Residents of other states may be subject to state and local sales taxes.

Condition Reports

Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is.

All dimensions are approximate.

Shipping Information

We require prompt payment and removal of your purchases. If you plan to pick up your purchases, please call ahead. We provide very limited shipping services but can help coordinate shipping with alternative agents.

Please review our Conditions of Sale at the rear of this catalog before bidding.

CONTENTS

Staff Directory page 4

Introduction page 5

Session One The Collection of Nancy & Larry Dickson (separate catalog)

Session Two The Collection of William E. Strole, Jr. (separate catalog)

Session Three page 6

Session Four page 90

Glossary of Terms page 188

Bidder Information page 188

Conditions of Sale page 189

STAFF DIRECTORY

BOARD OF DIRECTORS

Joshua F. Eldred CEO and President Head of American and European Paintings jeldred@eldreds.com

Mary Ann Giddings Eldred Chairwoman of the Board maeldred@eldreds.com

William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com

Wendy A. Dunford Treasurer wendy@eldreds.com

Eric S. Mulak Vice President Head of Sporting Antiques, Folk Art and Collectibles Consignment Manager eric@eldreds.com

Sarah Eldred Taylor Vice President of Human Resources sarah@eldreds.com

SPECIALISTS AND ADMINISTRATIVE STAFF

Mara Alvarado Assistant Photographer malvarado@eldreds.com

Christine Berlane Prints and Multiples cberlane@eldreds.com

Madison Casale Operations Manager Head of Photography mcasale@eldreds.com

Steve Dunaway Jewelry, GIA Certified jewelry@eldreds.com

Susan Eastman Client Services seastman@eldreds.com

Duncan H. Gray Head of General Merchandise Hanover Gallery dgray@eldreds.com

Devyn Henry Administrative Assistant dhenry@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Jennifer Lacker Mystic Gallery jlacker@eldreds.com

Anne G. Lajoie Head of Asian Arts and Contemporary Art annie@eldreds.com

Beth McGoldrick Administrative Assistant bmcgoldrick@eldreds.com

Angela R. McParland Executive Assistant Japanese Art amcparland@eldreds.com

Kathleen Morse Inventory Associate, Sandwich Auction kmorse@eldreds.com

Sam Murphy Registrar smurphy@eldreds.com

Megan Nichols Shipping Coordinator mnichols@eldreds.com

Cathelyn Scibelli Client Services kscibelli@eldreds.com

Cheryl Stewart Head of Marketing, Catalogs and Design Maritime Arts + Scrimshaw cheryl@eldreds.com

Katie Callaghan, Al Gray and Mark Renkawitz Shipping and Inventory

Emily Moynihan and Anne Tochka Digital photography editors

Mary M. Kuhrtz and Christine Leofanti Gallery Assistants

session three

THE PETER & DIANA BENNETT COLLECTION OF NEW ENGLAND REDWARE AND HINGHAM WOODENWARE

Peter and Diana have been serious collectors of New England redware, Hingham woodenware and Mason duck and shorebird decoys for more than 50 years. Looking back, they say they viewed all three as pieces of art and were attracted to the wonderful variety of sizes, shapes, colors and designs available in all three. It has only been in recent years, however, they have come to understand these are among the best-known examples of Early American Folk Art. The decoy collection was sold just a year ago, and they are now offering these pieces both because they are downsizing and because they feel it’s time for someone else to appreciate them.

Peter & Diana have clearly enjoyed the “hunt” and have tried over the years to find the best examples available from a variety of New England potters and Hingham coopers. They have also been quick to upgrade their collections whenever the opportunity presented itself. Lewis Scranton, who was unquestionably the leading dealer in New England redware, was both their mentor and the source of many of their better pieces. The story on the Hingham woodenware was different in that Peter grew up just a “stone’s throw” from the site of the Wilder Bucket Mill, just below Cushing Pond in Hingham. He remembers having firkins scattered around the house, and many of his school classmates bore names like Hersey, Gardiner, Wilder and Corthell – the names of some of the better-known Hingham coopers.

Several pieces of Peter and Diana’s woodenware collection are pictured in the book Bucket Town and were on exhibit at Sturbridge Village a few years back. These are among the best collections of New England Redware and Hingham Woodenware that Eldred’s has had the privilege of offering at auction.

8701. CONNECTICUT REDWARE POTTERY JAR

Connecticut, Circa 1840

Tapered cylinder with flared top. Double incised ring at shoulder. Bold manganese splotches against a bright red ground. Height 8.5”. 1,800/2,200

8701

8702. PAIR OF CONNECTICUT REDWARE POTTERY SLIP-DECORATED LUNCHEON PLATES

Norwalk, 19th Century

Coggled edge. Decorated with scrolls and “Locke” against a red-orange ground. Diameters 8”. 1,500/2,000

8703. CONNECTICUT REDWARE POTTERY SLIP-DECORATED LUNCHEON PLATE

Norwalk, 19th Century

Coggled edge. Decoration of three entwined ropes and a dot against a vibrant red ground. Diameter 7”. 400/700

8704. CONNECTICUT REDWARE POTTERY SLIP-DECORATED LUNCHEON PLATE

Norwalk, 19th Century

Coggled edge. Decorated with “Julia” against a red-orange ground. Diameter 8”. 400/700

8705. CONNECTICUT REDWARE POTTERY SLIP-DECORATED DINNER PLATE

Norwalk, 19th Century

Coggled edge. Decoration of three “wavy combs” and dots against a red-orange ground. Diameter 10”. 400/700

8702, pair

8706. REDWARE POTTERY BOSTON BEAN POT

Northeastern Massachusetts, 19th Century

Bulbous body with applied lug handles at shoulder. Flared rim with rouletted neck. Incised banding around shoulder. Spiraled manganese design against a red ground. Height 8.5”.

2,500/3,000

8707. WILLIAM PECKER REDWARE POTTERY JUG

Merrimacport, Massachusetts, Early 19th Century

Ovoid body with rolled spout and applied strap handle. Dark manganese splotches against a red/orange ground. Height 7.5”.

2,500/3,000

8708. WILLIAM PECKER REDWARE POTTERY HERB POT

Merrimacport, Massachusetts, 19th Century

Oval body with flared rim and applied strap handle. Bold manganese splotches against a red ground. Height 5”.

2,500/3,000

8709. MASSACHUSETTS REDWARE POTTERY MUG

19th Century

Applied handle. Unusual “gun metal” glaze. Height 4”.

300/500

8706

8707

8708

Redware was one of the first forms of pottery produced in America, made with red clay found throughout the northeast. It was readily available and fairly inexpensive, so it was a common sight in colonial homes as everyday ceramics. Unlike sturdy stoneware, redware was soft and broke easily, making pieces that survived intact to the current day quite rare. Redware was typically unsigned, so pieces are attributed to potters based on form, glaze and decoration.

8710. RARE MINIATURE REDWARE POTTERY JUG FROM BRISTOL COUNTY, MASSACHUSETTS

19th Century

Oval shape with rolled spout and applied strap handle. Mottled brown slip against a red ground. Height 4”.

1,000/1,500

8711. BRISTOL COUNTY, MASSACHUSETTS REDWARE POTTERY PITCHER

Late 18th Century

Three incised rings, one at neck, one at shoulder and one at waist. Applied strap handle. Yellow and brown halos against a light green ground. Glazed on inside. Height 6.5”.

1,800/2,200

8713. BRISTOL COUNTY, MASSACHUSETTS REDWARE POTTERY JUG

Late 18th Century

Oval form with rolled spout and applied strap handle. Dark manganese splotches against a speckled red ground. Height 6.5”.

1,400/1,800

8714. RARE BRISTOL COUNTY, MASSACHUSETTS REDWARE POTTERY PITCHER

19th Century

Oval body with two incised rings at the shoulder. Restored strap handle. Mottled emerald green glaze. Height 10.5”.

900/1,200

8715. BRISTOL COUNTY, MASSACHUSETTS REDWARE POTTERY BOTTLE

19th Century

Bulbous shape with straight neck and rolled rim. Silver-black mirror glaze. Rare form. Height 7”.

800/1,200

8716. RARE MINIATURE MAINE REDWARE POTTERY JUG, PROBABLY JOHN SAFFORD

19th Century

Tall oval body with applied strap handle. Double incised rings at shoulder and spout. Subtle rose splotches against a putty-colored ground. Height 3.5”.

1,000/1,500

John Safford trained as a potter in Exeter, New Hampshire, before moving to Monmouth, Maine, in 1830. He studied and eventually formed a partnership with his cousin, also named John Safford, who had learned his trade from an uncle John Safford. The pottery descended to George Llewellyn Safford then through various family members until the Early 20th Century.

8717. MAINE REDWARE POTTERY JAR

19th Century

Bulbous body with flared neck and two applied loop handles. Brown splotches against a yellow/orange ground. Height 7”. 1,000/1,500

8718. JOHN HOWARD CORLISS REDWARE POTTERY COVERED JAR

Days Ferry, Maine, 19th Century

Red, light green and brown slip glaze. Cover missing. Height 6.25”. 2,000/2,500

8719. JOHN HOWARD CORLISS REDWARE POTTERY JUG

Days Ferry, Maine, 19th Century

Oval body with rolled rim and applied strap handle. Dark manganese vertical stripes against a red ground. Height 8”. 1,400/1,800

8722. JOHN SAFFORD REDWARE POTTERY COVERED JAR

Monmouth, Maine, 19th Century

Tall oval body. Multiple manganese spots against a puttycolored ground. Marked “31” on underside. Lid probably the original. Height 8.5”. 1,400/1,800

8723. REDWARE POTTERY BATTER PITCHER ATTRIBUTED TO JOHN ALDEN

Maine, 19th Century

Flared form with an unusually wide mouth. Triple incised rings at rim. Applied strap handle. Green glaze atop a mottled brown ground. Height 6”. 2,000/2,500

8724. MAINE REDWARE POTTERY PITCHER

19th Century

Flared neck on an oval body. Applied handle. Unusual swirled manganese design against a salmon ground. Height 7”. 1,400/1,800

8720. MAINE REDWARE POTTERY JUG ATTRIBUTED TO JOHN SAFFORD

19th Century

Oval shape with rolled spout. Generously sized and elegantly shaped applied strap handle. Pistachio green slip against a mottled brown ground. Height 6”. 1,500/2,000

8721. JOHN SAFFORD REDWARE POTTERY JUG

Monmouth, Maine, 19th Century

Applied strap handle extends from mouth to shoulder. Appears to be an experimental green glaze with orange spots over the first glaze. Height 11”. 1,500/2,000

Provenance:

Ron & Penny Dione Collection, Willington, Connecticut.

8725. MAINE REDWARE POTTERY TEACUP, POSSIBLY BERWIC

19th Century

Tall subtly serpentine sides. Applied handle. Rose slip on a yellow-green ground. Height 3”. 400/600

8726. NEW HAMPSHIRE REDWARE POTTERY PUDDING MOLD

19th Century

Wide spiral form with scalloped edges. Manganese decoration on rim. Diameter 7.5”. 300/400

John Howard Corliss was born to a family of potters. He studied under his uncle Ebenezer Corliss before setting out on his own around 1815, establishing his own pottery in 1824 on the banks of the Kennebec River. It is said he was genial man and generous with his knowledge about his art form.

8721 8723

8727. RARE LEONARD GARDNER SHAKER-LIKE COVERED BUCKET

Hingham, Massachusetts, 19th Century

Painted robin’s-egg blue, the metal hoops painted black. Wire bail handle with wooden grip and diamond-shaped pail plates. Stamped “L. Gardner. S. Hingham.” on underside. Height 9.75”. 1,000/1,500

Exhibited:

Old Sturbridge Village, Sturbridge, Massachusetts.

Reference:

Illustrated in Bucket Town: Woodenware and Wooden Toys of Hingham, Massachusetts, 1635-1945 by Derin T. Bray (Hingham, Mass.: Hingham Historical Commission, 2014), p. 96, plate 9.1.

8728. RARE PRESENTATION LIDDED BOX

Hingham, Massachusetts, 19th Century

Painted deep blue. Four fingered hoops, three with the fingers pointing in one direction and one with the finger pointing in the opposite direction. This design provides strong attribution to Leonard Gardner. Height 6.75”. Diameter 10.75”. 2,000/4,000

Reference:

A very similar presentation box by Leonard Gardner is illustrated in Bucket Town, p. 97, plate 9.2.

8729. LEONARD GARDNER COVERED FIRKIN

Hingham, Massachusetts, 19th Century

Body painted green and the hoops, handle and cover painted black. Stamped “L. Gardner Hingham MA” on the underside. Height 12.75”. 1,000/2,000

Reference: Bucket Town, p. 95-98.

8730. CROCKER WILDER BUTTER TUB

Massachusetts, 19th Century

Fine natural unpainted surface. Hoops held with small rosehead nails. Stamped “C W” on underside. Height including handles 9.75”. 400/700

8727

8731. C. WILDER & SONS BUTTER CHURN

Hingham, Massachusetts, 19th Century

Under bright blueberry blue paint. Three metal hoops. Stamped “C. Wilder & Sons So. Hingham MA”. Height including dasher 35”. 500/700

Reference: Bucket Town, p. 91-94.

8732. C. WILDER & SON BUTTER CHURN

Hingham, Massachusetts, 19th Century

Painted green, the four metal hoops painted black. Stamped on underside “C. Wilder & Son So. Hingham, Mass.”. Height including dasher 42”. 500/800

Exhibited:

Old Sturbridge Village, Sturbridge, Massachusetts.

Reference: Illustrated in Bucket Town, p. 94, plate 8.4.

8733. NELSON CORTHELL PIGGIN

Hingham, Massachusetts, 19th Century

Wonderful natural unpainted surface. Stamped “N. Corthell” on underside. Height including handle 11.5”. 400/700

Reference: Illustrated in Bucket Town, p. 101, plate 10.2.

8734. NELSON CORTHELL WOODEN PAIL

Hingham, Massachusetts, 19th Century

Unpainted natural surface. Marked “N. Corthell” on underside. Height 15”. 400/700

Reference: Bucket Town, p. 99-103.

8732

8735. RARE AND IMPORTANT COD FISH WEATHER VANE America, Mid-19th Century

Attributed to J. Howard & Co., West Bridgewater, Massachusetts. Copper body and zinc head. Howard made two sizes of its codfish weather vane, and this smaller version is considerably rarer. Length 24.5”. 20,000/30,000

Provenance: Allen Katz Americana, Woodbridge, Connecticut. Private Collection, Cape Cod, Massachusetts.

8736. RARE AND IMPORTANT SCHOOLGIRL MAP OF THE WORLD Dennis, Massachusetts, Dated 1830 “Map of the World Delineated by Mercy Gorham”. Dual hemisphere projection with hand-colored continents and hand-lettered oceans and locales. Titled and dated “Dennis Seminary October 8, 1830” in modified heart-shaped cartouches outlined in flowering vines above and below map. Watercolor on paper, 18.5” x 22.25” sight. Framed 21.5” x 27”.

3,000/5,000

8736

8737. AMERICAN NEEDLEWORK SAMPLER

Late 18th Century

Wrought by Betsy Runels. Undated. Letters and numerals above “Betsy Runels Is My Name America Is My Nation Lee Is My Dwelling Place And Christ Is My Salvation”. Line border interwoven with the letters of her name.

Worked in multicolored threads on linen. 16.5” x 10”. Framed 19” x 12.5”. 600/900

Genealogical research provided by the consignor indicates Betsy Runels, the daughter of Stephen and Elisabeth Runels, was born April 28, 1786 in Newbury, Massachusetts. The family probably moved to Lee, Massachusetts, by the time this sampler was created.

8738. PICTORIAL NEEDLEWORK SAMPLER, PROBABLY ENGLISH

Early 19th Century

“Irena Daw Finished this Sampler March the 5 1809 in the Eleventh Year of Her Age” at center. Verse “Lord What is life Tis like a flower Which blossoms and is gone We see it flourish for an hour With all its beauty on” in upper section and lower section with a church flanked by potted plants and birds. Additional design of potted plants, three crowns and flower blossoms throughout. Flower and vine border. 25.75” x 17.75” sight. Framed. 1,000/1,500

Provenance:

Estate of Ruth Gordon via auction to Brandon Mayhew Wight, proprietor of the Granary Gallery on Martha’s Vineyard, Massachusetts.

Acquired by the consignor from Granary Gallery, 1986. Includes Granary Gallery receipt signed by Wight.

8737

8738

8739. WILLIAM AND MARY GATELEG TABLE

New England, Early 18th Century

Probably maple, under the exceptionally early, possibly the original, finish. Single drawer at one end of apron. Turned legs joined by a spool-turned stretcher. Height 27”. Length 17” plus two 18.5” D-form drop leaves. Width 41.5”. 5,000/7,000

8740. CORNER CHAIR

New England, 18th Century

Hardwood under old, possibly the original, black paint. Replaced rush seat. Back height 33.25”. Seat height 17.75”.

500/800

8741. QUEEN ANNE ARMCHAIR

Probably New England, Circa 1740

Constructed of multiple hardwoods. Fiddleback splat. Accentuated scrolled-out arms. Cabriole front legs end in pad feet. Unusual shaped stretcher. Back height 45”. Seat height 17.75”. 4,000/6,000

8742. DIMINUTIVE QUEEN ANNE MAPLE DROP-LEAF TABLE

Probably Massachusetts, Circa 1750

Old, possibly original, finish with wonderful patina. Turned straight legs end in pad feet. Height 26.25”. Length 11” plus two 12.25” drop leaves. Width 35.5”. 3,000/5,000

Provenance: Private Collection, Ohio.

8739

8741

8742

8743. SMALL CHIPPENDALE MAHOGANY

THREE-DRAWER CHEST

New England, Late 18th Century

Molded-edge top. Three graduated full-width drawers. Ogee bracket feet. Height 22”. Width 23”. Depth 15”.

1,000/1,500

8743A. QUEEN ANNE WALNUT SIDE CHAIR

Mid-18th Century

Back with a cupid’s-bow crest rail and pierced splat. Cabriole legs end in pad feet and are joined by a block and turned stretcher. Back height 37.5”.

Seat height 16.25”.

Provenance:

Purchased from the Grant/Walsh family, Nantucket, Massachusetts. A Private Nantucket, Massachusetts Estate.

800/1,200

8744. TALL-CASE CLOCK BY NATHANIEL MULLIKEN

Massachusetts, 18th Century

Cherry case with an arched glazed dial door, a shaped pendulum door and ogee bracket feet. Burnished metal and brass dial with circular name plate at crest. Second and calendar movement. Height 83.25”. Width 17”. Depth 9.75”.

6,000/10,000

8744

Massachusetts, Mid-18th Century

Rare small size. Shaped skirt with turned acorn drops. Top pegged to skirt; no glue blocks. Cabriole legs end in pad feet. Height 26.5”. Length 26”. Width 18.5”. 12,000/18,000

Provenance: John Walton, New York and Connecticut. Private Collection, Ohio.

8745. RARE QUEEN ANNE MAPLE AND WALNUT TRAY-TOP TEA TABLE

Boston, 18th Century

Low back with scrolled arms. Slip seat with light blue printed upholstery. Cabriole legs with delicate carved knees and pad feet. Bold cross stretcher. Back height 32”. Seat height 18.5”. 3,000/5,000

Provenance: Private Collection, Ohio.

