Eldred's 2021 Spring Sale

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THE SPRING SALE APRIL 1-2, 2021

see photos of all lots and view condition reports at www.eldreds.com

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see photos of all lots and view condition reports at www.eldreds.com


THE SPRING SALE

Thursday and Friday, April 1-2, 2021

Robert C. Eldred Co., Inc. Headquarters 1483 Route 6A I P.O. Box 796 East Dennis, MA 02641 phone: (508) 385-3116 I fax: (508) 385-7201 MA License #155 Connecticut Office 5 Roosevelt Avenue Mystic, CT 06355 (860) 912-8169

A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 25 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000. We accept checks, cash, money orders, wire transfers and major credit cards for payment. There is a 2 percent buyer’s premium discount for payment made in full via cash, check, money order or wire transfer within ten (10) days of the invoice date. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. Mixed payment methods are not eligible for the buyer’s premium discount.

info@eldreds.com www.e ldre d s.com

Auction

Both sessions beginning at 9:30 a.m. Eastern at our East Dennis Headquarters. Online, phone and absentee bidding available. In-person bidding not available.

Bidders holding a Massachusetts or out-of-state 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.

Important notices

Exhibit

Wednesday, March 31, from 10 a.m. to 4 p.m., pre-scheduled appointments requested.

Absentee and Telephone Bidding

Please use the bid form found at the back of this catalog, visit our website, or phone 508-385-3116 to make arrangements for absentee and telephone bidding.

Online Bidding

This auction will be held simultaneously online at www.eldreds.com. Prospective bidders must register and be approved prior to bidding.

Covid-19 Notice

Terms

As the situation regarding the virus unfolds, we urge you to visit our website, www.eldreds.com, for the most up-to-date information regarding auction dates, times and bidding options. COVID guidance on social distancing is enforced. Masks are required.

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 and weights are approximate. Per Federal and international regulations, items made with whale bone, ivory or other protected species will not be shipped internationally without CITES and other necessary permits. Obtaining these permits is the exclusive obligation of the buyer. Items made with these materials and marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state. Firearms marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License.

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Staff Directory Antiques & Fine Art Specialists

Production & Administrative Staff

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 Wendy A. Dunford Treasurer wendy@eldreds.com

William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com Eric S. Mulak Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com

Devyn Henry Administrative Assistant dhenry@eldreds.com Angela R. McParland Executive Assistant amcparland@eldreds.com

Duncan Gray Head of General Merchandise dgray@eldreds.com

Kristyn Mills Head of Photography kmills@eldreds.com

Leah S. Kingman Head of European Decorative Arts lkingman@eldreds.com

Madison Morris Assistant Head of Photography mmorris@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Kathleen Morse Auction Coordinator kmorse@eldreds.com

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

Megan Nichols Shipping Coordinator mnichols@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

Tanya Sargent Assistant to the Treasurer tsargent@eldreds.com Caleb G. Seaver Shipping cseaver@eldreds.com

John H. Schofield Consultant Susan M. Schofield Consultant Jennifer Lacker Mystic Representative

Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com

Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants

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

Kino Gray and Al Gray Shipping and Inventory Assistants

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A

year ago we were sailing in uncharted waters with the sudden onset of the COVID pandemic. We were facing uncertain times filled with anxiety, stress and difficult decisions. Our traditional Spring Sale became the “Early Summer Sale” as were forced to shut down operations for almost two months. When we finally were able to get back to business, no one was quite sure how the auctions would go -- after all, bidders could not attend the auction in person, and nobody knew what shape the economy was in.

What followed our reopening was both surreal and astounding. Our auctioneers traded their podiums and gavels for keyboards and mice, and they presided over a web of screens rather than a crowd, but the bidding never tapered off. In fact, it flourished. Over the second half of 2020 we saw a record number of new bidders and set numerous auction records. While we were certainly fortunate, we were also well-prepared. Eldred’s was the first New England auction house with a website and one of the first to embrace online bidding. This early adoption of digital marketing and sales gave us 20-plus years of experience to draw upon when we were forced to rely almost exclusively on it for our survival. While COVID is certainly far from over, there is an end in sight. As we look forward to the return to a sense of normal, we will remember the lessons learned during the crisis. We plan on expanding and refining our digital presence, but we are also equally committed to maintaining our roots by offering the finest in-person customer experience. Our goal has not changed – at Eldred’s, we strive to offer the hospitality and service of a country auction but with the sophistication and exceptional inventory of the finest city houses. We are proud of the offerings in this Spring Sale, and I am also eagerly looking ahead to the summer and fall, as we have some wonderful consignments already in-house, notably a private family collection with direct ties to Thomas Jefferson, a truly remarkable group of fresh-to-market scrimshaw, and fine paintings and antiques from a wide range of New England homes. We think 2021 will be one of the strongest years in our company’s long history, and we hope you will join us for not only this auction, but also for these exciting upcoming ones. As always, we appreciate your friendship and patronage. I look forward to seeing many of you in person over the coming months, but until then, I wish you good health and safe travels.

Joshua Eldred President

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Properties From

A Private North Shore Collection A Provincetown, Massachusetts Estate A Massachusetts Estate Several Private Cape Cod, Massachusetts Collections

And numerous other estates and collections

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Index Index of Artists Page 6-7 Session I Lots 1-290 Session II Lots 301-615 Bidder Information Page 186 Conditions of Sale Page 187 Absentee and Phone Bid Form Page 188 New Buyer Registration Page 189 Illustrations Page 192

see photos of all lots and view condition reports at www.eldreds.com

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Index of Artists

AMUNDSEN, C HJALMAR “CAPPY”

495

DIEHL, ARTHUR VIDAL

AUDUBON, JOHN JAMES

220

DOUGHTY, THOMAS (attr.)

418

DREW, CLEMENT (possibly)

182

BAKER, CHARLES BARBER, SAM

572

DREW, GEORGE W.

463

BARBERO, DAVID

279

DUBOCK, MARSHALL

595

BARYE, ANTOINE-LOUIS

304

DUNBAR, HAROLD

599

BENEKER, GERRIT

594

EGLAU, MAX

423

BENSON, FRANK WESTON

222

ELDRED, LEMUEL D.

203

BLAKELOCK, RALPH ALBERT (attr.)

450

ELDREDGE, CYRUS

17

BOGERT, GEORGE HENRY

313

ELLSWORTH, JAMES SANFORD

58

BOGHOSIAN, VARUJAN

355

ENNEKING, JOHN JOSEPH

462

BOTTICELLI, AFTER SANDRO

306

FAIRMAN, JAMES

446

BRADFORD, AFTER WILLIAM

202

FARNUM, HERBERT CYRUS

489

BRISCOE, FRANKLIN

205

FARRUGGIO, REMO MICHAEL

358

BROE, VERNON

566-568

FIELD, ERASTUS SALISBURY

16

BROWN, GEORGE ELMER

221

FITCH, JOHN LEE

416

BROWN, GEORGE LORING

447

FLAGG, JAMES MONTGOMERY

286

BURMAN, SAKTI

344

GALLAGHER, SEARS

BUSH-BROWN, HENRY KIRKE

319

GARD, MICHAEL

CAHOON, CHARLES DREW (attr.) CAHOON, CHARLES DREW CAHOON, MARTHA

587, 589 585, 586, 588 590-592

39 364-366

GAY, WALTER

316

GIBSON, CHARLES DANA (attr.)

284

GIFFORD, CHARLES HENRY

466

CHAPMAN, JOHN GADSBY

311

GLEASON, WILLIAM B.

461

CLARK, ELIOT CANDEE

521

GOFF, LLOYD LOZES

280

COLE, THOMAS COLE (after)

309

GRANT, GORDON HOPE

480

COOK, JOHN ALFRED

482

GREEN, CHARLES EDWIN LEWIS

529

CORONEL, RAFAEL

281

GRIFFIN, THOMAS BARTHOLOMEW BAILEY

449

HALE, PHILIP LESLIE

496

HALLWORTH, ROBERT E.

525

HARE, JOHN CUTHBERT

596

CURTIN, THOMAS R. CURTIS, LELAND S. DALI, SALVADOR

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413,414

573, 575

497-500 527 347-349

DARNELL, HOWARD H.

490

HARRIS, CONLEY

491

DE HEEM, CORNELIS (school of )

315

HARVEY, SARAH E.

460

DE TIREFORT, BELA

520

HAYS, GEORGE ARTHUR (attr.)

452

DEAN, WALTER LOFTHOUSE

183, 184

HAYS, GEORGE ARTHUR

451

DIEHL, ARTHUR VIDAL (attr.)

574

HEINZ, CHARLES LLOYD

481

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Index of Artists

HIBBARD, ALDRO THOMPSON

494

REMINGTON, POSSIBLY FREDERIC SACKRIDER

453

HIGHAM, THOMAS BLAGDON

601

RICE, HENRY WEBSTER

597

HILL, HOWARD

219

RICE, JR., WILLIAM CLARKE

290

HOFFMAN, MALVINA CORNELL

318

RICHARDS, M.H.

HOPE, JAMES

422

RITTER I, PAUL

459

ROARK, ROBERT K.

600

ROCKWELL, AUGUSTUS

420

ROFFO, SERGIO

570

HOWES, JEROME

193, 194

HUBER-FELDKIRCH, JOSEF

312

HUNT, PETER

577, 578

87

HUNTER, ROBERT DOUGLAS

569

ROLFE, PETER

598

HUTTY, ALFRED

282

ROSELAND, HARRY HERMAN

457

INNESS, ATTRIBUTED TO GEORGE

419

SCHENCK, FRANKLIN LEWIS

464

KALLEM, HENRY

362, 363

SCHULTZ, HART MERRIAM “LONE WOLF”

274

KNOWLES, KENNETH J.

483-488

SECREST, DAVID

360

LAMOTTE, BERNARD

346

SHAW, CHARLES GREEN

LAVALLE, JOHN

287

SHEPARD, ERNEST HOWARD

285

LAZARUS, DAVID

359

SHILSTONE, ARTHUR

492

LEWIS, MARTIN

283

SMITH, VERNON B.

593

STEVENS, WILLIAM DODGE

409

LINDENMUTH, TOD

582, 583

350-353

MARSHALL, WILLIAM (after)

105

STORY, GEORGE HENRY

408

MASSON, CHARLES

305

STORY, JULIAN RUSSELL

455

MAX, PETER (FINKELSTEIN)

357

SULLY, THOMAS (attr.)

454

MAYER, PETER BELA

518

TIFFANY, LOUIS COMFORT TIFFANY (after)

343

THIEME, ANTHONY

493

MCGURL, JOSEPH

564, 565

MORAN, SANDY

192

THOMPSON, FREDERICK LOUIS

448

MORAN, THOMAS

522

TORDOFF, FREDERICK

197

ODDIE, WALTER MASON

425

VYTLACIL, VACLAV

345

ORR, JOSEPH

526

WALKER, LANCE

571

OTIS, BASS

13

PALEY, ALBERT

361

PALMER, SAMUEL

335-340

PAPE, ERIC L.

288

PFEIFFER, FRITZ WILHELM

354, 584

PHILLIPS, AMMI

40

PRENTICE, MANNER OF LEVI WELLS

467

RAPHAEL, AFTER RAFFAELLO

307

WATERS, SUSAN (manner of )

50

WHITE, HENRY COOKE

528

WILES, LEMUEL MAYNARD (attr.)

465

WILLIAMS, GLUYAS

356

WOODWARD, STANLEY WINGATE

524

WYANT, ALEXANDER HELWIG

424

ZUNIGA, FRANCISCO

278

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Session I Thursday, April 1, at 9:30 a.m. Lots 1-290 Chinese Export Lots 111-139 Marine Art Lots 176-208 Sporting Art Lots 219-261 Firearms Lots 262-267 American Indian, Western and Mexican Art Lots 271-281 Illustration Art Lots 284-290 Also Furniture, Paintings, Americana, Folk Art and More

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1, pair

1.

PAIR OF WILLIAM & MARY ARMCHAIRS Late 17th/Early 18th Century In walnut, with cane backs and seats. Highly stylized carved crest rails. Nicely scrolled-out arms. Legs joined with block and turned H-stretchers. Back heights 54.5”. Seat heights 17”. 2,000/3,000

2.

GATE-LEG DROP-LEAF TABLE New England, First Half of the 18th Century In hardwood. Single drawer in apron. Height 27.5”. Length 13” plus two 15.5” drop leaves. Width 36.5”. 500/1,000 Provenance: A Provincetown, Massachusetts estate.

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3.

EARLY HAND-COLORED ENGRAVING 18th Century Depicts a soldier departing for war. Inscribed “Going to Battle Dear girl the drum it calls to arms And I must leave to war’s alarms Pray for my safety while I go To fight my country’s haughty foe”. 5.75” x 4”. Framed 7” x 5”. 150/250

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4.

5.

5

BLANKET CHEST Late 18th Century In maple under an old brown finish. Front inlaid with three compass roses. Two half drawers over a full-width drawer. Shaped bracket base. Height 36.5”. Width 39”. Depth 17.75”. 300/500

SLANT-LID DESK New England, 18th Century In walnut and walnut veneer. Lid with inlaid eightpointed star at center. Stepped interior fitted with drawers, pigeonholes, letter slides and drop well. Case with three graduated full-width drawers and flat bracket feet. Height 42.5”. Width 35.5”. Depth 21”. 800/1,200

6.

PORTRAIT OF A YOUNG MAN Late 18th Century Unusual backdrop of an aqueduct or bridge. Oil on canvas, 24” x 19.75”. Framed 31” x 26.5”. 400/800

7.

CAST IRON FIREBACK Depicts Adam and Eve, an apple tree and a serpent. Marked “1770”. Height 24”. Width 23”. 300/500

6

12

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8

9

8.

UNUSUAL COMB-BACK CORNER CHAIR 18th Century In walnut. High comb back above solid vasiform splats. Scrolled arms. Slip seat. Block corner-molded legs joined with a box stretcher. Back height 42.75”. Seat height 18”. 800/1,200

10.

HUTCH TABLE 18th Century In pine and ash, with an oversize three-board top, a hinged storage bin, and carved shoe feet. Height 26”. Diameter of top 51.5”. 800/1,200

11.

PAIR OF OVAL TIN MIRROR-BACK WALL SCONCES First Half of the 19th Century Heights 11.5”. Widths 6”. 400/600

12.

9.

CORNER CHAIR New England, 18th Century In hardwood, with a wonderful, old, possibly original, green-painted finish. Back with low crest rail and pierced horizontal splats with heart centers. Rush seat. Back height 30.25”. Seat height 16.75”. 600/900

11, pair

12, pair

PAIR OF TIN WALL SCONCES Early 19th Century Small mirror at center of backs. Heights 14”. Widths 10.25”. 500/1,000

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14

15

13.

BASS OTIS Pennsylvania/Massachusetts, 1784-1861 A stately home on the riverfront. Believed to be the first lithograph printed in America. Published in The Analectic Magazine, July 1819 (Vol. XIV No. 2). Lithograph on paper, 4.25” x 5.25” sight. Framed 11.5” x 14.5”. 300/500 Literature: “America on Stone” by Harry T. Peters, illustrated p. 17. “American Magazines” by Frank Luther Mott, p. 208-210.

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14.

DIMINUTIVE QUEEN ANNE HIGHBOY New England, Circa 1760 In cherry and cherry veneer. Upper case with two half drawers over three graduated full-width drawers. Lower case with three varied side-by-side drawers, drop turnings at skirt, and cabriole legs ending in pad feet. All drawers with alternating wood string inlay. Height 63.75”. Width 37.25”. Depth 21.5”. 1,500/2,500

15.

QUEEN ANNE SLANT-LID DESK ATTRIBUTED TO PETER BARTLETT New Hampshire, Circa 1750 In hardwood under an old, possibly original, finish, with superb color to undersides. Stepped interior fitted with pigeonholes and drawers. Case with four full-width graduated drawers. Cabriole legs end in pad feet. True to its original form in its entirety. Height 43.75”. Width 41.25”. Depth 21.25”. 1,200/1,800 Includes a copy of New Hampshire’s Enduring Queen Anne Furniture: 1760-1825 by Walter A. Backofen, copyright August 8, 2004. Information about Peter Bartlett and illustrations of similar examples p. 29-30.

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16.

ERASTUS SALISBURY FIELD Massachusetts/New York, 1805-1900 Portrait of a young man. Unsigned. Oil on canvas, 30” x 25”. Framed 34” x 28”. 2,000/3,000

17.

CYRUS ELDREDGE Massachusetts, 19th Century Portrait of N. Cosby. Signed verso “Cyrus Eldredge”. Oil on canvas, 24” x 20”. Framed 31.5” x 27.5”. 1,000/1,500

18.

QUEEN ANNE HIGHBOY BASE 18th Century In maple. Full-width drawer over three side-by-side drawers, the central with fan carving. Shaped apron. Cabriole legs end in pad feet. 400/700

20.

ONE-GALLON STONEWARE CROCK America, 19th Century Retailer’s mark below rim “P.M. Taft Whitinsville, Mass”. Stylized cobalt blue decoration. Height 7.25”. 150/250

19.

NEW YORK ONE-GALLON STONEWARE CROCK 19th Century Stamped “New York Stoneworks Co.”. Cobalt blue decoration of a bird on a branch. Height 7.25”. 150/250

21.

STONEWARE CAKE CROCK America, 19th Century Cobalt blue vine decoration. Height 5.5”. Diameter 12”. 300/500

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23

22

24

22.

16

HEPPLEWHITE BUREAU Massachusetts, Circa 1790 In maple, with molded-edge top, four graduated full-width drawers, and French splayed bracket feet. Height 36.5”. Width 38.5”. Depth 21.25”. 600/900

23.

CHIPPENDALE TALL CHEST Rhode Island, Circa 1780 In tiger maple, with chestnut secondary woods. Two half drawers over four graduated full-width drawers, retaining original hardware. Flat bracket feet. Height 46.5”. Width 37”. Depth 19.25”. 1,000/1,500

24.

CHIPPENDALE BUREAU New England, Circa 1780 In maple and curly maple, with four graduated full-width drawers and flat bracket feet. Height 38.5”. Width 38”. Depth 19”. 600/900

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25

27

26

25.

CHIPPENDALE FOUR-DRAWER BUREAU New England, Circa 1790 In tiger maple. Four graduated fullwidth drawers with original brass bail hardware. Flat bracket feet. Height 30.5”. Width 38.75”. Depth 19.75”. 1,000/1,500

26.

HEPPLEWHITE FOUR-DRAWER BUREAU America, 19th Century French splayed feet. Height 33.5”. Width 41.75”. Depth 21.5”. 1,500/2,000

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27.

CHIPPENDALE FOUR-DRAWER CHEST Circa 1790 In maple. Four graduated full-width drawers with brass bail pulls. High shaped bracket base. Height 35.5”. Width 40.5”. Depth 17”. 300/500

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28.

AMERICAN SCHOOL 19th Century Portrait of Martha Davis. Unsigned. Sitter identified verso. Pastel on canvas, 23” x 18”. Framed 25.5” x 20.5”. 500/700

29.

CHIPPENDALE TALL CHEST Probably Mid-Atlantic, Circa 1780 In maple. Seven graduated full-width drawers retain original brasses. Bracket base. Illegibly signed on reverse “Made by ...”. Height 62.5”. Width 40.25”. Depth 20”. 1,000/1,500

30.

PLATE RACK Mid-Atlantic States, Early 19th Century In yellow pine. Height 33”. Width 39.5”. Depth 3.25”. 300/500

31.

SHERATON TWO-DRAWER STAND 19th Century In mahogany veneer. Drawers with tiger maple fronts and circular brass pulls. Turned legs fitted with brass casters. Height 28.5”. Width 20.5”. Depth 16.5”. 400/600

32.

SHERATON SERPENTINE CARD TABLE Circa 1810 In mahogany, with tiger maple veneer at sides and front of apron. Turned legs. Height 30”. Width 33”. Depth 17.5”. 300/500

33.

SOMERSET, MASSACHUSETTS TWO-GALLON STONEWARE CAKE CROCK 19th Century Stamped “Somerset Potters Works”. Cobalt blue swag decoration. Height 4”. Diameter 10”. 150/250

34.

WORCESTER, MASSACHUSETTS ONE-GALLON STONEWARE CROCK 19th Century Stamped “F.B. Norton & Co. Worcester, Mass.”. Cobalt blue leaf-like decoration. Height 7”. 120/180

35.

WORCESTER, MASSACHUSETTS ONE-GALLON STONEWARE CROCK 19th Century Stamped “F.B. Norton & Co. Worcester Mass.”. Cobalt blue decoration. Height 7.5”. 100/160

28

29

18

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36.

CAST IRON EAGLE Philadelphia, Early 19th Century Used as a counterweight for a Columbia printing press. Mounted to contemporary base. Total height 20”. Width 16.25”. 500/700

37.

BROADSIDE “TOLLS FROM CONCORD IN N.H. TO MEDFORD IN MASS. REDUCED.” Dated May 28th, 1822 Lists various fees for horses, carriages and other animals. 13.5” x 21.5”. 200/400

38.

TWO ARMCHAIRS, PURPORTEDLY FROM THE HOUSE OF REPRESENTATIVES CHAMBER OF THE BOSTON STATE HOUSE, CIRCA 1820 19th Century In walnut, with salmon red velvet upholstery. Numbered 169 and 211 on crest rails. Saber legs also support a low shelf under seats. Back heights 34”. Seat heights 17.5”. 300/400

37

Provenance: A Provincetown, Massachusetts estate. 38, pair

39.

SEARS GALLAGHER Massachusetts, 1869-1955 Custom House Tower, Boston. Signed lower left “Sears Gallagher”. Monogrammed in plate lower left. Etching on laid paper, 8.5” x 6.75” to the plate line. Framed 19.5” x 17”. 150/250

40.

AMMI PHILLIPS New York/Connecticut, 1788-1865 Portrait of Jonathan Lane, Postmaster of Livingston, New York, 1821. Unsigned. Sitter identified on the letter he holds. Label verso signed, inscribed and dated “Jonathan Lane in his Sixty-second year when this was taken by Mr. Ammi Phillips of Troy [?] March 30th, 1821”. Oil on canvas, 30.75” x 24.75”. Framed 35.25” x 28.25”. 3,000/5,000

40

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41.

PORTRAIT OF A BARRISTER 19th Century No signature noted. Oil on canvas, 18.25” x 14”. Framed 21” x 17”. 350/450

42.

41

PAINTED WOODEN LAWYER’S TRADE SIGN America, Early 20th Century “Isaiah C. Dade, Attorney at Law.” in gold lettering on a black ground. Notes from the annual meeting of the Massachusetts Bar Association held at the New Bedford Hotel in 1921 indicate Isaiah C. Dade maintained an office at the Five Cents Savings Bank Building in New Bedford, Massachusetts. Height 14”. Length 49”. 500/800

42

43.

43

44.

SPECTACULAR MINIATURE SHERATON CHEST Circa 1820 In mahogany. Shaped backsplash. Two overhanging half drawers over three full-width drawers. Drawers with flame birch fronts and floriform brass pulls. Case fronted by turned columns. Turned legs end in bun feet. Middle drawer marked on underside “Salem” in red paint. Height crest 21”. Width 20”. Depth 11”. 2,000/2,500

AMERICAN HISTORICAL SILVER RESIST JUG England, Circa 1820 Both sides with purple transfer decoration of an American eagle, flag and “Peace, Plenty and Independence”. Additional transfer decoration under spout of “Peace and Prosperity to America” within an oval vine. Silver and white foliate border. Height 7.5”. 1,000/1,200

44

20

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45.

