The Fall Sale 2021

THE

Fall Sale

NOVEMBER 18-19, 2021

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THE FALL SALE

Thursday and Friday, November 18-19, 2021 Starting at 9:30 a.m. Eastern

Location:

Headquarters: 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com I MA Lic. #155

Preview:

Wednesday, November 17 from 10 a.m. to 5 p.m., the sale days starting at 8:45 a.m., and by appointment

View all lots at www.eldreds.com

IMPORTANT NOTICES Bidding Options In-person, online, phone and absentee bidding available. To register for absentee and telephone bidding, please visit our website or call 508-385-3116.

Online bidding available through www.eldreds.com.

Terms 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. 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.

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.

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

All dimensions are approximate.

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S TA F F D I R E C T O R Y ANTIQUES & FINE ART SPECIALISTS

PRODUCTION & ADMINISTRATIVE STAFF

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

Wendy A. Dunford Treasurer wendy@eldreds.com Susan Eastman Client Services seastman@eldreds.com

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

Devyn Henry Administrative Assistant dhenry@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

Nora Ingram Administrative Assistant ningram@eldreds.com Katie Lingoes Shipping klingoes@eldreds.com

Christine Berlane Prints and Multiples cberlane@eldreds.com

Rachel Martin Assistant Head of Photography rmartin@eldreds.com

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

Angela R. McParland Executive Assistant amcparland@eldreds.com

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

Madison Morris 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

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

Jennifer Lacker Mystic Representative

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

Mary M. Kuhrtz and Christine Leofanti Gallery Assistants Al Gray Shipping and Inventory Assistant

OFFICES Headquarters I 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com I MA Lic. #155 Connecticut Gallery I 5 Roosevelt Ave., Mystic, Ct. I 860-912-8169 I info@eldreds.com

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As we continue to live in these unprecedented times, we here at Eldred's remain extremely grateful for our health, our homes, and the exciting and fascinating work we get to do each day.

We are particularly grateful for you, our clients, and the trust you put in us.

We wish you a very happy holiday season and we look forward to seeing you at the Fall Sale.

LETTER

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PROPERTIES FROM

Private Collection of Benjamin Franklin Portraits and Memorabilia Estate of Cabinetmaker David LeFort The India House, New York Heritage Museums & Gardens The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts The Kelton Collection of Marine Art & Artifacts Private Wellesley, Massachusetts Collection A Private Collection Private Collection, Cape Cod, Massachusetts Cape Cod, Massachusetts Estate And Several More Private Collections and Estates

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INDEX

Index of Artists Page 6-7 Session I Lots 1-415 Session II Lots 501-908 Bidder Information Page 274 Conditions of Sale Page 275 New Buyer Registration Page 276 Absentee and Phone Bid Form Page 277 Illustrations Page 280

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INDEX OF ARTISTS

ALLEN, COURTNEY CHARLES

775

ALLRICH, STEVEN

812

COLLINS, EARL

AUSTIN, JOHN

830

COLMAN, SAMUEL (attr.)

587

GRANT, FREDERICK MILTON

278

340

GRANT, GORDON HOPE

382

COX, CHARLES M.

282

GREBZE, OTTO

677

CURTIS, EDWARD SHERIFF

214

GREENE, ALBERT VAN NESSE

339 878

COREY, BERNARD

102

BECHER, BERND AND HILLA

604-606

696

GRAHAM, CECILIA BANCROFT

COOLE, BRIAN

BATT, ARTHUR

357, 358

786

819 881

571

GIFFORD, CHARLES HENRY

888

318

BARRETT, JOSEPH

GÉRARD, AFTER FRANÇOIS

GOODNOW, PAUL CARTER

BAKER, SUSAN

746, 747

732

GONZALEZ, XAVIER

BADURA, BEN (BERNARD) BARBER, SAM (SAMIR)

CORNWELL, DEAN CORWIN, CHARLES ABEL

694 355, 356 871 305, 306

BECKER, FRED WILLIAM (attr.)

224

D'ESPAGNAT, GEORGES

574

GREENLEAF, JACOB I.

BELL, JAMES WETHERED

680

DAVIES, ARTHUR BOWEN (attr.)

119

GREGORY, WAYLANDE

595

831

GROSS, CHAIM

594

BENJAMIN, GERSHON

592, 593

BENJAMIN, SAMUEL GREEN WHEELER 570

DAVIS, WILLIAM R. DE BRITO, JOAO

814, 815

GRUPPE, EMILE ALBERT

858-860 769-772

BENSING, FRANK

303

DE CARRIER-BELLEUSE, ALBERT-ERNEST 2

HARE, JOHN CUTHBERT

BENSON, FRANK WESTON

152

DE LONGPRE, PAUL

671

HARTLEY, KATHERINE ANN

797

HAYS, GEORGE ARTHUR

BIDDLE, JOY

731

BOGDANOVE, ABRAHAM JACOB

900-902

DEL DEO, SALVATORE DIEHL, ARTHUR VIDAL

BONNAR, JAMES KING

886

DIXON, FRANCIS STILLWELL

BOREIN, ATTRIBUTED TO EDWARD

220

DRAKE, WILLIAM A.