MAHOGANY OXBOW CHEST

Boston, Circa 1770

Descended in the Parker-Inches-Emery Families of 40 Beacon Street, Boston. One-piece top with molded edge and nice overhang on all four sides. Four graduated full-width drawers with blocked ends. Shaped pendant. Nicely proportioned ogee bracket feet. Height 30.5”. Width 37.25”. Depth 22.25”. 8,000/12,000

Provenance: Private Collection, Ohio.

8746. QUEEN ANNE CORNER CHAIR

8747. PARKER-INCHES-EMERY FAMILIES CHIPPENDALE

8746

8747

8748. QUEEN ANNE FLAT-TOP HIGHBOY

Massachusetts, Circa 1750

Walnut front and maple side. Upper case with three side-by-side drawers, the central with fan carving, over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Skirt with acorn drops. Cabriole legs end in pad feet. Height 71”. Width 37.5”. Depth 21.5”. 5,000/7,000

Provenance: Israel Sack Collection. Private Collection, Ohio.

8748

Massachusetts, Circa 1770

Well-appointed interior with pigeonholes, ten drawers and two letter drawers. Case with four cock-beaded graduated full-width drawers, conforming to the bombé shape of the side panels. Ogee flat bracket feet. Height 42.5”. Width 39.5”. Depth 21”. 30,000/50,000

Provenance: Francis C. Garvan. Lansdell K. Christie. Israel Sack, Inc., New York. Dr. and Mrs. Lyle Cain, Jr. Private Collection, Ohio.

8749. RARE CHIPPENDALE MAPLE SLANT-LID BOMBÉ-FRONT DESK

8749

8750. RARE FEDERAL TALL-CASE CLOCK BY DANIEL PORTER

Williamstown, Massachusetts, Circa 1800

Cherry case with fine patterned inlay throughout, notably the pinwheels on the broken arch pediment volutes. Bonnet topped with a brass ball and eagle finial at the center and ball and steeple finials at the corners. Arched glazed dial door flanked by brass-capped fluted columns. Arched pendulum door flanked by fluted quarter columns. Flat bracket base. Face with a moon phase in lunette, rose sprig decoration at the corners, and a Roman numeral dial with a second sweep and subsidiary dials. Signed “Daniel Porter”. Height 92.75”. Width 18.5”. Depth 11”.

3,000/5,000

Provenance: Green Family, Sparta, New York. Private Collection, Ohio.

8751. RARE MASSACHUSETTS DWARF CLOCK ATTRIBUTED TO REUBEN TOWER

Early 19th Century Dark stained hardwood case. Arched bonnet with replaced turned steeple finials on plinths joined by pierced fretwork. Arched glazed dial door flanked by slender full columns. Painted face with urn decoration in lunette. Arabic numeral dial. Shows traces of Tower’s signature and town, possibly Hingham. Height 44”. Width 12.25”. Depth 5.75”. 10,000/15,000

Provenance: Private Collection, Ohio.

8752. FEDERAL ÉGLOMISÉ AND GILTWOOD MIRROR

Boston, Circa 1810

Giltwood frame with acorn drops at cornice and side columns with central beading. Original reverse-painted glass upper panel depicts a spread-wing eagle with Liberty shield. Height 24”. Width 17.5”.

1,000/1,500

Provenance: Private Collection, Ohio.

8753. HEPPLEWHITE BIRCH ONE-DRAWER STAND

Massachusetts, Circa 1800

Drawer front and side panels with bird’s-eye maple facings. Tapered legs. Height 28.25”. Width 16”. Depth 15.5”. 800/1,200

Provenance: Private Collection, Ohio.

8753

Reuben Tower (1795-1881) was born in Hingham, Massachusetts, and it is believed he apprenticed under Hingham clockmaker Joshua Wilder. He worked in Hingham from about 1815 to 1821, but then moved to Kingston and Hanover, Massachusetts before moving back to Hingham, where he spent the rest of his life. Most of Tower’s known oeuvre are dwarf clocks.

Baltimore, Circa 1830

A loving cup and a ewer, both with ram’s-head handles. Produced before Samuel’s son joined the firm. Both marked “Sam. Kirk”, “SK” and “11 oz”. Heights 8.5” and 10.5”. Approx. 34.2 troy oz. 6,000/8,000

RETICULATED BASKET 19th Century With swing handle. Height to rim 6.75”. Width 9”. Approx. 17.6 troy oz.

800/1,200

8754, two

8754. TWO PIECES OF SAMUEL KIRK “ETRUSCAN CASTLE” COIN SILVER

8755. GERMAN 800 SILVER

8756. GEORGE III STERLING SILVER TANKARD BY JOHN KING

London, 18th Century

Datemarked for 1772. Domed cover. Pierced thumbpiece. Body with applied waist and spreading molded foot. Handle with period monogram. Height 8”.

Approx. 27.4 troy oz.

1,200/1,800

8757. QUEEN ANNE STERLING SILVER TANKARD BY WILLIAM PEARSON

London, 18th Century

Datemarked for 1713. Domed cover with serrated lip. S-form handle with scrolled thumbpiece and period monogram. Tapered cylindrical body with applied waist and molded foot. Height 7.5”.

Approx. 27.4 troy oz.

3,000/5,000

8757

8758. NAPOLEON BONAPARTE SIGNED LETTER

Dated September 13, 1812

Addressed to the Le Duc de Bassano. Framed with a portrait print of Napoleon. 8.75” x 7” sight. Framed 16.5” x 23.5”. 2,000/4,000

8759. JAMES MONROE AUTOGRAPH

17th/18th Century

Signed “I am your servant Jas. Monroe”. Framed with a portrait print of Monroe. 1.75” x 5.5” sight. Framed 15” x 12”. 400/700

8760. JOHN HANCOCK SIGNED DISCHARGE PAPERS

Dated 1784

Framed with a portrait print of Hancock. 6.25” x 4” sight. Framed 15.75” x 20.5”. 2,500/3,500

8761. PATRICK HENRY SIGNED LETTER

Dated September 15, 1786

Dated “Council Chamber Nov 15k, 1786” and addressed “Sir I am surprised for not receiving the statement called for from your office by last which covered a resolution of the House of Delegates. I am not only surprised with the information which that called for, but with any reason why it is delayed. I am your most” and signed “P. Henry”. Framed with a portrait print of Henry. 7.75” x 7” sight. Framed 15” x 20.5”. 1,000/2,000

8762. GEORGE WASHINGTON AUTOGRAPH

Circa 1790

Signed “G. Washington” on a partial note addressed to Samuel Griffin Esq., Williamsburgh. Framed with a portrait print of Washington. 3.25” x 6” sight. Framed 14” x 21”. 3,000/5,000

8763. THOMAS MIFFLIN SIGNED LAND DEED

Dated July 5, 1794

To George Meade of Rochester County, Pennsylvania. 11” x 21” sight. Framed 18” x 27”. 300/500

8764. THOMAS JEFFERSON AND JAMES MADISON

SIGNED LAND GRANT

Dated March 2, 1799

Printed document granting 100 acres of land to the Society of United Bretheren. Signed by Jefferson as President and countersigned by Adams as Secretary of State. Framed with portrait prints of both men. 8.5” x 15.5” sight.

Framed 21.5” x 22”. 4,000/6,000

8765. JOHN ADAMS SIGNED LAND GRANT

Circa 1800

Printed document awarding land to the Society of United Brethen. Framed with a portrait print of Adams. 10” x 10” sight. Framed 18” x 26”. 2,500/3,500

8766. CARVED WALNUT WALL SHELF WITH SPREAD-WING EAGLE

19th Century Height 18”. 700/900

8767. RARE 47-STAR UNITED STATES FLAG

Early 20th Century

An unofficial flag, representing the brief 38-day window between when New Mexico was admitted as the 47th state on January 6, 1912 and Arizona as the 48th state on February 14, 1912. Cotton and wool with canvas sleeve. 57.5” x 93”.

Because of the Flag Act of 1818, new stars could only be officially added to the flag on the 4th of July following a state’s admission. Since both New Mexico and Arizona were both admitted before the July 4th deadline, the official flag star count would jump directly from 46 to 48. These unofficial 47-star flags were produced by companies anticipating a 47th state would be admitted prior to 1912, or by special order of patriotic New Mexicans who wanted a flag of their own that showcased 47 stars, not 48. Because 47 is a prime number, the stars cannot be arranged in symmetrical rows.

4,000/6,000

8768. EXTREMELY RARE STONEWARE CROCK DEPICTING ABRAHAM LINCOLN

19th Century

Cobalt blue profile bust portrait of Lincoln with exaggerated features. Height 11.5”. Diameter 11”. 10,000/15,000

Provenance:

Purchased by the consignor at the fall White Plains, New York antique show in the early 1970s.

8767 8768

8769. RARE AND IMPORTANT EARLY CONFEDERATE “STARS AND BARS” FLAG America, Circa 1862

The first version of the Confederate States of America flag, in use from March 4, 1861 to May 1, 1863. The seven stars in the canton represent the first states to secede from the Union and form the Confederacy: South Carolina, Mississippi, Florida, Alabama, Georgia, Louisiana and Texas. According to family oral history, this flag was captured by Charles Seabury, captain of the Pacific commercial ship Seneca of New Bedford, from a Confederate privateer in 1862. The flag was returned to New Bedford as a trophy and was passed down in the family, ultimately ending up in the hands of Frank Wood, an early curator of the New Bedford Whaling Museum. It was acquired by the family of the current consignor directly from Wood in 1925 and has been in the same Nantucket home since. 53.5” x 71”. 20,000/30,000

8769

8770. RARE SILVER WHALING CAPTAIN’S PRESENTATION SPEAKING TRUMPET

19th Century

Engraved “Capt James Smith from C.L. Richards”. Captain James F. Smith, of New London, Connecticut, was one of five brothers who were all whaling captains. After retiring from whaling, Smith sailed packets from San Francisco and Hawaii. On a trip to Hawaii, Smith met Mark Twain, who then used Smith as character in two of his stories. Height 17.75”.

Approx. 18.4 troy oz. 8,000/12,000

8771. ENGLISH WOOLWORK DEPICTING A TWO-MASTED AMERICAN SHIP

19th Century

Flying an American flag off the gaff.

7.5” x 11” sight. Framed 12.5” x 16”.

1,000/2,000

8772. BRONZE SIGNAL CANNON

19th Century

Stencil decoration. Bore diameter .75”. Length of barrel 16”. Total length 29”. 1,000/1,500

8773. CARVED AND GILT STERNBOARD FROM THE HISTORIC SCHOONER VICTORY CHIMES

20th Century

Attributed to Harold Stanley of Rockland, Maine. Sternboard formed as a spread-wing eagle. Includes two photos of the schooner, housed together in a common frame. Height 24”. Length 118”. Depth 6”. 15,000/20,000

Victory Chimes, built in Bethel, Delaware in 1900, is the last surviving Chesapeake Ram Schooner and one of only two three-masted schooners left in the United States. She was designated a National Historic Landmark and an image of her is on the Maine state quarter.

She was originally named Edwin & Maud, but was renamed Victory Chimes in 1954, Domino Effect in 1988, and back to Victory Chimes in 1989. She was built to carry cargo in the Chesapeake but was converted to carry passengers in 1946. She was a charter in Maine from 1954 until 1984, when she was bought by a Minnesota banker and moved to Duluth. She was sold a handful of times in quick succession throughout the late 1980s and returned to Maine in 1989. She was purchased by New York City restaurateurs in 2023 and is currently at dock at Pier 6 in Brooklyn.

8773

8774. DOUBLE SAILOR’S VALENTINE

Barbados, 19th Century

Composed of multicolored shells and housed in a folding octagonal case. Left side with a heart and floral designs. Right side with a compass rose. Case folded 8.5” x 8.5”. 2,000/3,000

8775. DOUBLE SAILOR’S VALENTINE

Barbados, 19th Century

Composed of multicolored shells and housed in a folding octagonal case. Left side with a watercolor depicting a sailor with a “free trade and sailor’s rights” banner. Right side with “Remember Me”. Case 9” x 9”. 2,000/3,000

8776. LARGE CHINESE EXPORT PORCELAIN PUNCH BOWL

Late 18th Century

Exterior with figural landscapes bordered in gilt. Interior with decoration of fruit. Height 6.25”. Diameter 16.25”. 1,000/2,000

Provenance: Christie’s, New York, The James L. Britton Collection of Americana, January 16, 1999, Lot #895. Private Collection, Ohio.

8777. CHINESE EXPORT FAMILLE ROSE

PORCELAIN COVERED BALUSTER VASE

19th Century

Decorated with scenes of court figures, flowers, birds, butterflies and insects, highlighted with gilt. Cover and rim with added brass lock and collar. Height 27.5”. 1,500/2,500

8778. CHINESE FAMILLE ROSE PORCELAIN

HEXAGONAL GARDEN SEAT

19th Century

Decoration of figural scenes, flowers, birds and butterflies. Height 18.75”. 1,000/1,500

8775

8776

8777

8779. CARVED AND PAINTED SAILOR WHIRLIGIG ATTRIBUTED TO WILLIAM CHASE

Nantucket, Massachusetts, Circa 1910 Replaced paddles. Modern base. Total height 15”. 1,500/2,500

Provenance: Hyland Granby Antiques, Hyannisport, Massachusetts.

Reference: The Decorative Arts and Crafts of Nantucket by Charles. H. Carpenter, Jr. and Mary Grace Carpenter (N.Y.: Dodd, Mead & Company, 1987), plate LXII.

8780. BOB AND KAREN MARKS NANTUCKET BASKET ICE BUCKET

Osterville, Massachusetts, Contemporary With swing handle. Wooden lid with a carved squirrel-form finial. Includes a removable plastic liner. Marked on base “B + K Marks 852”. Height to rim 10.5”. Height with handle raised approx. 16”. 600/900

8781. NEST OF FIVE WILLIAM AND JUDY SAYLE NANTUCKET BASKETS

Nantucket, Massachusetts, Contemporary With swing handles. Signed and dated on undersides “Made on Nantucket Bill & Judy Sayle 2007”. Lengths from 4” to 8”. 3,000/5,000

8779

8782. NEST OF SIX WILLIAM AND JUDY SAYLE NANTUCKET BASKETS

Nantucket, Massachusetts, Contemporary

With swing handles. Signed and dated on undersides “B & J Sayle 1980”. Heights from 4” to 8”. Diameters from 5” to 13”.

4,000/6,000

8783. “CROSBY BOATS” BOAT YARD SIGN

Osterville, Massachusetts, 19th Century

Pine board with iron strap hinges. Black painted lettering against a white ground. Height 10.75”. Length 61”.

Provenance:

1,000/2,000

Purchased by the present owner on Facebook Marketplace and was told by the previous owner he found it at the Barnstable landfill when he was a young man.

8782

8783

Late 19th Century

Attributed to the Coffin family of Nantucket. Lengths 10”. 3,000/5,000

Detroit, Circa 1910

Early 20th Century

Includes a brant, three premier grade black ducks and two challenge grade black ducks. Lengths from 16” to 20”. 2,000/4,000

Oak Bluffs, Martha’s Vineyard, Massachusetts, 1865-1958 Glass eyes. Length 15”. 800/1,200

8784. RIG OF SEVEN NANTUCKET PLOVER DECOYS

8785. MASON DECOY FACTORY GUNNING RIG FROM NANTUCKET

8784, seven

8786. MASON DECOY FACTORY YELLOWLEGS

Iron bill. Glass eyes. Length 10”. 600/900

8787. HENRY KEYES CHADWICK REDHEAD DRAKE DECOY

Circa 1900 In running form. Tack eyes. Length 14”. 1,000/1,500

Edgartown, Martha’s Vineyard, Massachusetts, Early 20th Century Tack eyes. Length 17”. 1,000/1,500

8789. WILLIAM H. MAYHEW RED-BREASTED MERGANSER DRAKE DECOY

8788. MASSACHUSETTS YELLOWLEGS DECOY

8788

8789

A. ELMER CROWELL

East Harwich, Massachusetts, 1862-1952

Tack eyes. Light gunning wear. Oval brand. Length 23”. 10,000/15,000

8790. CANADA GOOSE DECOY

Circa 1920

8790

8791. HALF-SIZE TERN

Circa 1930

Painted eyes. Mounted on a round base. Rectangular stamp. Height 4”. Length 6.5”. 1,500/2,000

8792. LIFE-SIZE LESSER YELLOWLEGS

Circa 1920

Head turned left. Marked in pencil “Summer Yellowlegs”. Oval brand. Height 9”. 10,000/12,000

19th Century

Top with Crowell’s oval brand. Height 29”. Length 19” plus two drop leaves. Width 47.5”. 1,000/2,000

Provenance:

This table was purchased at Eldred’s more than 50 years ago. Robert C. Eldred, Jr. was friends with Cleon Crowell’s daughter and had been selling items from her father’s and grandfather’s estate. This table was said to have come from Elmer’s workshop.

8793. A. ELMER CROWELL PINE DROP-LEAF WORK TABLE

8791

8792

A. ELMER CROWELL

East Harwich, Massachusetts, 1862-1952

8794. MINIATURE KILLDEER

Circa 1925

Mounted on a circular base. Ink stamp. Height 2.5”. Length 3”. 1,400/1,800

8795. MINIATURE RUDDY TURNSTONE

Circa 1925

Mounted on a circular wooden base. Ink stamp. Height 1.75”. Length 3”. 1,400/1,800

8796. MINIATURE CANADA GOOSE

Circa 1930

Mounted on an oval base. Rectangular stamp. Height 4”. 700/1,000

8797. PAIR OF MINIATURE PINTAILS

Circa 1925

Mounted on circular bases. Hen with rectangular stamp. Heights 3” and 3.25”. 1,500/2,500

8798. PAIR OF MINIATURE REDHEADS

Circa 1930

Mounted on oblong bases. Rectangular stamps. Heights 3.5”. 1,500/2,000

8799. PAIR OF MINIATURE GREEN-WINGED TEAL

Circa 1930

Mounted on circular wooden bases. Drake with rectangular stamp. Heights 2.75”. 1,400/1,800

8800. PAIR OF MINIATURE BLUEBILLS

Circa 1930

Mounted on oval bases. Rectangular stamps. Heights 2.5” and 2.75”. 1,000/1,500

8801. PAIR OF MINIATURE MALLARDS

Circa 1925

Mounted on round bases. Rectangular stamps. Heights 3.25”. 1,000/2,000

8802. PAIR OF MINIATURE CANVASBACKS

Circa 1925

Mounted on round bases. Rectangular stamps. Heights 2.5” and 3”. 1,500/2,500

8803. MINIATURE BLUE-WINGED TEAL DRAKE

Circa 1925

Mounted on a round base. Rubber stamp. Height 2.75”. 1,000/1,500

8804. TWO MINIATURES

Circa 1925

A bufflehead drake and a hooded merganser drake. Heights 2.5”. 1,000/2,000

8805. TWO MINIATURES

Circa 1925

A ruddy duck drake and a bluebill drake, both mounted on oval bases. Both with rectangular stamp. Heights 2.5” and 3”. 1,000/1,500

8806. MINIATURE WIGEON DRAKE

Circa 1930

Mounted on a round base. Rectangular stamp. Height 3”. 1,000/1,500

8807. MINIATURE WOOD DUCK DRAKE

Circa 1925

Mounted on a round base. Height 2.75”. 1,400/1,800

8808. TWO MINIATURES

Circa 1925

An oldsquaw drake and a surf scoter drake, both mounted on circular bases. Scoter with paper label. Heights 2.25” and 2.75”. 1,500/2,000

8809. MINIATURE BRANT

Circa 1925

In running form. Mounted on an oval base. Length 5.5”. 1,400/1,800

Provenance: Shelburne Museum Collection.