AMERICAN NEEDLEWORK SAMPLER Dated 1820 “Wrought in 1820 by Rebekah Parker Aged 14 years”. Potted flowering and leafy plants at each corner and lower center. Three alphabets in green, black and beige above verse “A well instructed mind is a source of constant pleasure if the mind is well cultivated it produces a store of fruit if neglected it is overrun with wee[sic]”. Approx. 16” x 16” sight. Framed 17” x 17”. 400/600

46.

ENGLISH NEEDLEWORK Dated 1833 “Max Fool her work 1833”. Initialed “JF” and “JK” in panel at top. Central verse surrounded by animals, trees, houses, stars, flower baskets, etc. Housed in a bird’s-eye maple frame. 17” x 13” sight. Framed 21.5” x 17”. 300/500

45, two views

47.

SCHOOLGIRL BOX New England, 19th Century In bird’s-eye maple veneer. Top with floral decoration. Height 3.25”. Width 10”. Depth 7”. 300/400

48.

SHERATON FOUR-DRAWER CHEST America, Early 19th Century In mahogany. Drawers with bird’s-eye maple fronts. Reeded legs. Height 39.5”. Width 43”. Depth 19.5”. 1,000/1,500

48

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49.

SHERATON FOUR-DRAWER CHEST Rhode Island, Circa 1820 In cherry. Backsplash with turned rails at sides and a solid panel at rear topped with urn-shaped finials. Case with four full-width drawers and paneled sides. Turned knob feet. Brass bail handles. Height 51”. Width 42.5”. Depth 21.5”. 300/500

49

50.

MANNER OF SUSAN WATERS America, 19th Century Portrait of two dogs. Unsigned. Pastel on paper, 13.5” x 17” sight. Framed 16.5” x 20.5”. 500/1,000

50

51.

SHERATON WING CHAIR Salem, Massachusetts, Circa 1815 Hardwood frame on mahogany legs. Upholstery stripped to show original construction. Back height 46.5”. Seat height 13.5”. 800/1,200

52.

PINE DOCUMENT BOX Mid-19th Century Detailed sponge- and grain-painted decoration in shades of brown. Dovetail construction. Iron carrying handles at sides. Height 14.5”. Width 30.25”. Depth 15.75”. 300/400

51

22

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53.

FINE BENNINGTON, VERMONT SIX-GALLON STONEWARE CROCK 19th Century Stamped “E. Norton & Co. Bennington, VT”. Bountiful cobalt blue decoration of flowers. Height 13.25”. 1,000/1,500

54.

BENNINGTON, VERMONT TWO-HANDLED THREE-GALLON STONEWARE CROCK 19th Century Stamped “J. Norton & Co. Bennington VT”. Three incised rings below rim. Fine cobalt blue decoration of a rose and leaves. Height 10.25”. 400/700

55.

53 55

BENNINGTON, VERMONT FOUR-GALLON STONEWARE CROCK 19th Century Stamped “J. & E. Norton Bennington VT”. Fine cobalt blue decoration of a basket of flowers. Height 11.5”. 500/700

54

56.

57 56

57.

SHERATON TWO-DRAWER DROP-LEAF WORK TABLE America, 19th Century In mahogany, with bird’s-eye maple drawer fronts. Height 28”. Width 18” plus 8” drop leaves. Depth 17.75”. 400/600

58.

JAMES SANFORD ELLSWORTH Connecticut, 1802-1874 Portraits of two children, presumably brother and sister. Each signed lower right “Ellsworth Painter”. Housed together in a common frame. Watercolors on paper, 4.5” x 3.5”. Framed 6.75” x 9.75”. 3,000/5,000

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SHERATON TWO-DRAWER WORK STAND America, 19th Century In maple, with tiger maple drawer fronts. Height 28.5”. Width 20.5”. Depth 16.5”. 400/600

58

23


59 61

60

59.

60.

24

TALL CHEST America, Early 19th Century In cherry. Diamond-pattern inlay at top and bottom of case. Three sideby-side drawers over five graduated full-width drawers, all with line inlay and brass bail pulls. French splayed feet. Signed on interior of backboards. Height 66.75”. Width 44”. Depth 21.25”. 2,000/3,000

61.

NEW ENGLAND BUTLER’S CHEST Early 19th Century In tiger maple, with bird’s-eye maple interior. Deep fall-front top drawer reveals multiple interior drawers and cubbies. Three graduated full-width drawers below. Drawers with cockbead molding and brass Chippendale pulls. Height 43”. Width 41”. Depth 20.5”. 1,000/2,000

62.

BRASS-BOUND OAK BUCKET 19th Century With handle. Height 10.25”. Diameter 13.25”. 400/600

63.

RELIEF-CARVED COOKIE BOARD Pennsylvania, 19th Century Depicts a colonial figure. 50” x 9.75”. 300/500

COUNTRY SHERATON CURLY MAPLE DROP-LEAF TABLE America, 19th Century Exceptional bold graining. Turned legs end in ball feet. Height 29”. Length 18” plus two 13” leaves. Width 35.5”. 500/800

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64

65

64.

AMERICAN SCHOOL Mid-19th Century Portraits of a man and a woman. Unsigned. Oils on panel, 30.25” x 23.5”. Framed 36.5” x 30”. 1,000/1,500

66.

BENNINGTON, VERMONT ONE-AND-ONE-HALF GALLON STONEWARE CROCK 19th Century Stamped “J. & E. Norton Bennington VT”. Height 7.25”. 200/300

65.

AMERICAN SCHOOL 19th Century Portrait of a gentleman. Unsigned. Oil on canvas, 30” x 25”. Framed 37” x 30”. 800/1,200

67.

BENNINGTON, VERMONT TWO-GALLON STONEWARE CROCK 19th Century Stamped “J.P. Norton & Co. Bennington VT”. Fine cobalt blue decoration of two birds. Height 10.75”. 250/350

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68.

BENNINGTON, VERMONT TWO-HANDLED THREEGALLON STONEWARE CROCK 19th Century Stamped “J. & E. Norton Bennington VT”. Deep cobalt blue decoration of a flower and leaves. Height 13.25”. 400/600

69.

BENNINGTON, VERMONT THREE-GALLON STONEWARE CROCK 19th Century Stamped “E. & L.P. Norton Bennington VT” above cobalt blue decoration of a flower and leaves. Height 12.5”. 250/350

25


70. 70 71

D. HERSEY PAINTED COVERED FIRKIN Hingham, Massachusetts, 19th Century Exterior painted blue and interior painted pink. Top stamped “D. Hersey”. Height 8.75”. Diameter 9”. 300/500 71.

BLUE-PAINTED LIDDED FIRKIN Hingham, Massachusetts, 19th Century Lid stamped lid “N. Gor... Hingham”. Height 7”. Diameter 7”. 300/500

72.

73.

REUBEN HERSEY OVAL MEASURE Hingham, Massachusetts, 19th Century Painted blue. Hersey label on inside cover. Height 3”. Length 7”. 300/500

73

UTICA, NEW YORK TWO-GALLON STONEWARE CROCK 19th Century Stamped “N.A. White & Son Utica, N.Y.”. Bold cobalt blue decoration of a preening peafowl. Height 9”. 800/1,200

74

74.

75, pair

26

75.

SHOE-FOOT HUTCH TABLE New England, Early 19th Century In pine and hardwood. Circular top on a chair-style base. Tapered legs end in shoe feet. Height 26.5”. Top 56.5” x 58.5”. 500/1,000

PAIR OF CARVED AND PAINTED PINE URN-FORM FINIALS America, Circa 1860 Maintain some of their original paint. Beautifully turned. Heights 15.5”. Widths 5.75”. 500/800

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76

80.

76.

STEP-BACK CUPBOARD America, Early 19th Century One-piece construction. In pine under an old red wash. Molded cornice. Both sections with two paneled doors enclosing two interior shelves. Shaped bracket base. Height 76.5”. Width 48”. Depth 19”. 1,000/1,500

77.

BENNINGTON, VERMONT THREE-GALLON STONEWARE CROCK 19th Century Stamped “J. Norton & Co. Bennington, VT”. Stylized flower and leaf decoration. Height 13”. 200/300

78.

BENNINGTON, VERMONT TWO-GALLON STONEWARE PITCHER 19th Century Stamped “J. & E. Norton Bennington VT”. Two medial incised lines. Cobalt blue flower basket decoration. Height 12.5”. 250/350

79.

BENNINGTON, VERMONT ONE-AND-ONEHALF GALLON STONEWARE CROCK 19th Century Stamped “J. & E. Norton Bennington VT”. Cobalt blue flower and leaf decoration. Height 10”. 200/300

COPPER RUNNING HORSE WEATHER VANE Late 19th Century Green verdigris finish. Length 35”. 700/1,000

80

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27


81.

ONE-PIECE PAINTED CUPBOARD America, Early 19th Century In pine. Exterior painted blue-gray and interior painted apple green. Upper and lower sections with two paneled doors that enclose interior shelves; top section with two shelves and lower section with one. Splayed bracket base. Height 77”. Width 45.5”. Depth 13”. 1,000/1,500

81

82.

TWO-DOOR CUPBOARD Late 18th/Early 19th Century In pine, under its original brown grain-painted finish. Paneled doors enclose three interior shelves. Shaped bracket base. Height 60”. Width 50.5”. Depth 19.25”. 800/1,200

83.

ARCHITECTURAL MIRROR America, Last Quarter of the 19th Century Frame with acanthus leaf moldings and half columns at sides. Reverse-painted upper tablet depicts a spread-wing eagle with American shield and a floral garland surround. Height 43”. Width 22.5”. 400/600

82

28

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84.

AMERICAN SCHOOL 19th Century The Jonathan Hasbrouck House, Newburgh, New York, which served as General George Washington’s headquarters from April 1782 to August 1783. Unsigned. Inscribed “Rosa” verso on an old piece of muslin. Oil on canvas laid down on board, 17.5” x 23.75”. Framed 22” x 28”. 500/1,000 Chosen for its close proximity to West Point, Washington used the Jonathan Hasbrouck House longer than any of his other headquarters. He made several historic decisions here, including rejecting the idea of an American monarchy. He also established the Badge of Military Merit (now known as the Purple Heart) and made the Proclamation of Peace, ending the war with the British.

84

85.

AMERICAN SCHOOL 19th Century Fortifications along the Hudson River, possibly Fort Clinton. Unsigned. Oil on canvas, 18” x 24”. Framed 22” x 28”. 500/1,000

85

86

86.

AMERICAN SCHOOL 19th Century The Colonel Thomas Ellison House. Unsigned. Oil on canvas, 9” x 12.75”. Framed 14.5” x 19”. 300/500

87.

M.H. RICHARDS America, 19th Century Portrait of the horse “Hiram”. Signed and dated lower left “M.H. Richardson 1865”. Titled on frame plaque. Oil on canvas, 20” x 24”. Framed 27” x 31”. 400/600

87

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29


88.

BENNINGTON, VERMONT FOUR-GALLON STONEWARE JUG 19th Century Stamped “J. & E. Norton Bennington VT”. Fine cobalt blue decoration of stylized grapes and a flower. Height 17.5”. 500/1,000

95.

BENNINGTON, VERMONT ONE-AND-ONE-HALF GALLON STONEWARE CROCK 19th Century Stamped “J. & E. Norton, Bennington VT”. Deep cobalt blue decoration of a bird on a branch. Height 10”. 250/350

89.

BENNINGTON, VERMONT THREE-GALLON STONEWARE CROCK 19th Century Stamped “E. & L.P. Norton Bennington VT”. Rich cobalt blue decoration of stylized roses. Height 12.5”. 300/500

96.

FORT EDWARD, NEW YORK TWO-GALLON STONEWARE PITCHER 19th Century Stamped “Fort Edward Pottery Co.”. Two medial incised rings. Bold cobalt blue butterfly decoration. Height 12”. 250/350

90.

RARE WINDHAM, MAINE THREE-GALLON STONEWARE JUG 19th Century Made in New York by West Troy Pottery for W.S. Mains of Windham, Maine. Stamped “West Troy Pottery W.S. Mains Windham ME”. Numerous ads for W.S. Mains appear in Portland, Maine newspapers in the 1860s and 1870s, advertising a variety of goods, including wine. Cobalt blue floral decoration. Height 16”. 400/600

97.

CHERRY VALLEY, NEW YORK TWO-HANDLED STONEWARE CROCK 19th Century Stamped “D. & R.R. Washburn, Dealers in Groceries & Provisions Cherry Valley.” Cobalt blue decoration of stylized flowers. Height 11.5”. 400/600

98.

BENNINGTON, VERMONT TWO-GALLON STONEWARE CROCK 19th Century Stamped “J. & E. Norton, Bennington VT” above cobalt blue decoration of a flower and leaves. Height 11.5”. 200/300

99.

WORCESTER, MASSACHUSETTS ONE-AND-ONEHALF GALLON STONEWARE CROCK 19th Century Stamped “F.B. Norton & Co. Worcester, Mass.”. Stylized cobalt blue decoration. Height 10.25”. 200/300

91.

WORCESTER, MASSACHUSETTS THREE-GALLON STONEWARE CROCK 19th Century Stamped “F.B. Norton & Co. Worcester, Mass.”. Deep cobalt blue decoration of a basket of flowers. Height 13.5”. 300/400

92.

BENNINGTON, VERMONT TWO-GALLON STONEWARE JUG 19th Century Stamped “J. & E. Norton, Bennington VT” above cobalt blue flower and leaf decoration. Height 14”. 300/500

93.

WONDERFUL NEW YORK TWO-HANDLED FOUR-GALLON STONEWARE CROCK Circa 1860 Stamped “John Burger Rochester”. Deep cobalt blue “4” offset to the right of the stamp, and decoration of a daisy blossom below. Height 14.75”. 1,000/1,500

94.

BENNINGTON, VERMONT TWO-GALLON STONEWARE JUG 19th Century Stamped “J. & E. Norton Bennington, VT”. Bold cobalt blue flower and leaf decoration. Height 14”. 400/600

88

30

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89

90

92

95

91

93

96

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94

97

31


100.

COPPER QUILL WEATHER VANE New England, Late 19th Century Height 19”. Length 36”. Contemporary black metal stand. 1,000/1,500 As quills were the principle tool for writing in the 19th Century, this style weather vane was often used on law offices, schools and meeting houses.

100

101.

BRONZE BUST OF RALPH WALDO EMERSON America, 20th Century Signed verso “H. Miller”. Mounted on a marble base. Total height 19.5”. 500/1,000

101

102.

“MAP OF THE COUNTIES OF BARNSTABLE, DUKES AND NANTUCKET, MASSACHUSETTS.” Dated 1858 Survey by Henry F. Walling. Published by D.R. Smith & Co., Boston. Linen backed. 62” x 60.5”. 2,000/3,000

102

32

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103.

103, seven views

IMPORTANT SET OF SENATE RAILROAD EXPLORATION REPORTS Reports of Explorations and Surveys, to Ascertain the Most Practicable and Economical Route for A Railroad from the Mississippi River to the Pacific Ocean. Made Under the Direction of the Secretary of War, in 1853-..., According to Acts of Congress of March 3, 1853, May 31, 1854, and August 5, 1854. Twelve volumes in 26. Washington: Beverley Tucker, 1855 (Vols. I, II, XI), 1856 (Vols. III, IV, V), 1857 (Vols. VI, VII, VII), 1858 (Vol. IX), 1859 (Vol. X), and Thomas H. Ford, 1860 (Vol. XII). Under Secretary of War Jefferson Davis, these reports, based on explorations in 1853-1854, were an early examination of the topographical, botanical, zoological and natural history of the American West, and designated possible railroad routes. Profusely illustrated with maps and charts, many folding, as well as colored plates, and black and white plates and illustrations, including landscapes, animals, plants and shells. Q. Matching full morocco with gilt lettering and impressed stylized cross at center of spine, and decorative gilt banding on interior edges of cover. Marbled endpapers. All edges gilt. 1,000/1,500

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33


104

104.

34

EXTENSIVE AND UNIQUE COLLECTION OF MEMORABILIA PERTAINING TO RHODE ISLAND’S CIVIL WAR HOSPITAL Mid-19th Century A U.S. Army General Hospital, named Lovell General Hospital, in the Portsmouth Grove area of Portsmouth, Rhode Island, was active from 1862 to 1865, caring for thousands of patients. The surgeon general of the U.S. Army authorized Rhode Island governor William Sprague IV to “provide suitable accommodations for wounded and sick soldiers” in May of 1862, and the first patients arrived at the hospital just a few months later, on July 6. Because some patients were Union soldiers convicted by court martial or were Confederate prisoners of war, guards were posted at the hospital, comprised of Rhode Island militia or two companies of Veterans Reserves Corp (VRC) soldiers. Katherine Prescott Wormeley, a key organizer of the United States Sanitary Commission, was an early superintendent of the hospital. The hospital was named after Joseph Lovell, who served as the Surgeon General of the United States Army from 1818 to 1836. After the hospital closed August 25, 1865, the buildings were dismantled or removed. The site was later used as a U.S. Navy coaling and oiling station, then as a PT-boat training base during World War II, but it is now in private hands. There are no remnants of the hospital that once stood.

Lot includes binders of letters written to or from patients in the hospital, including John W. Warner of the 1st New Hampshire Volunteer Cavalry, Whitman W. Bosworth of the 15th Massachusetts Volunteer Infantry, and John M. Lovejoy of the 121st New York Volunteers, a rare pre-printed envelope addressed to “Mr. G. Henry Prescott, U.S. General Hospital Ward 27, Portsmouth Grove, R.I.”, a binder of hospital-related ephemera, notably a handwritten mess hall menu, transfer orders, and a rare pass allowing admittance to the hospital grounds, binders of CdVs depicting the hospital grounds, patients, staff, Civil War-era notables, U.S. Naval Academy cadets from when the Academy was temporarily relocated to Newport, Rhode Island, from Annapolis, Maryland, and an image of what is believed to be an American Indian Union soldier while he was a patient at the hospital, a binder of ephemera pertaining to hospital nurses, contemporary reproductions of period photographs, an autograph album containing numerous signatures of Rhode Island Civil War soldiers, the extremely rare colored lithograph “Lovell General Hospital, U.S.A., Portsmouth Grove, R.I. View from Dyer’s Island”, printed by Endicott & Co., New York, and assorted other prints, ephemera and contemporary books. See a complete list at www.eldreds.com. 10,000/15,000 Provenance: Amassed over three decades by a Rhode Island military veteran and author. Statement from the collector is included with the lot.

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105.

AFTER WILLIAM MARSHALL America, Late 19th Century Portrait of Abraham Lincoln. Drawn and engraved by William Marshall. 21” x 16” sight. Framed 29” x 24”. 300/500 When issued, this engraving met with huge success and was widely noted as being one of the finest portraits of Lincoln ever produced.

106.

CIVIL WAR U.S. NCO SWORD Stamped “Hartford” on hilt. Length of blade 31.5”. Total length 39”. 200/300

107.

AMES CIVIL WAR U.S. NCO SWORD Stamped “Ames” on blade. Length of blade 32.5”. Total length 38.5”. 200/300

105

108.

ROLLED METAL BANNERETTE WEATHER VANE America, Late 19th Century Traces of original gilding. Includes a turned wood base and partial iron finders. Length 54”. 800/1,200

108

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35


109.

HEPPLEWHITE-STYLE CHINOISERIE-DECORATED TWO-PART SECRETARY Late 19th/Early 20th Century Red painted decoration. Upper case with an ogee molded cornice over two glazed doors enclosing three shelves. Lower case with a slant lid over two half drawers over two fullwidth drawers, and French splayed bracket feet. Slant lid conceals a central two-door cupboard flanked by drawers and pigeonholes. Height 81”. Width 43”. Depth 21.75”. 500/1,000

109

110

110.

111.

BRONZE DRAGON SCULPTURE 20th Century Sinuous dragon on a rockery base. Some green patina. Height 19”. Length 28”. Width 11”. 600/900

CHINESE EXPORT CELADON PORCELAIN VASE 19th Century Extensive raised insect, fan, flower and other designs. Ruffled rim. Gilt foo dog handles at sides of neck. Height 25.25”. 800/1,200

111

36

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112

112.

CHINESE EXPORT CARVED IVORY CRIBBAGE BOARD 19th Century Shaped board, possibly in animal form, relief-carved with flowers and scrolling foliage and raised on four paw feet affixed with pins. Pierced cribbage track along the perimeter. Height 1”. Length 9”. Width 2.75”. 1,000/1,500

113.

113, pair

PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN VASES Late 19th Century In baluster form. Applied gilt dragons at neck and shoulder. Heights 18”. 700/900

114

114.

115. 115

CHINESE EXPORT GILT AND BLACK LACQUER MELON-FORM TEA CADDY Mid-19th Century Differing figural and pavilion decoration on each lobe of body and cover (cover missing one lobe). Silver metal knop. Three giltwood dragon feet. Interior with single compartment. Height 8”. Diameter 8.5”. 500/700

CHINESE CAMPHORWOOD DOCUMENT BOX 19th Century Brass inlaid. Height 6.5”. Width 18.75”. Depth 11.75”. 300/500

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37


116, sampling

116.

117.

CHINESE EXPORT ROSE MEDALLION PORCELAIN UMBRELLA STAND Late 19th Century Alternating figural, floral and bird reserves. Height 23”. Diameter 8”. 700/1,000

118.

CHINESE EXPORT ROSE MANDARIN PORCELAIN CREAMER AND COVERED SUGAR BOWL 19th Century Creamer height 4”. Sugar bowl height 4.75”. 250/350

119.

CHINESE EXPORT ROSE MANDARIN PORCELAIN RECTANGULAR DISH 19th Century Length 8.5”. 250/350

120.

38

LARGE COLLECTION OF CHINESE EXPORT ROSE MANDARIN PORCELAIN 19th Century Each with finely enameled figural court decoration. Majority with an endless knot border, and the others with a blue and green border. Includes four nesting oval platters, lengths 12.5”, 14.25”, 16” and 17”, thirteen 8” plates, seven 10” plates, eight 6” dishes, a 9.75” plate, two 6.25” dishes, a 10” shallow bowl, two vegetable dishes, one with cover, lengths 9”, two covered tureens with 8” undertrays, a teapot, height 6.5”, a covered sugar bowl and creamer, heights 6” and 4”, and six teacups. 3,000/5,000

CHINESE EXPORT ROSE MANDARIN PORCELAIN CHESTNUT BASKET AND UNDERTRAY 19th Century Undertray length 9.75”. 300/500

121.

PAIR OF CHINESE EXPORT ROSE MANDARIN PORCELAIN CUPS AND SAUCERS 19th Century Saucer diameters 5.5”. 150/250

122.

TWO CHINESE EXPORT ROSE MANDARIN PORCELAIN CREAM POTS 19th Century Heights 4.5” and 5”. 300/400

123.

CHINESE EXPORT FITZHUGH PORCELAIN PLATE Late 18th Century and Later With Fourth Quarter of the 20th Century central overglaze Society of the Cincinnati decoration. Scalloped edge. Diameter 9.5”. 800/1,000

124.

CHINESE EXPORT ROCKEFELLER PATTERN FAMILLE ROSE PORCELAIN MUG Circa 1780 Height 5”. 400/600

125.

CHINESE EXPORT BLUE AND WHITE PORCELAIN SHALLOW SOUP BOWL Diameter 9.5”. 500/800 A similar example is illustrated in Views of The Pearl River Delta by William R. Sargent, et al.

126.

TWO CHINESE EXPORT ARMORIAL PORCELAIN PLATTERS 19th Century Enameled floral and swag decoration and a central famille rose crown over a family crest containing a castle. Gilt highlights. Lengths 13” and 14.75”. 600/800

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123 124

125

126, two

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39


127.