8810. TWO MINIATURES

Circa 1930

A goldeneye drake and a black duck, both mounted on round bases. Both with rectangular stamps. Heights 3.25”. 1,400/1,800

8811. THREE MINIATURES

Early 20th Century

A merganser hen, a red-breasted merganser drake and an American merganser drake. Mounted on oblong bases. Hen and American merganser with rectangular stamps. Heights 2.75” and 3.25”. 1,500/2,500

8802,

8812.

East Harwich, Massachusetts

Includes a copy of The Songless Aviary by Brian Cullity. Circa 1935 blue jay with rectangular stamp, signed “C.S. Crowell”. Height 3.5”. 1,000/2,000

Provenance: Donald B. Howes Collection.

Reference:

Illustrated in The Songless Aviary by Brian Cullity (Sandwich, Mass.: Heritage Plantation, 1992), p. 103, no. 88.

Attleboro, Massachusetts, Contemporary

Mounted on a tree strump and turned wood base. Signed on underside of base. Height 18.5”. Length 13”. 2,000/3,000

Late 19th/Early 20th Century Heights 20.5”. Depths 20.5”. 500/800

Provenance: Private Collection, Ohio.

Early 20th Century

With finders. Total height 44.5”. 800/1,200

CLEON CROWELL MINIATURE BLUE JAY

8813. RAYMOND F. TAMEO LIFE-SIZE WOODCOCK IN FLIGHT

8814. PAIR OF CAST IRON FOX HUNTING SILHOUETTE ANDIRONS

8815. NEW ENGLAND CANADA GOOSE WEATHER VANE

8813

8816. TWO JAMES LAPHAM LIFE-SIZE BIRDS

Dennis Port, Massachusetts, 1909-1987

A common tern and a ruddy turnstone. Lengths 9” and 10.5”. 800/1,200

8816A. PAIR OF PETER PELTZ LIFE-SIZE RUFFED GROUSE

East Sandwich, Massachusetts, 1915-2001

Turned heads. Mounted on driftwood bases. Heights 13” and 14.5”.

1,000/2,000

8817. FOUR MARTY COLLINS MERGANSER DECOYS

East Wareham, Massachusetts, Contemporary

Includes a pair of Gus Wilson-style mergansers, a Nantucket-style merganser with whalebone crest, and a Downeast-style merganser with inletted head. All branded on undersides “M.D. Collins”. Lengths 17” and 18”. 1,000/2,000

8818. JOSEPH LINCOLN MINIATURE CANADA GOOSE

Accord (Norwell), Massachusetts, 1859-1938

Circa 1925. In sleeping form. Length 5”. 1,500/2,500

8819. JOE LINCOLN MINIATURE REDHEAD DRAKE

Accord (Norwell), Massachusetts, 1859-1938

Circa 1925. Stamped on underside “Joe Lincoln Accord Massachusetts”. Length 4”. 1,400/1,800

8820. PAIR OF YELLOWLEGS DECOYS

Late 19th Century

Maker unknown. Original paint. Iron bills. Mounted together on a driftwood base. Lengths 9.5”. 1,000/1,500

8821. GUS WILSON-STYLE MERGANSER DRAKE DECOY

Second Quarter of the 20th Century

Leather comb. Inletted neck. Carved slightly raised wings. Unmarked. Height 8.25”. Length 18.25”. 2,500/3,500

8818

8819

8820

8821

8822. LIFE-SIZED CHESAPEAKE BAY SWAN DECOY

First Half of the 20th Century Maker unknown. Traces of original paint under early repaint. Head constructed in multiple pieces. Traces of paper label on underside with “area nicely repainted” hand-written in ink. Height 21”. Length 30”. Width 13”. 5,000/10,000

Provenance: Estate of Joan B. Kennedy.

8823. TWO MINIATURE WATERFOWL

1) John “Daddy” Holly (Havre de Grace, Maryland, 18181892) canvasback drake with painted eyes.

2) Bob McGaw (Havre de Grace, Maryland, 1879-1958) pintail drake. Lengths 7”.

800/1,200

8824. RED-BREASTED MERGANSER DRAKE DECOY

ATTRIBUTED TO CHARLES BIRCH

Willis Wharf, Virginia, 1867-1956 Painted eyes. Length 15.5”. 2,000/3,000

8825. TWO LLOYD JOHNSON WATERFOWL CARVINGS

Bay Head, New Jersey, 1910-1965

1) Black duck decoy with glass eyes. Stamped “Lloyd Johnson”. Length 18”.

2) Miniature canvasback drake with turned head, glass eyes, and carved wings and tail feathers. Length 6”. 1,500/2,000

8826. HARRY K. SHOURDS MERGANSER HEN DECOY

Ocean City, New Jersey, 1890-1943

Hollow-carved. Tack eyes. Length 17”. 1,000/1,500

8827. JOHN DILLEY RED KNOT DECOY

Quogue, Long Island, New York, Circa 1890 Glass eyes. Length 10”. 1,500/2,500

8828. CHARLES SUMNER BUNN / WILLIAM BOWMAN RED KNOT DECOY

New York, Circa 1900 Glass eyes. Carved wings. Length 9.5”. 1,500/2,500

8829. BLACK PLOVER DECOY ATTRIBUTED TO OBEDIAH VERITY

Seaford, New York, 1850-1910 Circa 1890. Tack eyes. Carved wings. Length 10.5”.

800/1,200

8827

Circa 1920

Maker unknown. Similar to goose decoys used by Scott Osbourne of Sparland, Illinois. Osbourne was a game warden who helped run duck hunting clubs in the area of Lacon, Illinois and goose clubs on fields west of Lacon. Length 32”. 2,000/3,000

8830. FOLKSY GOOSE DECOY FROM ILLINOIS

8831. MINIATURE BARN OWL

Mounted on a driftwood base. Signed “HG”. Height 3.5”. 700/1,000

8832. TWO MINIATURES

A Labrador duck drake and an oldsquaw drake, both mounted on driftwood bases. Oldsquaw dated 1946. Heights 2.5”. 600/900

8833. TWO MINIATURES

A red-breasted goose and a wood stork, both mounted on driftwood bases. Stork dated 1966. Heights 2.5” and 3.5”. 800/1,200

8834. TWO MINIATURES

A mikado pheasant and a spruce grouse, both mounted on driftwood bases. Pheasant dated 1968. Heights 2.25” and 2.5”. 800/1,200

8835. TWO MINIATURES

A bobwhite and a snipe, both mounted on driftwood bases. Dated 1969 and 1967. Heights 1.75” and 2”. 600/900

8836. TWO MINIATURES

A kestrel and a green heron, both mounted on driftwood bases. Circa 1960. Heights 2.5” and 3.75”. 1,000/1,500

8837. TWO MINIATURE WILLOW PTARMIGAN

One in summer plumage and one in winter plumage. Both mounted on driftwood bases. Both signed, one dated 1966. Heights 2” and 2.5”. 500/800

8838. TWO MINIATURE SHOREBIRDS

A yellowlegs and a killdeer, both mounted on driftwood bases. Yellowlegs dated 1946. Heights 1.75” and 2.75”. 600/900

Barrington, Rhode Island, 1866-1970

8831

8833, two

8834, two

8836, two

8839. RARE AND EARLY WOODEN FIRE ALARM RATTLE

Late 18th/Early 19th Century

Double reed. One side stamped “When Darkness falls eer watchful be, when fire forth springs unsparing me”. Other side stamped “St. Mary Le Bow 5th Ward”. Length 10.5”. 600/900

8840. TWO BRASS FIRE TRUMPETS

19th Century

1) Circa 1840 tulip-style with flat bands and red-painted interior. Engraved “William H. Townsend”. Length 22”.

2) Working style with red cord. Length 14.5”.

8841. SILVER PLATED PRESENTATION FIRE TRUMPET

Late 19th Century

800/1,200

Engraved “Presented By The Palestine Fire Department as 3rd Prize Contest July 4th 1893 PH Co No1”. Length 19”.

800/1,200

8839

8842. SILVER PLATED PRESENTATION FIRE TRUMPET

Late 19th Century

Engraved with inscription “Presented to Chas La Pierce April 13th 83 by PE Kern” and decoration of a fire pumper, flowers and scrolls. Length 18.5”. 800/1,200

8843. W. PORTER BRASS FIRE LANTERN Patented 1869

Glass etched “Lin-ta 3”. Height 13”. 800/1,200

8844.

Oak

Used in firefighter bunkrooms and foreman’s quarters. Height 16”. 1,000/1,500

EXCELSIOR FIREHOUSE ALARM MADE BY GAMEWELL Circa 1870

case.

8842

8843

8844

8847 8848

8848, additional view

8845. CAIRNS LEATHER FIRE HELMET WITH EAGLE FINIAL

New York, Circa 1870

Front shield with “Sarah Zane Fire Co 1”. Length 14”. 800/1,200

8846. CAIRNS LEATHER FIRE HELMET WITH RARE LION FINIAL

New York, Circa 1870

Painted white. Front shield with “Valley 3 Hose”. Length 14”. 1,400/1,800

8847. ANDERSON AND JONES BROWN FIRE HELMET

New York, Circa 1870

With rare 84-comb crown and oilcloth brim. (Lighter weight for parades). Rare running fireman finial. Front shield with “Lafayette Engine 2 LFD”. Length 14.75”. 1,400/1,800

8848. WILSON LEATHER FIRE HELMET WITH RARE LEATHER EAGLE FINIAL

New York, Circa 1870

Front shield with “2nd Asst Engineer 1 RCC”. Length 15”. 1,400/1,800

8849. LEATHER FIRE HELMET WITH EAGLE FINIAL

Circa 1870

Parade torch attached to top. Front shield with “Hope 3 SFE” (Steam Fire Engine). Length 14”. 800/1,200

8850. CAIRNS LEATHER FIRE HELMET WITH EAGLE FINIAL

New York, Circa 1870

Painted black. Rare 32-comb crown. Front shield with “Franklin Steam 3”. Length 14.5”. 800/1,200

8851. RARE CHILD’S-SIZE JOCKEY-STYLE LEATHER FIRE HELMET

Boston area, Circa 1870

Painted black. Front shield with “Torchboy 2”. Torchboys would run ahead of the fire carts to light the way for the firemen. 1,000/1,500

8852. CAIRNS LEATHER FIRE HELMET WITH EAGLE FINIAL

New York, Circa 1880

Front shield with “Empire Carlisle”. Length 14.5”.

8853. CAIRNS LEATHER FIRE HELMET WITH EAGLE FINIAL

New York, Circa 1880

800/1,200

Front shield with “Good Will Fire Co 1”. Back of helmet with “1907” in white paint. Length 13.5”. 800/1,200

8854. JOHN OLSON BLACK LEATHER HELMET WITH EAGLE FINIAL

New York, Circa 1890

Front shield with “Chemical NFD 1 JD”. Length 14.75”.

8855. CAIRNS LEATHER FIRE HELMET WITH EAGLE FINIAL

New York, Circa 1910

700/1,000

Constructed from heavy gauge leather. Painted red. Front shield with “Ladder 1 SFD”. Length 14”. 800/1,200

8856. CAIRNS ALUMINUM FIRE HELMET WITH EAGLE FINIAL

New York, Circa 1910

Painted black. Front shield with “Lieutenant H&L 1 WHFD”. Length 14.5”. 600/900

8857. QUEEN ANNE MAPLE PORRINGER-TOP TEA TABLE

Probably Rhode Island, Mid-18th Century Rare and unusual scalloped skirt. Tapered legs end in diminutive pad feet. Height 26.75”. Length 33”. Width 26.5”. 3,000/5,000

Provenance: Private Collection, Ohio.

8858. PINE, MAPLE AND ASH WINDSOR BOW-BACK ARMCHAIR

Rhode Island, Late 18th Century

Delicate knuckle arms. Back height 37”. Seat height 16.5”. 1,000/1,500

Provenance: Private Collection, Ohio.

8859. WINDSOR CAGE-BACK BENCH

New England, First Quarter of the 19th Century

Includes a light blue printed seat cushion. Back height 34.5”. Seat height 18.5”. Length 74”. 1,500/2,500

8857

8858

8859

8860. PAIR OF TIN MIRROR-BACK WALL SCONCES

Late 18th/Early 19th Century

Diameters 9.75”. Depths 5.5”. 500/1,000

Provenance: The Estate of Paul and Diane Madden, Sandwich, Massachusetts.

8861. PICTORIAL NEEDLEWORK SAMPLER

19th Century

Wrought by Hannah Setchell. Upper third with intricate arrangement of potted flowering plants and birds surrounded by smaller animals, flower blossoms, baskets, etc. Two scripture verses at center flanked by potted plants. Lower third with a house, trees, a variety of birds and other elements in a landscape. “Hannah Setchell Was Born December 13 Remember You Must Die” in lower margin. Flowering vine border. Housed in a bird’s-eye maple frame. 23” x 22” sight. Framed 29” x 28”. 2,500/3,500

8862. ELEVEN HAND-PAINTED PINE BOXES

19th/20th Century

All with domed hinged lids. Most with original painted decoration of flowers, fruits, animals etc. Heights from 8.75” to 13”. Widths from 14” to 25.5”. 300/500

Provenance: Private Collection, Ohio.

8863. TWO PAINT-DECORATED DOME-TOP BOXES

First Half of the 19th Century Floral and animal designs. Heights 4.25” and 8.5”. Widths 8.5” and 12.25”. 400/600

Provenance: Private Collection, Ohio.

8860, pair

8861

8862, eleven

8864. QUEEN ANNE MAHOGANY SLIPPER-FOOT DRESSING TABLE

Newport, Rhode Island, Circa 1760

Top with molded edge. Full-width drawer over three side-by-side drawers. Cabriole legs end in beautifully proportioned feet. Height 30.5”. Width 36.25”. Depth 22”. 8,000/12,000

8865. AMERICAN NEEDLEWORK SAMPLER, PROBABLY RHODE ISLAND

19th Century

Wrought by Frances Ann Slocum. In two sections. Upper piece with geometric border surrounding alphabets and numerals above “Age 8 Frances Ann Slocum Her Sampler Made in the Ninth Year of Her” (phrase terminates). Lower piece with alphabet. 15” x 7” sight. Framed 19” x 11”.

800/1,200

Genealogical research provided by the consignor reports Frances A. Slocum was born November 5, 1809 in Newport, Rhode Island. She was a descendant of Giles Slocum, who traveled on the Mayflower at age four. This sampler is done in a typical Rhode Island style. Genealogical research will convey with the lot.

8864

8865

8866. QUEEN ANNE WALNUT LOWBOY

18th Century

Overhanging top above a full-width drawer over three side-by-side drawers, the central with fan carving. Carved skirt with acorn drops. Cabriole legs end in pad feet. Three handwritten notes on back pertain to family history. Height 29”. Width 34.5”. Depth 20”. 1,000/2,000

8867. CHIPPENDALE FIGURED MAPLE SLANT-LID DESK Rhode Island or Northeastern Connecticut, Circa 1800 Slant lid encloses pigeonholes, drawers and a central cupboard door with unusual floriform design. Case with four graduated full-width drawers. Flat bracket base with a shaped pendant that matches the interior cupboard door. Chestnut secondary woods. Height 41.5”. Width 35.75”. Depth 18.75”.

Provenance: Private Collection, Ohio.

4,000/6,000

8866

8867

8868.

Providence, Rhode Island, Late 18th Century

Beautifully figured mahogany case. Arched top bonnet with two urn finials and a glazed dial door flanked by fluted full columns. Wide shell-carved pendulum door. Ogee bracket base. Brass face with brass filigree appliques and a nickel-plated plate engraved with the maker’s name at the center of the arch. Roman numeral dial with calendar dial and second sweep. Tin weights. Height 91.75”. Width 17”.

Depth 8.5”.

20,000/30,000

FEDERAL TALL-CASE CLOCK BY EDWARD SPALDING

Providence, Rhode Island, Mid-18th Century

Upper case with three carved urn finials, and three sideby-side drawers, the central with fan carving, over four graduated full-width drawers. Lower case with a fullwidth drawer over three side-by-side drawers, the central with matching fan carving. Cabriole legs end in pad feet. Height 89.5”. Width 39”. Depth 21.5”. 3,000/5,000

Rhode Island, Circa 1780

Broken arch pediment with beautifully carved and gilded rosettes. Original gilt spread-wing eagle on sphere finial at center and spiral finials at sides. Upper case with molded paneled doors, fluted flat columns and a candle slide. Paneled doors enclose adjustable shelves. Lower case with a slant lid, four graduated full-width serpentine drawers and claw & ball feet. Block and shell interior with pigeonholes and drawers. Period brasses. Height 97.5”. Width 42”. Depth 21.5”. 5,000/8,000

8869. QUEEN ANNE WALNUT BONNET-TOP HIGHBOY

8870. CHIPPENDALE MAHOGANY TWO-PART SECRETARY

8869

8870

8871. FERAGHAN SAROUK RUG: 9’11” x 13’7”

Circa 1900

Red field is traversed by a tan and red garrus vine that defines blue, faded pink and ivory floral clusters. Navy blue subfield with a tan garrus vine bearing blossoms. Bold red, blue, ivory and faded pink spandrels with coordinating elements. Abrashed and faded red main border with floral motifs suggesting turtles. 1,000/2,000

8872. AHAR HERIZ RUG: 9’0” x 11’10”

Second Quarter of the 20th Century Red field mostly occupied by a bold medallion and pendants in midnight blue, marine blue, salmon red, khaki and ivory. Traditional stylized blossoms and serrated leaves on meandering vines. Bright ivory subfield with salmon red spandrels. Abrashed and faded gold guard borders. Midnight blue main border with alternating blossoms and serrated leaves. 1,000/1,500

8873. SERAPI RUG: 10’0” x 12’5”

Circa 1900

Subtly abrashed terracotta field with an ivory, red and blue central medallion, bold pendants, and typical blossoming and foliate vines in blue and aqua. Ivory subfield with blue and red spandrels. Narrow red guard borders. Broad navy blue main border with a turtle motif. 2,000/3,000

8874. HERIZ RUG: 9’3” x 11’6”

First Quarter of the 20th Century

Traditional navy and marine blue gabled medallion suspends abrashed marine blue pendants on a terracotta field. Stylized vines bear blossoms and serrated leaves throughout. Navy blue subfield with salmon red spandrels. Terracotta main border with a turtle motif. 1,200/1,800

8873

Lot 8874 at left

8875. RARE AND IMPORTANT CHERRY CANDLESTAND ATTRIBUTED TO ELIPHALET CHAPIN

Hartford, Connecticut, 18th Century Square cut-corner top with molded edge. Fitted for a drawer below top. Diminutive vasifom pedestal raised on a tripod base ending delicate in claw & ball feet. Height 25”. Top 16.25” x 16.25”. 8,000/12,000

Provenance:

John S. Walton, Inc., Jewitt City, Connecticut.

David and Elizabeth Sapadin, Haddonfield, New Jersey.

John S. Walton, Inc., Jewitt City, Connecticut, 1985.

The Marvill Collection, New York.

David A. Schorsch, Woodbury, Connecticut.

Christies’s, New York, September 24, 2012, Lot #62.

Estate of Glenn Randall, Stonington, Connecticut.