SET OF CHINESE EXPORT ARMORIAL PORCELAIN 19th Century Includes two shallow bowls, diameters 9.75”, two plates, diameters 9.75”, three oblong teapot stands, lengths 7.25”, and a nesting set of six platters, lengths from 8.5” to 17”. 1,500/2,500

128.

THREE CHINESE EXPORT ROSE MANDARIN PORCELAIN SOUP BOWLS 19th Century Diameters 10”. 250/350

129.

130.

CHINESE EXPORT GRISAILLE PORCELAIN PLATE 19th Century Depicts a portrait of a woman in western dress at a window overlooking a harbor. Gilt highlights to dress. Diameter 9”. 200/300

131.

FIVE CHINESE EXPORT ROSE MANDARIN PORCELAIN SALAD PLATES 19th Century Diameters 7.75”.

132.

SIX CHINESE EXPORT ROSE MANDARIN PORCELAIN BREAD AND BUTTER PLATES 19th Century Diameters 6.25”. 300/500

THREE CHINESE EXPORT ROSE MANDARIN PORCELAIN BERRY BOWLS 19th Century Diameters 6.25”. 200/300

127

40

400/600

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133.

CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE Late 19th Century Height 15.5”. 400/600

134.

TWO NEARLY IDENTICAL CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN BOWLS Second Quarter of the 19th Century Diameters 5.75”. 200/300

135.

SET OF FOUR CHINESE EXPORT BLUE AND WHITE PORCELAIN OCTAGONAL BERRY BOWLS Second Quarter of the 19th Century Diameters 6.25”. 1,000/1,500 Similar examples are illustrated in Views of The Pearl River Delta by William R. Sargent, et al.

136.

PAIR OF CHINESE EXPORT BLUE AND WHITE NANKING PORCELAIN SHALLOW BOWLS Mid-19th Century Ruffled scalloped edges. Diameters 7”. 150/250

137.

PAIR OF CHINESE EXPORT ROSE MANDARIN PORCELAIN CUPS AND SAUCERS 19th Century Saucer diameters 5.75”. 200/300

138.

THREE CHINESE EXPORT ROSE MANDARIN PORCELAIN CUPS AND SAUCERS 19th Century Saucer diameters 6.25”. 250/350

139.

CHINESE EXPORT ROSE MANDARIN PORCELAIN LOW BOWL AND THREE SAUCERS 19th Century Bowl diameter 8.5”. Saucer diameters 5.5”. 250/350

135, four above

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41


140

141

142

140.

141.

42

BLACKSMITH’S TRADE SIGN America, Late 19th Century “N. Wheeler Blacksmith.” in black lettering on a gray ground. Lettering flanked by a chain and anvil at left and horseshoes at right. Height 14.25”. Length 61.25”. 900/1,200

HORSESHOE MAKER’S TRADE SIGN America, Late 19th/Early 20th Century “G.E. Sylvester Horseshoer & Carriagesmith” in black lettering on an off-white ground. Height 14.5”. Length 70.5”. 1,000/1,500

142.

DOUBLE-SIDED PAINTED WOODEN TAILOR’S TRADE SIGN America, Late 19th/Early 20th Century “H ry. Tegtmeieh. Merchant Tailor.” in black lettering. Height 15.5”. Length 96”. 800/1,200

143.

DOUBLE-SIDED PAINTED WOODEN SIGN “W.V. PULVER’S HOTEL” Late 19th/Early 20th Century In shades of red and white. Four panels within a molded frame. Height 36”. Length 48.5”. 400/600 Purchased by the consignor in upstate New York. There was a Pulver Hotel (later renamed Stissing Hotel) in Pine Plains, New York, and a Pulver House in Ravena, New York.

144.

CARVED AND PAINTED MILK WAGON SIGN “G.W. Bowler Simpson Dairy” in chrome yellow and black lettering. Mounted to a wrought iron support. Height 27”. Width 26”. 300/500

145.

WORCESTER, MASSACHUSETTS ONE-AND-ONE-HALF GALLON STONEWARE CROCK 19th Century Stamped “F.B. Norton & Co. Worcester, Mass.”. Cobalt blue leaf decoration. Height 10.75”. 150/250

146.

BENNINGTON, VERMONT TWO-HANDLED ONE-GALLON STONEWARE CROCK 19th Century Stamped “E. & L.P. Norton Bennington VT” above cobalt blue leaf decoration. Height 7”. 150/250

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147.

COPPER AND ZINC RUNNING HORSE WEATHER VANE 19th Century Copper body and zinc head. Traces of gold paint and verdigris finish. Height 21”. Length 42”. Includes cast iron stand. 2,500/3,500

147

148.

PAINTED WOODEN COOPER’S BARREL-FORM TRADE SIGN America, 19th Century “Cooper Shop.” in red lettering with white and blue shadowing on an off-white ground. Barrel with blue hoops, a five-pointed star at top, and four five-pointed stars surrounding an encircled stylized six-pointed star at base. Iron mounts for hanging. Height 30”. Length 14.5”. 3,000/5,000 Provenance: American Folk Art: The Kendra and Allan Daniel Collection, Christie’s New York, January 20, 2001, Lot #875. A Massachusetts Estate.

148

149.

GILT COW WEATHER VANE Late 19th/Early 20th Century Height 24.75”. Length 40”. 1,000/1,500

149

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43


150

150.

151.

RARE TRADE SIGN FOR A CHINESE LAUNDRY America, Early 20th Century “Fred W. Wong, Laundry.” in white lettering on a gray ground. Height 13.75”. Length 47.75”. 1,000/1,500

COPPER AND ZINC FULL-BODIED ROOSTER WEATHER VANE ATTRIBUTED TO J.W. FISKE & CO., NEW YORK Late 19th Century Mounted on a contemporary metal stand. Height 22.75”. Length 18”. 700/1,000

151

152.

PAINTED WOODEN HARNESS MAKER’S TRADE SIGN America, Early 20th Century “Hanson Harness, Maker.” in black lettering on an off-white ground. Height 23.25”. Length 30”. 500/800

152

44

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153.

MOLDED COPPER BULL WEATHER VANE ATTRIBUTED TO L.W. CUSHING & SONS, MASSACHUSETTS Late 19th Century Height 16”. Length 27”. 2,000/3,000

153

154.

155.

PAINTED PINE BIRDHOUSE IN THE FORM OF A COUNTRY CHURCH America, Circa 1890 Under mustard yellow paint with deep red trim. White horse painted on the front facade. Two-tiered steeple topped with a metal weather vane with an arrow pointer and directionals. All four sides of the church with several window openings, each with a perch. Includes carved and painted wooden songbirds. Birdhouse height 56”. Width 29.25”. Depth 20.25”. 2,000/3,000

COPPER AND ZINC BANNERETTE WEATHER VANE America, Late 19th Century Zinc arrow. Scrolled copper body and star tail. Old verdigris surface. Height 22”. Length 51”. 1,000/1,500

154

155

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45


156.

OUTSTANDING CARVED AND PAINTED CAROUSEL HORSE Late 19th/Early 20th Century Galloping horse with its head turned slightly left. Two-rider configuration, with a seat in front of and behind the central mounting pole. Detailed carving of the head, mane, breastplate, saddle, etc. Retains original twisted brass mounting pole and mounting brackets. Includes contemporary base. Total height 67”. Horse height 44”. Length 72”. Width 12.5”. 4,000/6,000

156

46

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157.

PAIR OF PARADE HORSE HEADDRESSES Late 19th/Early 20th Century Both with three red plumes and three brass bells. Mounted on contemporary bases. Heights 20”. Width of bases 10.75”. 800/1,200

157, pair

158, two views

158.

19TH CENTURY ALBUM WITH PHOTOGRAPHS OF NEW YORK CITY LANDMARKS Includes a photo of “Bartholdi Statue”, otherwise known as the Statue of Liberty. Also includes some landmarks from Philadelphia and Boston. Photographs approx. 7” x 9”. Album 10” x 12.75”. 1,000/1,500

159.

WOODEN BARBER’S POLE Found in New York City. Painted red and white. Height 35”. 500/800

159

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47


160.

RARE AND UNIQUE “JACK-O’-LANTERN” BOX America, Early 20th Century Likely a homemade design using a Baker’s Chocolate crate. Box stenciled “W. Baker and Co. Dorchester Ma”. Interior fitted with paper shades and candle receptacle. Height 10.5”. Width 8.25”. Depth 7.5”. 200/300

161.

PAINTED WOODEN DOUBLE-SIDED GAME BOARD America, Late 19th/Early 20th Century A green and cream parcheesi board on one side and a checkerboard on the other. 17” x 26”. 500/700

162.

PAINTED PINE GAME BOARD America, Late 19th/Early 20th Century Green and off-white checkerboard. 19.5” x 25.5”. 300/500

163.

VICTORIAN SIX-DRAWER SPOOL CHEST America, Circa 1900 In cherry, with bird’s-eye maple veneer drawer fronts. Height 20”. Width 26”. Depth 19”. 300/500

164.

JESSEN & ROSBERG FOUR-DRAWER WATCHMAKER’S OR JEWELER’S CABINET Chicago, Early 20th Century In oak. Brass pulls with frames to accommodate labels. Jessen & Rosberg label on top. Height 10”. Width 16”. Depth 14”. 120/180

160

161

Jessen & Rosberg were highly successful cabinetmakers, specializing in cabinets for jewelers and dentists.

162

165.

QUILT Early 20th Century One side with red stars on a blue-black ground. Other side with a plaid pattern. 79” x 92”. 150/250

166.

AMERICAN SCHOOL Late 19th/Early 20th Century Folk art painting with kittens lapping milk from a dish. Unsigned. Oil on board, 7” x 10”. Framed 8.5” x 11.5”. 250/350

167.

AMERICAN SCHOOL Late 19th/Early 20th Century “House in Holden, Massachusetts”. Unsigned. Inscribed verso “House in Holden, Mass. where my father was from”. Watercolor on paper, 8.25” x 13.25”. Framed 9.5” x 14.5”. 250/350

163

48

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168, pair

169

170

168.

PAIR OF CAST IRON SPREAD-WING LAWN EAGLES Dated 1918 Probably commemorating the end of World War I. Show traces of green paint. Molded dates on fronts. Total heights including spikes 21”. Wingspans 30.5”. 700/1,000

169.

CARVED AND PAINTED AMERICAN EAGLE PLAQUE America, Contemporary Spread-wing eagle clutching arrows and a Liberty shield. Height 12”. Length 37”. 700/1,000

170.

CARVED WOODEN EAGLE PLAQUE First Half of the 20th Century Spread-wing eagle with Liberty shield and a “Live and Let Live” banner. Length 45.5”. 800/1,200

171.

FORTY-STAR AMERICAN FLAG Hand-stitched stars. Approx. 8’3” x 11’6” .

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200/300

49


172

174

175

172.

PAINTED WOODEN MASSACHUSETTS MILEAGE SIGN Early 20th Century “Ashby 6 Miles Asburnham 10m Fitchburg 13m” and a pointing hand in black on an off-white ground. Height 13.75”. Length 38”. 300/400

173.

DOUBLE-SIDED PAINTED WOODEN TRADE SIGN “ART SHOP. MRS. E.B. HAYES” America, Late 19th Century Gold lettering on a black ground. Height 15”. Length 41.5”. 500/1,000

174.

WOODEN SIGN “THE MOORINGS” Late 19th/Early 20th Century White letting on a black ground. Central star. Height 24”. Length 74”. 700/1,000

175.

PAINTED PINE “FOR SALE” SIGN FROM CAPE COD, MASSACHUSETTS Early 20th Century “For Sale Geo. M. Bush Harwich Port” in yellow lettering on a brown ground. Height 11.75”. Length 23”. 500/800

Provenance: Came from a house in Harwich, Massachusetts.

50

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176.

CAST IRON FIREBACK PERTAINING TO PROVINCETOWN, MASSACHUSETTS 20th Century Depicts the Pilgrim Monument, dolphins, a ship, a figure, a building, etc. Height 23”. Width 16.5”. 1,000/1,500 The consignor’s grandfather was one of the designers of Provincetown’s iconic Pilgrim Monument.

177.

PAIR OF ROYALSTON ARTS FOUNDRY WHALE-FORM BOOKENDS Massachusetts, Early 20th Century Whales riding waves. Stamped verso “Royalston Arts Foundry”. Heights 4.75”. Lengths 6.75”. 400/600

176

178.

SEVEN CAST IRON “OLD SALT” DOORSTOPS First Half of the 20th Century All under original paint. Heights from 6” to 15”. 500/1,000

178

179.

OYSTER BARREL FROM THE “JEREMIAH SMITH & SONS OYSTER GROWERS COMPANY” Late 19th/Early 20th Century Includes a piece of framed letterhead from the company. Barrel painted burnt orange with black stenciled lettering. Height approx. 26.5”. Diameter 16”. 500/1,000

180.

THREE SAILOR-MADE SEWING ITEMS 19th Century Two in acorn form and one cylindrical. Heights from 2.5” to 11”. 250/350

179

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51


181

181.

AMERICAN SCHOOL Circa 1870 Sailing vessel on the shore. Signed lower left “T” and dated “Septr. 8 1870”. Watercolor on paper, 7.25” x 11”. Framed 15.5” x 19”. 300/500

182.

POSSIBLY CLEMENT DREW 19th Century A small boat sailing past three lighthouses. Unsigned. Old partial label verso inscribed “Coast Cape Ann”. Possibly a view of Long Island in Boston Harbor. As similar scene titled “Long Island Boston Harbor 1883” by Clement Drew was sold at Eldred’s, July 12, 2001, Lot #801. Oil on board, 10” x 12”. Framed 13.25” x 15.25”. 300/500

182

183.

WALTER LOFTHOUSE DEAN Massachusetts, 1854-1912 Three-masted ship in port. Signed lower left “W.L. Dean”. Oil on board, 8” x 11”. Framed 14” x 17”. 400/600

184.

WALTER LOFTHOUSE DEAN Massachusetts, 1854-1912 Coastal view with distant lighthouse. Signed lower left “W.L. Dean”. Oil on artist board, 8” x 11”. Framed 14.5” x 17.5”. 400/600

183

184

52

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185

188

185.

MOUNTED BUILDER’S HALF HULL MODEL Late 19th Century Hardwood model with ten lifts. Pine backboard 10.25” x 47.5”. 800/1,200

186.

CAMPHORWOOD SEA CHEST 19th Century Under an old brown finish. Replaced iron hinges. Carved beckets with ropework handles. Interior ditty box. Height 17”. Width 40”. Depth 16”. 300/500

187.

PHOTOGRAPH OF THE PASSENGER STEAMSHIP MOUNT HOPE Early 20th Century Marked lower left “Heald & Co. Photographers”. Framed 32” x 39.75”. 300/500

188.

MARITIME SHADOW BOX DIORAMA Late 19th/Early 20th Century Depicts two ships off a lighthouse. Painted sky and water background. Height 13.75”. Width 29.5”. Depth 3.75”. 300/400

189.

FOUR VINTAGE PHOTOGRAPHS OF ICEBOATS Three depict iceboats in various waterways. One depicts an iceboat model. Largest frame 19” x 22.75”. 300/500

190.

CHELSEA SHIP’S BELL CLOCK Boston, 20th Century Brass case mounted on a wood base. Height 7.25”. Width 9.5”. Depth 4”. Face diameter 4”. 400/600

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53


191. 191

192.

THREE-MASTED SCHOONER WEATHER VANE ATTRIBUTED TO FRANK ADAMS Martha’s Vineyard, Massachusetts, First Half of the 20th Century Wooden hull painted green and white. Metal masts and sail. Wooden spars. Height 22”. Length 36”. 500/700

SANDY MORAN Cape Cod, Massachusetts, 1944-2020 Two sailor’s valentines composed of multicolored shells. Both with a decorative central shell surrounded by floriform designs. Octagonal wooden cases. Both 12” x 12”. 800/1,200

192, two

193.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Yacht race with a lightship tender in background. Rare oval composition for the artist. Signed lower right “Jerome Howes”. Oil on masonite, oval 24.5” x 36”. Framed 31” x 41.5”. 1,200/1,400

193

54

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194

195

196

194.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Yacht race. Unsigned. Oil on masonite, 16” x 24”. Framed 21.5” x 29.5”. 900/1,200

195.

FINE REPRODUCTION OF A JAMES E. BUTTERSWORTH PAINTING OF THE DAUNTLESS Giclée on canvas, 17.5” x 24”. Framed 22.5” x 30”. 700/1,000

197

196.

FINE REPRODUCTION OF A JAMES E. BUTTERSWORTH PAINTING OF AMERICA GARDEN Giclée on canvas, 17” x 24.5”. Framed 30” x 22”. 700/1,000

197.

FREDERICK TORDOFF New Jersey/England, b. 1939 “Shipping in Boston Harbor”. Signed lower right “Frederick Tordoff”. Titled verso. Oil on canvas, 9.75” x 17.25”. Framed 14.5” x 22.25”. 500/1,000

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55


198.

CHELSEA SHIP’S BELL CLOCK AND BAROMETER DESK SET Boston, 20th Century Polished brass cases mounted on a rectangular footed base. Total height 9”. Width 15.5”. Depth 4”. Face diameters 5.75”. 900/1,200

199.

ENGLISH L- BRACKET BAROMETER 19th Century Brass and mahogany veneer case with satinwood inlay. Stamped “L. Laffrancho Ludlow”. Height 31”. Width 20”. 400/600

200.

CASED MODEL OF THE BABY BOOTLEGGER Laminated hull. Brass fittings and trim. Case height 14.5”. Length 42.5”. Width 13.5”. 2,000/3,000

198

200

56

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201.

CASED MODEL OF THE U.S.S. CONSTITUTION 20th Century Brass plaque mounted in case marked “Built for J.W. Riker Jr. 1990-1993”. Case height 30”. Length 41.75”. Width 16.5”. 2,000/3,000

202.

AFTER WILLIAM BRADFORD America, 19th Century Sunset Arctic view with icebergs. Unsigned. Oil on canvas, 11” x 20.25”. Framed 14.5” x 23.5”. 2,000/3,000

201

202

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57


203

203.

LEMUEL D. ELDRED Massachusetts, 1848-1921 Crashing Waves, 1901. Signed and dated lower right. Oil on panel, 10” x 16”. Framed 14.5” x 20.5”. 1,000/1,500

204.

FINE REPRODUCTION OF AN ALFRED T. BRITCHER PAINTING OF GRAND MANAN Giclée on canvas, 30” x 22”. Framed 37” x 28”. 700/1,000

205.

FRANKLIN BRISCOE Pennsylvania/Maryland, 1844-1903 Several ships in a storm off a distant lighthouse. Signed lower right. Titled on reverse “The ___ Storm”. Housed in its nice original deep gilt frame. Oil on canvas, 16” x 24”. Framed 31” x 23”. 400/800

205 204

58

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206

206.

CASED MODEL OF A SINGLE ROWING SCULL First Quarter of the 20th Century Quartered oak shadow box case. Case height 10.25”. Length 46”. Depth 5”. 1,000/1,500

207.

FIVE VINTAGE ROWING PHOTOGRAPHS All race scenes with spectator fleets. Images from 4.25” x 6.5” sight to 9.75” x 13.5” sight. Largest frame 16” x 19.25”. 300/500

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208.

FIVE ROWING-RELATED ITEMS Four framed photographs and a silver plated loving cup-form trophy marked “Centipede Oct. 12th 1915 Won by Union Boat Club ...”. One photograph depicts a race with spectator fleet and biplane, two depict similar views of eight-oar shells, and one depicts the Yale boathouse. Trophy height 7.5”. Photographs from 7” x 8.75” sight to 14” x 11” sight. Largest frame 18” x 15”. 300/500

59


209.

PAINTED WOODEN “PARKING” SIGN America, Circa 1930 Black lettering and a pointing hand on a yellow ground. Height 14”. Length 24”. 250/350

209

210.

PAINTED WOOD AND METAL BIRDHOUSE IN THE FORM OF A HOT AIR BALLOON Early to Mid-20th Century Includes a hanging basket. Interior with perch. Total height exclusive of basket approx. 30”. 200/300

210

211

211.

60

CAROUSEL HORSE 20th Century Traces of original paint. Cast iron tri-foot base. Height 32”. Total height including base 52.5”. Length 48”. Width 9”. 700/1,000

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212.

METAL MILEAGE SIGN America, Early 20th Century “Bradford 6 M” in applied black-painted lettering. Height 3.25”. Length 17.5”. 150/200

213.

FOLKSY BI-PLANE WHIRLIGIG America, Early 20th Century Under faded white paint. Height 5”. Length 20”. Width 17”. 300/500

214.

HIGHLY STYLIZED PAINTED WOODEN GAME BOARD America, Mid- to Late 20th Century Gray-green circle filled with multicolored hexagons. 17” x 16.5”. 100/200

215.

ROLLED METAL ROOSTER WEATHER VANE 20th Century Height including stand 18”. Length 16.75”. 200/300

216.

UNUSUAL WOODEN SILHOUETTE FIGURE OF A NATIVE AMERICAN Mid-20th Century Hinged arms and legs. Painted highlights. Height 12.5”. 120/180

217.

FOLK ART CARVING OF A PENGUIN America, Mid-20th Century Painted black, yellow and orange. Height 17.5”.

218.

400/600

LEATHER RHINOCEROS-FORM FOOTSTOOL Circa 1960 Attributed to Dimitri Omersa for Abercrombie & Fitch. Height 16”. Length 36”. Width 7”. 1,000/1,500

218

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61


219

219.

62

HOWARD HILL New York/England, d. 1870 A family of grouse. Signed lower right “H. Hill”. Oil on canvas, 24” x 32”. Framed. 2,000/4,000

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220

220.

JOHN JAMES AUDUBON New York/France, 1785-1851 “Great White Heron”. Elephant folio plate 368 from The Birds of America, Bien edition. Chromolithograph on paper, 26” x 39.25” sight. Framed 28” x 41”. 2,000/4,000

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63


221.

222.

GEORGE ELMER BROWN Massachusetts, 1871-1946 Two etchings on paper: 1) “The Bailers”, circa 1920. Titled lower left and signed lower right. 8” x 9.75”. Framed 19” x 23”. 2) Fishermen at the dock, circa 1920. Signed lower right. 10” x 12”. Framed 19” x 23”. 200/300

FRANK WESTON BENSON Massachusetts, 1862-1951 “Yellowlegs #3”, circa 1923. Signed in pencil lower left. Drypoint etching, 7.75” x 5.75”. Framed 19.5” x 17.5”. 400/600

222

223.

PAINTED SHEET METAL WEATHER VANE IN THE FORM OF A HUNTER AND DEER America, Mid-20th Century Hunter pointing his rifle at a running deer, both painted brown, amidst a landscape painted green. Total height 14.75”. Length 34”. 600/800

223

224.

BROOK TROUT SHADOW BOX DIORAMA 20th Century Maker unknown. Shadow box 9” x 14”. 300/500 Provenance: Purchased at a Richard Oliver auction.

225.

STANDING PENGUIN IN THE MANNER OF CHARLES HART America, First Half of the 20th Century On a square base. Height 19”. Width 9.5”. Depth 9.5”. 900/1,200

225

64

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Robert and Virginia Warfield Jaffrey, New Hampshire, 20th Century Lots 226-233

231

232

226.

LIFE-SIZE CHICKADEE Mounted on a driftwood and oak base. Signed on base in ink. Height 5.5”. 250/350

227.

LIFE-SIZE YELLOWLEGS In preening position. Mounted on a driftwood base. Signed on base “Warfield Jaffrey NH”. Height 9”. Length 13.5”. 300/500

228.

LIFE-SIZE WOOD THRUSH Mounted on an oval pine base, posed by a pink lady’s slipper. Signed on base “Warfield Jaffrey NH 1975”. Height 12”. Length 8”. 300/500

229.

HALF-SIZE CURLEW Mounted on a driftwood base. Signed “Warfield Jaffrey NH”. Height 10.5”. Length 16”. 300/500

233

230.

GOLDFINCH Mounted on a driftwood and round wooden base. Signed on base “Robert Warfield Virginia Warfield Jaffrey NH 1974”. Height 5.5”. 250/350

231.

QUARTER-SIZE OSPREY Mounted on a driftwood base. Signed “Warfield Jaffrey NH 1968”. Height 7”. Length 15.25”. 300/500

232.

LIFE-SIZE FEMALE BOBWHITE Mounted on a driftwood base. Signed “Warfield Jaffrey NH 1971”. Height 7”. Length 12”. 300/500

233.

MINIATURE CANADA GOOSE Standing on a driftwood base. Signed “Warfield Jaffrey NH 1972”. Includes original paper tag. Height 11”. Length 10”. 300/500

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65


234.

THREE STAN SPARRE MINIATURE BIRD CARVINGS East Falmouth, Massachusetts, 1923-2011 A herring gull, height 6.5”, a red-breasted merganser drake, height 4.5”, and a green-winged teal drake, height 3.5”. 300/500

235.

JEROME HOWES DECORATIVE JACK CURLEW New York/Massachusetts/Vermont, b. 1955 In preening position with its wing raised. Mounted on a driftwood and oval wooden base. Signed on base “Jerome Howes”. Height 19”. Length 11.75”. Width 5”. 300/500

236.

MARTY COLLINS HOODED MERGANSER HEN DECOY East Wareham, Massachusetts, 20th Century Made in the style of Joe Lincoln. Glass eyes. Antiqued finish. Length 12.75”. 250/350

237.

TWO FRESHWATER COOT DECOYS 20th Century Makers unknown. Glass eyes. Original paint. Gunning wear. Lengths 10”. 200/300

238.

PAIR OF JOHN HOLLOWAY GREEN-WINGED TEAL DECOYS New Jersey, 20th Century Hollow-carved. Glass eyes. Original paint with minor wear. Carved wing and tail feathers. Lengths 11.5”. 250/350

239.

PAIR OF JOHN HOLLOWAY BLUE-WINGED TEAL DECOYS New Jersey, 20th Century Hollow-carved. Glass eyes. Original paint with minor wear. Carved wing and tail feathers. Lengths 12.5” and 13.5”. 250/350

240.

JOHN HOLLOWAY BLACK DUCK DECOY New Jersey, 20th Century Glass eyes. Carved wings and tail feathers. Length 15.75”. 150/200

241.

TWO ROSWELL “ROZ” BLISS WHITE-WINGED SCOTER DECOYS Stratford, Connecticut, 1887-1967 Glass eyes. Original paint. Branded “R. Bliss”. Lengths 16”. 800/1,200

242.

TWO BOB WHITE RUDDY DUCK DECOYS Tullytown, Pennsylvania, 20th Century Drake with turned head, carved wings and tail. Inscribed on underside “Drake ruddy duck carved May 1968 for Donal O’Brien Jr. made by Bob White”. Hen with turned head. Brass plaque inscribed “Robert White 402 Main St. Tullytown, PA”. Lengths 10” and 12”. 1,000/1,500

241, two

242, two

66

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243.

RIG OF SIX ROGER MITCHELL OLDSQUAW DECOYS Kingston, Massachusetts, 20th Century Four drakes and two hens. Glass eyes. Original paint with gunning wear. Lengths 14” and 15”. 500/800

247.

LIFE-SIZE CARVING OF A SWAN 20th Century In the Chesapeake style. Glass eyes. Traces of original paint. Length 30”. 400/600

244.

RIG OF SIX GRAYSON CHESSER BLACK DUCK DECOYS Chincoteague, Virginia, 20th Century One in preening form. Glass eyes. Original paint with gunning wear. Lengths from 14” to 19”. 800/1,200

248.

ONTARIO BLACK DUCK DECOY First Quarter of the 20th Century Maker unknown. Glass eyes. Original paint with moderate wear. Length 16.25”. 500/800

245.

TWO GRAYSON CHESSER BUFFLEHEAD DRAKE DECOYS Chincoteague, Virginia, 20th Century Original paint with gunning wear. Lengths 13”. 250/350

249.

KEN HARRIS BLACK DUCK DECOY Woodville, New York, 20th Century Head turned slightly right. Glass eyes. Original paint. Carved wing and tail feathers. Faint traces of a white rectangular stamp. Length 16”. 500/800

246.

RIG OF NINE GRAYSON CHESSER BRANT DECOYS Chincoteague, Virginia, 20th Century Six silhouettes and three full-size. Original paint with considerable gunning wear. Lengths 19”. 400/700

248

249

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67


250.

MASON DECOY FACTORY PREMIER GRADE BLACK DUCK DECOY Detroit, Circa 1910 Completely repainted and restored. Length 18”. 250/350

251.

CHRISTO EARNEST LONG252. CONTINENTAL CURLEW DECOY BILLED CURLEW DECOY First Half of the 20th Century Burano, Italy, 20th Century Maker unknown. Glass eyes. Aluminum bill and legs. Original Glass eyes. Original paint with gunning wear. Length 18”. paint with heat crazing and wear. 2,000/3,000 Length 16.75”. 300/500 Ernest Hemingway purportedly hunted over a rig of Christo Earnest decoys.

252 251

68

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255

253.

NOVA SCOTIA EIDER DRAKE DECOY 20th Century Maker unknown. Some gunning repaint and wear. Signed on underside “WB”. Length 21”. 300/500

254.

NOVA SCOTIA EIDER DRAKE DECOY 20th Century Maker unknown. Old gunning repaint with wear. Height 6.75”. Length 15”. 150/250

255.

JOE LINCOLN CANADA GOOSE DECOY Accord, Massachusetts, 1859-1938 Gunning repaint and wear. Height 12”. Length 25”. 500/1,000

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256

256.

JOE LINCOLN BLACK DUCK DECOY Accord, Massachusetts, 1859-1938 Original paint with gunning wear. Lightly hit by shot. Length 18”. 500/800

69


a. elmeR CRoWell East Harwich, Massachusetts, 1862-1952 Lots 257-261

257.

LOOMER SLAT GOOSE DECOY Early 20th Century Age split at neck. Repainted and showing average wear. Some rough points to end of tail. Oval brand on back. 400/600

257

258.

PINTAIL HEN DECOY Circa 1925 Glass eyes. Turned head. Original paint with considerable wear. Oval brand. Length 16”. 800/1,200

258

259.

HALF-SIZE MALLARD DRAKE Circa 1930 Head turned slightly left. Glass eyes. Original paint. Rectangular stamp. Length 10.5”. 1,500/2,500

259

70

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a. elmeR CRoWell East Harwich, Massachusetts, 1862-1952 Lots 257-261

260, pair

260.

PAIR OF GOLDENEYE DECOYS Circa 1925 Glass eyes. Original paint with gunning wear. Both hit with shot. Carved tails. Oval brands. Drake length 15.5”. Hen length 14”. 4,000/7,000

261.

MINIATURE GOLDEN PLOVER Circa 1925 Mounted on an oval base. Rectangular stamp. Height 2.5”. 1,000/1,500

261

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71


IMPORTANT NOTICE Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all modern guns be thoroughly checked by a licensed gunsmith.

262.

* RUSSIAN MODEL 1895 REVOLVER 7mm., Serial #189517119. Blue-black finish. Checkered grips. Length of barrel 4.5”. Total length 9”. With holster. 300/400

263.

* REMINGTON SPEEDMASTER SEMI-AUTOMATIC RIFLE PERTAINING TO WILLIAM FAULKNER .22 cal., Serial #96237. Nickel-plated plaque attached to stock engraved “M.A.F.”, believed to be the initials of Malcolm Faulkner, William Faulkner’s stepson. Length of barrel 24”. Total length 41.5”. 200/400 William Faulkner (1897-1962), the American writer and Nobel prize laureate celebrated particularly for his contribution to Southern literature, was also a renowned sportsman. He learned to hunt

264.

* ITHACA MODEL 37 SLIDE-ACTION SHOTGUN 12-ga., Serial #371133156. Length of barrel 28”. Total length 47”. 300/500

265.

* BROWNING LIGHTNING OVER-UNDER SHOTGUN 12-ga., Serial #7042. Blued finish with wear. Length of barrel 30”. Total length 46.75”. 800/1,200

266.

* M1 SPRINGFIELD GARAND RIFLE 20th Century .30-06 cal., Serial #3686410. Made for the Civilian Marksmanship Program. Length of barrel 24”. Total length 44”. With case. 1,000/1,500

growing up in Mississippi and the tales of the outdoors inspired much of his writing. He famously disappeared for his annual week at his deer camp the day after winning the Nobel prize, frustrating the legions of reporters who were trying to interview him and antagonizing U.S. State Department officials who wanted to avoid an international incident.

265

266

72

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267

267.

268.

ELEVEN BOOKS ON FIREARMS AND KNIVES Sizes, bindings and conditions vary. 150/250

* COLT 1911 SEMI-AUTOMATIC PISTOL .45 cal., Serial #70290. Blued finish. Walnut grips stamped “58”. Length of barrel 5”. Total length 8.5”. Includes magazine and leather holster stamped “US”, “Rock Island Arsenal 1914”, and “F.T.P.C.C. 58”, possibly for the First Troop, Philadelphia City Cavalry. 1,500/2,500

269.

TEN BOOKS ON KNIVES AND WEAPONRY Sizes, bindings and conditions vary. Most illustrated. See a complete list at www.eldreds.com. 100/200

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73


270.

DESIRABLE RARE VOLUME ON ANTIQUE BOWIE KNIVES The Antique Bowie Knife Book by Bill Adams, et al, with introduction by Norm Flayderman. Conyers, Ga.: Museum Publishing, Inc., 1990. Limited edition, numbered 510 of 1100 copies. Illus. Q. Cream-colored boards. Red pictorial dust jacket. In near brand-new condition with just light wear to dust jacket. 300/500

271.

NATIVE AMERICAN PRESENTATION HATCHET Dated 1903 Silver plated hatchet head on walnut shaft. One side of hatchet engraved with an eagle and Liberty shield. Reverse etched “Presented to Machigonne Tribe No. 3 of Portland, Maine Apr. 22, 1903 Winnepurkit Tribe, No. 55 of Lynn, Mass”. Total length 17.5”. Head length 6”. 500/800

272.

NATIVE AMERICAN TRADE KNIFE 19th Century Bone handle decorated with small brass tacks forming a cross. Length of blade 6.75”. Total length 10.5”. 300/500

273.

NATIVE AMERICAN KNIFE AND SHEATH 19th Century Engraved steel blade with geometric design. Snakeskin handle and sheath. Length of blade 7.5”. Length of handle 11.25”. 200/300

270

271

74

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274

Lone Wolf was one of the first Native Americans to paint his people, encouraged by many of the famous white artists of the time, including Charles Russell, Frederic Remington, Thomas Moran and Olaf Seltzer. He was formally trained at the Los Angeles Art Student League and the Chicago Art Institute.

274.

HART MERRIAM “LONE WOLF” SCHULTZ Montana/Arizona, 1882-1970 “Indian on Horseback”. Signed lower right “Lone Wolf ” and with the artist’s cipher. Titled on gallery label verso. Oil on canvas, 24” x 20.5”. Framed 30.5” x 26”. 3,000/5,000 Provenance: Vose Galleries, Boston. Hunter Gallery, San Francisco.

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75


275

276

275.

76

NAVAJO RUG Early 20th Century Gray field with ivory, black and dark red diamonds flanking a column of symbols resembling arrows. Dark ivory and dark walnut brown borders. 41” x 59”. 500/700

276.

NAVAJO RUG IN EYE DAZZLER PATTERN, POSSIBLY GERMANTOWN Early 20th Century Rendered in gray, black, tan, red and pink. 34” x 52”. 500/700

277.

SANTA CLARA BLACKWARE POTTERY BOWL New Mexico, 20th Century Marked on base “Lela Sta Clara Pue”. Height 5”. 200/400

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278.

FRANCISCO ZUNIGA Mexico, 1912-1998 “Ninas Dormidas”. Signed and dated 1973 lower right. Mixed media on paper, 19.75” x 25.5” sight. Framed 28” x 33”. 1,500/2,500

278

279.

DAVID BARBERO New Mexico/Massachusetts, 1938-1999 New Mexico landscape. Signed lower left “Barbero”. Oil on board, 10” x 14”. Framed 14” x 18”. 800/1,000

279

280.

LLOYD LOZES GOFF New Mexico/New York, 1908-1982 “Windmill”. Titled and signed verso “Lloyd Lozes Goff”. Gouache on paper, 7.75” x 12” sight. Framed 16.75” x 21”. 500/1,000

280

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77


281

281.

78

RAFAEL CORONEL Mexico, 1932-2019 Portrait of a figure in a mask. Signed lower right “Rafael Coronel”. Oil on canvas, 21.75” x 18”. Framed 29.25” x 23.5”. 2,000/3,000

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282 283

282.

ALFRED HUTTY New York/South Carolina/Michigan, 1877-1954 “Southern Pines”. Signed in pencil lower right “Alfred Hutty” and with a snail monogram. Etching on paper, 11.75” x 10.25” sight. Framed 18” x 16”. 300/500

283.

MARTIN LEWIS New York/Connecticut/Maine/Australia, 1881-1962 “Clearing rain, Evening, Japan, 1927”. Signed in pencil lower right “Martin Lewis”. Drypoint etching, 15.75” x 10.25” sight. Unframed. 800/1,200

284.

ATTRIBUTED TO CHARLES DANA GIBSON New York/Maine/Massachusetts, 1867-1944 “Aesop”. Unsigned. Typewritten note verso by the artist’s sister attributes it to Gibson. Gouache on board, 11.5” x 14.5” sight. Framed 23” x 26”. 800/1,200

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284

79


285

285.

80

ERNEST HOWARD SHEPARD United Kingdom, 1879-1976 Sketch of Kanga, an illustration for A.A. Milne’s The House at Pooh Corner. Monogram signature lower left “EHS”. Inscribed verso “‘The House at Pooh Corner’ p. 154, 1st English Edition”. Pen and ink, 3.875” x 2.875” sight. Framed 9” x 7.75”. 5,000/10,000

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286

286.

JAMES MONTGOMERY FLAGG New York, 1877-1960 Original illustration for a 1937 issue of Cosmopolitan magazine. Signed lower left “James Montgomery Flagg”. Includes a copy of the magazine featuring this illustration. Oil on canvas, 30” x 41”. Framed 34” x 45”. 4,000/6,000

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81


287.

JOHN LAVALLE Massachusetts/New York, 1896-1971 Portrait of a young girl with her toys. Signed lower left “John Lavalle”. Oil on canvas, 40” x 25”. Framed 44” x 29”. 500/1,000

287

288.

ERIC L. PAPE Massachusetts/New York/California/France, 1870-1938 Portrait of a musician. Signed lower left “E. Pape”. Oil on canvas, 32” x 18”. Unframed. 500/700

288

82

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290

289.

TWO COPPER PLATES ENGRAVED BY JAMES TRENCHARD FOR COLUMBIAN MAGAZINE Philadelphia, Circa 1787 Together with two envelopes with pencil inscriptions identifying the plates and a list of “Copper Plates for the Illustrations in the Columbian Magazine” typed on onionskin paper. 1) “A View of the Town of Boston the Capital of New England”. Plate 6.25” x 9.75”. 2) “The Armorial Bearings of the States of Massachusetts and New York”. Plate 7.25” x 4.25”. Includes an engraving made from the plate. Sheet size 12” x 9.25”. 150/200

290.

WILLIAM CLARKE RICE, JR. New York, 1875-1928 “The Prince of Knowledge”. Study for a library mural. Signed lower left “W.C.R”. Oil on canvas, 16” x 50”. Framed 20.75” x 55”. 2,000/3,000

Columbian Magazine was a monthly literary magazine published in Philadelphia from 1786 to 1792. Engraver James Trenchard (b. 1747) was the magazine’s illustrator. The Boston view is after Thomas Pownall’s engraving, published in London as part of “Scenographia Americana” in 1768.

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83


Session II Friday, April 2, at 9:30 a.m. Lots 501-615 European and Decorative Arts Lots 301-340 Oriental Rugs Lots 367-389, 530-552 Clocks Lots 390-394 Also Fine Art, Furniture, Contemporary Art & Design, and More

84

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301, three views

301.

JOHN BROWNE’S 1681 ANATOMICAL BOOK COMPLEAT TREATISE OF THE MUSCLES ... A Compleat Treatise of the Muscles, As they Appear in Humane Body, And Arise in Dissection; With Diverse Anatomical Observations Not yet Discover’d. By John Browne (1642-1700). [London]: In the Savoy, printed by Tho. Newcombe for the Author, 1681. Believed to be a 1st edition, with catchword on p. 60 matching the text on p. 63, which immediately follows. “Illustrated by near Fourty Copper Plates, Accurately Delineated and Engraven”. Retains all anatomical plates 1-37 but the frontispiece portrait has been removed. Inscribed on first free endpaper “William Speakman Anno Domini Jan 1727”. Large Q 12.25” x 8”. Impressed leather. 1,000/2,000 Provenance: Dr. Reed of Newtown Square, Pennsylvania. Many of the books in Reed’s collection were from the personal collection of Dr. William Keen, a Civil War surgeon and professor at Jefferson Medical College.

Considered John Browne’s most popular work, the book went through several editions and is more commonly known as “Myographia nova”, the title given to the 1684 Latin edition and all subsequent Latin and English editions. While it is also widely regarded as a complete plagiarism of a lesser-known text by William Molins and the plates are near-copies of ones by Casserio, it is also considered one of the most attractive and valuable anatomical volumes in English of the period. The inscription could pertain to William Speakman (c. 16851748), a baker, who left England and settled in Boston in the early 1700s, becoming quite prosperous in real estate. He was also an upstanding member of the Anglican church who owned the land on which the first Trinity Church was built in 1735.

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83


302.

303

RARE VOLUME ON IVORY Ivory and the Elephant by George Frederick Kunz. Garden City, N.Y.: Doubleday, Page and Company, 1916. Hobby Club edition, limited to 40 copies, printed for member John D. Crimmins and signed by the author. Illus. with photographs, charts, etc., some fold-out. Q. Cream cloth with pictorial paste-down on cover and pictorial label on spine. Top edge gilt, remaining deckled. 300/500 The Hobby Club was established in New York City in 1908 as an exclusive club for gentlemen, mostly well-known New Yorkers, with a well-defined hobby, as an opportunity to showcase their knowledge or collections at annual dinners.

303.

LARGE JAPANESE BRONZE FIGURE OF A STANDING ELEPHANT Late 19th/Early 20th Century Signed on underside. Height 15”. Length 28”. 800/1,200

304.

ANTOINE-LOUIS BARYE France, 1796-1875 Lion and serpent. Signed on base “Barye”. Bronze, height 10.5”. Length 13”. Width 7”. 1,500/2,500

305.

CHARLES MASSON France, 1822-1894 A lion and its prey. Signed on base “C. Masson”. Stamped “Salon des Beaux Arts”. Bronze, height 7.5”. Length 14.5”. Width 6”. 500/700

304

305

84

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306.

AFTER SANDRO BOTTICELLI 19th Century “Madonna And Child With St. John The Baptist”. After the original in the Louvre. Unsigned. Oil on canvas, 37” x 27”. Framed 44” x 34”. 2,000/3,000

306

307.

AFTER RAFFAELLO RAPHAEL Late 18th Century “Mercurio” and “Marte”, depicting the Gods Mercury and Mars riding chariots across clouds. Copper engravings by Carlo Lasinio (Italy, 1759-1838). 14” x 17” sight. Framed 21.5” x 24.5”. 400/600

307, two

308.

OLD MASTER SCHOOL Late 18th/Early 19th Century Trading on the banks of a river under a full moon. Possible signature lower right. Christie’s label on stretcher. Oil on canvas, relined, 40” x 51”. Framed 48” x 60”. 3,000/5,000 308

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85


309

309.

AFTER THOMAS COLE America, 19th Century “Mount Etna From Taormina, Sicily”. Unsigned. Oil on canvas, 6.75” x 9.5”. Framed 10.25” x 13”. 300/500

310.

ITALIAN SCHOOL 19th Century Landscape with ruins. Unsigned. Oil on canvas, 29” x 36.5”. Framed 39.75” x 47”. 500/800

310

311

311.

JOHN GADSBY CHAPMAN New York/Italy, 1808-1889 “Fra Placido”. Inscribed verso “Fra Placido on the ‘Riformati’ at Albano John G. Chapman Rome 1870”. Oil on board, 10.25” x 14”. Framed 17.5” x 21.5”. 1,000/2,000

312.

JOSEF HUBER-FELDKIRCH Austria, 1858-1932 Ruins at sunset. Signed lower right “Josef Huber-Feldkirch”. Oil on board, 26” x 26.25”. Framed 33” x 33”. 1,000/2,000

312

86

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313.

GEORGE HENRY BOGERT New York/France, 1864-1944 View of Venice. Signed lower left “G.H. Bogert”. Oil on canvas, 28” x 40”. Framed 36” x 48”. 2,500/3,500

313

314.

FRENCH SCHOOL 19th Century Wash day by the lake. Unsigned. Oil on canvas, 12” x 18.75”. Framed 23.5” x 30”. 1,000/1,500

314

315.

SCHOOL OF CORNELIS DE HEEM The Netherlands, 17th/18th Century Opulent still life of fruit and Delft pottery. Unsigned. Oil on cradled board, 20” x 26”. Framed 24.5” x 30.5”. 1,000/1,500

315

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87


316

316.

88

WALTER GAY Massachusetts/France, 1865-1937 “A Dominican Monk”. Signed lower left “Walter Gay”. Dated 1888 in Roman numerals lower right. Housed in a Paul Goodnow frame. Oil on canvas, 56” x 38”. Framed 63” x 43”. 5,000/10,000

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317.

CONTINENTAL CARVED STONE MALE TORSO 19th Century Height 20”. 500/800

318.

MALVINA CORNELL HOFFMAN New York, 1887-1966 “L’Homme Tombeau”, a bust of Dr. Albert Simard. Signed and dated on base “Malvina Hoffman 1930”. Foundry mark for Alexis Rudier, Paris. Bronze, height 9”. 800/1,200 Provenance: A private Yorktown, New York collection. 318

The plaster version of this bronze is at the New York Historical Society.

319.

HENRY KIRKE BUSH-BROWN New York/Washington D.C., 1857-1935 Bust of Ebenezer Bryce. Titled on base “Bryce”. Signed and dated verso “Bush Brown April 24, 1913”. Bronze, height, 9.5”. 500/1,000 Ebenezer Bryce was a Mormon pioneer, best known as the person for whom Bryce Canyon National Park was named.

319

320.

CONTINENTAL TEA CADDY INLAID WITH GENRE SCENES Mid-19th Century In walnut. All sides and the underside of lid with satinwood inlaid scenes of gypsies and peasants. Three-section interior. Height 7.5”. Width 11.5”. Depth 6.5”. 200/400

321.

FRENCH-STYLE MARBLE-TOP PIER TABLE Early 20th Century Rectangular white marble top. Carved and gilded wood base with cabriole legs. Height 27.75”. Length 44”. Width 18”. 200/300

322.