Reference:

“Living with Antiques: A Collection of American Antiques in Southern New Jersey” by Elizabeth Sapadin and Sheila Saul, The Magazine Antiques, January 1984, p. 252, fig. 4.

Masterpieces from Two Distinguished Private Collections: American Folk Art and Furniture by David A. Schorsch (New York, 1995), p. 16-17.

Exhibited:

David A. Schorsch Company, New York: “Masterpieces from Two Distinguished Private Collections: American Folk Art and Furniture”, 1995.

8876. CHIPPENDALE CHERRY TWO-PART SECRETARY IN THE MANNER OF ELIPHALET CHAPIN

Hartford, Connecticut Area, Circa 1780

Broken arch pediment with openwork C-scrolls and a fluted urn finial on a fluted plinth. Upper case doors enclose a variety of shelves. Lower case with a slant lid over four graduated full-width serpentine drawers and bold ogee bracket feet. Slant lid encloses a serpentine interior with pigeonholes and drawers. Both cases with fluted quarter columns. Retains period hardware. Height 98.5”. Width 42”. Depth 20”. 2,500/3,500

8877. CONNECTICUT NEEDLEWORK SAMPLER

Dated 1808

Wrought by Clarrissa Sears of Middletown. Several rows of alphabets and numerals above maker’s inscription “Sampler made in the Twelfth Year of her Age AD 1808”. Zigzag vine flanking borders. 9” x 14.5” sight. Framed 12.5” x 18”.

1,000/1,500

8878. AMERICAN NEEDLEWORK SAMPLER, PROBABLY CONNECTICUT

Dated 1834

“Temperance U. Read’s Sampler Aged 10 Years 1834”. Rows of alphabets and numerals over the maker’s inscription and a landscape with a house, trees and birds. Flower sprig border. Worked in silk on linen. 11.5” x 17.5” sight. Framed 13.5” x 19.5”.

1,000/1,500

Genealogical research indicates Temperance Read was born November 18, 1823 in Old Saybrook, Connecticut.

8878A. THREE NORTON & CO. STONEWARE JUGS

19th Century

All with cobalt blue bird decoration. Heights 12” and 12.5”.

8878B.THREE STONEWARE JUGS

19th Century

600/900

An E.E. Hall & Co. two-gallon, an N.A. White & Sons two-gallon, and an N.A. White & Sons threegallon. All with cobalt blue songbird decoration. Heights 15” and 16.5”. 800/1,200

8879. QUEEN ANNE MAPLE TEA TABLE

New England, Circa 1740 Two-board oval top with scrubbed finish. Slender tapered legs end in pad feet. Height 26.75”. Length 35”. Width 27.5”. 3,000/5,000

Provenance: Private Collection, Ohio.

8880. MAPLE AND ASH WINDSOR FAN-BACK WRITING ARMCHAIR

Connecticut, Late 18th Century Great old, possibly original finish with excellent patina. Bold turned bulbous legs. Back height 44.25”. Seat height 17.5”. Width with arm 32.75”. 1,500/2,500

Provenance: Nathan Liverant and Son, Colchester, Connecticut. Private Collection, Ohio.

8881. QUEEN ANNE MAPLE PORRINGER-TOP TEA TABLE

New England, Mid-18th Century Straight legs end in diminutive pad feet. Height 26.75”. Length 34.5”. Width 26.5”. 3,000/5,000

Provenance: Private Collection, Ohio.

8879

8880

8881

8882. QUEEN ANNE MAPLE AND CURLY MAPLE

FLAT-TOP HIGHBOY

New England, Circa 1760

Upper case with half drawers over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers. Cabriole legs end in pad feet. Height 72.5”. Width 37.5”. Depth 21”. 4,000/6,000

Provenance: Private Collection, Ohio.

Connecticut, Mid-18th Century

Upper case with five drawers across the top, the central with fan carving, over four graduated full-width drawers. Lower case with a full-width drawer over three sideby-side drawers, the central with matching fan carving. Cabriole legs end in pad feet. Height 76.25”. Width 37”. Depth 19.25”. 4,000/6,000

Provenance: Private Collection, Ohio.

8883. QUEEN ANNE CHERRY FLAT-TOP HIGHBOY

8882

8883

Connecticut, Circa 1780

Top with serpentine front, generous overhang and molded edge. Graduated full-width drawers flanked by fluted quarter columns. Bold ogee bracket feet. Height 37.25”. Width 41.25”. Depth 23.25”. 10,000/15,000

Provenance: Private Collection, Ohio.

8884. RARE CHIPPENDALE FIGURED CHERRY FOUR-DRAWER CHEST

8884

8885. HEPPLEWHITE CHERRY ONE-DRAWER STAND WITH RARE HEART INLAY

Connecticut, Circa 1800

Top with quarter fan and string inlay. Apron with heart inlay flanking the drawer. Tapered legs, the front legs with modified icicle inlay down the lengths and a heart below the cuff. Drawer front and legs with line inlay. Brass drawer knob possibly a later addition as there is a finger groove on the underside of the drawer.

Height 27.75”. Width 21.5”. Depth 21”. 1,500/2,500

Provenance: Private Collection, Ohio.

8886. DIMINUTIVE CHERRY CANDLESTAND

Connecticut, Late 18th Century

Dish top with scrolled lower edge. Pedestal with a spiral-carved urn. Cabriole legs end in snake feet. Height 28”. Diameter 13”. 3,000/5,000

Provenance:

Israel Sack, Inc., New York, item #6895. Private Collection, Ohio.

Pennsylvania, 19th Century Cobalt blue lettering “C.L. Williams & Co. Best Blue Stoneware New Geneva, PA”. Height 19.5”. 800/1,200

8885

8886A. RARE DOUBLE-HANDLED FIVE-GALLON STONEWARE JUG

8886

8886A

8887. HEPPLEWHITE BIRCH CANDLESTAND

New Hampshire, Circa 1800

Thin octagonal top. Elaborately carved pedestal with a ring-turned knop, a reeded column and a beehive-form urn. Elongated spider legs with reeded toes. Height 28”. Top 16” x 12.5”. 5,000/7,000

Provenance: Private Collection, Ohio.

Illustrated: American Antiques from Israel Sack Collection: Volume IV (Washington, D.C: Highland House Publishers, 1988), p. 1061. American Antiques from Israel Sack Collection: Volume IX (Washington, D.C: Highland House Publishers, 1988), p. 2512. Celebrating our 90th Anniversary: Israel Sack, Inc. (1993), p. 3.

8888. TWO STONEWARE CROCKS WITH COBALT BLUE GEOMETRIC DECORATION

19th Century

A four-gallon and a five-gallon. Both have no maker’s mark. Heights 11” and 14”. 400/600

8889. MAPLE AND BIRCH TILT-TOP CANDLESTAND

New England, Early 19th Century Octagonal top with bird’s-eye maple and cherry veneer. Urn pedestal. Spider legs end in spade feet. Height 27.5”. Top 20.25” x 14.75”. 1,000/1,500

Provenance: Private Collection, Ohio.

8890. TIGER MAPLE AND CHERRY TILT-TOP CANDLESTAND

Portsmouth, New Hampshire, Early 19th Century

Oval tiger maple top. Turned and carved pedestal with delicate relief-carved leaf tips on the urn and a spiral carving at the base. Reverse-arched legs. Height 28.5”.

Top 21.75” x 15.75”. 1,500/2,500

Provenance: Private Collection, Ohio.

8887

8889

8890

Southern New Hampshire, Mid-18th Century Desk with a stepped interior comprised of pigeonholes and eight drawers, and a full-width drawer below the slant lid. Frame with three side-by-side drawers and a deeply carved fan, indicative of Southern New Hampshire. Diminutive cabriole legs end in pad feet. Height 41.25”. Width 34.5”. Depth 19”. 8,000/12,000

Provenance:

Dr. Miner, Greenfield, Massachusetts. Israel Sack, Inc., New York.

C.K. Davis, Fairfield, Connecticut. Robert Massey, Birminham, Michigan. Private Collection, Ohio.

Reference:

Illustrated in Fine Points of Furniture: Early American by Albert Sack, p. 142 as a “best” example. Seen in an Israel Sack, Inc. advertisement in The Magazine Antiques, February 2001, inside front cover.

Possibly New Hampshire, Circa 1775 Overhanging top with serpentine molded edge. Case with four graduated full-width drawers and ogee bracket feet. Height 35.25”. Width 41”. Depth 19.25”. 8,000/12,000

Provenance: Private Collection, Ohio.

8891. RARE QUEEN ANNE MAPLE SLANT-LID DESK ON FRAME

8892. FINE CHIPPENDALE CHERRY AND CURLY MAPLE OXBOW CHEST

8891

8892

8893. QUEEN ANNE MAPLE CHEST ON FRAME, POSSIBLY DUNLAP FAMILY

New Hampshire, Circa 1770

Chest with five graduated full-width drawers. Frame with cabriole legs ending in pad feet. Height 49.25”. Width 38.5”. Depth 18.5”. 1,200/1,800

8894. FOUR-GALLON STONEWARE CROCK WITH RARE DECORATION

19th Century

Cobalt blue design of two songbirds perched facing away from each other on a tree branch. Height 11.5”. 800/1,200

8893

8894

8895. TWO STONEWARE CROCKS

Portland, Maine, 19th Century

1) Five-gallon by Burbank, Douglass & Co., Portland, Maine. Cobalt blue bird decoration.

2) Four-gallon by White & Wood, Binghamton, New York. Cobalt blue songbird and leaf decoration.

Heights 12” and 13”. 500/800

8896. TWO STONEWARE CROCKS

19th Century

A Roberts two-gallon and a Ballard fourgallon, both with cobalt blue bird decoration.

Heights 11” and 13”. 500/800

8897. CHIPPENDALE TIGER MAPLE

FLAT-TOP CHEST-ON-CHEST

Possibly New Hampshire, Circa 1780

Exceptionally figured. Upper case with a dentil molded cornice and six graduated full-width drawers. Lower case with four graduated full-width drawers and ogee bracket feet. Height 75”. Width 39”. Depth 19”.

6,000/8,000

8897

8898. MINIATURE PUTTY-PAINTED PINE CHEST

Early to Mid-19th Century

Cream and beige decoration against a green ground. Molded hinged top lifts to reveal an interior till. Full-width dovetailed drawer below compartment. Cut-out ends. Height 8.25”. Width 9.5”. Depth 4.75”. 1,000/1,500

Provenance: The Collection of Martha Hamilton.

8899. MINIATURE GRAIN-PAINTED PINE BLANKET CHEST

19th Century

Brown and yellow decoration. One drawer below blanket compartment. Shaped bracket base. Height 12.5”. Width 12.5”. Depth 6.5”. 1,000/1,500

8900. MINIATURE CHIPPENDALE CHERRY SLANT-LID DESK, POSSIBLY A SALESMAN’S SAMPLE

Last Quarter of the 18th Century Slant lid opens to reveal three interior drawers. Case with four graduated full-width drawers and bracket feet. Poplar secondary woods. Height 23.37”. Width 20.5”. Depth 11”. 2,500/3,500

Provenance: Private Collection, Ohio.

8901. MINIATURE HEPPLEWHITE MAHOGANY AND MAHOGANY VENEER CHEST OF DRAWERS

Early 19th Century

Half drawers over three full-width drawers. Scrolled apron. High French splayed bracket feet. Height 13.75”. Width 15.25”. Depth 6.5”. 600/900

Provenance: Private Collection, Ohio.

8898

8899

8900

8902. THREE WOODEN CHILD’S CANNONS 19th Century

Painted red, white, blue and gold. Lengths 15”, 20” and 24”. 600/1,000

MAPLE AND ASH WINDSOR BOW-BACK ARMCHAIR

Pennsylvania, Late 18th Century

Scrolled knuckles. Saddle seat. Back height 37”. Seat height 16.75”. 800/1,200

Provenace:

Collection of the Elizabethtown, New Jersey Historical Society. Private Collection, Ohio.

8904. CHILD’S WINDSOR BOW-BACK ARMCHAIR

Late 18th Century

Maple and ash. Delicate knuckle arms. Label on underside with notation pertaining to Mr. Kershaw, High Bridge, New Jersey. Back height 26”. Seat height 10.75”. 1,000/1,500

Provenance: Israel Sack, Inc., New York. Private Collection, Ohio.

8903.

8903

8904

8905. CHILD’S CHIPPENDALE MAPLE SLANT-LID DESK

Last Half of the 18th Century

Under an old, possibly the original red stain. Slant lid attached with snipe hinges and encloses pigeonholes and drawers. Case with two graduated full-width drawers and flat bracket feet. Height 18”. Width 15.25”.

Depth 10”.

Provenance: Private Collection, Ohio.

8906. CHILD’S QUEEN ANNE-STYLE WING CHAIR

19th Century

3,000/5,000

Mahogany cabriole front legs with pad feet, raked rear legs and a block and turned stretcher. Gold damask upholstery. Back height 33”. Seat height 12”.

Provenance: Private Collection, Ohio.

1,000/1,500

8907. CHILD’S OR MINIATURE CHIPPENDALE-STYLE MAPLE BONNET-TOP CHEST-ON-CHEST

Late 19th/Early 20th Century

In two parts. Upper case with three flame finials, and three side-by-side drawers, the central with patera carving, over three graduated full-width drawers. Lower case with two full-width drawers over three sideby-side drawers, the centeral with fan carving. Ogee bracket base with scrolled moldings. Height 48”. Width 20.25”. Depth 12”. 1,500/2,500

Provenance: Private Collection, Ohio.

8908. CHILD’S OR MINIATURE MAPLE AND CURLY MAPLE BONNET-TOP HIGHBOY

First Half of the 20th Century

In two parts. Nicely carved fans on center drawers. Upper case with fluted quarter columns. Height 28.25”. Width 13.5”. Depth 7”. 1,500/2,500

Proveanance: Private Collection, Ohio.

8909. RARE CHILD’S PHILADELPHIA CHIPPENDALE-STYLE WALNUT CHAIR

19th Century

Wonderfully proportioned. Cupid’s-bow crest rail with carved shell at center, and scrolled and fingercarved ears. Seat frame mortised and tenoned through the back. Upholstered slip seat. Cabriole front legs with claw & ball feet. Back height 29.25”. Seat height 12.5”. 4,000/6,000

Provenance: Private Collection, Ohio.

8905

8907

8906

8908

8909

Pennsylvania, Circa 1780

Probably Lancaster or Chester County. Circular top with molded edge and birdcage mount. Nicely turned pedestal. Cabriole legs end in bold snake feet. Height 27.5”. Top 27.75” x 28.25”. 3,000/5,000

Provenance: Private Collection, Ohio.

8911. QUEEN ANNE WALNUT CANDLESTAND

Pennsylvania, Second Half of the 18th Century Top with scrolled edge. Simple pedestal raised on cabriole legs ending in snake feet. Height 25.75”. 1,000/1,500

Provenance: Private Collection, Ohio.

8910. TRANSITIONAL CHIPPENDALE WALNUT TILT-TOP TEA TABLE

8910

8912. SUPERIOR PHILADELPHIA CHIPPENDALE WALNUT LOWBOY

Circa 1750-1770

Top with molded edge and notched corners. Full-width drawer over three side-by-side drawers, the central with fine relief-carved shell and vine. Case with fluted quarter columns. Cabriole legs with shell-carved knees and finely executed claw & ball feet. Height 29”. Width 33.5”. Depth 21.5”. 30,000/50,000

Provenance:

Lester Berry, Pennsylvania. The Michael Taradash Collection.

Israel Sack, Inc., New York. Private Collection, Ohio.

Reference:

Illustrated in American Antiques from Israel Sack Collection: Volume VIII (Washington, D.C: Highland House Publishers, 1988), p. 2231 as a “superior” example. “The compactness and grace of this lowboy exemplifies the mastery of proportion and integration that seems to be unique to the top notch colonial artist - craftsmen. Using the American criteria of form and line as the final arbiter, this lowboy with the shell carved knees must be considered more valuable than those with acanthus carved knees”.

Illustrated in American Antiques from Israel Sack Collection: Volume VI (Washington, D.C: Highland House Publishers, 1988), p. 1594-1595.

8912

8913. PAINT-DECORATED WALNUT AND MAPLE BLANKET CHEST

Ohio or Western Pennsylvania, Circa 1830

Bold sponged geometric and organic design. Turned legs. Interior with glove box. 2,000/3,000

8914. PAINTED PINE DOWRY CHEST

Bucks County, Pennsylvania, Early 19th Century

Depicts tulips around a central laurel wreath containing an “MB” monogram and “1813” against a green ground. Lift top. Interior with ditty box. Height 19”. Width 46”. Depth 17”. 1,500/2,000

8915. ENTERPRISE CAST IRON COFFEE GRINDER

Late 19th Century

Painted red, white and blue and topped with a cast iron spread-wing eagle. Height 27”. 600/1,000

8916. TWO BLACK LEATHER-COVERED CAMPHORWOOD TRUNKS

19th Century

Both with brass tack decoration and brass plaques engraved “Sarah A. Lawerence” and “M.E. Palmer Baltimore”. Heights 10”. Widths 25”. Depths 12.5”. 1,000/2,000

8918

8917. RARE PAIR OF EARLY BARBER’S POLES

19th Century

Painted red, white and gold. Heights 36”. 800/1,200

8918. PHILADELPHIA TOBOGGAN COMPANY CAROUSEL HORSE

Hatfield, Pennsylvania, Early 20th Century

Outside jumper. Glass eyes. Jeweled tack. Saddle with carved butterfly. On stand. Total height 72”. Horse height 44”. Length 55”. Width 12”.

2,000/3,000

Provenance: Richard A. Bourne Company, Hyannis, Massachusetts.

8919. WONDERFUL AND UNIQUE FOLK ART WHIRLIGIG

Features a biplane, a shack and two figures with saws. On stand. Total height approx. 70”.

3,000/5,000

8919

8920. RARE AND WONDERFUL PAINTED WOODEN FERRIS WHEEL MODEL America, Circa 1940 With eight gondolas. 4,000/6,000

Provenance: Mary Sams, Ballyhack Antiques, Cornwall, Connecticut. Private Collection, Cape Cod, Massachusetts.

8921. TIGER MAPLE APOTHECARY CHEST

19th Century

Strongly figured wood. Fitted with 24 drawers. Shaped bracket base. Height 31.75”. Width 35”. Depth 11”.

2,000/3,000

8922. WATCHMAKER’S TRADE SIGN

19th Century

Formed as a pocket watch in tin and iron. Double-sided. Height 26”.

900/1,200

8924. ENGLISH WROUGHT IRON SWAN-FORM SIGN

Early 20th Century

8923. RARE FOLK ART HARP

19th Century

Crown and neck with carved and polychromed decoration of flowers and the bust of a Native American chief.

Height 50.5”. Width 29”.

1,000/2,000

Marked in black letting against a green ground “This is the upper portion of the original wrought iron sign at the White Swan Stokes Croft -an old coaching house”. Height 37”. Width 54”.

8925. CAST IRON THREE-TIER PLANT STAND

19th Century Height 38.5”. Width 48”. Depth 25”.