PAIR OF FRENCH AESTHETIC MOVEMENT PARCEL-GILT BRONZE SIX-LIGHT CANDELABRA Circa 1870 Black onyx bases with gilt edges. Apparently unmarked. Total heights 35”. 1,500/2,000 322

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89


323.

FRENCH FARM TABLE First Half of the 19th Century In fruitwood. Drawer at one end of apron and a slide at the opposite end. Cabriole legs. Height 29.75”. Length 66.25”. Width 31”. 1,000/1,500

324.

PAIR OF CONTINENTAL BRASS PUSH-UP CANDLESTICKS Late 18th Century Probably French. Scalloped bases. Signed on underside in script “E K” and marked “3”. Heights 8”. 400/800

326

325

327.

90

323

ENGLISH TEA CADDY 19th Century Simulated shell top heavily inlaid with brass floral and scroll decoration. Black lacquered sides. Fitted interior. Height 5”. Width 9.5”. Depth 5”. 700/900

325.

ENGLISH OCTAGONAL TEA CADDY 19th Century Shell exterior. Height 4.25”. Width 5.5”. Depth 3.5”. 1,400/1,600

326.

ENGLISH TEA CADDY 19th Century Shell exterior with bone trim and feet. Fitted interior. Height 8”. Width 8.5”. Depth 5”. 1,400/1,600

327

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328.

IRISH OVAL DROP-LEAF TABLE 19th Century In oak, under an old brown finish. Turned legs joined by a stretcher base. Height 29.5”. Length 95”. Width 21.75” plus two 18” drop leaves. 1,000/1,500 328

329. 329

330.

IRISH CONSOLE TABLE 18th Century Hardwood base with marble top. Cupid’s-bow front skirt. Cabriole legs end in modified trifid feet. Height 28.25”. Width 33.75”. Depth 16.75”. 800/1,200

SET OF EIGHT GEORGIAN-STYLE SIDE CHAIRS First Half of the 20th Century In mahogany and mahogany veneer. Backs with nicely carved crest rails and splats. Balloon slip seats. Legs with shell-carved knees and pad feet. Back heights 39.25”. Seat heights 18.75”. 800/1,200

330, eight

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91


331.

ENGLISH COROMANDEL LIQUOR CHEST Late 18th/Early 19th Century Brass label and lock stamped for retailer W.E. Leuchars, 38 Piccadilly, London. Brass edges, fittings and inlaid monogram “TCP” surmounted with a coat of arms. Contains two matching monogrammed decanters with gilt stoppers. Chest height 11”. Width 13”. Depth 6.5”. 500/1,000

332.

GEORGIAN MARBLE-TOP PIER TABLE Second Half of the 18th Century In mahogany, with cabriole legs ending in pad feet. Height 41”. Width 39.75”. Depth 27”. 500/800

332

333.

ENGLISH TRAY-TOP TABLE Late 18th Century In mahogany. Single drawer in skirt. Cabriole legs end in claw & ball feet. Height 30.25”. Width 30”. Depth 19.75”. 500/800

334.

EXCEPTIONAL ENGLISH LIBRARY STEPS Circa 1870 In oak. Seven-riser steps ascend to a standing platform with side rails and bookshelf at front. Handrail for steps extends from the platform’s side rail. Chamfered legs joined with stretchers and end in beautifully cast brass feet fitted with casters. Height 83.5”. Width 29.5”. Depth 48”. 4,000/6,000 334

92

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Samuel Palmer England, 1805-1881 Lots 335-340

335 337

340

339

335.

The tree. Inscribed in pencil verso “Samuel Palmer A645”. Pen and ink on paper, sheet size 4.5” x 5.5”. Framed 13” x 11.75”. 800/1,200

338.

Three prints: 1) “The Willow”. Etching on paper, matrix 90mm x 67mm, sheet size 9” x 6.25”. Framed 12.25” x 10.75”. 2) “The Herdsman’s Cottage”. Pencil inscription along lower edge. Etching on laid paper, matrix 98mm x 77mm, sheet size 10.5” x 8.5”. Framed 15.5” x 13.25”. 3) Reproductive print of Palmer’s Self-Portrait. 9” x 7.25” sight. Framed 16” x 14”. 400/600

339.

“The Early Ploughman”. Unsigned. Etching on laid paper, matrix 130mm x 197mm, sheet size 6.5” x 10”. Framed 12.5” x 15.25”. 400/600

340.

“The Skylark”. Signed and numbered 17 lower margin. Inscribed in pencil verso “1857 E. Club The Skylark ___ Indian proof 1857 ET club”. Etching on chine appliqué, matrix 97mm x 75mm, sheet size 5” x 4”. Framed 16” x 12.5”. 400/600

Provenance: Includes 1969 invoice from Emily Driscoll, New York.

336.

337.

“Opening the Fold”. Signed in pencil lower right. Printed inscription lower center “Published by the Fine Art Society, 148 New Bond St., London, W. 1880”. Blind stamp on lower left of sheet “A. H. P. Private Press”. Numbered in pencil lower left “A1700”. Titled in pencil lower center “The Sheep Fold”. Etching on wove paper, matrix 117mm x 175mm, sheet size 13.25” x 19.75”. Framed 16.25” x 21.25”. 300/500

“The Weary Ploughman”. Unsigned. Etching on chine applique, matrix 130mm x 200mm, sheet size 6.5” x 9.25”. Framed 13.5” x 16”. 400/600

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93


341.

TABLE LAMP WITH LEADED GLASS SHADE ATTRIBUTED TO DUFFNER & KIMBERLY AND BASE BY HAMPSHIRE POTTERY Early 20th Century Fine leaded glass shade in a flower and leaf pattern. Garlic-form base with matte green glaze. Marked on base. Inset brass lamp fitting made by the Miller Co. Rochester, New York and stamped “The Juno Lamp”. Base height 7.5”. Total height approx. 21”. 1,200/1,800

341

342.

PAIR OF TIFFANY STUDIOS BRONZE AND GLASS CANDLESTICKS New York, Early 20th Century Tulip-form blown-out translucent green sconces. One impressed “Tiffany Studios New York”, and both numbered 1469. Heights 17.25”. 500/1,000

343.

AFTER LOUIS COMFORT TIFFANY Study of a window. Unsigned. Watercolor on paper, 10” x 3”. Framed 33.25” x 20.25”. 300/500

343

94

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344.

SAKTI BURMAN France/India, b. 1935 Figure floating over a horse. Signed lower right “Sakti Burman”. Watercolor on paper, 17.25” x 21” sight. Framed 25” x 29”. 2,000/3,000

345.

VACLAV VYTLACIL New York/California, 1892-1984 Still life of fish. Signed in plate lower right “Vaclav Vytlacil”. Monotype, 16” x 20.5”. Unframed. 1,000/1,500

346.

BERNARD LAMOTTE New York/France, 1903-1983 Tabletop still life of flowers and wine bottles. Signed lower left “Bernard Lamotte”. Painted on the back of a menu for Le Pavillion restaurant. Mixed media on paper, 17” x 12.5”. Framed 12” x 17”. 300/500

344

345 346

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95


Salvador Dali France/Spain, 1904-1989 Lots 347-349

347

348, two

347.

96

Two classical beauties. 348. Two etchings: 1) Beethoven. Numbered 129/250. Signed in pencil Signed in pencil lower right “Dali”. Floral and angel lower right. On Arches paper, 23” x 16” to the plate line. remarque and signature in ballpoint pen lower left. Unframed. Lithograph on paper, 12” x 9.5”. Framed 23” x 19.5”. 2) “Apparition of Face and Fruit Dish on a Beach”. 3,000/5,000 Numbered 36/100. Signed in pencil lower right. Blind stamp lower left “SM” (Pierre Marcand). On Japon paper, Provenance: 15.75” x 20” to the plate line. Unframed. 400/600 Purchased at Hanson Gallery, California.

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Salvador Dali France/Spain, 1904-1989 Lots 347-349

349

349.

“Le Bestiare de La Fontaine Dalinese” (La Fontaine’s Bestiary Dalinized). Complete set of twelve prints with pochoir in colors. Numbered 129/250. Signed in pencil lower right. Contained in a brown velvet-covered portfolio with embossed artist’s name in gold. Each print accompanied by a Certificat d’Authenticite from Editions des Maitres Contemporains, dated 1983. Drypoints with pochoir in color on Arches paper, 23” x 15.75”. Portfolio 32” x 23.75”. 9,000/12,000

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97


Charles Green Shaw New York, 1892-1974 Lots 350-353

350.

Abstract in reds and whites. Signed lower right “Shaw” and signed verso “Charles Shaw”. Oil on masonite, 24.75” x 30”. Unframed. 2,000/3,000 Provenance: The estate of the artist to Charles H. Carpenter.

351.

350

“There is a Way to Enter”. Signed and dated verso “Charles Shaw 59-62”. Oil on canvas, 32” x 39.5”. Unframed. 4,000/6,000 Provenance: Albert Landry Gallery, New York City. The estate of the artist to Charles H. Carpenter.

351

98

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Charles Green Shaw New York, 1892-1974 Lots 350-353

352.

“Noontide 1959”. Signed lower left “Shaw”. Also signed and dated verso. Titled on label verso. Oil on canvas board, 12” x 18”. Framed 14” x 20”. 2,000/3,000 Provenance: The estate of the artist to Charles H. Carpenter.

352

353.

“Vertical White 1955”. Signed lower left “Shaw”. Titled and dated verso. Oil on board, 36” x 24”. Unframed. 4,000/6,000 Provenance: The estate of the artist to Charles H. Carpenter.

353

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99


354.

FRITZ WILHELM PFEIFFER Massachusetts/Florida, 1889-1960 “Dominant Blue”. Signed and dated lower right “Boston 1940 Fritz Pfeiffer”. Titled verso. Oil on canvas, 24” x 30”. Framed 28.5” x 34.5”. 4,000/6,000

354

355.

VARUJAN BOGHOSIAN New Hampshire/Connecticut, 1926-2020 “Untitled (Letter with A)”. Initialed in pencil lower right “VB”. Titled on gallery label verso. Collage on paper, 10.5” x 7.5”. Framed 21.25” x 17.5”. 500/1,000 Provenance: Cordier & Ekstrom, New York. Long Point Gallery, Provincetown, Massachusetts.

355

356.

GLUYAS WILLIAMS Massachusetts/California, 1888-1982 Ten caricatures depicting Molly Pearson, William H. Crane, William Hodge, Gaby Deslys, Henry Miller, S. Neumann, Lou Tellegen, Ethel Barrymore, The Singer in Pagliacci and The Actor in Peganini. Each with a whimsical title upper center and signed lower right or left. Pen and ink, 11” x 9.25” and 14” x 11”. Unframed. 500/1,000

356, ten

100

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357.

PETER (FINKELSTEIN) MAX New York/Germany, b. 1937 Reclining figure. Signed “Max” at upper edge. Also signed verso “Peter Max 1984”. Oil on canvas, 12” x 16”. Framed 15.75” x 19.75”. 1,000/1,800

357

358.

REMO MICHAEL FARRUGGIO New York/Massachusetts/Italy, 1905-1981 “Philodendron”. Signed lower right “Farruggio”. Oil on canvas, 28” x 21”. Framed 29.5” x 22.5”. 500/1,000

358

359.

DAVID LAZARUS Massachusetts, b. 1952 “Greene Street N.Y.C.”. Signed lower right “D Lazarus”. Titled verso. Oil on board, 8” x 10”. Framed 13.25” x 15.25”. 400/600

359

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101


360.

DAVID SECREST America, b. 1953 Abstract dish. Signed “David Secrest” on base. Bronze, height 1”. Length 8”. 400/700

360

361.

ALBERT PALEY New York, b. 1944 “Medallion” paperweight. Stamped “Paley 1994” on Delrin plastic base. Blackened steel, length 9”. Width 5”. 300/500

361

362.

HENRY KALLEM New York/Massachusetts/Maine, 1912-1985 Abstract still life. Signed lower right “H. Kallem”. Oil on canvas, 20” x 32”. Framed 21” x 33”. 500/1,000

362

363.

HENRY KALLEM New York/Massachusetts/Maine, 1912-1985 “Bath Houses, Provincetown”. Signed lower right “Kallem”. Titled verso. Oil on canvas, 20.5” x 29.5”. Unframed. 1,000/1,500

363

102

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Michael Gard California/England, Contemporary Lots 364-366

364

364.

365

“Sphinx”. Unsigned. Metal and wire, height 19”. 800/1,200

365.

“Tower”. Unsigned. Metal and wire, height 18.5”. 1,500/2,000

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366

366.

“Grace”. Unsigned. Artist’s card attached. Metal and wire, height 11”. 1,000/1,200

103


367

368

369

104

367.

ORIENTAL RUG: AFGHAN TRIBAL VILLAGE PRAYER RUG 6’4” x 8’8” Brick red, pink and blue geometric mihrab at the top of a camel-colored field featuring several rows of colorful Bactrian camels and other stylized animal figures. Narrow blue, ivory and red borders. 600/900

368.

ORIENTAL RUG: KAZAK 3’4” x 4’4” Traditional red, blue and ivory geometric medallions are flanked at each end by red, ivory and yellow stylized elements. Marine blue field with multiple geometric and simple stripe borders. 400/600

369.

ORIENTAL RUG: CAUCASIAN DESIGN 6’2” x 9’1” Marine blue field with three columns of stylized tree-form elements surrounded by geometric and animal figures, all rendered in shades of blue, bright red, pale yellow, pale salmon and dark red. Ivory and light blue sawtooth guard borders. Bright red main border. 600/800

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370.

ORIENTAL RUG: HERIZ 8’10” x 11’7” Sand-colored field with a flowering vine surrounding a dark red, yellow and rust red gabled medallion outlined in dark slate blue. Dark red subfield with bold stylized yellow blossoms at corners. Salmon pink guard borders. Broad sandcolored main border. 1,200/1,800

371.

ORIENTAL RUG: CAUCASIAN 3’6” x 4’0” Tan field with three ivory and dark blue Lesghi stars surrounded by numerous tiny blue, yellow and ivory blossoms. Blue guard borders. Colorful barber pole main border. 300/500

370

372.

ORIENTAL RUG: SERAPI 9’4” x 11’3” A bold ivory, brown and blue medallion occupies the majority of a faded red field and ivory subfield. Pink and red spandrels. Navy blue main border with turtle motif. 1,000/1,500

373.

ORIENTAL RUG: KAZAK 4’7” x 7’1” Narrow tomato red field with a dark blue central element surrounded by repeating blue, green, yellow and ivory stylized elements. Narrow geometric guard borders and broad ivory main border with colorful latch hook medallions. 200/400

372

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105


374

106

374.

ORIENTAL RUG: KAZAK DESIGN CORRIDOR CARPET 4’1” x 15’8” Three columns of a series of repeating geometric medallions, rendered in red, blue, ivory and subtle pale green, traverse the length of a light blue field. Red and pale green guard borders. Ivory main border with meandering vine. 500/800

375.

ORIENTAL RUG: SERAPI DESIGN 8’10” x 12’0” Traditional rust red, pale gold, navy blue and salmon red medallion rests at the center of a bright ivory field with a red and gold subfield and spandrels. Meandering vines in light blue, green, rust red, navy blue and subtle pink throughout. Light yellow, light green guard borders. Rust red main border. 700/1,000

376.

ORIENTAL RUG: KAZAK 3’0” x 3’8” Red field with a pair of light and dark blue geometric medallions containing typical latch hook elements of ivory, red and yellow. Blue, brown, red and ivory borders. 250/400

377.

ORIENTAL RUG: TURKISH MAT 2’2” x 3’1” Small central medallion is surrounded by a floral garland and numerous flowering branches and cartouches, all rendered in dark salmon red, navy blue, pale green, olive and ivory on a forest green field. Tan guard borders. Midnight blue main border. 150/250

378.

ORIENTAL RUG: CAUCASIAN PRAYER 3’0” x 4’6” Red, pink and ivory stylized blossoms and branches on a dark blue field below a green and red mihrab in anchor pendant form with curious bird’s-head flukes. Ivory and red borders. 300/400

379.

ORIENTAL RUG: KURDISH GALLERY CARPET 5’2” x 10’9” Numerous rows of contiguous blue medallions are formed by scrolling red and gold vines, each medallion containing an elaborate red, ivory and rust stylized motif. Deep blue field with abrashed rust red and ivory borders. 400/700

380.

ORIENTAL RUG: CHINESE 4’11” x 7’11” Traditional medallion formed of blue and tan blossoms and vines rests at the center of an otherwise empty ivory field. Spandrels composed of elements similar to those in medallion. Dark blue guard borders and an ivory main border. 300/400

381.

ORIENTAL RUG: KURD HAMADAN 4’2” x 9’7” A stylized floral motif in ivory, blue, bright red, orange, subtle pale green and yellow repeats in staggered rows across the entirety of a navy blue field. Traditional motifs throughout red and ivory borders. 100/200

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386

384 385

382.

ORIENTAL RUG: KAZAK 5’2” x 7’9” Red field with a traditional shield motif on an octagonal central medallion, all rendered in dark blue, dark red, lawn green, bright ivory, orange and yellow. Subtle geometric spandrels. Red and blue borders with meandering green vine. 350/550

383.

ORIENTAL RUG: HAMADAN 5’1” x 8’8” Three abrashed dark blue linked medallions each contain a single stylized bright ivory, orange, red, slate and amethyst palmette. Abrashed red field also contains bright ivory blossoms and branches with bright orange leaves. Marine blue guard borders and a bright ivory main border. 300/500

384.

ORIENTAL RUG: CAUCASIAN 4’5” x 5’9” Dark blue field with red geometric medallions and dark red, bright orange, brassy gold, blue and bright ivory stylized elements throughout. Multiple borders feature a variety of motifs including wine cup and serrated leaf. 400/700

385.

ORIENTAL RUG: KAZAK 4’4” x 7’2” Overlapping red and blue geometric medallions contain stylized red, blue and turquoise geometric forms and blossoms. Red field with geometric medallions at corners. Red and white sawtooth guard borders. Blue main border. 1,200/1,500

386.

ORIENTAL RUG: CAUCASIAN 3’11” x 5’3” Blue, amethyst, red, yellow, green and ivory linked geometric medallions span the center of a navy blue field and are surrounded by a variety of blossoms, animal figures and geometric elements. Yellow interior and red exterior guard borders. Ivory main border. 400/700

387.

ORIENTAL RUG: NORTHWEST PERSIAN 4’2” x 9’4” Three columns of geometric medallions with dark red bodies and central bright ivory, amethyst and blue elements run the length of an abrashed navy blue field. Central medallions with additional stylized green branches. Subtle birds and blossoms throughout field. Bright ivory, dark red and blue borders. 400/600

388.

ORIENTAL RUG: HERIZ 4’6” x 7’0” Light blue linear vine bearing ivory, navy blue, pale pink and tan blossoms traverses the center of a brick red field. Navy blue floral guard borders. Unusual ivory main border features continuous Arabic script in bold navy blue characters. 300/500

389.

ORIENTAL RUG: AFSHAR 5’3” x 7’1” Blue field with four diamond-shaped medallions in various shades of red and blue containing smaller Jaffa diamonds. Scattered stylized blossoms and animals throughout field. Meandering vines throughout ivory guard borders. Colorful narrow barber pole main border. 450/700

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107


390.

LECOULTRE ATMOS CLOCK Switzerland, First Half of the 20th Century Caliber II. Serial number 18,895. White enameled dial with Arabic numerals and gold-plated hands. Gold-plated case with glass panels. Height 9”. Width 7.5”. Depth 5.5”. 500/700

390

391.

SAMUEL TERRY PILLAR AND SCROLL SHELF CLOCK Early 19th Century Mahogany and mahogany veneer case. Painted 11” wooden dial with Arabic numerals. Retains original label. Height 31”. Width 16.75”. Depth 4.5”. 400/600

391

108

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393

394

392

392.

AARON SMITH 30-HOUR TALL-CASE CLOCK Ipswich, Massachusetts, Dated 1871 Refinished pine case. Bonnet with full columns at front and quarter columns at rear. Brass 10” dial with pewter Roman numerals, corner spandrels and a brass maker’s boss marked “Aaron Smith, June 29th 1871”. Retains pendulum and one cannonball weight. Height 84”. Width 18.25”. Depth 12”. 1,500/2,500

393.

EARLY AMERICAN BANJO CLOCK Circa 1820 Mahogany case with gilded front, eagle finial and brass sidearms. Original reverse-painted throat glass depicts a basket of fruit and foliage. Replacement reverse-painted door glass depicts American ships and an eagle and shield with a “Free Trade” banner. Height 39”. 600/1,000

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394.

SAMUEL WHALLEY TALL-CASE CLOCK Manchester, England, Circa 1735-1740 Oak case. Bonnet with broken arch pediment. Case with dentil molding at shoulder and quarter columns flanking the pendulum door. Brass 13” dial with pewter Roman numerals, corner spandrels, and a rolling moon ring. Face signed “S. Whalley Mancheftr.”. Retains original pendulum and weights. Height 87”. Width 19.75”. Depth 11.5”. 500/800

109


395.

QUEEN ANNE TILT-TOP CANDLESTAND Newport, Rhode Island, Mid-18th Century In mahogany, with dish top, column and urn-form pedestal, and cabriole legs ending in snake feet. Height 27.75”. Diameter of top 23.5”. 800/1,200

396.

QUEEN ANNE CHEST ON FRAME Rhode Island, Mid-18th Century In figured maple, with chestnut drawer bottoms and backboards. Upper case with five graduated full-width drawers, the upper drawer simulating three side-by-side drawers with central fan carving. Lower case with a full-width drawer and cabriole legs ending in pad feet. Height 63.75”. Width 36.5”. Depth 18.5”. 1,000/1,500

397.

QUEEN ANNE TILT-TOP TEA TABLE Newport, Rhode Island, Mid-18th Century In mahogany, with dish top, turned pedestal, and cabriole legs ending in modified pad feet. Height 26.5”. Diameter 32”. 500/800

395

396 397

110

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398, pair

398.

RARE PAIR OF GODDARD-TOWNSEND SCHOOL CHIPPENDALE CARD TABLES Newport, Rhode Island, Circa 1785 In mahogany. Serpentine tops with grooved edges. Delicate twist molding at lower edges of skirts. Front legs with Chinese Chippendale moldings. Tapered linenfold legs. Heights 29”. Widths 32”. Depths 15.5”. 8,000/12,000

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111


399

400

399.

QUEEN ANN TAVERN TABLE Connecticut, Mid-18th Century In cherry. Single drawer in skirt. Straight legs end in pad feet. Height 27.25”. Width 39.75”. Depth 22.25”. 800/1,000

400.

HEPPLEWHITE BUREAU Connecticut, Circa 1790 In cherry. Four graduated full-width drawers with unusual string inlay. French splayed bracket feet. Height 39.75”. Width 38.5”. Depth 19”. 800/1,200

401

402

401.

112

PEMBROKE TABLE Connecticut, Circa 1790 In cherry. Top, leaves and legs with string inlay. Apron and top of tapered legs with alternating wood sawtooth inlay. Single drawer at one end of apron. Height 28.75”. Width 20” plus two 10.75” demilune drop leaves. Depth 33”. 600/900

402.

CHIPPENDALE BOWFRONT CHEST America, Circa 1780 In mahogany. Four graduated full-width drawers with cock-bead molding, string inlay, original brasses and hidden dovetails. French splayed bracket feet. Height 33”. Width 42”. Depth 22”. 600/1,000

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404

403

403.

FEDERAL TALL CHEST Connecticut, Circa 1810 In cherry and figured maple veneer. Three side-by-side drawers over a blanket drawer over three graduated full-width drawers. French splayed bracket feet. Height 49”. Width 40.75”. Depth 20.5”. 500/800

404.

SHERATON PEMBROKE TABLE Southern New England, Circa 1805 In cherry and mahogany veneer. Shaped drop leaves. Single drawer at one end of apron and a faux drawer at opposite end. Tapered reeded legs fitted with brass casters. Height 29”. Width 21.5” plus 10.5” drop leaves. Depth 34”. 600/800

406 405

405.

CHIPPENDALE BUREAU Circa 1790 In mahogany, with molded-edge top, four graduated fullwidth drawers and flat bracket feet. Period brass bail hardware including side carrying handles. Height 40”. Width 45.5”. Depth 21”. 700/1,000

406.

INLAID BOWFRONT CHEST 19th Century In maple, with bird’s-eye maple and fruitwood drawer fronts. Inlaid fruitwood and maple diamond banding. Brass ribbonform pulls. Square tapered legs. Height 27”. Width 29”. Depth 15.5”. 600/800

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113


408

407

407.

CHIPPENDALE CHEST-ON-CHEST Connecticut, Circa 1780 In figured maple. Upper case with molded cornice and five graduated full-width drawers. Lower case with four graduated full-width drawers and ogee bracket feet. Height 74”. Width 38”. Depth 19”. 4,000/6,000

408.

GEORGE HENRY STORY New York/Connecticut, 1835-1923 The broken umbrella. Signed lower left “G.H. Story”. Oil on panel, 18” x 13”. Unframed. 700/1,000 George Henry Story was a noted genre painter as well as a friend and often portraitist of Abraham Lincoln.

409.

WILLIAM DODGE STEVENS Pennsylvania/New York, 1870-1942 A fashionable young lady carrying a pair of ice skates. Signed and lower right “W.D. Stevens 1910”. Oil on canvas, 19” x 13”. Framed 22” x 16”. 500/1,000

409

114

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410.

CHIPPENDALE BUREAU Connecticut, Circa 1780 In cherry. Serpentine top with molded edge and good overhang. Conforming case with four graduated full-width drawers. Ogee bracket feet. Height 32.5”. Width 39.5”. Depth 20.5”. 3,000/4,000

411.

AMERICAN SCHOOL 19th Century The young artist. Unsigned. Oil on canvas, 12” x 10”. Framed 19.5” x 17.5”. 300/500

412.

AMERICAN SCHOOL 19th Century The orange seller. Inscribed verso “J.B. McFaddan 1861”. Oil on canvas, 13” x 10”. Framed 17” x 13”. 400/600

410

411

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412

115


413.

CHARLES BAKER New York, 1844-1906 A rocky coastline. Signed lower left “C. Baker”. Oil on board, 12” x 18.5”. Framed 20” x 26.5”. 500/1,000

414.

CHARLES BAKER New York, 1844-1906 Two figures by a river. Signed and dated lower right “Chas Baker 1884”. Oil on board, 12” x 19”. Framed 20” x 27”. 500/1,000

413

414

415

415.

AMERICAN SCHOOL 19th Century Delaware Water Gap. Signed illegibly lower left. Titled verso. Oil on canvas, 21.75” x 36”. Framed 30” x 44”. 400/600

416.

JOHN LEE FITCH Connecticut, 1836-1895 “South Williamstown, Mass”. Signed lower right “J.L. Fitch”. Titled verso. Oil on canvas, 11.75” x 11.75”. Framed 13” x 12.75”. 3,000/5,000

416

116

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417.

AMERICAN SCHOOL 19th Century Fishermen in a Hudson Valley landscape. Signed lower left “Cole”. Oil on canvas, 18” x 26.5”. Framed 20” x 28.5”. 1,000/1,500

418.

ATTRIBUTED TO THOMAS DOUGHTY New York/Pennsylvania/Massachusetts/Washington, D.C., 1793-1856 Niagara Falls. Unsigned. Oil on canvas, 22” x 36”. Unframed. 1,000/1,500

417

418

419.

420.

ATTRIBUTED TO GEORGE INNESS New York/Massachusetts/Scotland, 1825-1894 Pastoral landscape. Unsigned. Oil on canvas, 10” x 16”. Framed 15” x 21.5”. 5,000/7,000

419

AUGUSTUS ROCKWELL New York, 1822-1882 Ship off a rocky coast. Unsigned. Housed in its original frame with the artist’s plaque. Oil on canvas, 28” x 50”. Framed 39” x 61”. 2,000/3,000

420

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117


421

422

423

424

421.

AMERICAN SCHOOL Early 20th Century A flowering meadow. Unsigned. Oil on board, 10” x 14”. Unframed. 300/500

423.

MAX EGLAU New York/New Jersey/Germany, 1825-1896 Landscape study. Signed lower left “Eglau”. Oil on canvas, 7” x 9”. Framed 12.5” x 15.5”. 400/600

422.

JAMES HOPE Vermont/New York, 1818-1892 Landscape study. Signed lower right “J. Hope”. Oil on canvas, 6.75” x 8.75”. Framed 12.5” x 14.5”. 500/700

424.

ALEXANDER HELWIG WYANT New York/Ohio, 1836-1892 Twilight. Signed lower left “A.H. Wyant”. Oil on board, 8” x 10”. Framed 12” x 14”. 1,500/2,000 Provenance: Frederic I. Thaler, Connecticut.

118

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425

425.

WALTER MASON ODDIE New York, 1808-1865 “Fording the River”. Inscribed on upper stretcher bar “Walter M. Oddie 1856”. Oil on canvas, 40” x 60”. Framed 46” x 66”. 8,000/12,000 Provenance: Shannon’s Fine Art Auction, April 25, 2002, Lot #72.

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119


426

426.

INLAID BOWFRONT SERVER America, Circa 1820 In mahogany, with poplar secondary woods. Tigered band inlay and smaller geometric border inlay throughout. Top with nice overhang. Diamond-shaped front spade feet. Height 34.5”. Width 47.75”. Depth 20.75”. 1,000/2,000

427.

SHERATON ONE-DRAWER STAND New England, Circa 1810 In multiple hardwoods. Top with turret corners, and ebony and figured wood banded inlay. Bird’s-eye maple veneer drawer front. Turned legs. Height 29”. Width 19.25”. Depth 18.25”. 300/500

428

428.

120

FEDERAL BANQUET TABLE New England, Circa 1820 In cherry, with bird’s-eye maple veneer at skirt. Delicate acanthus-carved legs fitted with brass casters. Height 29”. Length 81”. Width 45”. 1,000/1,500

429.

SHERATON TWO-DRAWER BOWFRONT STAND 19th Century In strong tiger maple. Top with banded inlay. Drawers with circular brass pulls. Turned legs. Height 30.5”. Width 20.25”. Depth 19.75”. 300/400

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430.

CHIPPENDALE LOLLING CHAIR New York, Circa 1780 In mahogany. Nicely shaped arms and arm supports. Cabriole legs end in claw & ball feet. Back height 44.5”. Seat height 16”. 1,500/2,500

430

431

431.

HEPPLEWHITE PEMBROKE TABLE New York, Circa 1790 In select grained mahogany. Top, leaves and legs with string inlay. Single drawer at one end of apron and a faux drawer at opposite end. Tapered legs. Height 28.5”. Width 19.75” plus two 10” drop leaves. Depth 32.25”. 1,000/1,500

432

432.

DEMILUNE CONSOLE CARD TABLE New York, Circa 1800 In mahogany and mahogany veneer, with a nice old surface. Bookend inlay on skirt. Tapered legs, one of which swings, with icicle and cuff inlay. Height 28”. Width 35.5”. Depth 17.5”. Diameter when open 35”. 500/800

433.

FINE FEDERAL TILT-TOP BREAKFAST TABLE New York, Circa 1820 In mahogany and mahogany veneer. Octagonal top with double edge banding and molded sides. Column-form pedestal raised on molded reverse-arched legs fitted with brass casters. Height 28.5”. Top 54” x 35.5”. 1,200/1,500

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433

121


434

437

122

434.

RARE FEDERAL CAMELBACK SOFA New York, Circa 1790 Nicely arched back and bold scrolled-out arms. Mahogany H-stretcher, legs and tapered spade feet. Stripped of upholstery to expose original frame. Back height 31”. Length 91”. 4,000/6,000

435.

PAIR OF DEMILUNE TABLES America, 19th Century In mahogany and mahogany veneer. Chamfered legs end in hoofed feet. Heights 30”. Widths 45”. Depths 19”. 500/800

436.

FEDERAL WING CHAIR Circa 1800 Four mahogany block legs. Stripped of upholstery to expose secondary woods. Back height 45”. Seat frame height 12”. 500/1,000

437.

TWO-DOOR CABINET 19th Century In mahogany, with fruitwood inlay. Ornate foliate-carved crest. Two arched paneled doors with inlaid clovers and stars. Doors enclose two interior shelves. Shaped bracket base. Height 48”. Width 27”. Depth 10.5”. 700/1,000

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438

438.

HEPPLEWHITE PEMBROKE TABLE New York, Circa 1800 In mahogany. Apron with a real drawer at one end and a faux drawer at opposite end. Original oval brass pulls. Tapered legs with bookend and icicle inlay. Height 28.5”. Width 21” plus two 10” demilune drop leaves. Depth 29”. 800/1,200

439

439.

440.

440

DEMILUNE CARD TABLE New York, Circa 1820 In mahogany, with a nice old finish. Skirt with band, line inlay and oval patera inlay. Tapered legs, two of which swing to support top when open. Height 29”. Width 36.25”. Diameter when open 36”. 500/800

SIGNED FEDERAL GENTLEMAN’S CHEST New York, Circa 1820 In mahogany and mahogany veneer. Two-drawer deck top surmounted by a pivoting mirror supported by bold columns topped with acorn finials. Case with a hidden overhanging full-width drawer over three full-width drawers. Full columns at sides of case terminate in bold turned feet. Signed on upper edge of backboard “Edward Meeks 99 Broadway N.Y.”. Height 72.5”. Width 46”. Depth 22.5”. 800/1,200

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123


442

441

443

441.

124

HEPPLEWHITE CARD TABLE Mid-Atlantic, 19th Century In mahogany and mahogany veneer, with fruitwood bellflower and string inlay. Height 29”. Width 36”. Depth 17.5”. 400/600

442.

FEDERAL TAMBOUR SECRETARY Mid-Atlantic States, Circa 1810 In mahogany and mahogany veneer, with fruitwood inlay. Height 46.5”. Width 34.5”. Depth 18”. 600/900

443.

FEDERAL CARD TABLE New York, Circa 1820 In mahogany and mahogany veneer. Flyleaf top with molded edge. Bold turned pedestal raised on four reverse-arched legs ending in brass hairy paw feet fitted with casters. Height 29.75”. Width 36”. Depth 18”. 600/900

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445

444

444.

TWO-PART FEDERAL SECRETARY Baltimore, Circa 1800 In mahogany and mahogany veneer. Upper case with a removable cornice, geometric glazed doors and two interior shelves. Lower case with a fall front enclosing a writing surface, interior drawers and pigeonholes, over two cupboard doors enclosing three interior linen drawers. French splayed bracket feet. Height 86”. Width 43.75”. Depth 23”. 1,200/1,800

445.

PEMBROKE TABLE New York, Circa 1820 In mahogany, with line, bellflower and cuff inlay. Single drawer in apron. Height 28.5”. Width 19” plus two 11” demilune drop leaves. Depth 32”. 400/800

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125


James Fairman New York/California, 1826-1904 Lot 446

446

446.

126

Landscape with bridge. Signed lower right “J. Fairman”. Oil on canvas, 32” x 45”. Framed 39” x 52”. 6,000/9,000

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447

448

447.

GEORGE LORING BROWN Massachusetts/New Hampshire, , 1814-1889 “‘Twilight’ Lake of Albano near Rome”. Titled verso and signed “Painted by Geo. Loring Brown 1877”. Oil on canvas, 22” x 36”. Framed 30” x 44”. 3,000/5,000

448.

FREDERICK LOUIS THOMPSON Middleborough, Massachusetts, 1868-1933 “Weirs at Horseneck Beach”. Signed lower right “Frederick Thompson”. Titled on frame plaque. Oil on canvas, 18.25” x 30”. Framed 26.5” x 39”. 800/1,200

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127


449.

THOMAS BARTHOLOMEW BAILEY GRIFFIN Pennsylvania/New York/Maryland, 1858-1918 “East Canada Creek”. Signed lower left “T.B. Griffin”. Titled verso. Oil on canvas, 8” x 10”. Framed 14” x 16”. 500/700

450.

ATTRIBUTED TO RALPH ALBERT BLAKELOCK New York/California, 1847-1919 Landscape with cows. Unsigned. Oil on board, 12” x 10”. Framed 20” x 17”. 300/500

449

Provenance: The collection of Mark Avner of Florida and New York, Kaminsky Auctions, May 22, 2016, Lot #3379.

451.

GEORGE ARTHUR HAYS Rhode Island/Massachusetts/New Hampshire, 1854-1945 “The Watering Place”. Signed lower right “G.A. Hays”. Titled, signed and dated 1924 verso. Oil on canvas, 20” x 27”. Framed 25.5” x 32”. 1,500/2,500

452.

ATTRIBUTED TO GEORGE ARTHUR HAYS Rhode Island/Massachusetts/New Hampshire, 1854-1945 Cows at the well. Unsigned. Inscribed in pencil verso “G.A. Hays”. Oil on board. 500/1,000

451

452

128

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453

453.

POSSIBLY FREDERIC SACKRIDER REMINGTON America, Early 20th Century “Downing The Nigh Leader”. Unsigned. This work is strikingly similar to Remington’s 1907 “Downing The Nigh Leader”. This painting was accepted for review by the Whitney Western Art Museum at the Buffalo Bill Center of the West, slated for early 2020. Unfortunately, due to Peter Hassrick’s passing in October 2019, the museum disbanded its authentication committee and this painting was never reviewed. Oil on board, 21.5” x 28”. Framed 28.5” x 34.5”. 5,000/10,000

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129


454

454.

130

ATTRIBUTED TO THOMAS SULLY Pennsylvania/England, 1783-1872 Portrait of a young girl holding a dog. Girl with brown hair and eyes wearing a white dress with blue sash. Monogrammed lower left “TS”. Label on verso of stretcher. Oil on canvas, 27.5” x 22”. Framed 34” x 29”. 5,000/10,000

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456

455

455.

JULIAN RUSSELL STORY Pennsylvania, 1857-1919 Interior scene with a woman reading. Signed upper right “Julian Story”. Oil on canvas, 24” x 20”. Framed 31” x 27”. 2,000/3,000

456.

FALL RIVER SCHOOL 19th Century Still life of hanging grapes. Unsigned. Oil on canvas, 10” x 8”. Framed 12” x 10”. 300/500

457.

HARRY HERMAN ROSELAND New York, 1866/68-1950 Interior scene with a seated woman looking at a mirror. Signed upper left “H.A. Roseland”. Oil on canvas, 6.25” x 8.5”. Unframed. 600/900

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457

131


458.

AMERICAN SCHOOL 19th Century American landscape, likely the Adirondacks. Signed illegibly lower left. Oil on canvas, 18” x 33.5”. Framed 25” x 42”. 2,500/3,500

459.

PAUL RITTER I Vermont/Germany, 1829-1907 Androscoggin Valley, New Hampshire/Maine. Signed lower right “PR”. Oil on canvas, 22” x 36”. Framed 31” x 45”. 1,500/2,500

460.

SARAH E. HARVEY Connecticut, 1834-1924 Tropical landscape, possibly South America. Signed lower right “S.E. Harvey”. Oil on canvas, 15.75” x 28”. Unframed. 200/300

458

459

According to the Princeton University Art Museum, Sarah E. Harvey claimed never to have received instruction in painting. “She completed an estimated one thousand pictures over a career of more than six decades, all but one hundred given away to family and friends. Her subjects ranged widely, from still lifes to locations in Europe and the tropics based on print and photographic sources”.

460

461.

WILLIAM B. GLEASON Massachusetts/California, 1824-1886 “View of Chelsea from East Boston”. Signed in pencil lower left “Drawn by W.B. Gleason”. Titled in pencil lower right. Watercolor on paper, 7.25” x 11.5”. Framed 12.5” x 17.5”. 800/1,200

461

132

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462.

JOHN JOSEPH ENNEKING Massachusetts, 1841-1916 “Sandy Cove” (Maine). Unsigned. Included in the Catalogue Raisonné by Pierce Galleries, no. IV-B-540 (label verso). Housed in a Paul Carter Goodnow frame. Oil on canvas, 18” x 24”. Framed 29” x 34”. 6,000/9,000 Provenance: The English Gallery, Boston. Vose Galleries, Boston. Shannon’s Fine Art Auction, October 25, 2007, Lot #118.

462

463.

GEORGE W. DREW New York, 1875-1968 Sunset landscape. Signed lower left “George W. Drew”. Oil on panel, 6” x 8”. Framed 10” x 12”. 500/1,000 Provenance: Private Collection, Santa Fe, New Mexico.

463

464.

FRANKLIN LEWIS SCHENCK New York, 1856-1927 Sunset over a hay field. Signed lower right “F.L. Schenck”. Oil on canvas, 10” x 14”. Framed 17” x 21”. 300/500

464

Little is known about Franklin Lewis Schenck. It appears the artist has some association with the Cragsmoor Art Colony in New York. It is also believed he had a show at New York’s Macbeth Galleries in 1928.

465.

ATTRIBUTED TO LEMUEL MAYNARD WILES New York/California, 1826-1905 Morning on the river. Unsigned. Attribution provided by the consignor, who is student and collector of Wiles’ work. Oil on canvas, oval 6.25” x 8.25” sight. Framed 12” x 13.5”. 300/500

465

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133


466, thirteen and detail

466.

134

CHARLES HENRY GIFFORD Massachusetts, 1839-1904 Collection of thirteen miniature landscapes. Includes numerous coastal scenes, many featuring boats. Signed lower left and right “C.H.Gifford”. Watercolors on card stock, 1.5” x 2”. Each framed. 2,000/3,000

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467.

MANNER OF LEVI WELLS PRENTICE America, Late 19th Century Pair of Adirondack landscapes. Unsigned. Oils on canvas, 14” x 20”. Framed 19” x 25”. 500/1,000

467, pair

468.

QUEEN ANNE HIGHBOY Northern Massachusetts, Circa 1760 Shows Dunlap family influence. In cherry. Upper case with three varied side-by-side drawers, the central with fan carving, over four graduated full-width drawers. Lower case with a full-width drawer over three varied side-by-side drawers, the central with matching fan carving. Cabriole legs end in pad feet. Height 74.5”. Width 39.5”. Depth 18”. 2,500/3,500

468

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135


469

469.

136

SHERATON BOWFRONT SIDEBOARD ATTRIBUTED TO WILLIAM HOOK Salem, Massachusetts, Circa 1800 In mahogany and mahogany veneer. Top with ribbed molded edge. Case with three side-by-side drawers, the central a secretary drawer, over two deep drawers flanking a central two-door cupboard. Three-quarter reeded columns at sides of case terminate in turned, tapered and reeded legs. Acanthus carvings at the tops of the columns are indicative of William Hook. Height 42”. Width 57.5”. Depth 23.75”. 4,000/5,000

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470.

PAIR OF QUEEN ANNE SIDE CHAIRS ATTRIBUTED TO NATHANIEL GOULD Salem, Massachusetts, Circa 1770 In mahogany. Backs with cupid’s-bow crest rails, carved ears and pierced vertical splats. Slip seats with blue upholstery. Cabriole legs end in pad feet and are joined with block and turned stretchers. Back heights 37.5”. Seat heights 18”. 1,200/1,500

470, pair

471.

471

SCHOOL OF JUDKINS & SENTER SHERATON CARD TABLE Salem, Massachusetts, Circa 1805 In mahogany, with select satinwood veneer at skirt. Shaped top with cut-corner turrets. Tapered reeded legs. Old rich finish with excellent patina. Height 29.75”. Width 37”. Depth 18”. 3,500/5,000

472.

HEPPLEWHITE BOWFRONT CHEST IN THE MANNER OF JOHN SEYMOUR North Shore of Massachusetts, Circa 1790 In mahogany, with select mahogany used throughout. Four graduated full-width drawers with cock-bead molding. High French splayed feet. Height 38.75”. Width 21.25”. Depth 20”. 2,500/3,500

472

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137


473

474

473.

138

SHERATON SOFA North Shore of Massachusetts, Circa 1810 In mahogany, with light blue satin upholstery. Turned, tapered and reeded legs. Back height 36.75”. Seat height 17”. Length approx. 89”. 800/1,200

474.

HEPPLEWHITE CARD TABLE Salem, Massachusetts, Circa 1800 In mahogany, with birch veneer panels at tops of legs and center of apron. Height 28.5”. Width 35”. Depth 17.25”. 1,000/1,500

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475

477

476, pair

475.

SHERATON CARD TABLE North Shore of Massachusetts, Circa 1805 In mahogany and mahogany veneer, with alternating wood inlay to edge of top, and string inlay to skirt. Serpentine front and sides. Tapered reeded legs. Height 30”. Width 36”. Depth 17.5”. 1,800/2,500

476.

PAIR OF CHIPPENDALE SIDE CHAIRS North Shore of Massachusetts, Circa 1780 In cherry. Cupid’s-bow crest rail with nicely carved ears. Pierced owl’s-eye splats. Slip seats with salmon-colored upholstery. Carved molded block legs joined with H-stretchers. Back heights 38”. Seat heights 18”. 500/800

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477.

HEPPLEWHITE CARD TABLE Salem, Massachusetts, Circa 1790 In mahogany. Serpentine sides. Edge of top with bold alternating wood inlay. Highly figured birch veneer skirt with central contrasting veneer panel. Double tapered legs with string inlay. Height 30.25”. Width 36”. Depth 16.5”. 1,000/1,500

139


478.

RARE CHIPPENDALE “EFFIGY” SLANT-LID DESK Massachusetts, Circa 1780 In walnut. Slant lid encloses a stepped, shaped interior fitted with drawers, pigeonholes and letter slides. Two drawers with fan carvings. Letter slides carved with a column topped with a figural effigy head. Case with four graduated full-width drawers with molded edges. Scrollcarved apron. Flat bracket feet. Chalk inscription on bottom of one drawer. Height 42”. Width 36.5”. Depth 19.5”. 5,000/7,000

478

479.

CHIPPENDALE BLOCKFRONT BUREAU Massachusetts, Circa 1780 In mahogany. Overhanging top with molded edge. Four graduated full-width drawers with period replacement hardware. Flat bracket feet. Height 31”. Width 35.25”. Depth 21.75”. 3,000/5,000

479

140

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480 481

480.

GORDON HOPE GRANT New York/California/United Kingdom, 1875-1962 “Reflection”. Signed in pencil lower right. Titled on Associated American Artists Galleries label verso. Lithograph on paper, 9.5” x 12” sight. Framed 17” x 21”. 200/300

481.

CHARLES LLOYD HEINZ Massachusetts/Illinois, 1884-1953 House on the bay, Provincetown, Massachusetts. Signed lower right “Charles Heinz”. Oil on canvas, 30” x 34”. Framed 35” x 39”. 1,000/1,500

482.

JOHN ALFRED COOK Massachusetts, 1870-1936 Boats in Gloucester Harbor. Signed lower right “J.A. Cook”. Watercolor on paper, 11” x 7.5” sight. Framed 19” x 15”. 300/500 482

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141


Kenneth J. Knowles Massachusetts, b. 1968 Lot 483-488

483.