800/1,200

800/1,200

8926. THIRTEEN PIECES OF HEYWOOD-WAKEFIELD WICKER FURNITURE

Massachusetts, Early 20th Century

Two plinths, a tea cart, a set of four side chairs, two round tables, a porch swing, a desk with chair and a handled tray. Plinth heights 35.5”. 3,000/5,000

8926 , sampling

8927. WALLACE NUTTING MAPLE WINDSOR BENCH

Early 20th Century

Beautifully carved knuckle arms. Branded and paper label on underside of seat. Back height 30.5”. Seat height 18.5”. Length 88”. 1,000/1,500

8928. WALLACE NUTTING PHILADELPHIA CHIPPENDALE-STYLE HIGHBOY

Massachusetts, Early 20th Century

Branded. Paper label in lower right drawer dated 1927 and numbered 992. Height 96”. Width 46”. Depth 22”.

10,000/20,000

8929. D.R. DIMES MAPLE HARVEST TABLE

New Hampshire, 20th Century

Baluster turned legs joined by a stretcher and end in knob feet. Original D.R. Dimes label on underside. Height 29.5”. Length 72.25”. Width 19” plus two 10” drop leaves. 1,000/1,500

8930. ELDRED WHEELER TIGER MAPLE TALL CHEST

Massachusetts, 20th Century

Six graduated full-width drawers, the top simulating three side-by-side drawers with central fan carving. Shaped bracket base. Height 54.5”. Width 37”. Depth 19”.

2,000/2,500

8931. ELDRED WHEELER TIGER MAPLE SLANT-LID DESK

Massachusetts, 20th Century

Fitted interior. Case with four graduated full-width drawers and an ogee bracket base. Original Eldred Wheeler label inside one drawer. Height 41.5”. Width 35”. Depth 18.5”. 2,000/3,000

8932. ELDRED WHEELER TIGER MAPLE TALL CHEST

Massachusetts, 20th Century

Five graduated full-width drawers. Shaped bracket base. Height 48.5”. Width 36”. Depth 18”. 1,800/2,200

8927

session four

9001. CHARLES GREEN SHAW

New York, 1892-1974

“Primeval”. Signed lower right “Shaw”. Signed and dated verso “Charles Shaw 1959”. Titled on typed label verso.

Ex-collection Albert Landry Galleries, New York, with their typed label verso. Oil on canvas board, 30” x 22”. Unframed. 4,000/6,000

Provenance:

The estate of the artist to Charles H. Carpenter, Jr., author of Decorative Arts and Crafts of Nantucket, and thence by descent in the Carpenter family. 9001

New York, 1892-1974

“River’s End”. Signed lower left “Shaw”. Signed verso “Charles Shaw”. Titled on typed label affixed to the stretcher bar. Oil on canvas, 24.25” x 36.25”. Framed 28.75” x 41”. 5,000/8,000

9002. CHARLES GREEN SHAW

9002

New York, 1892-1974

“Corner Table”. Signed and dated verso “Charles Shaw 1944”. Titled on typed label verso. Oil on canvas board, 20” x 24”. Framed 21.25” x 25.25”. 4,000/6,000

Provenance: The estate of the artist to Charles H. Carpenter, Jr., author of Decorative Arts and Crafts of Nantucket, and thence by descent in the Carpenter family.

9003. CHARLES GREEN SHAW

9003

New York/Massachusetts, 1929-2001

Abstract. Signed and dated “Haynes Ownby Dec. 1952” verso and on label for Acme Fine Art, Boston. Oil on canvas, 27” x 21”. Unframed. 1,000/2,000

9005.

New York/Massachusetts, 1929-2001

Abstract. Signed and dated verso “Haynes Ownby 1954”. Label verso for Acme Fine Art, Boston. Oil on canvas, 36” x 30”. Unframed. 2,000/3,000

9004. HAYNES OWNBY

HAYNES OWNBY

9004

9005

9006. KAHLIL GEORGE GIBRAN

Massachusetts, 1922-2008

“First the Child”. Signed and titled verso “Kahil G. Gibran 45 First the Child”. Oil on canvas, 72” x 26”. Framed 78” x 31.5”. 4,000/6,000

9007. KAHLIL GEORGE GIBRAN

Massachusetts, 1922-2008

Abstract. Unsigned. Mixed media on paper, 55.75” x 26”. Framed 59” x 28”. 2,500/3,500

Provenance:

Acquired from the artist by the family of the consignor.

9008. JUAREZ MACHADO

Brazil, 1941-

“Tango Noire et Rouge”. Signed and dated lower right “Juarez Machado Paris 1999”.

Titled verso. Oil on canvas, 51” x 38”.

Framed 60.5” x 48”. 7,000/9,000

RICHARD HAMBLETON

New York / Canada, 1952/54-2017

9009. Running horses. Acrylic on canvas, 51” x 69”. Unframed. 25,000/35,000

Provenance:

Acquired by the consignor directly from the artist in 2014 from his studio in Manhattan. Private Collection, Boston.

CHRISTO

New York / Bulgaria, 1935-2020

9010. Collage for “Running Fence / Project for West Coast in USA [...]”, 1972

Signed, titled and dated upper left “Christo 1972 Running Fence / Project for West Coast in USA”. Further annotated for materials, measurements and structural elements along upper edge and in various spots throughout the collage. Pencil, colored pencil, watercolor, fabric, card, gouache and staples on paper laid onto board, 22” x 28”. Framed 22.25” x 28.25”. 45,000/60,000

Provenance:

This piece comes to us from the widow of the late actor Kevin McCarthy. McCarthy was friends with Christo and worked on “Running Fence” with him. He purchased this directly from Christo, in its original Plexi case, after the completion of the project in the mid-1970s. Christo and his partner, JeanneClaude, remained friends with Kevin McCarthy and eventually his wife, Kate. They had dinner parties together and such. This is one of the pieces the late actor purchased over their years of friendship.

“Running Fence” was an 18-foot high white nylon fence that stretched more than 24 miles east-west near Freeway 101, north of San Francisco, on the private properties of 59 ranchers. It followed the rolling hills and dropped down to the Pacific Ocean at Bodega Bay. Christo and Jeanne-Claude began planning the project in 1972 and completed it September 10, 1976.

Christo and Jeanne-Claude were interested in a project that involved the life of people from the ocean to the urban and rural parts of California in relation to man-made structures. To them, the fence embodied larger issues of human freedom and constraint. “Running Fence” consisted of 42 months of collaborative efforts, the ranchers’ participation, 18 public hearings, three sessions at the Superior Courts of California, the drafting of a 450-page Environmental Impact Report (the first of its kind) and the temporary use of the hills, the sky and the ocean. Every part of the project’s structure was designed for complete removal, and no visible evidence of “Running Fence” remains on the hills of Sonoma and Marin Counties. The removal of “Running Fence” started just 14 days after its completion and all materials were given to the ranchers.

9011. AFTER ANDY WARHOL

New York/Pennsylvania, 1928-1987

“Floral Design No. 2”, 1959. Part of the group of floral silk textiles designed by Warhol for and manufactured by Balmoral Looms, Inc., New York, in the mid-1950s. Floral pattern with purple, red, blue and fuchsia flowers with green leaves and black stems. Printed silk, approx. 34” x 36”.

4,000/6,000

Provenance:

Collection of Jack Schondorf. Thence by descent to his daughter.

9012. AFTER ANDY WARHOL

New York/Pennsylvania, 1928-1987

Floral design, circa 1958. Part of the group of floral silk textiles designed by Warhol for and manufactured by Balmoral Looms, Inc., New York, in the mid-1950s. Floral pattern with blooms in shades of pink, yellow, orange, green leaves and black stems. Printed silk, approx. 22” x 30”.

3,000/4,000

Provenance:

Collection of Jack Schondorf. Thence by descent to his daughter.

9013. SIGNED PHOTOGRAPH AND SLIP OPINION OF JUSTICE RUTH BADER GINSBURG

Fourth Quarter of the 20th Century

Photograph and opinion both signed “Best wishes Ruth Bader Ginsburg”. Bader Ginsburg authored the U.S. Supreme Court majority opinion on Oklahoma Tax Commission v. Chickasaw Nation, 515 U.S. 450 (1995). In this opinion, the Court affirmed Oklahoma could not impose its motor fuels tax on fuel sold by the Tribe on tribal trust lands but the state could tax the income of Tribe members who work for the Tribe but live outside the tribal trust lands. Photograph sheet 9” x 6”. Unframed.

1,000/1,500

9014. CHRIS ROBERTS-ANTIEAU

Michigan, 1951“King Kong”. Signed and titled on frame. Fabric appliqué and embroidery, 38” x 22”. Framed 43” x 27”. 1,500/2,500

Andy Warhol’s textile designs for Balmoral Looms represent a significant yet long-overlooked chapter in the artist’s early career. Produced in the 1950s before his emergence as a Pop Art icon, these repeating floral patterns display many of the visual strategies that would later define his mature work, including serial repetition, bold graphic simplification and an embrace of commercial production. Created for the American fashion and home-furnishings market, the Balmoral textiles bridge the gap between Warhol’s celebrated career as a commercial illustrator and his groundbreaking fine art practice, making them among the most historically important survivals from his formative years.

These commissions were facilitated through textile entrepreneur and designer Jack Schondorf, who served as an intermediary between commercial artists and New York textile manufacturers during the period.

9015. EMILIANO DI CAVALCANTI Brazil, 1897-1976 “Pescador” (Fisherman). Signed lower right “E di Cavalcanti”. Oil on canvas, 12.75” x 16”. Framed 19.5” x 22.75”. 30,000/50,000

Provenance:

Gift from the artist to Josette Puthod, Rio de Janeiro, circa 1950-1951. Bonhams, New York, Impressionist & Modern Art, November 17, 2020, Lot #37. Private Collection, Massachusetts.

Notes:

The Bonhams catalog notes “The authenticity of this work has been confirmed by Elisabeth Di Cavalcanti Veiga”.

Germany, 1921-1986

9016. Minneapolis fragments.

Six lithographic impressions mounted on board and presented under a single frame, a highly unusual assembled work related to the Minneapolis Fragments project, incorporating proof and/or edition material originating from Beuys’s 1974 lecture at the Minneapolis College of Art & Design, during which the artist drew directly onto lithographic plates later printed by students. Selective Braunkreuz (brown cross) paint stamp interventions to two sheets; one sheet signed, titled and bearing FIU stamp. Appears distinct from the standard published edition of 18 + VI artist’s proofs associated with the later Schellmann/Klüser edition; the composite framed configuration, selective painted interventions, partial signing, and FIU designation suggest it was conceived as a unique or semi-unique object rather than a conventional editioned portfolio. Sheets 24.25” x 35”. Framed 90” x 55”. 150,000/200,000

Provenance:

Bernd Klüser, Munich.

Acquired from the above by Hirschl & Adler Galleries, New York, with original gallery label affixed verso. Private Collection.

Exhibited:

This exact work was exhibited at Hirschl & Adler Galleries, New York, 1988, No. 51, described in the exhibition catalogue as: “Minneapolis Fragments; six lithographs under one frame mounted on board, pencil markings and brown paint stamp.”

France, 1836-1904

Bouquet de fleurs. Signed lower right “Fantin-Latour”. Oil on canvas, 12.5” x 10.5”. Framed 17.5” x 15.5”. 50,000/100,000

Provenance: Hirschl & Adler, New York. Private Collection, Westport, Connecticut.

9017. HENRI FANTIN-LATOUR

9017

9018. WOLF KAHN

New York/Vermont/Germany, 1927-2020

Orange trees. Signed lower right “W. Kahn”. Pastel on paper, 21” x 28.5” sight. Framed 28” x 35”. 10,000/15,000

9019. WOLF KAHN

New York/Vermont/Germany, 1927-2020

Sunset with green trees. Signed lower right “W. Kahn”. Pastel on paper, 21” x 28.5” sight. Framed 27” x 35”. 10,000/15,000

9020. WOLF KAHN

New York/Vermont/Germany, 1927-2020

Yellow trees. Signed lower right “W. Kahn”. Pastel on paper, 21” x 28.5” sight. Framed 28” x 35”. 10,000/15,000

9018 9019

By age 15 Salvatore Pinto already had his work acquired by the Art Institute of Chicago. In his mid-twenties he had completed his training at the Pennsylvania Museum School of Industrial Art and the Pennsylvania Academy of the Fine Arts and began exhibiting in Philadelphia, New York, Chicago and Los Angeles. By 1933, his work was being shown in Paris. Pinto’s scenes of architecture, beachgoers, performers and harem figures, amongst others, show how easily he vacillated between subject, medium and emotional response.

9021. SALVATORE PINTO

Pennsylvania/Italy, 1905-1966 Beach scene with a striped umbrella. Signed and dated lower center “Salvatore Pinto ‘33”. Inscribed “Ex. Phila Art Club” on stretcher bar. Oil on canvas, 25” x 30”. Framed 32.75” x 38”. 12,000/18,000

9021

9022. SAMUEL EDMUND OPPENHEIM

New York/Florida, 1901-1992

Woman with red hair wearing a blue skirt. Signed upper right “Oppenheim”. Oil on canvas, 12” x 16”. Framed 18.5” x 22.75”. 1,000/1,500

9023. FRANCIS LUIS MORA

Uruguay/Massachusetts, 1874-1940

A superb one-of-a-kind collection of drawn and colored cut-outs, including many marionettes. Done by the ten-year-old Mora over the years he resided with his parents in Uruguay, showcasing the spectacular talent of this young man who would become a successful painter and illustrator in the United States. Collection comprised of all things that would fascinate a young man, including the circus, the Wild West, royalty, horse racing and various soldiers and animals from around the world. Currently housed in a photo album but could be delightfully displayed in its various genres in a number of shallow dioramas. A most charming addition to any collection. Mixed medias on paper, heights from 1” to 6”. Widths from .75” to 11”. 5,000/8,000

9024. CHARLES J. ROSEN

Pennsylvania/New York, 1878-1950

Snowy landscape. Signed lower left “Charles Rosen”. Oil on canvas, 25” x 20”. Framed 31” x 26”. 3,000/5,000

9025. ELIZABETH VAUGHAN OKIE PAXTON

Massachusetts, 1877-1971

Still life of a colorful bouquet. Unsigned. Inscribed in pencil verso “Elizabeth Paxton 19 Montrose Road Newton Centre”. Oil on board, 14” x 12”. Framed 15.5” x 14”. 2,000/3,000

9026. PETER BELA MAYER

New York/Hungary, 1887-1993

A view of Eastport, Maine. Signed lower right “Bela Mayer”. Oil on canvas, 36” x 40”. Framed 45” x 48.75”. 6,000/8,000

Norway / New York, 1880-1940

9027. Sailboats in a Norwegian cove.

Signed lower left “Jonas Lie”. Oil on canvas, 35.5” x 42.5”. Framed 39.5” x 46.5”. 15,000/20,000

9028. Winterscape.

Signed lower left “Jonas Lie”. Oil on canvas, 37.5” x 31.5”. Framed 46” x 40”. 8,000/12,000

Provenance: An Arizona Estate. Shannon’s Fine Art Auctioneers, Milford, Connecticut, April 26, 2018, Lot #13.

9027

9028

New York/Connecticut/France/Canada, 1873-1939

Landscape with distant mountains. Signed lower left “E. Lawson”. Oil on canvas, 36” x 46”. Framed 44” x 54”. 8,000/12,000

New York/California, 1877-1949

Figures on a beach by a grand hotel. Signed lower left “Walt Kuhn”. Oil on board. 10,000/15,000

9029. ERNEST LAWSON

9030. WALTER FRANCIS KUHN

9030

9029

9031. LEON KROLL

New York/New Mexico/Europe, 1884-1974

Seated nude. Signed lower left “Leon Kroll”. Oil on canvas, 36” x 27.75”. Framed 42” x 33”. 4,000/6,000

9032. MANNER OF ROBERT HENRI

America, Late 19th Century

Portrait of a mother and child. Unsigned. Label verso for David David Gallery, Philadelphia. Oil on canvas, 36” x 24”. Framed 44” x 32”. 10,000/15,000

Notes:

This painting has been submitted but not accepted at this time as the work of Henri.

9033. ABBOTT FULLER GRAVES

Massachusetts/Maine, 1859-1936

Cottage in late fall. Signed lower left “Abbott F. Graves”. Oil on canvas, 12” x 16”. Framed 17” x 21”. 1,500/2,500

9034. JOHN JOSEPH ENNEKING

Ohio/New York/Massachusetts/Maine, 1841-1916

Forest stream. Signed lower right “Enneking”. Oil on canvas, 24” x 30.5”. Framed 31.5” x 37.5”. 4,000/6,000

9035. FRANK COBURN

Illinois/California, 1862-1938

Lady wearing a pink dress and holding a parasol in a flower garden. Signed lower right “Frank Coburn”. Oil on canvas, 30” x 25”. Framed 37.5” x 32.5”. 3,000/5,000

9036. ATTRIBUTED TO CHARLES HUBBARD

Massachusetts, 1801-1876

“Winnisimmet by the Ferry Landing”. Unsigned. Titled on frame plaque. Labeled verso “Charles River -painted about 1840 - by Charles Hubbard, who was one of the founders of Winnisimmet Ferry (about 1835) - & also was one of the first Board of New England Mutual Life In. Co.”. 700/1,000

Provenance: Skinner, Inc., Boston, June 8, 2008, Lot #227.

Winnisimmet is a historical name for the area now known as Chelsea, Massachusetts. Meaning “good spring nearby” in the Massachusett language, it is also the name for the oldest ferry in America that connected Chelsea to Boston, in operation from 1631 to 1917, as well as a U.S. Coast Guard tugboat and a modern residential community.

9037. CHARLES HERBERT WOODBURY

Maine/Massachusetts, 1864-1940

Rocky coastal scene. Signed lower right “Charles W. Woodbury”. Oil on board, 10” x 14”. Framed 14” x 18”. 3,000/5,000

9038. ANTHONY THIEME

Massachusetts/California, 1888-1954

Boats in a harbor. Signed lower right “A. Thieme”. Oil on canvas, 25” x 30”. Unframed. 4,000/6,000

9039. HOBART NICHOLS, JR.

New York/Washington, D.C., 1869-1962

Central Park bridge in winter. Signed lower right “Hobart Nichols”. Oil on canvas, 23” x 36”. Unframed. 2,500/4,000

9040. EUGENE HIGGINS

New York/Connecticut/Kansas/Missouri, 1874-1958 “Summertime”. Signed lower left “Eugene Higgins”. Oil on canvas, 17.5” x 21”. Framed 27” x 30”. 500/800

9041. ALDRO T. HIBBARD

Massachusetts, 1886-1892

A mountain pool. Signed and dated lower left “A.T. Hibba[...] 1909”. Oil on canvas, 20” x 16”. Framed 28” x 23.5”. 1,000/2,000

In 1909 Aldro T. Hibbard would have just started training at the School of Fine Arts after three years at the Massachusetts Normal Art School.

9038

9042. LOUIS AGASSIZ FUERTES

New York, 1874-1927

Study of a red-breasted merganser. Signed lower right “L.A. Fuertes”. Watercolor on paper, 7” x 9”. Unframed. 2,500/3,500

9043. ERNEST MARTIN HENNINGS

Illinois/New Mexico, 1886-1956

Clouds over the plains. Signed lower right “E.M. Hennings”. Oil on canvas, 10” x 14”.

Framed 15.5” x 19.5”. 4,000/6,000

9044. LEONARD HOWARD REEDY

Illinois, 1899-1956

Cowboy on horseback. Signed lower left “Howard H. Reedy”. Watercolor on paper, 7.5” x 10.5” sight. Framed 15” x 17”. 1,500/2,000

9045. ERIC SLOANE

New York/Connecticut, 1905/10-1985

“Strange sugar cane Mills of the Early 1800’s from original plans”. Signed lower right “Eric Sloane”.