“‘Parade of Sail’, Schooners in Gloucester Harbor”. Signed and dated lower right “Ken Knowles 2008”. Titled, signed and dated verso. Oil on canvas, 30” x 36”. Framed 36” x 42”. 2,000/3,000 Provenance: A Private North Shore Collection.

483

484.

“‘View of Front Beach’ from King St.” Signed lower left “Ken Knowles”. Titled, signed and dated 2005 verso. Oil on canvas, 20” x 24”. Framed 27” x 31”. 1,500/2,500 Provenance: A Private North Shore Collection.

484

485.

Winter street scene. Signed lower left “Ken Knowles”. Oil on board, 24” x 30”. Framed 31” x 37”. 1,500/2,500 Provenance: A Private North Shore Collection.

485

142

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Kenneth J. Knowles Massachusetts, b. 1968 Lot 483-488

486.

“Springtime Sparkle in Annisquam”. Signed lower right “Ken Knowles”. Titled and dated 2010 verso. Oil on canvas, 36” x 40”. Framed 42” x 46”. 2,500/3,500 Provenance: A Private North Shore Collection.

486

487.

“‘The Old Mill in Winter’, Wardsboro VT”. Signed lower right “Ken Knowles”. Titled, signed and dated 1999 verso. Oil on canvas, 30” x 36”. Framed 36” x 42”. 2,000/3,000 Provenance: A Private North Shore Collection.

487

488.

“December in Rockport”. Signed lower right “Knowles”. Titled verso. Oil on board, 11” x 14”. Framed 19” x 22”. 800/1,200 Provenance: A Private North Shore Collection.

488

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143


489.

HERBERT CYRUS FARNUM Rhode Island, 1866–1926 View of Providence. Signed lower right “H. Cyrus Farnum Providence”. Tilden-Thurber frame label verso. Oil on canvas, 18” x 36”. Framed 25” x 42”. 3,000/5,000

490.

HOWARD H. DARNELL Pennsylvania, 1858-1939 Fishing boat at dry dock. Signed lower right “Howard Darnell”. Oil on canvas, 19” x 25”. Framed 25” x 31”. 800/1,200

489

490

491.

CONLEY HARRIS Massachusetts, b. 1943 “Morning Meadow”. Signed lower right “C. Harris”. Titled verso. Oil on canvas, 30.5” x 26”. Unframed. 1,000/2,000

492.

ARTHUR SHILSTONE Connecticut/New York, b. 1922 Hunting in winter. Signed lower left “Arthur Shilstone”. Watercolor on paper, 16” x 23”. Framed 26” x 33”. 1,000/1,500

491

492

144

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493

494

495

493.

ANTHONY THIEME Massachusetts/California, 1888-1954 Crashing waves, Bass Rocks. Signed lower right “A. Thieme”. Oil on board, 12” x 16”. Framed 18” x 22”. 3,000/5,000

494.

ALDRO THOMPSON HIBBARD Massachusetts/Vermont, 1886-1972 “Rockport, Mass.”. Signed lower right “A.T. Hibbard”. Noted verso “Bought 11/86 from his daughter Elaine Hibbard Clark”. Likely a very late example of the artist’s work. Oil on board, 16” x 20”. Framed 19.5” x 23.5”. 1,000/2,000

496

495.

C HJALMAR “CAPPY” AMUNDSEN Maine/New York/Massachusetts, 1911-2001 Fishing vessel at a pier. Signed lower right “J.J. Enwright”. Enwright was a common pseudonym used by the artist. Oil on canvas, 24” x 30”. Framed 29” x 35”. 1,000/1,500

496.

PHILIP LESLIE HALE Massachusetts, 1865-1931 Study for “Riders to the Sea”. Inscribed verso “Study for ‘Riders to the Sea’ by Philip L. Hale”. The larger work of the same title (alternately titled “Riders on the Beach”) was sold at Sotheby’s New York, March 14, 1996, Lot #190. Oil on board, 15.75” x 24”. Framed 18” x 26.75”. 1,000/1,500

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145


Thomas R. Curtin Vermont/Massachusetts, 1899-1977 Lot 497-500

497

498

497.

146

“Winter Farm on the Stream”. Signed faintly lower right “Thos. R. Curtin”. Oil on canvas board, 8” x 10”. Framed 14” x 16”. 1,200/1,800

498.

“Montgomery Covered Bridge”. Signed lower right “Thos. R. Curtin”. Titled verso. Oil on canvas board, 10” x 12”. Framed 16” x 18”. 1,200/1,800

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Thomas R. Curtin Vermont/Massachusetts, 1899-1977 Lot 497-500

499

500

499.

“Woodland Brook”. Signed lower right “Thos. R. Curtin”. Titled verso. Oil on canvas board, 14” x 17”. Framed 21.5” x 24.5”. 1,500/2,500

500.

“Pleasant Valley Farm”. Signed lower right “Thos. R. Curtin”. Oil on canvas board, 10” x 14”. Framed 16” x 20”. 1,500/2,500

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147


501

502

501.

HEPPLEWHITE SEMI-ELLIPTICAL CARD TABLE IN THE MANNER OF MARK PITTMAN Massachusetts, Circa 1790 In mahogany and mahogany veneer. Shaped top with alternating wood string inlay along edge. Rectangular satinwood veneer panels at tops of tapered legs. Height 29”. Width 36”. Depth 17.5”. 1,200/1,500

502.

SCHOOL OF JOSEPH SHORT CHIPPENDALE BACHELOR’S CHEST Coastal Massachusetts, Late 18th Century In mahogany, in possibly its original finish with a nicely crazed patina. Molded-edge top with nice overhang. Four graduated full-width drawers. Flat bracket feet. Height 31.5”. Width 39.25”. Depth 20.75”. 1,200/1,500

503

504

503.

SHERATON PIER TABLE Massachusetts, Circa 1810 In mahogany. Shaped front and sides. Tapered reeded legs with floral and acanthus carvings at top, similar to the work of Samuel McIntire. Height 29.5”. Width 40.5”. Depth 21.25”. 600/900

504.

CHIPPENDALE DROP-LEAF TABLE Boston, Circa 1780 In mahogany. Drawer at each end of apron. Cabriole legs end in nicely carved claw & ball feet. Height 29.75”. Length 19.75” plus 17.75” drop leaves. Width 47.5”. 1,200/1,800 Provenance: The Estate of Carl and Mary Breyer of Massachusetts. Accompanied by an advertisement for H.L. Chalfant Antiques, West Chester, Pennsylvania, published in the September 1999 issue of Maine Antiques Digest, illustrating a similar table.

148

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505

506

505.

QUEEN ANNE DROP-LEAF TABLE Massachusetts, Circa 1760 In mahogany. Nicely shaped skirt and returns. Cabriole legs end in bold pad feet. Height 28”. Width 48”. Length 17.5” plus two 15.5” drop leaves. 800/1,200

506.

SHERATON BUREAU ATTRIBUTED TO THOMAS SEYMOUR Boston, Circa 1810 In mahogany and mahogany veneer. Four drawers with cock-bead molding and diamond-shaped ivory escutcheons. Ring-turned and reeded three-quarter columns at sides of case terminate in turned feet. Height 41”. Width 42.5”. Depth 21”. 1,500/2,000

508

507

507.

FEDERAL TILT-TOP BREAKFAST TABLE Boston, Circa 1820 In mahogany. Rectangular top with molded edge. Turned pedestal raised on four reverse-arched molded legs ending in brass-capped paw feet fitted with casters. Height 29”. Top 37.75” x 27.75”. 1,500/2,500

508.

SHERATON CARD TABLE ATTRIBUTED TO THOMAS SEYMOUR Boston, Circa 1805 In mahogany and mahogany veneer. Shaped top with multiwood geometric inlay along edge. Skirt with large diamondshaped inlay at center. Tapered turned legs with alternating ring design. Height 29.25”. Width 35.75”. Depth 17.75”. 2,000/3,000

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149


509.

CHIPPENDALE BLOCKFRONT SLANT-LID DESK Boston, Circa 1780 In select grain mahogany. Stepped block and shell interior fitted with drawers, pigeonholes and central compartment. Case with four graduated full-width drawers and bold claw & ball feet. Height 44.25”. Width 41.75”. Depth 22.5”. 8,000/12,000

509

510.

CHIPPENDALE SLANT-LID DESK Boston, Circa 1780 In walnut. Block and shell-carved interior fitted with pigeonholes, drawers and a central compartment. Case with four graduated full-width drawers with molded edges. Claw & ball feet. Retains original hardware. Height 45”. Width 38”. Depth 20.25”. 4,000/5,000

510

150

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511.

QUEEN ANNE BONNET-TOP HIGHBOY Massachusetts, Circa 1760 In cherry. Broken arch pediment with swirled rosettes at end of arch. Upper case with carved fluted pilasters at sides, and three varied side-by-side drawers, the central with shell carving, over four graduated full-width drawers, all with molded edges. Lower case with a fullwidth drawer over three varied side-by-side drawers, the central with matching shell carving. Cabriole legs end in pad feet. Height 82.5”. Width 37.5”. Depth 20.5”. 3,000/5,000

511

512.

SHERATON SECRETARY IN THE MANNER OF THOMAS SEYMOUR Massachusetts, Circa 1810 In mahogany and mahogany veneer. Upper case with two glazed paneled doors enclosing interior shelves, pigeonholes and drawers. Lower case with a fold-out writing surface, three full-width drawers, and flat reeded moldings at sides. Tapered reeded legs. Original molded brass and ring hardware. Height 58.75”. Width 39.25”. Depth 19.75”. 2,000/2,500 512

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151


513

514

515

152

513.

SHERATON SOFA Massachusetts, Circa 1805 Mahogany legs. Red, green and cream striped upholstery. Back height 38”. Seat height 20”. Length 78”. 1,500/2,000

514.

CHIPPENDALE SLANT-LID DESK Massachusetts, Circa 1780 In hardwood under a washed grained finish. Typical interior fitted with pigeonholes and drawers. Case with four graduated full-width drawers with molded edges. Flat bracket feet. Retains original hardware. Height 42.5”. Width 36.25”. Depth 18.5”. 1,200/1,800

515.

TWO-PART HUTCH CUPBOARD New Jersey, 19th Century Upper case with two glazed paneled doors. Lower case with three varied side-by-side drawers over two single paneled doors. Stylized herringbone molding throughout. Old rich finish. Height 83”. Width 53.5”. Depth 17.5”. 800/1,200

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516

517

516.

HEPPLEWHITE TWO-PART CUPBOARD SECRETARY IN THE MANNER OF THOMAS SEYMOUR Boston, Circa 1800 In mahogany and mahogany veneer, with exceptionally grained veneer used throughout. Upper case with interior pigeonholes and drawers; drawers with solid tiger maple fronts. Lower case with a fold-out writing surface over a full-width drawer over a stack of two narrow drawers flanked by bottle drawers. Writing surface with string inlay and an elliptical panel. Side drawers with white oak secondary woods. Tapered legs. Height 51.5”. Width 41.75”. Depth 22”. 2,500/3,500

517.

CHIPPENDALE SLANT-LID DESK Boston, Circa 1780 In ribbon mahogany. Slant lid encloses a highly stylized interior fitted with stepped sides, pigeonholes, drawers and a central compartment flanked by faux letter slides. The compartment and faux letter slides are removable, and conceal a hidden storage compartment at rear. Case with four graduated full-width drawers with molded edges. Flat bracket feet. Height 41”. Width 35.75”. Depth 20.25”. 4,000/6,000

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153


518

518.

PETER BELA MAYER New York/Hungary, 1887-1993 Birds soaring over a snowy landscape. Signed lower left “Bela Mayer”. Oil on canvas, 26.5” x 39”. Framed 29.5” x 41”. 1,500/2,500

519.

AMERICAN SCHOOL Mid-20th Century Panoramic view of the Brooklyn Bridge and New York City. Signed lower right “J. Gerson”. Oil on canvas, 24” x 48”. Framed 30” x 54”. 800/1,200

519

520

520.

BELA DE TIREFORT New York/Florida/Austria, 1894-1993 New York City street scene. Signed lower left “De Tirefort”. Oil on canvas board, 20” x 24”. Framed 27” x 32”. 1,000/1,500

521.

ELIOT CANDEE CLARK New York/Virginia/Europe, 1883-1980 Ship on stormy seas. In the manner of Albert Pinkham Ryder. Signed lower right “Eliot Clark”. Oil on canvas, 24” x 30”. Framed 29” x 35”. 800/1,200

521

154

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522

522.

THOMAS MORAN Pennsylvania/California, 1837-1926 “East Hampton, Long Island”. Signed and dated lower right “T. Moran 1881”. Noted verso “East Hampton Long Island by Thomas Moran 1881. Purchased Oct 14, 1947 Enders Estate N.Y.”. Mixed media on paper, 12.25” x 18.25”. Framed 23.5” x 29.5”. 3,000/5,000

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155


523

524, pair

525

523.

AMERICAN SCHOOL Mid-19th Century Portrait of a horse. Unsigned. Paper with watermark for Owen and Hurlbut, a South Lee, Massachusetts firm active in the 1830s. Watercolor on paper, 5” x 7”. Framed 7” x 9”. 200/300

524.

STANLEY WINGATE WOODWARD Massachusetts, 1890-1970 Pair of stormy coastal scenes: “Breakers” and “Approaching Storm”. Signed in lower corners “Stanley Woodward”. Titled on labels affixed verso. Watercolors, 6.25” x 9” sight. Framed 10.75” x 13.5”. 400/600

525.

ROBERT E. HALLWORTH Rhode Island, 19th Century An old wreck on the beach. Signed and dated lower right “R. Hallworth 81”. Oil on canvas, 12” x 24”. Framed 21” x 33”. 500/1,000 Robert E. Hallworth was a member of the Providence Art Club.

156

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526

527

528

529

526.

JOSEPH ORR Missouri/Japan, b. 1949 “Country Side View”, 1994. Signed, dated and copyrighted lower right. Titled verso. Acrylic on masonite, 12.25” x 22”. Framed 19.25” x 28.75”. 800/1,200

528.

HENRY COOKE WHITE Connecticut, 1861-1952 Mountain lake scene with beached canoe. Signed lower right “H. White”. Oil on canvas, 18” x 24”. Framed 25” x 32”. 500/1,000

527.

LELAND S. CURTIS California/Colorado, 1897-1989 Snow-covered mountain peaks. Inscribed lower right “Leland Curtis U.S. Antarctic Exhibition 1939-1940”. Inscribed verso “To Michael M. Engel with Appreciation- Leland Curtis U.S. Antarctic Expedition 1939-1940”. Oil on board, 11.5” x 15.5”. Framed 16.5” x 20.5”. 1,000/2,000

529.

CHARLES EDWIN LEWIS GREEN Massachusetts, 1844-1915 Autumn landscape. Signed lower right “C.E.L. Green”. Oil on canvas, 14” x 10”. Framed 21” x 17”. 800/1,200

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157


530

530.

158

ORIENTAL RUG: KAZAK 4’0” x 6’7” Dark blue field with three dark red, marine blue and aqua Lesghi stars. Sawtooth guard borders in colors that match stars. Bright ivory main border with serrated leaf and wine cup motif. 500/700

532

531

531.

ORIENTAL RUG: KARACHOPF KAZAK 5’5” x 6’10” Traditional arrangement of ivory, dark blue, dark red, green and yellow geometric medallions and stylized blossoms on an abrashed teal green field. Red and ivory sawtooth guard borders. Red main border with leaf and wine cup motif. 500/1,000

532.

ORIENTAL RUG: KESHAN PRAYER 4’6” x 6’7” Mihrab composed of red and blue arabesque spandrels above a flatwoven pile-less field adorned with red, pink, blue and green garrus vines, flowering branches and grand flower vases. Light blue and navy blue borders. 500/1,000

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533.

ORIENTAL RUG: MESHED 10’0” x 13’4” Navy blue pendants are suspended from an ivory central medallion containing concentric rings of red and blue floral garlands and palmettes. Red field with traditional scrolling vines and serrated leaves in colors to echo the medallion. Spandrels composed of a quartered circular medallion. Light blue guard borders. Navy blue main border. 1,200/1,600

534.

ORIENTAL RUG: EAGLE KAZAK 4’8” x 6’11” Two red, green, blue, yellow and ivory sunburst medallions are surrounded by traditional small flower blossoms on a red field with blue and brown guard borders and an ivory main border. 500/1,000

533

535.

ORIENTAL RUG: SAROUK 10’3” x 13’4” Crimson red field with a symmetrical array of blue, gold, salmon red, ivory and pale celadon green blossoms and palmettes suspended from a delicate scrolling vine. Red and gold garrus vine throughout light blue and navy blue borders. 1,000/1,500

536.

ORIENTAL RUG: OUSHAK 2’6” x 17’7” Slate blue and tan garrus vines are surrounded by stylized light blue and dark tan elements that meander the length of a bright ivory field. Similar motif throughout ivory border. 400/600

535

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159


537

160

537.

ORIENTAL RUG: NAHAVAND 5’7” x 10’6” Bright red central medallion outlined in light blue is surrounded by a symmetrical array of stylized ivory branches and red and blue bouquets. Ivory spandrels. Bright red main border. 450/650

538.

ORIENTAL RUG: KAZAK DESIGN 6’0” x 10’5” Broad blue and ivory shield-form medallion with a red center contains, and is surrounded by, stylized green, salmon pink and pale yellow elements on a red field. A variety of stylized motifs repeat throughout red, blue and ivory borders. 550/750

539.

ORIENTAL RUG: KAZAK DESIGN RUNNER 2’8” x 9’5” A variety of bright ivory, red, yellow, salmon pink and subtle green stylized elements, geometric medallions and delicate blossoms form a single column on a marine blue field. Light blue and bright red borders. 300/400

540.

ORIENTAL RUG: CAUCASIAN PRAYER 3’3” x 5’8” Geometric barber pole mihrab over an abrashed blue field containing a stack of four red, blue and green geometric medallions with ivory outlines. Red, blue and green sawtooth guard borders. Ivory main border with wine cup and serrated leaf motif. 600/900

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541.

ORIENTAL RUG: SERAPI DESIGN 10’0” x 14’0” Overlapping gold and dark brick red gabled medallions occupy a navy blue field above a salmon red subfield with light blue spandrels. Traditional bold elements in turquoise, emerald green, ivory and brick red throughout. Bright ivory borders feature flowers and turtles. 1,500/2,000

541

542.

ORIENTAL RUG: KESHAN 6’5” x 10’1” Light blue, ivory and navy blue lozenge-shaped medallion suspends navy blue pendants on a bright red field. Medallion and pendants are surrounded by blossoms, leaves and delicate vines in shades of blue, ivory, olive green and subtle pink. Navy blue subfield. Subtle ivory spandrels. Ivory and blue borders. 500/800

542

543.

ORIENTAL RUG: ISPHAHAN 9’7” x 13’7” Blue circular central medallion contains celadon garrus vines and red flower blossoms. Bright red field is covered in a delicate blue vine bearing blossoms in colors that echo the medallion. Subtle celadon subfield and navy blue spandrels. Blue and ivory borders. 1,000/1,500

543

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161


544

545

544.

ORIENTAL RUG: SULTANABAD DESIGN 8’1” x 10’0” Gold vines meander throughout five columns of bold stylized blossoms and palmettes in light blue, ivory, navy blue, subtle peach, and shades of yellow and brassy gold. Dark red field with gray-blue guard borders and a broad ivory main border. 1,000/1,500

545.

ORIENTAL RUG: SULTANABAD DESIGN 8’2” x 10’0” Bold dark red, plum, light blue, mauve, pale gold and peach blossoms are suspended from an array of delicate light blue vines across the expanse of an ivory field. Sand-colored guard borders. Ivory main border. 1,000/1,500

546.

ORIENTAL RUG: HERIZ 7’0” x 8’3” Traditional red and blue gabled medallion with an ivory center hovers above a bright red field and bright ivory subfield. Traditional stylized elements in red, blue, pink, yellow and ivory throughout. Spandrels echo medallion. Dark gold and navy blue borders. 700/900

546

162

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547

549 548

547.

ORIENTAL RUG: KAZAK DESIGN 4’2” x 5’8” Central bright red panel contains ivory and light blue medallions. Marine blue field with neatly arrayed red and ivory elements. Colorful traditional elements repeat throughout pale yellow, ivory and blue borders. 350/550

548.

ORIENTAL RUG: SUNBURST KAZAK 4’10” x 6’7” Scarlet red field with two bold bright ivory, light blue, dark blue, scarlet red and pale yellow sunbursts. Brown, blue and ivory reciprocal spearpoint main border. 800/1,000

549.

ORIENTAL RUG: CAUCASIAN 4’0” x 6’0” Alternating rows of repeating red, ivory and light blue stylized elements fill the expanse of a brown field. Multiple borders include stylized blossoms and barber pole motifs. 400/600

550.

ORIENTAL RUG: ARDEBIL 3’4” x 11’2” Central pale red medallion is surrounded by a lattice motif of stylized blossoms rendered in red, pink, ivory and subtle dark green. Midnight blue field with a colorful Herati pattern and pale red spandrels. Red and ivory borders. 350/450

551.

ORIENTAL RUG: AZERBAIJANI CAUCASIAN 3’8” x 10’0” Bold geometric medallions feature stylized branches alternating with clusters of serrated leaves arranged in an X formation, all rendered in rich shades of gold, red, brown and intense pink. Navy blue field. Spearpoint, serrated leaf and wine cup motifs throughout borders. 350/450

552.

ORIENTAL RUG: CAUCASIAN DESIGN RUNNER 2’6” x 13’2” Light blue field is traversed by a single column of bold stylized elements rendered in dark red, bright red, ivory, pale yellow and salmon pink. Ivory guard borders. Bright red main border. 350/550

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163


554

553

553.

164

ELDRED WHEELER TWO-PART FLAT-TOP SECRETARY DESK Massachusetts, 20th Century In cherry. Upper case with two paneled doors enclosing a fitted interior. Lower case with a slant lid, four graduated fullwidth drawers and ogee bracket feet. Slant lid encloses a fitted interior. Eldred Wheeler label in top drawer. Height 78.75”. Width 35”. Depth 21”. 600/800

554.

ELDRED WHEELER TWO-PART CORNER CUPBOARD Massachusetts, 20th Century In strong tiger maple. Upper case with shaped cornice and a glazed door enclosing two interior shelves. Lower case with two paneled doors enclosing one interior shelf. Shaped bracket base. Height 82.5”. Width 45”. Takes a 18.5” corner. 900/1,200

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555

555.

ELDRED WHEELER TWO-PART STEPBACK CUPBOARD Massachusetts, 20th Century In tiger maple. Upper case with three glazed paneled doors enclosing six interior shelves. Lower case with central stack of four graduated drawers flanked by a drawer over a paneled cupboard door. Each cupboard contains a medial shelf. Ogee bracket feet. Retains Eldred Wheeler label. Height 78”. Width 72.5”. Depth 18.5”. 2,000/2,500

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165


556.

ELDRED WHEELER CHIPPENDALE-STYLE SERPENTINE-FRONT CHEST Massachusetts, Late 20th Century In cherry. Ogee bracket base. Eldred Wheeler label inside drawer. Height 35”. Width 37.5”. Depth 20.5”. 1,500/2,500

556

557.

ELDRED WHEELER SLANT-LID DESK Massachusetts, 20th Century In cherry. Lid encloses a fan-carved fitted interior. Case with four graduated drawers and ogee bracket feet. Original Eldred Wheeler paper label in drawer. Height 41”. Width 35”. Depth 19”. 1,000/1,500

557

558.