Pen and ink on paper, 18” x 12” sight.

Framed 29” x 23”. 1,200/1,800

9043

9046. WALTER LOFTHOUSE DEAN

Massachusetts, 1854-1912

Steam/sail ship. Signed lower right “Walter L. Dean”. Oil on canvas, 20” x 24”. Framed 26.5” x 30.5”. 2,000/3,000

9047. OTIS PIERCE COOK, JR.

Massachusetts, 1900-1980

Gloucester Harbor wharves. Signed lower right

“Otis Cook”. Oil on canvas, 18” x 20”. Framed 22.5” x 24.5”. 2,000/3,000

9048. THOMAS (T. W.) WILLIS

New York/Denmark, 1850-1925

Sailboat off a distant lighthouse. Unsigned. Oil on canvas with applied silk threadwork, 14” x 19”.

Framed 18” x 22”.

1,500/2,500

9046

9047

9048

Vermont / New York, 1905-1983

9049. OGDEN MINTON PLEISSNER Vermont/New York, 1905-1983

“Ebb Tide, Audierne”. Signed lower left “Ogden Pleissner”. Titled verso. Watercolor and opaque watercolor on paper, 18” x 17” sight. Framed 28” x 26.5”. 7,000/10,000

Provenance: The Milch Galleries, New York.

9050. CLEMENT DREW

Massachusetts, 1806-1889

“Great Head Mount Desert”. Signed, titled and dated on label verso “Great Head Mount Desert by C. Drew 1886”. Oil on beveled panel, 9” x 5”. Framed 11” x 7”.

9051. CHINESE SCHOOL

19th Century

1,000/1,500

Whampoa Harbor. Unsigned. Oil on canvas, 24.75” x 35”. Framed 28” x 38”. 10,000/15,000

9052. CHARMING “QUINCY SCHOOL” MARITIME MONTAGE

Massachusetts, 19th Century

Depicts an American eagle with a flag and an “R.B. Lincoln Jr.” banner; a two-masted U.S. revenue cutter with gunports, an American flag off the stern and a long red “R B Lincoln Jr.” streamer off the masthead; and “Quincy School” surrounded by an elegant border and flanked by anchors. Dated 1859 in border. Probably painted by R.B. Lincoln, Jr., as noted in the banner and pennant. Watercolor and ink, 16” x 12.5” sight. Framed 18” x 15.25”. 700/1,200

Provenance:

The Collection of Billy Pearson. Before entering the world of antiques, Pearson had achieved worldwide recognition as a horse racing jockey. Skinner, Inc., Bolton, Massachusetts, Marine Paintings & Maritime Art, American Furniture & Decorative Arts, October 24-25, 1998, Lot #81.

The Josiah Quincy School opened in 1847, a model public school conceived by renowned educator Horace Mann. In the innovative building, designed by architect Gridley J.F. Bryant, teachers had their own classrooms and students were separated by grade, progressive ideas for the time. In the late 19th Century it also offered evening classes for immigrants. It closed in 1976 and the building now functions as a community center for Boston’s Chinatown neighborhood.

9053. PORTRAIT OF A SEA CAPTAIN 19th Century

A well-dressed man seated at a table and holding a spyglass. Unsigned. Watercolor on paper, 7.5” x 5.75”. Framed 9.5” x 8”.

1,000/2,000

9051

9054. AUGUSTIN-AMANT-CONSTANT-FIDÈLE EDOUART

France/America, 1789-1861

Gentleman standing in a classical landscape. Signed and dated lower left “Aug Edouart Fecit 1836”. Inscribed verso “Bought at sale of Latta Collection at Freeman’s through courtesy of Mrs. Hampton L. Carson March 1916”. Silhouette with watercolor background, 10.5” x 7” sight. Framed 13.5” x 10”. 400/600

9058. WILLIAM HENRY BROWN

South Carolina, 1808-1883

“Mr. Wm. H Prescott Boston, 1834”. Signed lower left “W.H. Brown”. Titled lower right. Possibly depicts William Hickling Prescott (1796-1859), one of the leading historians of his time. He had an eidetic memory and although he suffered from an illness that sometimes prevented him from reading or writing, he authored several works. Silhouette with watercolor background, 8.5” x 5” sight. Framed 10.75” x 7.5”. 1,000/1,500

9055. AUGUSTIN-AMANT-CONSTANT-FIDÈLE EDOUART

France/America, 1789-1861

Portrait of a gentleman in a library. Signed and dated below the sitter’s leg “Aug Edouart Fecit Saratoga 1840”. Silhouette with watercolor background, 10.5” x 6.5” sight. Framed 14” x 10”. 400/700

9056. AUGUSTIN-AMANT-CONSTANT-FIDÈLE EDOUART

France/America, 1789-1861

A man with top hat and cane, and a woman with her hand outstretched, both standing in a landscape. Both signed lower left “Aug Edouart Fecit”. Gentleman portrait also dated 1832. Silhouettes with watercolor backgrounds, 10.5” x 6.75” sight. Framed 13.75” x 10.25”. 500/1,000

9057. WILLIAM HENRY BROWN

South Carolina, 1808-1883

Portrait of statesman John C. Calhoun. Signed and dated lower right “W.H. Brown 1839”. Titled lower left “Rep J.C. Calhoun Washington D.C.”. Calhoun (1782-1850) served as a congressman and senator from South Carolina, U.S. Secretary of War, U.S. Secretary of State, and the seventh Vice President under John Quincy Adams. Silhouette with watercolor background, 8.5” x 5” sight. Framed 10.75” x 7.5”. 2,000/3,000

Provenance: Elizabeth L. Maurier Collection of Profiles.

Provenance: Elizabeth L. Maurier Collection of Profiles.

9059. PORTRAIT MINIATURE OF GEORGE WASHINGTON

Signed lower left “Hone”. Possibly the work of the French artist Nathaniel The Elder. Watercolor, 3.25” x 2.5” sight. Framed 5” x 4”. 1,500/2,500

9060. WILLIAM JAMES HUBBARD

England/Virginia, 1807-1862

“J. Osborn 1895 Boston Mass.”. Titled verso. Labeled verso “Cut by Scissors by Master Hubbard”. Silhouette with watercolor background, 7.5” x 6”. Framed 9.5” x 8”. 500/1,000

9061. GILMAN FAMILY MOURNING RING

18th Century

Miniature mourning painting on ivory behind glass in a 14kt gold setting. Painting depicts a figure resting against an urn-topped monument with a script monogram on base. Etched “Nicholas & Ann Gilman March & April 1783”. Length 1”. 1,500/2,500

Colonel Nicholas Gilman was in command of the Fourth New Hampshire Regiment during the Revolutionary War. Prior to the war, he had been a shipbuilder and merchant. He had eight children with Ann Gilman, and the couple died within three weeks of each other in the spring of 1783.

9062. WARREN W. SHEPPARD

New Jersey, 1858-1937

Seascape. Signed lower left “Warren W. Sheppard”. Oil on canvas, 12” x 16”. Framed 18” x 22”.

2,000/3,000

9063. JOHN FREDERICK KENSETT

New York/Connecticut, 1816-1872

“Near Gloucester, Mass”. Signed and dated lower right “J.F.K. 70”. Titled on gallery label verso. Oil on panel, 7” x 10”. Framed 15” x 18”. 10,000/15,000

Provenance: The Cooley Gallery, Lyme, Connecticut. Private Collection, Connecticut.

9063

9064. MANNER OF FITZ H. LANE

America, 19th Century Old Fort and Ten Pound Island, Gloucester, Massachusetts. Initialed and dated 1835 lower right. Oil on canvas, 13” x 18”. Framed 20” x 24”. 2,000/3,000

9065. WILLIAM FORMBY HALSALL

Massachusetts, 1841-1919

Sailboats in a harbor at dusk. Signed lower right “W. Halsall”. Oil on canvas laid down on panel, 15” x 24”. Framed 22.5” x 31.5”. 5,000/7,000

9066. WILLIAM FORMBY HALSALL

Massachusetts, 1841-1919

Navigating the ice off Fort Warren, Georges Island, Boston Harbor, 1879. Signed and dated lower left “W. Halsall ‘79”. Labeled verso “Hastings and Davenport, 8 Hamilton Place, Boston”. Oil on canvas, 12” x 20”. Framed 22.5” x 30.5”. 6,000/9,000

9064

9065

9066

Massachusetts, 1839-1904

Twin lights, likely Thacher Island, Rockport, Massachusetts. Signed lower left “C.H. Gifford”. Oil on canvas, 5” x 15.5”. Framed 11.75” x 22.25”. 5,000/10,000

Provenance: A Nantucket, Massachusetts Estate.

9067. CHARLES HENRY GIFFORD

9067

9068. AMERICAN SCHOOL

19th Century

Folk art yacht racing scene between the black-hulled Gem and the white-hulled Mary. Oil on canvas, 18” x 30”. Framed 24” x 36”. 800/1,200

9069. AMERICAN SCHOOL

Late 19th/Early 20th Century

Gentleman building a pond model in a boathouse. Unsigned but a sign in the composition is lettered “W.H. Delaney”. Housed in a signed Paul Carter Goodnow frame with Aaron Draper Shattuck stretcher keys. Oil on canvas, 21” x 28”. Framed 29” x 36”. 1,500/2,500

9068

9069

9070.

New York, 1840-1904

Trompe l’oeil of a creased ten dollar bill. Artist identified verso. Oil on academy board, 8.75” x 11.5” sight. Framed 13” x 16”. 4,000/6,000

Massachusetts, 1852-1910

Bulldog. Signed lower left “S. Brackett”. Oil on canvas, 13” x 16”. Framed 24.5” x 27.5”. 1,000/1,500

9072.

California/France, 1855-1911

Still life of roses. Signed and dated lower right “Paul De Longpre 1892”. Oil on canvas, 17” x 27”. Framed 24” x 34”. 2,000/3,000

NICHOLAS ALDEN BROOKS

9071. SIDNEY LAWRENCE BRACKETT

PAUL DE LONGPRE

9070

9071

9072

9073.

New Hampshire/Massachusetts, 1824-1896

Expansive landscape with mountains and valley. Signed lower left “C.B. Russ”. Oil on canvas, 14” x 24”. Framed 22” x 31”. 3,000/5,000

9074.

Massachusetts, 1815-1907

View of Eastern Point Lighthouse from Stage Fort, Gloucester, Massachusetts. Signed on barrel lower center “J.W.A. Scott”. Oil on canvas, 30” x 50”. Framed 35.5” x 55.5”. 3,000/5,000

Provenance: Private Collection, Florida.

Massachusetts, 1815-1907

Farm in the mountains, likely New Hampshire. Signed lower right “J.W.A. Scott”. Oil on canvas, 12” x 20”. Framed 18” x 26”. 2,000/3,000

CHARLES BETTON RUSS

JOHN WHITE ALLEN SCOTT

9075. JOHN WHITE ALLEN SCOTT

9073

9074

9075

Connecticut / New Hampshire, 1832-1928

of Maine

Signed and dated lower right “A.D. Shattcuck 1860”. Oil on canvas, 20” x 34”. Framed 30.5” x 44”. 20,000/30,000

Provenance: Katherine M. Sanford, Newport, Rhode Island.

9076. Coast

9076

9077. AFTER WILLIAM ALLEN WALL America, 19th Century Leonard Oil Works, New Bedford. Unsigned. Oil on academy board, 10.75” x 17”. Framed 15” x 21.5”. 800/1,200

9078. WILLIAM LOUIS SONNTAG, SR. Ohio/New York, 1822-1900

Fisherman on a mountain river. Signed lower right “W.L. Sonntag”. Oil on canvas, 19” x 29”. Framed 26” x 36”. 4,000/6,000

9079. WORTHINGTON WHITTREDGE New Jersey/New York/Ohio, 1820-1910

“A Brook in the Mountains”. Signed lower right “W. Whittredge”. Inscribed verso “A Brook in the Mountains by W. Whittredge N.A.”. Oil on canvas, 17” x 13”. Framed 21.5” x 17”.

5,000/7,000

9078

9079

New York, 1826-1885

Landscape with haystacks and distant river. Monogrammed and dated lower right “JW 71”. Oil on canvas, 18” x 26”. Framed 25” x 33”. 8,000/12,000

New York/Ohio, 1836-1892

“Caister near Yarmouth”. Signed lower right “A.H. Wyant”. Titled verso. Oil on panel, 17” x 23.5”. Framed 28” x 34”. 2,000/3,000

9080

9081

9080. JOHN WILLIAMSON

9081. ALEXANDER HELWIG WYANT

9082. AMERICAN SCHOOL

19th Century

Landscape with figures and a horse and wagon. Unsigned. Noted in pencil verso “Bought at auction by B.S. Talbot Bangor, Maine”. Oil on panel, 11.75” x 14”. Framed 18” x 19.5”. 800/1,200

9083. FRANCIS HENRY RICHARDSON

Massachusetts, 1859-1934

“Apple Blossoms”. Signed faintly lower left. Titled on Salmagundi Club exhibition label verso. Oil on board, 8” x 10”. Framed 13” x 15”. 1,000/1,500

9084. THOMAS ADDISON RICHARDS

New York/Georgia, 1820-1900

Expansive landscape with haystacks in a meadow. Signed lower right “Richards”. Oil on canvas laid down on board, 27” x 47”. Framed 43” x 63”. 8,000/12,000

9085. SAMUEL COLMAN

New York/California/Maine, 1832-1920

Harbor sunset, circa 1865. Signed lower left “Sam Colman”. Oil on canvas, 15” x 24”. Framed 28.25” x 37”. 8,000/10,000

Provenance: Private Collection, Connecticut.

9084

9086. GEORGE FREDERICK BENSELL Pennsylvania, 1837-1879

Autumnal mountain landscape. Signed lower left “G. Bensell”. Oil on canvas, 12” x 18”. Framed 20.5” x 26.6”. 1,000/1,500

9087. GEORGE LAFAYETTE CLOUGH New York, 1824-1901

Riverscape. Signed lower right “G.L. Clough”. Oil on canvas, 12” x 18”. Framed 21” x 27”. 2,500/3,500

9088. AMERICAN SCHOOL 19th Century

The Connecticut State Capitol and Memorial Arch, Hartford. Unsigned. Oil on board, 12” x 18”. Framed 16.5” x 22.5”. 500/1,000

Provenance:

The Estate of Paul and Diane Madden, Sandwich, Massachusetts.

9089. AMERICAN SCHOOL 19th Century

Mountain lake. Unsigned. New York canvas preparer’s stencil verso. Oil on canvas, 10” x 12”. Framed 14” x 16”. 1,500/2,500

Provenance:

Northeast Auctions, Portsmouth, New Hampshire, 1998 as “View of the White Mountains from Lake Winnipesaukee”. Private Collection, Connecticut.

9085

JOHN ROSS KEY

Maryland / Washington, D.C., 1837-1920

Signed and dated lower right “John R. Key 1871”. Oil on canvas laid down on board, 20” x 37”. Framed 24.5” x 42.5”. 10,000/15,000

Provenance:

The consignor’s family are direct relatives of the artist. This is the first time the painting has ever been offered on the market.

9090. Seascape, likely California

9090

John Ross Key, known for his grand views of the American landscape, lived and worked in California from 1870 to 1873, maintaining a studio in San Francisco.

As a child Key lived in Washington, D.C. with his famous grandfather, Francis Scott Key, author of “The Star Spangled Banner”. He showed an early proficiency in drawing, which led to a job in the early 1850s as a draftsman and map maker for the U.S. Coast Survey, and at the end of the decade as a cartographer for the Lander Expedition in Nevada and Wyoming.

In 1863, Key was commissioned as second lieutenant in the Confederate Corps of Engineers at Charleston, where he made maps of the strategic harbor and painted scenes of the siege of Fort Sumter.

After his stint in California he studied in Europe, then in major cities on the East Coast and in the Midwest, with an notable stop in Boston.

9091. RARE COLONIAL OVERMANTEL PAINTING

Massachusetts, 18th Century

Painted on a wooden door, purportedly from a historic farmhouse in Medford, Massachusetts. Depicts musicians and dancers on a riverbank, with boats, horseback riders and a large home on a hill in the distance. Oil on board, 18” x 62”. Unframed. 5,000/10,000

Provenance: A Brookline, Massachusetts estate.

9091

9092. ATTRIBUTED TO DANIEL JOHNSON KELLOGG

America, 19th Century

Portrait of a woman holding a book. Unsigned. Handwritten note verso identifies the sitter as a member of the Christian family of New York and the artist as Kellogg. Oil on canvas, 29” x 26”. Framed 33.5” x 29”. 1,200/1,800

Provenance:

Collection of the late Audree and Bryce Chase, Port Royal, South Carolina. Amelia Jeffers Auction.

9093. WILLIAM W. KENNEDY

Maryland/Massachusetts/New Hampshire, 1817-1871

Pair of portraits, likely a husband and his wife. Unsigned. Oils on canvas, 24” x 20”. Framed 31” x 27”. 5,000/7,000

Provenance:

Offered at Garth’s, September 2, 2006, as the work of William Prior. The catalog entry provides provenance to Peter Tillou and Lawrence King, sold at Raeburn Stanley’s and Lawrence King’s auction where they were noted as being “from a very well known Connecticut Collection”.

We are grateful to the work of folk art specialist Emily Esser, who identified these portraits as the work of William Kennedy.

9093, pair

9094. BENJAMIN GREENLEAF

Massachusetts, 1789-1821

Portrait of Abigail Stetson Sprague. Unsigned. Sitter identified verso. 2,000/3,000

Provenance:

Cowan’s Auctions, Cincinnati, Property from the Collection of Dr. James and Betty Sutherland of Cincinnati, December 10-11, 2016, Lot #1399. The Lifetime Collection of Mike & Marti Korba, Russiaville, Indiana.

Ameilia Jeffers Auction, sold as a William Prior.

Online genealogy reports Abigail Stetson Sprague was born April 2, 1788 in Plymouth, Massachusetts and died in 1862 in Kings, New York. She was the wife of Captain Oakman Sprague (1776-1816) of Mansfield, Massachusetts until his death in 1816. She remarried to Hon. Josiah Willis Seaver (1777-1847) of Vermont and New York. She is interred next to Seaver in the Mount Hope Cemetery Rochester, New York.

9095. AMERICAN

SCHOOL

19th Century

Portrait of a young girl wearing a red dress and holding a rose. Unsigned. Oil on canvas, 27” x 22”. Framed 33” x 28”. 1,500/2,500

9095 9094

9096. ZEDEKIAH BELKNAP

Massachusetts/Connecticut/New Hampshire, 1781-1858

Part of portraits, likely a husband and his wife, circa 1815. Unsigned. Housed in their original hand-painted frames. Oils on panel and canvas, 24.5” x 19.25”. Framed 28” x 24.25”. 15,000/25,000

Provenance:

A minister in Marlow, New Hampshire, who sold them on behalf of his parishoners.

Rockwell Gardiner, Stamford, Connecticut, 1975.

The Bertram K. Little & Nina Fletcher Little Collection, Sotheby’s, New York: Sale 6526, January 29, 1994, Lot #354. James and Ann Lowder, Columbus, Ohio.

Marguerite Riordan Antique Furnishings & Works of Art, Stonington, Connecticut, 2001.

The Collection of Arun and Barbara Singh.

Exhibited:

The Addy Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia: “Zedekiah Belknap 1781-1858: Itinerant New England Portrait Painter”, 1977.

Reference: “Zedekiah Belknap 1781-1858: Itinerant New England Portrait Painter” by Elizabeth Mankin in The Magazine Antiques, November 1976, p. 1056-70, fig. 11-2.

Illustrated in Little by Little: Six Decades of Collecting American Decorative Arts by Nina Fletcher Little (N.Y.: E.P. Dutton, Inc., 1984), p. 116, fig. 152-3.

9096, pair

9097.

Connecticut/New York, 1805-1900

Pair of portraits depicting a lady and a gentleman. Unsigned. Housed in their original turned and painted wooden frames. Oils on canvas, 30” x 24”. Framed 37” x 30”. 8,000/12,000

Provenance:

Purportedly purchased at Christie’s in the 1960s, per Skinner, Inc. catalog notes.

Skinner, Inc., Massachusetts: American Furniture & Decorative Arts, August 12, 2012, Lot #1044.

The Collection of Arun and Barbara Singh.

ATTRIBUTED TO ERASTUS SALISBURY FIELD

9097, pair

9098. AFTER WINSLOW HOMER

Massachusetts/Maine/England, 1836-1910 “Mending the Tears”, 1888. Signed in pencil lower left. Anchor remarqué lower left. A beautiful impression with all of the subtle details printing clearly. Goodrich 97. Etching on imitation Japan paper, 17.5” x 23”. Framed 26.25” x 31.75”. 12,000/18,000

Reference:

A watercolor and gouache painting of this subject, “Mending the Nets”, 1882, is in the collection of the National Gallery of Art, Washington, D.C.

Born in Boston to a long line of New Englanders and growing up in rural Massachusetts, Winslow Homer remains one of the most significant figures in the history of American art. Homer began a lithography apprenticeship at age 19 and at age 23 he moved to New York, where he took classes at the National Academy of Design. During the Civil War, Harper’s Weekly assigned him as their artist-correspondent on the front. He created some of his first oil paintings during this time, and, receiving high accolades, he gradually transitioned from an illustrator to a fine artist.

Homer began painting country scenes with a particular focus on the role of women in rural life. His honest yet poetic depiction of farm living was singular in America at the time. His paintings and watercolors were lauded by both critics and the public, particularly during the latter part of his career, when he turned his focus to marine scenes. He delved into this subject (which would come to define him) after spending two years living near a fishing port in England. He exhibited many of the watercolors that he created in England on his return to the United States, and his popularity grew immensely. From 1883 onward, Homer resided in scenic Prout’s Neck, Maine, where he led a reclusive way of life and continued to depict the sea and our relationship with it.

Despite being best known for his paintings and watercolors, Homer was deeply indebted to his beginnings as a draftsman, which profoundly informed his works. Homer’s printmaking had its roots in the strictly commercial, initially as a lithographic draftsman and then as a freelance wood engraving illustration artist. He began creating “fine prints” in the form of copper plate etchings in the 1880s, when the medium was gaining popularity in America due to James A.M. Whistler and the 1860s “Etching Revival” in France. Unlike Whistler, Homer’s technique was line-based (an influence from his illustration background) and he did not rely on inking and selective wiping to achieve tonal quality. Homer etched eight plates between 1884 and 1889 and all were based on his popular marine paintings. He abandoned etching around 1889, partly due to its lack of profitability. 9098

9099. SUSAN MILLER CHASE

Massachusetts, 1868-1948

Mother and daughter at the beach. Signed lower left “Susan Miller Chase”. Oil on board, 10” x 8”. Framed 17” x 15”. 1,500/2,500

9100. RUSSELL CHENEY

Maine/California/Connecticut/Maryland, 1881-1945

Still life of potted flowers, a towel and a bucket. Signed lower right “Russell Cheney”. Oil on masonite, 24” x 30”. Framed 25” x 31”. 2,000/3,000

9101. LYNDA SUSAN HENNIGAN SAILOR’S VALENTINE

Connecticut, 1951-2025

Composed of multicolored shells in a symmetrical pattern around a rectangular medallion depicting a ship and flowers. Housed in an octagonal wooden frame. Signed and dated verso. Frame width 16.25”. 1,200/1,800

9102. LYNDA SUSAN HENNIGAN SAILOR’S VALENTINE

Connecticut, 1951-2025

Composed of multicolored shells, with a central star design and a “Be Mine” banner. Housed in an octagonal wooden case. Signed and dated verso. Case width 10.5”. 700/900

9103. LYNDA SUSAN HENNIGAN SAILOR’S VALENTINE

Connecticut, 1951-2025

Composed of multicolored shells in geometric and floral designs surrounding an image of women on a beach. Housed in an octagonal wooden case. Signed and dated verso. Case width 12”. 1,000/1,500

9104. LYNDA SUSAN HENNIGAN SAILOR’S VALENTINE

Connecticut, 1951-2025

Composed of multicolored shells in geometric designs. Central image of a mermaid attributed to Jilly Walsh. Housed in an octagonal wooden case. Signed and dated verso. Case width 12”. 1,000/1,500

New York, 1866/68-1950

“Purl-One-Drop Two”. Signed lower left “Harry Roseland”. Oil on board, 11” x 9”. Framed 15.5” x 13.5”. 5,000/8,000

New York/Missouri, 1864-1923

“Central Park in Winter”. Signed lower left “Paul Cornoyer”. Titled verso. Oil on board, 12” x 16”. Framed 18.5” x 22.5”.

New York, 1879-1956

Open ocean. Signed and dated lower right “Gifford

Oil on board, 16” x 20”. Framed 24” x 28”. 4,000/6,000

9105. HARRY HERMAN ROSELAND

9106. PAUL CORNOYER

3,000/5,000

9107. GIFFORD BEAL

Beal 22”.

9105

9106

9107

9108. ARMAND LAMONTAGNE

Rhode Island, 1939-2025

“Seaman”. Carved wooden bust of a man smoking a cigar. Mounted on a wood box. Signed, titled and dated “Seaman Armand LaMontagne 1977 N. Scituate, RI”. Height 25”. Width 17”. Depth 11.5”. 2,000/3,000

9109. ARMAND LAMONTAGNE

Rhode Island, 1939-2025

“Fat is a Ball”. Carved wooden figure of a man holding a 180-proof jug. Mounted on a wood box. Signed and dated “Armand LaMontagne N. Scituate R.I. 1976”. Height 69”. Width 28”. Depth 18”. 4,000/7,000

9110. SANDY MORAN

Massachusetts, 1944-2020

Sailor’s valentine, housed in a 19th Century Georgian dome-top tea caddy. Height 4.75”. Width 7”. Depth 4.25”. 2,000/3,000

9111. SANDY MORAN

Massachusetts, 1944-2020

“Half Moon”, an elaborate large-scale sailor’s valentine composed of multicolored shells surrounding a medallion depicting a ship. Housed in an octagonal hardwood case that fits atop a custom-made table included with the lot. Painting signed lower right “DM”. Valentine signed and titled verso. Case width 29.5”. Table height 15.5”.

7,000/10,000

9112. SANDY MORAN

Massachusetts, 1944-2020

“Bird’s Eye View”, a sailor’s valentine composed of multicolored shells surrounding a medallion depicting a heron in a marsh. Housed in an octagonal tiger maple case. Signed and titled verso. Case width 12”. 2,000/3,000

9113. MARIELUISE HUTCHINSON

Massachusetts, 1947House in the snow at dusk. Signed lower left “Marieluise”. Oil on board, 10” x 12”. Framed 14” x 18”. 1,500/2,500

Massachusetts, 1950-2020

9115. “A Successful Man is One that Earns More Money Than His Wife Can Spend” Signed lower right “Elizabeth Mumford”. Oil on board, 15” x 15”. Framed 17.5” x 17.5”. 5,000/10,000

9114. “The Lions Shall Lie Down with the Lamb, and a Little Child Shall Lead Them”

Signed and dated lower right “Elizabeth Mumford 1986”. Oil on masonite, 20” x 24”. Framed 20.5” x 25”. 5,000/7,000

9116. Fire screen with painted decoration “Never Speak Loudly to One Another Unless the House is on Fire”. Signed and dated lower left “Elizabeth Mumford 1992”. 33.5” x 37”. On stand. 2,500/3,000

9114

9115

9117. “Wine Improves with Age. The Older I Get, the More I Like It”.

Signed lower right “Elizabeth Mumford”. Oil on masonite, 20” x 28”. Framed 23.5” x 31.5”. 8,000/12,000

Exhibited:

The Cahoon Musuem of American Art, Cotuit, Massachusetts: “The Art of Elizabeth B. Mumford”, May 3-June 25, 2007.

9118. “Cape Playhouse 1907-2001 We Open in Dennis and Dance in the Sand With the Stars”. Signed and dated lower right “Elizabeth Mumford 2001”. Oil on masonite, 28” x 40”. Framed 31” x 43”. 10,000/15,000

9119. Cast iron and tin Waltham advertising clock with painted decoration on both sides: “Time Began in the Garden” and “There is Always Time for Golf”. Both sides signed lower right “Elizabeth Mumford”. Height 35”. Width 24”. 5,000/10,000

9117

9118

9119, obverse

9120. MELINDA KIRKPATRICK

Massachusetts, Contemporary Sailors riding in a whale-shaped hot air ballon. American flag bunting upper margin. Signed verso “Melinda”. Acrylic on board, 24” x 36”. Framed 29” x 41”. 1,200/1,800

9121. MELINDA KIRKPATRICK

Massachusetts, Contemporary Folk art scene of sailboats and whales as seen from the shore. Signed verso “Melinda”. Acrylic on board, 24” x 36”. Framed 28” x 39”. 1,000/2,000

9122. JANET MUNRO

Massachusetts/Florida, 1949The Island Home. Signed and dated lower right “JL Munro 2004”. Oil on masonite, 24” x 36”. Framed 26.75” x 38.75”. 3,000/5,000

Exhibited:

Cahoon Museum of American Art, Cotuit, Massachusetts: “By the Sea: Folk Art Paintings of Janet Munro”, November 16-December 31, 2004.

9123. ROSEBEE

Massachusetts, 1932-2016

“Passing the Lights”. Signed lower right “Rosette”. Titled on frame. Oil on board, 24” x 36”. Framed 31” x 43”. 2,000/3,000

9124. ROSEBEE

Massachusetts, 1932-2016

“A Mighty Whale Not Flighty Nor Pale Plays with Friends And the Day Never Ends”. Signed lower left “Rosebee”. Oil on board, 10” x 13” sight. Framed 18” x 17.5”. 1,200/1,800

9125. MICHAEL KEANE

Massachusetts, 1948-2015

Sunset marsh scene with catboats. Signed lower right “Keane”. Oil on canvas, 12” x 24”. Framed 15.5” x 27.5”. 5,000/7,000

Provenance: Private Collection, New York. Eldred’s, Contemporary Art Auction, August 8, 2012, Lot #66. Private Collection, Cape Cod, Massachusetts.

9126. ROBERT STARK, JR.

Massachusetts, 1933-2014

Red tugboat. Signed lower right “R. Stark”. Oil on canvas, 8” x 10”. Framed 10.5” x 12.5”. 5,000/7,000

ROBERT REMSEN VICKREY

Massachusetts / Florida / New York, 1926-2011

Signed lower left “R. Vickrey”. Egg tempera on panel, 8” x 10”. Framed 15.5” x 17.5”.

7,000/10,000

9127. “Venetian Twins”

9127

New York / Poland / Russian Federation, 1896-1974

Signed lower right “Sol Wilson”. Titled on stretcher. Oil on canvas, 20” x 24”. Framed 27” x 31”. 3,000/5,000

9129. Dock scene, likely Provincetown, Massachusetts.

Signed lower left “Sol Wilson”. Oil on board, 20” x 15”. Framed 26” x 21”. 1,500/2,500

9130. “Waterfront” (New York Harbor).

Signed lower left “Sol Wilson”. Titled on stretcher. Oil on canvas, 20” x 16”. Framed 27” x 23”.

2,000/3,000

9128

9128. “The Beach”

WILLIAM R. DAVIS

Massachusetts, 1952-

Signed

left

Signed

9131. “Shell Hunting Along the Intracoastal”

lower

“William R. Davis”. Titled verso. Oil on canvas, 20” x 34”. Framed 27.5” x 41.5”. 8,000/12,000

9131

9132. “Schooner Yacht off Three Sisters Cape Cod”

and titled verso. Oil on board, 8” x 12”. Framed 13” x 17”. 3,000/5,000

9133. “Sudden Squall off Martha’s Vineyard”

Signed lower right “William R. Davis”. Titled verso. Oil on board, 8” x 12”. Framed 13” x 17”. 3,000/5,000

9134. Brant Point Lighthouse, Nantucket, Massachusetts

Signed lower left “W. Davis”. Signed “William R. Davis A.S.M.A.” verso. Oil on board, 4.5” x 8.5”. Framed 8.5” x 13”. 1,500/2,500

Provenance: Handwritten note verso indicates it was bought on Nantucket, July 24, 1987.

9135. “Changing Light Over The Dunes...”

Signed lower left “William R. Davis”. Signed and titled verso. Oil on panel, 12” x 16”. Framed 14” x 18”. 4,000/6,000

9136. “Visit To Highland Light”, Cape Cod, Massachusetts.

Signed lower right “William R. Davis”. Signed and titled verso. Oil on panel, 10” x 12”. Framed 16.5” x 18.5”. 4,000/6,000

9137. RICHARD SPARRE

Massachusetts, 1936-2008

Mermaids and black Labrador retrievers at the Stony Brook Grist Mill herring run, Brewster, Massachusetts. Signed lower right “Richard Sparre”. Tempera on canvas, 15” x 15”. Framed 17.5” x 17.5”. 1,500/2,500

9138. JAYNE SHELLEY-PIERCE

Massachusetts, 1947-2021

“Mesmerized”. Depicts the former home of Ralph and Martha Cahoon, in Cotuit, Massachusetts, now the Cahoon Museum of American Art. Signed lower right “Jane Shelly Pierce”. Oil on canvas, 16” x 20”. Framed 22” x 26”. 1,000/2,000

9139. JAMES WALTER FOLGER

Massachusetts, 1851-1918

“Oldest fireplace in Polpis 226 years so called Bachelor’s Hall Nantucket Mass 1881”. Signed and dated lower right

“Jas. W. Folger 1881”. Signed and titled verso. Handwritten note verso indicates the man in the painting is George W. Swain, age 88. Likely depicts the fireplace at the John Swain house, which was destroyed by a lightning strike in 1902 but was considered by many as the oldest house on Nantucket. Oil on canvas, 17” x 21”. Framed 23” x 27”. 1,500/2,500

Provenance: Private Collection, Florida.

9140. Fishing shacks.

Unsigned. Artist’s label verso. Oil on board, 14” x 18”. Framed 19.5” x 23.5”. 1,200/1,800

9141. First United Methodist Church, Chatham, Massachusetts

Signed lower left “Harold C. Dunbar”. Oil on canvas, 16” x 20”. Framed 21” x 25”. 2,000/3,000 HAROLD C.

Massachusetts, 1882-1953

9142. Cape Cod dunes.

Unsigned. Artist’s label verso. Oil on board, 11” x 14”. Framed 14” x 17”. 1,000/1,500

9143. Oyster shacks

Artist’s stamp verso. Oil on board, 7” x 8.75”. Framed 15” x 16.5”. 1,000/1,500

9141

CHARLES DREW CAHOON

Massachusetts, 1861-1951

9144. Oyster shacks

Signed lower right “C.D. Cahoon”. Oil on board, 11.5” x 15”. Framed 14.5” x 18.5”. 2,000/3,000

9145. Toymaker’s shop

Possibly depicts the interior of Arthur Edwards’s shop “Shavings”, located on Old Harbor Road, Chatham, Massachusetts. Signed lower right “C.D. Cahoon”. Oil on canvas, 18” x 23”. Framed 29” x 34”. 10,000/15,000

Arthur Edwards, who sold various carved wooden objects at his store, was notably featured in the 1918 nostalgic Cape Cod novel Shavings by Joseph C. Lincoln.

9146. Looking toward Station Gay Head, the life-saving station, Martha’s Vineyard, Massachusetts. Signed lower right “C.D. Cahoon”. Retains label for Academy Boards, New York, Boston and Chicago. Oil on board, 9” x 12”. Framed 14” x 17”. 1,000/1,500

While Charles Drew Cahoon is most noted for his Cape Cod scenes, his brother Albertus was the second keeper of Station Gay Head, a historic United States Life-Saving Service (later Coast Guard) station. Albertus served as keeper from 1900 to 1911 and during that time Charles would visit him in the summers, allowing him the opportunity to paint there. Station Gay Head, located near Gay Head Light in Aquinnah, was moved to replace Coast Guard Station Menemsha in 1952.

9147. Boathouse

Signed lower right “C.D. Cahoon”. Oil on board, 10” x 14”. Framed 11.25” x 15.25”. 2,500/3,500

9145

RALPH EUGENE CAHOON, JR.

Massachusetts, 1910-1982

9148. Mermaids riding a horse on the beach drawing the attention of a young sailor. Signed lower right “R. Cahoon Pinxt”. Oil on masonite, 20” x 26”. Framed 24” x 30”. 6,000/8,000

Provenance: Private Collection, Florida.

9148

9149

9149. Sailor pushing a mermaid in a wheelbarrow along the shore Unsigned. Oil on masonite. 6,000/9,000

Still life of seashells in a basket Signed lower right “R. Cahoon Pinxt”. Oil on masonite, 19” x 24”. Framed 23” x 28”. 10,000/15,000

Provenance: Wayne Pratt Antiques, Woodbury, Connecticut. Private Collection, Cape Cod, Massachusetts.

9150

9150.

RALPH EUGENE CAHOON, JR.

Massachusetts, 1910-1982

9151. “Floating Balloon”

Signed and dated lower right “R. Cahoon 1962”. Titled on gallery label verso. Oil on masonite, 30” x 42”. Framed 26.5” x 48.5”. 20,000/30,000

Provenance: Palm Beach Art Gallery. Private Collection, Florida.

9151

RALPH EUGENE CAHOON, JR.

Massachusetts, 1910-1982

harvesting Signed lower right “R. Cahoon”. Oil on masonite, 25” x 30”. Framed 28.5” x 33.5. 15,000/25,000

Provenance: Northeast Auctions, Portsmouth, New Hampshire. Private Collection, Cape Cod, Massachusetts.

9152. Cranberry

9152

9153. Candlestand with painted decoration, the top depicting figures in a horse-drawn carriage. Unsigned. Height 27”. Top 18” x 18”. 3,000/5,000

9155. Tin canister with painted decoration of George Washington by his horse Unsigned. 800/1,200

9154. Six-board blanket chest with painted decoration on front of a captain on shore looking at two ships through a spyglass. Unsigned. Height 16.5”. Width 33”. Depth 16”. 5,000/7,000

9156. Pair of tea canisters with painted Pennsylvania Dutch-style decoration featuring a man and woman and floral designs. Signed lower right “R. Cahoon”. Heights 14”. 800/1,200

9153

9154

Massachusetts, 1905-1999

9157. Sailor and mermaid dancing in the dunes, set within a Bernard A. Woodman (Massachusetts, 1920-1986) sailor’s valentine composed of multicolored shells. Painting signed lower right “Martha Cahoon”. Valentine housed within an octagonal wooden case. Signed and dated “B.A. Woodman 85”. Oil on board, diameter 8”. Valentine case 20” x 20”. 8,000/12,000

9158. Mermaid and unicorn. Signed and dated lower right “Martha Cahoon 1986”. Mixed media on paper, 9.5” x 12” sight. Framed 11” x 13.5”. 500/1,000

9159. Unicorn and mermaid. Signed lower right “Martha Cahoon”. Oil on board, 12” x 10.5”. Framed 13.5” x 12”. 1,500/2,500

9159

Massachusetts, 1905-1999

Signed lower right “Martha Cahoon”. Gift inscription to her son, Franz Cahoon, lower left “To Franz with love, Mother”. Oil on masonite, 15.75” x 13.5”. Framed. 4,000/6,000

9160. Seashells on the shore

9160

Massachusetts, 1905-1999

9161. “Family and Homestead”.