ELDRED WHEELER CHIPPENDALE-STYLE FOUR-DRAWER CHEST Massachusetts, Late 20th Century In maple, with tiger maple drawer fronts. Bracket base with central fan carving. Height 33”. Width 36.5”. Depth 18.5”. 1,500/2,000

558

166

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559

559.

ELDRED WHEELER QUEEN ANNE-STYLE DINING TABLE Massachusetts, 20th Century In tiger maple. Double pedestals supported by cabriole legs ending in snake feet. Retains Eldred Wheeler label. Height 29.25”. Length 84”, plus two 20” leaves. Width 48”. 1,500/2,500

560.

SET OF TWELVE ELDRED WHEELER QUEEN ANNE-STYLE DINING CHAIRS Massachusetts, 20th Century Ten side chairs and two armchairs. In figured tiger maple and bird’s-eye maple. Yoke backs with vasiform splats. Slip seats with gold print upholstery. Cabriole front legs end in pad feet. Block and turned back legs. Legs joined with H-stretchers. Back heights 41.5”. Seat heights 18.5”. 6,000/8,000 Consignor purchased these chairs directly from Eldred Wheeler.

560, twelve

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167


561, pair

562, pair

563

561.

168

PAIR OF ELDRED WHEELER QUEEN ANNE-STYLE TEA TABLE Massachusetts, 20th Century In maple and tiger maple. Tops with cut porringer corners. Tapered legs end in pad feet. Original Eldred Wheeler paper label and brand on underside of tops. Heights 27.5”. Lengths 33”. Widths 22”. 1,200/1,400

562.

PAIR OF ELDRED WHEELER ONE-DRAWER STANDS Massachusetts, 20th Century Tiger maple tops and drawer fronts. Bases painted black. Tapered legs end in pad feet. Original Eldred Wheeler paper labels inside drawers. Heights 27”. Widths 26”. Depths 18”. 1,200/1,400

563.

ELDRED WHEELER MULE CHEST DRESSER Massachusetts, 20th Century In tiger maple. Three side-by-side drawers, the central with fan carving, over three tiers of half drawers. Bracket base. Retains original Eldred Wheeler paper label. Height 36”. Width 60.5”. Depth 20”. 1,000/1,500

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Joseph McGurl Massachusetts, b. 1958 Lots 564-565

564

565

564.

“On the Wind and Into the Sun”. Signed lower right “Joseph McGurl”. Titled verso. Oil on board, 9” x 12”. Framed. 6,000/9,000

565.

Cape Cod National Seashore beach. Signed lower right “Joseph McGurl”. Oil on panel, 4.5” x 11”. Framed 10” x 16.5”. 2,000/3,000

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169


Vernon Broe Maine/Illinois, 1930-2011 Lots 566-568

566.

“Wooden Sailboat”. Signed lower right “Vern Broe”. Titled on gallery label verso. Oil on board, 12” x 16”. Framed 16” x 20”. 700/1,000

567.

A mother and child by the shore. Signed lower left “Vern Broe”. Oil on board, 11” x 14”. Framed 16.75” x 19.75”. 700/1,000

568.

Sunset sail. Signed lower left “Vern Broe”. Oil on board, 9” x 12”. Framed 15” x 18”. 800/1,200

566

567

568

170

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569.

ROBERT DOUGLAS HUNTER Massachusetts, 1928-2014 Still life of a basket, bottle, ceramics and fruit. Signed and dated lower right “Robert Douglas Hunter ‘82”. Oil on canvas, 16” x 33”. Framed 22.5” x 39.5”. 3,000/5,000 Robert Douglas Hunter was the dean of the Boston School of Painting. He specialized in still lifes and portraits.

569

570.

SERGIO ROFFO Massachusetts/Italy, b. 1953 “July Afternoon, Sengekontacket”. Signed lower left “Sergio Roffo”. Titled on seller’s original gallery receipt (not included with lot). Oil on canvas, 24” x 36”. Framed 33.25” x 45.25”. 5,000/7,000 Provenance: The Christina Gallery, Martha’s Vineyard, Massachusetts.

570

571.

LANCE WALKER Massachusetts, Contemporary “Pulling Traps Cape Cod Bay 2011”. Signed lower right “Lance Walker”. Titled verso. Oil on canvas, 24” x 30”. Framed. 1,000/2,000

572.

SAM BARBER Massachusetts/Italy, b. 1943 “Early Fall Landscape”. Signed lower right “S. Barber”. Titled on frame plaque. Housed in a Goodnow frame. Oil on masonite, 9” x 12”. Framed 13.5” x 16.5”. 400/600

571

572

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171


Arthur Vidal Diehl Massachusetts/Florida, 1870-1929 Lots 573-575

573.

“Morning, Provincetown”. Signed lower left “Arthur V. Diehl”. Titled verso. Oil on board, 15.5” x 29.5”. Framed 20” x 35”. 1,500/2,500

574.

“Incoming Sea Squall”. Unsigned. Titled on frame plaque. Oil on canvas, 20” x 30”. Framed 25.5” x 35.5”. 500/1,000

575.

Sunlight on the dunes. Signed and dated lower left “Arthur V. Diehl 1920”. Oil on board, 12.5” x 18.5”. Framed 16” x 22”. 800/1,200

573

575 574

172

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576

576.

577.

DOUBLE-SIDED SIGN “PETER HUNT’S PEACOCK ALLEY” 20th Century Yellow and white lettering on a blue ground. Image of a peacock above lettering. Height 37.75”. Length 60.5”. 500/1,000

PETER HUNT Massachusetts, 1896-1967 Marcus Illions carousel horse with glass eyes and painted decoration of hearts, strawberries, carrots and radishes. Painted wooden base fitted with casters. Height 50”. Length 44”. Width 15”. 1,500/2,500

577

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173


578, six

578.

PETER HUNT Massachusetts, 1896-1967 Six plywood panels with oil paint decoration, framed to look like windows. Hung on the outside of Hunt’s shop in Orleans, Massachusetts. Depict a vase of flowers, a seated man with hearts and birds, a woman with hearts, “Peter Hunt” and hearts, a woman with a cat and bird, and a woman carrying a wine bottle and glasses on a tray. Each framed 53” x 27.5”. 500/1,000

579.

DOUBLE-SIDED TRADE SIGN “PETER HUNT’S PEACOCK ALLEY” 20th Century Polychrome image of a peacock and “Peter Hunt’s” in yellow lettering against a black reserve. “Peacock Alley” in bold white lettering on a blue ground. Height 37.5”. Length 60.5”. 500/1,000

580.

DOUBLE-SIDED SHOP SIGN “PEACOCK’S PRIDE ART GALLERY” 20th Century White lettering on a blue ground. Height 7.75”. Length 28”. 100/200

581.

DROP-LEAF TABLE WITH PETER HUNT-STYLE PAINTED DECORATION 20th Century Painted green, with a chicken, eggs, hearts and roses on top and similar heart and rose decoration on apron and legs. Table with single drawer in apron. Height 33”. Width 23” plus two 10” drop leaves. Depth 36”. 200/400

581

174

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582

582.

TOD LINDENMUTH Massachusetts/Florida, 1885-1976 “Commercial Street in Winter, Provincetown”. Signed lower right “Tod Lindenmuth”. Titled on gallery label verso. Oil on canvas, 25” x 30”. Framed 33” x 38”. 5,000/7,000

583.

No lot.

584.

HEINRICH HERMAN PFEIFFER Massachusetts/Florida, 1874-1960 “Provincetown Landscape”. Signed lower right “Heinrich Pfeiffer”. Titled on label verso. Oil on canvas stretched on masonite, 24” x 21.75”. Framed 28” x 25.75”. 500/1,000

584

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175


Charles Drew Cahoon Massachusetts, 1861-1951 Lots 585-589

585.

Moonlit pond surrounded by trees. Signed lower right “C.D. Cahoon”. Oil on canvas, 16” x 24”. Framed 21.9” x 28.5”. 1,500/2,500

586.

Path through the dunes. Signed lower right “C.D. Cahoon”. Oil on canvas board, 16” x 20”. Framed 20” x 24”. 1,000/1,500

587.

ATTRIBUTED TO CHARLES DREW CAHOON Stand of trees by the shore. Unsigned. Oil on canvas, 15” x 19”. Framed 19.5” x 24”. 1,500/2,500

585

586

587

176

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Charles Drew Cahoon Massachusetts, 1861-1951 Lots 585-589

588.

White pine bough over the water. Signed lower right “C.D. Cahoon”. Oil on board, 26” x 19”. Framed 32” x 24”. 1,000/1,500

588

589.

ATTRIBUTED TO CHARLES DREW CAHOON Cape Cod lighthouse. Unsigned. Reverse painting on glass, 8” x 10”. Framed 18” x 20”. 500/1,000

Of the many paintings prolific artist Charles Drew Cahoon completed in his lifetime, many portray serene vistas on Cape Cod. Cahoon, whose father was a sea captain, was born and died in Harwich, Massachusetts. Before turning to painting full-time in about 1900, Cahoon spent time at sea and worked in Boston retouching photographs. His works are typically strongly detailed but with a quiet softness.

589

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177


Martha Cahoon Massachusetts, 1905-1999 Lots 590-592

590

591

592

178

590.

A soldier and a young woman standing in a field. Signed and dated lower right “Martha Cahoon ‘74”. Oil on masonite, 12” x 9”. Framed 13.5” x 10.5”. 800/1,200

591.

Little girl holding a balloon. Signed lower right “Martha Cahoon”. Oil on masonite, 12” x 9”. Framed 13.5” x 10.5”. 800/1,200

592.

Shore scene with shell, butterfly and shore birds. Signed lower right “Martha Cahoon”. Oil on masonite, 10” x 14”. Framed 11” x 15”. 1,000/1,500

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593.

VERNON B. SMITH Massachusetts, 1894-1969 Cape Cod coastal vignette with windmill, church, automobile, houses, sailing ships and other boats along the coast. Signed lower right “Vernon Smith”. Most likely part of a larger mural. Oil on board, 72” x 36”. Unframed. 800/1,200 Provenance: Found inside a wall in a North Shore stone cellar.

593

594.

GERRIT BENEKER Massachusetts/New York/Michigan, 1882-1934 Lot of printing blocks, depicting a boat at dock, a house and tree, “Men are Square”, “Homer White”, “Alabama Kid” and an unknown portrait. Most signed in plate. Sizes vary, largest 5” x 4”. 500/1,000

594

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179


595.

MARSHALL DUBOCK America, b. 1943 Brant Point Lighthouse, Nantucket, Massachusetts. Unsigned. Identified verso. According to the consignor, the artist identified this as one his earliest works dating to the 1960s. Gouache on paper, 27” x 21”. Unframed. 300/500

595

596.

JOHN CUTHBERT HARE Massachusetts/Florida, 1908-1978 Side street, Provincetown, Massachusetts. Signed lower right “John Hare”. Watercolor on paper, 12” x 10” sight. Framed 18” x 16”. 400/600

596

597.

HENRY WEBSTER RICE Massachusetts/Maine, 1853-1934 “Cape Cod Salt Works, East Dennis, Mass”. Signed lower right “Henry W. Rice”. Titled on brass plaque. Watercolor on paper, 12.5” x 17.75”. Framed 21” x 26”. 300/400

597

180

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598

599

600

601

598.

PETER ROLFE Maine/Massachusetts, Contemporary Dories at dock. Watercolor on paper, 21.25” x 21.5” sight. Framed 31.25” x 30.5”. 400/600

600.

ROBERT K. ROARK Massachusetts/New York, b. 1944 Pug with a hot dog. Signed lower right “Robert Roark”. Oil on canvas, 16” x 20”. Framed 23” x 26”. 600/800

599.

HAROLD DUNBAR Massachusetts, 1882-1953 Ship at sea. Signed lower right “Harold Dunbar”. Oil on board, 24” x 30”. Framed 30” x 36”. 800/1,200

601.

THOMAS BLAGDON HIGHAM Massachusetts, b. 1953 “January Thaw 1984”. Signed and dated lower left “Thomas B. Higham 84”. Titled verso. Acrylic on board, 16” x 24”. Framed 19” x 27”. 800/1,200

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181


602, chair and desk

603, pair

604, pair

602.

182

STEPHEN SWIFT SCHOOLMASTER’S DESK AND CHAIR Nantucket, Massachusetts, Contemporary In cherry and maple. Desk with one drawer, candle slides, a medial shelf and square tapered legs. Height 46.5”. Width 33”. Depth 22”. Matching chair signed and dated on underside “Stephen Swift 2005”. Back height 37.5”. Seat height 25”. 400/600

603.

PAIR OF TIGER MAPLE ONE-DRAWER STANDS Heights 26”. Widths 16.5”. Depths 16.5”. 1,500/2,500

604.

PAIR OF ELDRED WHEELER DIMINUTIVE CHESTS Massachusetts, 20th Century In tiger maple, with four graduated full-width drawers and shaped bracket bases. Both retain original Eldred Wheeler labels. Heights 28”. Widths 24”. Depths 16”. 400/600

605.

WARREN CHAIR WORKS FAN-BACK WINDSOR-STYLE SIDE CHAIR Rhode Island, 20th Century In hardwood, with carved scrolled ears and pine seats. Marked on underside “WCW”. Back height 41.75”. Seat height 17.25”. 200/300

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607

606

606.

ELDRED WHEELER TWO-PART LINEN PRESS/ ENTERTAINMENT CABINET Massachusetts, 20th Century In tiger maple. Upper case with two paneled doors enclosing two interior shelves. Lower case with three graduated full-width drawers and a shaped bracket base. Retains original Eldred Wheeler label. Height 80.5”. Width 43”. Depth 25.5”. 1,000/1,500

607.

ELDRED WHEELER QUEEN ANNE-STYLE HIGHBOY Massachusetts, Late 20th Century Upper drawer with central fan carving. Four graduated full-width drawers below. Lower case with a fullwidth drawer over three side-by-side drawers. Cabriole legs end in pad feet. Height 70.5”. Width 36”. Depth 19”. 2,500/3,500

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608.

ELDRED WHEELER OVAL TEA TABLE Massachusetts, 20th Century In maple. Original Eldred Wheeler paper label and brand on underside. Height 25.5”. Top 26.5” x 20”. 300/500

183


609.

609

HEPPLEWHITE-STYLE DROP-LEAF HARVEST TABLE Circa 1900 In curly maple, with delicate tapered legs. Height 29”. Length 72”. Width 20” plus two 9” drop leaves. 500/700

610

610.

SET OF EIGHT WARREN CHAIR WORKS BOWBACK WINDSOR-STYLE SIDE CHAIRS Rhode Island, 20th Century In maple. Each branded on underside of seat. Back heights 39.25”. Seat heights 17.25”. 1,600/1,800

611

611.

184

ELDRED WHEELER DROP-LEAF DINING TABLE Massachusetts, 20th Century In maple, with square tapered legs. Eldred Wheeler paper label and brand on underside. Height 29.25”. Length 74.25”. Width 19.25” plus two 11” drop leaves. 1,200/1,400

see photos of all lots and view condition reports at www.eldreds.com


612.

ELDRED WHEELER CHIPPENDALE-STYLE SECRETARY Massachusetts, Late 20th Century In tiger maple. Stepped interior. Eldred Wheeler label inside top drawer. Height 80”. Width 35”. Depth 20.5”. 4,000/6,000

613.

ELDRED WHEELER SHERATON-STYLE KING-SIZE BED 20th Century In figured and tiger maple. Turned posts with acorn tops. Headboard with shell-carved crest. Retains Eldred Wheeler label. Post heights 65.5”. Width between bolt holes 78”. Length of rails 80”. 800/1,200

614.

612

WINDSOR-STYLE ARMCHAIR BY ROBERT WHITLEY Solebury, Bucks County, Pennsylvania, Contemporary In beautifully figured cherry. Marked under seat “Original furniture design by Robert Whitley Solebury, Bucks County, PA”. Back height 42”. Seat height 18”. Width across arms 25”. 300/500 Robert Whitley, who died at 95 in June 2020, was a renowned Bucks County third-generation artist and craftsman. His works have been featured in museums around the country.

615.

ELDRED WHEELER KING-SIZE PENCIL-POST BED Massachusetts, 20th Century In maple. Retains original Eldred Wheeler paper label on back of headboard. Post heights 83”. Headboard width 77.5”. 900/1,200

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185


BIDDER INFORMATION ADVICE TO BIDDERS 1. Carefully read the Conditions of Sale. 2. Pre-sale estimates are provided by the auctioneers for the convenience of our customers. They are not meant to be taken as a guide to the value of an item, but as a guide to its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision. 3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form, or complete and submit it on our website, www.eldreds.com.

SHIPPING INFORMATION We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale. If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready. We provide shipping services directly from our gallery for select merchandise including small items, small paintings and rugs. We do not ship glass items or items framed under glass. Our staff can assist with determining if your items qualify for in-house shipping. Shipments from our gallery may take four to six weeks from receipt of payment. You will be charged for the shipping or carrier fees, packing and handling fees, and required insurance. There is a minimum handling charge of $15.00 for all shipments. Depending on the carrier, insurance limits may exist (i.e., Federal Express will only insure up to $500).

5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 25% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.

If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent. We require seven to ten business days for your payment to clear our banking system before releasing purchases to your chosen shipping agent.

6. Online bidding is available at www.eldreds.com, with a 25% buyer’s premium. Prospective bidders must register and be approved prior to placing bids or bidding live online.

Shipping estimates can be provided only AFTER we receive payment for your invoice.

7. 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.

BIDDING INCREMENTS $0-$49: $5 $50-$199: $10 $200-$499: $25 $500-$999: $50 $1,000-$2,999: $100

THE PROPERTY LISTED IN THIS CATALOG WILL BE OFFERED AND SOLD SUBJECT TO THE TERMS AND CONDITIONS LISTED IN THIS CATALOG.

$3,000-$4,999: $250 $5,000-$9,999: $500 $10,000-$29,999: $1,000 $30,000-$49,999: $2,500 $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion Please adhere to the above bidding increments. Eldred’s reserves the right to adjust absentee bids to the nearest increment below the bid.

186

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CONDITIONS OF SALE 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. ORDER 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 order 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. Telephone bids must be confirmed in writing or by cable. 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 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, 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, or C) has purchases shipped out of state (with the exception of Connecticut and New York) directly from Eldred’s by a bona fide shipping agent. Connecticut residents picking items up in our Mystic branch or having purchases shipped to their Connecticut address are responsible for CT state sales tax (currently 6.35%). New York residents having purchases shipped to their New York address are responsible for NY state sales tax (currently 4.0%). Due to the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair, residents of other states may be required to pay their state sales tax on purchases as we meet each state’s nexus requirements. 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. 11. RESERVES: Unless advertised as an “Unreserved Auction”, all sales may have items 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: Delivery or shipping arrangements must be made within seven (7) days from the close of the auction for all purchases. 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 over thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees. 13. PACKING: Purchasers are advised that packing and/or handling by Eldred’s employees is undertaken solely as a courtesy for the convenience of customers. In the case of fragile articles, it will be undertaken at the sole discretion of the company. Handling and packing by Eldred’s is at the risk of the purchaser. SHIPPING: When requested, Eldred’s may arrange shipment of paid purchases. 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. Please refer to our Advice to Bidders for details. 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.

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ABSENTEE/TELEPHONE BID FORM 1. Clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow our standard bidding increments. 2. Carefully review your bid form for accuracy of lot numbers, phone numbers, shipping information, etc. Although we attempt to confirm descriptions against lot number, bids are posted by lot number. 3. Please submit your bids in a timely manner, to avoid the chance of posting error. We request all bids be received by 3 p.m. the day before the auction. In the event of identical Absentee bids, the earliest received takes precedence. 4. A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount will be returned promptly to you. 5. A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 25% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.

Are you a new bidder with Eldred’s?

Yes:

No:

If so, please also complete our Buyer Pre-Registration form.

6. At the conclusion of the sale you will be notified if you were the successful bidder. All invoices must be paid in full within ten (10) days of the close of the auction. We accept checks, cash, money orders, wire transfers and major credit cards for payment. There is a 2% buyer’s premium discount for payment made in full via cash, check, money order or wire transfer within ten (10) days of the invoice date. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. Mixed payment methods are not eligible for the buyer’s premium discount. We reserve the right to hold goods until payment has cleared. 7. All purchases are subject to state and local sales tax unless you possess a Massachusetts or out-of-state sales tax exemption or resale number and register that number with us. The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.

SALE TITLE: SALE DATE:

NAME:

Lot #

Item Description

Maximum Bid or “phone” for Telephone Bid

ADDRESS: check if change in address

PHONE: ALTERNATE PHONE: EMAIL: Signature (required): By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc. All bids are kept in strict confidence.

Date: SHIPPING Do you have a tax resale #? Yes: Will pick up:

No:

Ship to address above:

25% buyer’s premium will be added to the hammer price. See Item 5 above.

Or ship to:

Total 10% Deposit

Have you examined the items listed above?

Yes:

All property must be removed from our facility within 28 days of the close of the auction or be subject to a $5 per item/per day storage fee.

PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 www.eldreds.com

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info@eldreds.com

Phone: 508-385-3116

Fax: 508-385-7201

see photos of all lots and view condition reports at www.eldreds.com

No:


BIDDER PRE-REGISTRATION Thank you for your interest in bidding in our auction. If you have not been a successful bidder with Eldred’s in the past, please help us establish your bidding credentials by completing this form and selecting one of the options that follow. CLIENT INFORMATION Name:

Phone:

Company:

Alternate Phone:

Address:

Email:

City:

All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof when registering. Failure to do so will subject the bidder to paying 6.25% Massachusetts sales tax on purchases.

MA Resale #: State:

ZIP:

FINANCIAL REFERENCES Please select one of the following options: 1. DEPOSIT Submit a deposit representing 10% of the total order, either by mailing a check to the address below or providing a credit card number. We accept Visa, MasterCard, American Express and Discover with domestic billing addresses in amounts up to $5,000.00. 2. LETTER OF CREDIT FROM YOUR BANK Please have your bank fax us at 508-385-7201. Letter must be on bank letterhead. 3. AUCTION HOUSE REFERENCE Complete the information requested below. Advance notice is required for this option as it is often difficult to reach the appropriate contact. You may have to authorize release of information. Please be aware Christie’s and Sotheby’s will not divulge any credit information. Auction House:

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

SIGNATURE (required): Date: Bids will not be accepted without your signature on this form. By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc. PLEASE SUBMIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 www.eldreds.com

info@eldreds.com

Phone: 508-385-3116

Fax: 508-385-7201

see photos of all lots and view condition reports at www.eldreds.com

189


APRIL MARINE SALE Apr il 2 9 - 3 0 , 2 0 2 1 Live online with phone and absentee bidding. In-person bidding to be determined. On exhibit April 28 from 10 a.m. to 4 p.m., pre-scheduled appointments requested in compliance with COVID guidelines.

Banknote Engraver

Arch Engraver

190

Per taining to the Bunker Hill Monument

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Women in the Arts Auction FALL 2021

CONSIGNMENTS NOW INVITED

Please contact us for a complimentary estimate. consign@eldreds.com

I

www.eldreds.com

I

508-385-3116

A portion of the proceeds will benefit WE CAN. The organization, founded in 2001 and based on Cape Cod, serves more than 2,500 women annually with free and confidential legal services, employment and business support, financial empowerment, mentoring and personal development programs.

see photos of all lots and view condition reports at www.eldreds.com

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Illustrations Cover Lot 489 Back Cover Lots 286, 148, 363, 509 Page 3 Lot 155 Page 5 Lot 84 Page 6-7 Lot 290 Page 8 Lot 93 Page 82 Lot 588 This Page Lot 161 192

see photos of all lots and view condition reports at www.eldreds.com