Signed and dated lower center “Martha Cahoon Santuit 1950”. Oil on plywood, 25” x 30”. Framed 31.5” x 37”. 5,000/7,000

Exhibited:

Cahoon Museum of American Art, Cotuit, Massachusetts: “Simple Pleasures: The Art of Martha Cahoon”, May 15-July 14, 2001. Cahoon Museum of American Art: “Consider the Source: Influences on Ralph and Martha Cahoon’s Early Paintings”, August 8-October 1, 2006.

9162. Man and mermaid.

Signed and dated lower right “Martha Cahoon 1987”. Mixed media on paper, 6.5” x 7.5” sight. Framed 14” x 15”. 500/1,000

9163. Golden plover on the beach

Signed lower right “Martha Cahoon”. Oil on masonite, 10.25” x 13”. Framed 11.75” x 14.75”. 2,000/3,000

9161

9164. SIGNED COPY OF RARE BOOK PROVINCETOWN PAINTERS

By Dorothy Gees Seckler and Ronald A. Kuchta, published by the Everson Museum of Art, 1977. Signed by the authors as well as artists Edwin Dickinson, Peter Busa, Herman Maril, Taro Yamamato, Robert Motherwell, Fritz Bultman, Judith Rothschild, Lila Katzen and John Grillo. Pictorial wraps. 300/500

9165. GEORGE ELMER BROWNE Massachusetts/Connecticut, 1871-1946

“Harbor Scene”. Signed lower left “Geo. Elmer Browne”. Titled on stretcher. Housed in a highquality frame by Steve Motyka. Oil on canvas, 25.5” x 30”. Framed 33.5” x 38”. 3,000/5,000

9165

9166. ARTHUR VIDAL DIEHL

Massachusetts/New York/England, 1870-1929

Fishing dock and warehouse. Signed lower left “Arthur V. Diehl”. Oil on board, 11.5” x 19.5”. Framed 15” x 23”. 2,000/3,000

9167. DOROTHY LAKE GREGORY

Massachusetts, 1893-1970

Carousel horse. 800/1,200

9168. HENRIETTA DUNN MEARS

Massachusetts/Minnesota/Wisconsin/ California, 1877-1970

“Twin Dunes, Provincetown”. Signed lower left “H.D. Mears”. Titled verso. Oil on canvas board, 7” x 9”. Framed 8.5” x 10.5”. 800/1,200

9169. RICHARD EMIL MILLER

America/France, 1875-1943

Woman reading. Signed in margin lower right “R.E. Miller 1940”. Labeled verso “A gift from artist to Henry Hensche and Ada Rayner, est. 4000/6000”. Charcoal on paper, 22” x 16.5”. Framed 29.5” x 23.5”. 1,000/2,000

9166 9169

Massachusetts/New York, 1872-1930

Signed

9170. CHARLES WEBSTER HAWTHORNE

“Artist Sketching”.

lower left “Ch. Hawthorne”. Oil on canvas, 40” x 30”. Framed 47” x 37”. 6,000/8,000

9170

Connecticut/New York, 1904-1971

Abstract compositon. Signed and dated lower right “ATM 60”. Oil on canvas, 36” x 30”. Framed 43” x 37”. 5,000/10,000

9171. ALICE TRUMBULL MASON

BLANCHE (NETTIE BLANCHE) LAZZELL

Massachusetts / West Virginia, 1878-1956

Signed and dated “Blanche Lazzell 1931” and titled in pencil lower margin. Artist’s name, titled and dated “Morgantown, W. VA April 22, 1931” in pencil verso. Inscribed in pen in the artist’s hand verso “299 from all blocks” over “3 from this block” and with “3/299” at the corners. Several additional pencil inscriptions, including handling and matting instructions, verso. White-line color woodcut, 12.25” x 14.25” sight. Framed 17” x 18”.

50,000/70,000

Provenance:

Blanche Lazzell’s journal ledger, p. 77, shows this originally sold to Lillie Hagans for either $20 or $30. Lillie Hagans was the daughter of John Marshall Hagans, a prominent 19th Century politician, lawyer and judge from Morgantown, West Virginia. Private Collection, Morgantown, West Virginia.

9172. “Sailboat”

9172

Massachusetts / California / Iowa, 1888-1971

9173. “Net Menders”, circa 1931.

Signed lower left “Moffett”. Exhibit labels verso for National Academy Galleries, New York Audubon Artists 10th Annual exhibit; Provincetown Art Association First Show, July 1-29, 1959; and Worcester Art Museum, 1959. Oil on canvas, 24” x 36”. Framed 27” x 39”. 20,000/30,000

Provenance:

Dorothy Lake Gregory, the artist’s wife.

Thence by descent to Alan W. Moffett, the artist’s son.

Bradford Trust, Harwich, Massachusetts.

Ned Jalbert Collection, Nantucket, Massachusetts.

Exhibited:

Provincetown Art Association, Provincetown, Massachusetts: Sixteenth Annual Exhibition, July 27-September 1, 1930, #35.

Milch Galleries, New York, circa 1944.

National Academy Galleries, New York: Audubon Artists 10th Annual, January 17-February 20, 1952 (label attached).

Provincetown Art Association: First 1956 Exhibition, Forty-Second Season, July 1-July 29, 1956, #19 F, priced at $500.

Worcester Art Museum, Worcester, Massachusetts: “Ross Moffett: 1888-1971”, May 30-July 6, 1975, #24.

Provincetown Art Association, August 29-September 29, 1975.

Reference:

Figures in a Landscape:The Life and Times of the American Painter, Ross Moffett, 1888-1971 by Josephine Del Deo (Virginia Beach, Va.: Donning, Co., 1994), p. 230.

ROSS E. MOFFETT

Massachusetts / California / Iowa, 1888-1971

9174. Study for a WPA mural, Holyoke Post Office, 1935, depicting Pilgrims and Native Americans. Signed lower right “Moffett”. Oil on board, 8” x 15.5”. Framed 11” x 21”. 2,000/4,000

Provenance:

Berta Walker Gallery, Provincetown, Massachusetts. Private Collection, Massachusetts.

9175. Drying the nets

Signed lower right “Ross Moffett”. Inscribed verso “Library Promenade Deck Medium - Oil on canvas Subject - Fisherman” and “July 1945 at Provincetown Cape Cod”. White painted border emulates a mat. Oil on canvas laid on panel, 10.5” x 31”. Framed 10.5” x 38”. 16,000/20,000

Reference:

A nearly identical painting is in the collection of the Provincetown Art Association and Museum, Provincetown, Massachusetts.

HENRY HENSCHE

Massachusetts/Louisiana/Germany, 1899-1992

Portrait of a man with a mustache. Signed lower right “Henry Hensche”. Charcoal on paper, 15.5” x 12” sight. Framed 23” x 19”. 800/1,200

9177. HELEN ALTON FARNSWORTH SAWYER

Massachusetts/Florida/Washington, D.C., 1900-1999 “Atlantic”. Signed lower left “Helen Sawyer”. Titled verso. Oil on masonite, 18” x 36”. Framed 24.5” x 42.5”. 1,000/1,500

Provenance: A Nantucket, Massachusetts Estate.

9176.

9177

New York, 1928-2012

“From High Head”. Signed and dated lower right “Arthur Cohen ‘87”. Titled and dated “July 6, 7-8 pm” on stretcher. Oil on canvas, 12” x 15”. Framed 15” x 17”. 1,200/1,800

Provenance: Purchased from Provincetown, Massachusetts artist Paul Bowen, accompanied by a letter from the time of purchase.

9179. ARTHUR MORRIS COHEN

New York, 1928-2012

“Long Point”. Signed lower right “Arthur Cohen”. Signed and titled on stretcher. Oil on canvas, 8” x 12”. Framed 8.5” x 12.5”. 1,000/1,500

9178. ARTHUR MORRIS COHEN

9178

9180.

Massachusetts/New York/Canada, 1936“Chrysler Museum, Provincetown”. Signed lower right “Cardinal”. Titled on label verso for Wellfleet Art Gallery. Oil on canvas, 24” x 36”. Unframed. 3,000/5,000

Provenance: Private Truro, Massachusetts Collection.

9181.

Massachusetts/Connecticut, 1954/59-2015

Two studies after Henry Hensche and the Cape Cod School of Art:

1) Self portrait. Signed lower right. Oil on canvas laid on board, 15” x 13”. Framed 23” x 20”.

2) Outdoor still life. Signed lower right. Oil on board, 20” x 16”. Framed 24” x 20”. 1,000/1,200

ROBERT CARDINAL

RAY NOLIN

9180

9182. ANNE PACKARD

Massachusetts/New Jersey, 1933Cottage on a bluff overlooking the harbor. Signed and dated lower right “A Packard ‘85”. Oil on board, 5” x 10”. Framed 8” x 13”. 2,000/3,000

9182

GLOSSARY, IMPORTANT NOTICES AND ADVICE TO BIDDERS

Authorship of Paintings and Works of Art

A. LEMUEL D. ELDRED

Massachusetts, 1848-1921

In our opinion, this is a work by the artist.

B ATTRIBUTED TO LEMUEL D. ELDRED

Massachusetts, 1848-1921

In our opinion, probably a work by the artist based on the style of the piece, however, the work lacks a signature, marking or adequate provenance to fully ascribe it.

C MANNER OF LEMUEL D. ELDRED

Massachusetts, 1848-1921

In our opinion, a work made in the style of the artist listed, most likely by a follower or student.

D SCHOOL OF LEMUEL D. ELDRED

Late 19th Century

In our opinion, a work executed at the time and in the style of the artist listed.

E. AFTER LEMUEL D. ELDRED

20th Century

In our opinion, a work made in the style of the artist listed, but not by the artist. Often used to describe a direct reproduction of an original work of art.

Ascribing Date of Origin

If a date and location are included in a heading, it is our opinion the piece is essentially of the period and was made in the area indicated. The inclusion of the world “style” in the heading indicates the piece was made at a later date as an intentional reproduction of the earlier style.

Dimensions

Unless otherwise specified, dimensions are formatted Height x Width Dimensions are approximate as they are often rounded to the nearest quarter inch. Furniture and other objects are measured to the tallest and widest points. Paintings are measured by the dimensions of the stretcher or supports. A “sight” measurement is the visible size of an artwork if the piece is obscured by its frame or matting.

Condition Reports

It is the bidder’s responsibility to obtain a condition report. Condition reports can be viewed at www.eldreds.com or by contacting us. Condition reports will be provided to the best of our ability, and the reports are statements of opinion only. Prospective buyers should satisfy themselves by personal inspection as to the condition of each lot. The absence of a condition report does not imply an object is free of defects or restoration. If provided, a condition report may only detail flaws or restorations, and may not take into account wear, fading or other issues consistent with an object’s age. All property is sold subject to Item 1 of our Conditions of Sale, which provides all property is sold as-is.

Advice to Bidders

1. Carefully read the Conditions of Sale on the following page.

2. Pre-sale estimates are provided for your convenience. They are not meant to be taken as a guide to the value of an item, but rather its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision.

3. If you are unfamiliar with auction procedure or terminology, please ask for assistance from our staff.

4. You may bid in person for this auction. Online, phone and absentee bidding are also available. If you wish to leave an Absentee Bid or request a Telephone Bid, please call 508-385-3116 or visit www.eldreds.com. Online bidding is available at www.eldreds.com. Prospective bidders must register and be approved prior to placing bids or bidding live online. Bidding through third-party auction platforms may incur additional fees beyond the buyer's premium.

5. Eldred’s reserves the right to refuse to issue, or to revoke, bidding credentials, or to reject any bid, if deemed necessary and proper in its sole discretion, for the conduct of the auction process, and to insure fairness to consignors and other bidders.

Terms and Payment

A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 26 percent of the hammer price up to and including $2 million, 20 percent on the portion of the hammer price between $2,000,001 and $8 million, and 15 percent on the portion of the hammer price exceeding $8 million. Bidding online through third-party auction platforms may incur additional fees beyond the buyer's premium.

Bidders holding a resale number must provide a copy of their certificate or otherwise will be required to pay Massachusetts or other applicable state and local taxes.

We require prompt payment. We accept checks, cash, money orders, electronic transfers and domestic credit cards. Credit cards may only be used for up to $5,000 of the invoice total, and we will not accept credit card payment for any jewelry lot. We reserve the right to hold merchandise until payment has cleared.

Shipping Information

We require prompt removal of your purchases

If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready.

For those needing purchases shipped, we will provide you a list of shipping agents if we are unable to provide shipping services.

Bidding Increments

$0-$99: $10 I $100-$499: $25 I $500-$999: $50

$1,000-$2,999: $100 I $3,000-$4,999: $250

$5,000-$9,999: $500 I $10,000-$29,999: $1,000

$30,000-$49,999: $2,500 I $50,000-$99,999: $5,000

$100,000 and above: $10,000

Above $300,000 at the auctioneer’s discretion

1. CORRECTNESS OF DESCRIPTION: Robert C. Eldred Co., Inc. (hereinafter referred to as Eldred’s) has exercised reasonable care to catalog and describe correctly the property to be sold, but neither Eldred’s nor its consignors warrant the correctness of description, attribution, authenticity, or condition of said property. No statements shall be deemed such a warranty or representation or an assumption of liability with respect thereto, but are to be construed as opinions only. Bidders are encouraged to personally examine all property to be sold prior to the beginning of the auction.

2. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered.

3. Eldred’s reserves the right to withdraw any property before the sale.

4. DETERMINATION OF HIGHEST BIDDER: The highest bidder accepted by the auctioneer shall be the buyer. In the event of any dispute between bidders, the auctioneer may determine who is the successful bidder or the auctioneer may re-offer the article in dispute and his decision shall be final.

5. REJECTION OF BIDS: The auctioneer reserves the right to reject any nominal raise or any bid or raise which, in his opinion, is not commensurate with the value of the article being offered. At his discretion, he may also reject any nominal raise or any bid that he may determine as having a detrimental effect on the item in question or the sale as a whole. Eldred’s may refuse to issue bidding privileges to any person not in good credit standing with Eldred’s, or to any person who is deemed by Eldred’s in its sole discretion, to be disruptive of or harmful to established auction practices, either before or after the acceptance of bids or the fall of the hammer.

6. TITLE: Except as herein otherwise provided, title will pass to the highest bidder as determined by the auctioneer, and the property is thereafter at the purchaser’s sole risk and responsibility.

7. PAYMENT: On title passing to the highest bidder acknowledged by the auctioneer, and subject to all the conditions set forth herein, such bidder will thereupon pay the full purchase price. Payment in full is due at the time of sale. Any bills not paid in full within 25 days of the date of the sale will accrue interest at a rate of 1.5% per month. In addition, the purchaser may be subject to one or more of the following actions: a) Any and all legal remedies available to Eldred’s and its consignors by law including without limitation the right to hold the purchaser liable for the total purchase price; b) Immediate cancellation of the sale, with Eldred’s retaining as liquidated damages all payments made by the purchaser; c) Resale of the property at public auction, wherein the original purchaser shall be liable for any deficiency, costs, and Eldred’s commission on both sales. At Eldred’s option, payment will not be deemed to have been made in full until Eldred’s has collected funds represented by checks, or in the case of bank or cashier’s checks, their authenticity has been confirmed. A buyer’s premium will be added to the hammer price to be paid by the buyer as part of the purchase price.

8. ABSENTEE BIDS: Subject to these Conditions of Sale and to such terms and conditions as it may prescribe, but at no charge to the customer, Eldred’s will undertake to execute all absentee bids submitted to it by a customer who has established credit with said company. Requests for such bidding must be given in writing with such clearness as to leave no room for misunderstanding as to the amount to be bid and must state the catalog number and the name or title of the article to be bid on. All bids are kept in strict confidence. In the event of identical bids, the earliest received by Eldred’s will take precedence. Eldred’s shall not be held responsible for errors or failure to execute bids. A deposit of 10% of the total amount bid is required. TELEPHONE BIDS: While the sale is in progress, bidding by telephone may be allowed by the auctioneer at his discretion. A deposit of 10% of the anticipated top bid is required. Eldred’s shall not be held responsible for any failure to properly execute such a bid whether it be due to equipment failure, loss of

CONDITIONS OF SALE

connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder. ONLINE BIDS: Eldred’s shall not be held responsible for any failure to properly execute bids placed online. All online bidding is solely at the risk of the bidder.

9. CONDITION: If for any cause whatsoever any article sold cannot be delivered, or cannot be delivered in as good condition as the same may have been at the time of sale, due to a failure or damage on the company’s part, the sale will be cancelled, and any amount that may have been paid on account of the sale will be returned to the purchaser. EXCEPTION: Eldred’s will not be held responsible for damage to picture frames or lampshades.

10. SALES TAX: All purchases are subject to the Massachusetts sales tax (currently 6.25%) unless the purchaser: A) possesses a Massachusetts sales tax exemption or resale number and registers that number with the company or B) is an out-of-state vendor who meets all the requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89-10 and registers with the company prior to each purchase. Dealers, museums, etc. can apply for a Massachusetts number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, MA 02204.

Those shipping purchases out of state directly from Eldred's by a bona fide shipping agent may be exempt from sales tax depending on whether we have met that state’s nexus requirements, per the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair. Please contact us to find out if your purchase would be subject to applicable sales taxes.

11. RESERVES: Unless otherwise advertised, all items may be subject to reserve, an agreed upon price between the auctioneer and the consignor, below which the article will not be sold.

12. COLLECTION OF PURCHASES: Pick up or shipping arrangements of all purchases must be made within seven (7) days of the close of the auction. All items must be removed from Eldred’s facilities within fourteen (14) days of the end of the auction. All items remaining after fourteen days may be subject to a $5/per item/ perday storage fee. No items will be released unless storage fees are paid in full. Items remaining more than thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees.

13. SHIPPING: Shipping is not included in the purchase price, and the buyer is responsible for arranging shipment. Eldred's is happy to coordinate and recommend shipping agents. Eldred’s will not be responsible for damage or loss once the item has been received by the shipper. In the case of fragile articles, shipping will be undertaken at the sole discretion of the shipper.

14. These Conditions of Sale cannot be altered except in writing by Eldred’s or by public announcement by the auctioneer at the time of the sale.

15. Bidding on any article(s) indicates acceptance of the terms set forth above.

16. These Conditions of Sale and any suits arising thereunder shall be construed and governed by the laws of Massachusetts.

OF NORTH SALEM, NEW YORK

The Estate of Carol Goldberg

PART OF THE FALL SALE

NOVEMBER 2026

ILLUSTRATIONS

Cover lot 8543

Back cover lots 8912, 9011, 9711, 9150

Page 3 lot 8767

Page 6 lots 8876, 8861, 8794

Page 90 lots 9107, 9069, 9016

This page lot 9139