678

879, 880

HEINZ, CHARLES LLOYD

780

748

HEKKING, WILLIAM MATTHEWS

588, 589 765-768

668

DREW, CLEMENT

411

BOUDIN, EUGENE LOUIS

573

DREW, GEORGE

686

HOCKNEY, DAVID

39, 41

BRASHER, REX

153

DUNBAR, HAROLD C. DUNNING, ROBERT SPEAR

BREGA, DAVID

187

DUPRE, JULES

BRICHER, ALFRED THOMPSON

681

EATON, CHARLES WARREN

BROWN, HENRY KIRKE

568 3

99

HEADE, MARTIN JOHNSON

BOSLEY, FREDERICK BOYLE, JOHN J.

828

776, 777

HENSCHE, HENRY

BRIDGMAN, FREDERIC ARTHUR

737-739 669 4 712, 713

HOFFMAN, HARRY LESLIE

598 903, 904

HOLLAND, JAMES

811

HOLMES, DWIGHT CLAY

226

HOLMES, WILLIAM HENRY

280 779

EBY, KERR

199

HONDIUS, GERRIT

EDEL, ALBERT H.

749

HORTON, WILLIAM

300 829

BROWN, JOHN GEORGE

302

ELDRED, LEMUEL D.

697

HUNTER, ROBERT DOUGLAS

BUCHTERKIRCH, ARMIN

905

ELWELL, ROBERT FARRINGTON

210

HUNTINGTON, DANIEL

674

BUNKER, DENIS MILLER

691

EMBRY, LLOYD

743

ILMES, BARNEY

BURCH, L.W.

877

ETOKA, WALTER

202

INNESS, JR., GEORGE

679

IRVINE, LAWRENCE

142

BURNS, MAURICE KING

760

BURRILL, JR., EDWARD

97

EVERGOOD, PHILIP H. (BLASHKI) FARHAM, ERIC A.

610,611 741

JACOBSEN, ANTONIO

599, 600

409, 410

CAHOON, CHARLES DREW (attr.)

733, 734

FARNHAM, ALEXANDER

872

JASNOW, ALEXANDER

CAHOON, CHARLES DREW

735, 736

FARNSWORTH, JERRY

882

JOHNSON, DAVID

823 867-869

CARDINAL, ROBERT

804-806

FASSETT, MARY CROCKER

774

JONES, CHESTER “CHET”

CARLSON, JOHN FABIAN

714, 715

FATTORI, GIOVANNI

569

KAELIN, CHARLES SALIS

CASILEAR, JOHN WILLIAM CHARCHOUNE, SERGE

8

COLEMAN, VERNON HERBERT

788 702-704

666, 667

FEDI, GIUSEPPE (attr.)

372

KLOTS, TRAFFORD

621

FOWLER, F. RONALD

817

KNIGHT, CHARLES ROBERT

134

864-866

KNIGHT, DANIEL RIDGWAY

579, 580

CLEPHANE, LEWIS PAINTER

778

GALLAGHER, SEARS

COFFIN, WILLIAM HENRY

730

GAY, WINCKWORTH ALLAN

699

KROLL, LEON

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575

613

INDEX OF ARTISTS

L’’ENGLE, LUCY

751

NICHOLAS, T.M.

870

STRAIN, DANIEL J.

NICKERSON, MANTON JUDAH

140

STUART, GILBERT (manner of)

672

NICOL, NANCY

820

SUAREZ, ANTONIO

826

NITKIEWICZ, VICKI

147

SUZANNE, FRANÇOIS MARIE (after)

LAZZELL, BLANCHE

752

OWEN, ROBERT EMMETT

892-896

TABER, ISAAC WALTON

LEE, JAMES

203

PACKARD, ANNE

802, 803

THIEME, ANTHONY

676

PACKARD, CYNTHIA

813

TRIEFF, SELINA

816

PAXTON, WILLIAM MCGREGOR

690

TUCKER, ALLEN

698

781

TYLER, WILLIAM RICHARDSON

LANE, FITZ HENRY

687-689

LANG, LOUIS (attr.)

LAZARUS, DAVID

LEGANGER, NIKOLAY TYSLAND LEVER, HAYLEY

873-876

LIDDERDALE, CHARLES SILLEM

561

PFEIFFER, HEINRICH HERMAN R.

LINCOLN, EDWIN HALE

301

PICKNELL, GEORGE W.

LINCOLN, EPHRAIM FRANK

391

POTTHAST, EDWARD HENRY

LINDENMUTH, TOD

753

PRICE, JANIS

LINK, O. WINSTON

86

VAN DER PLAS, NIEK

115 46 612 1 133 861, 862

413 577, 578

884

VAN DERECK, MOE

818

315, 316

VYTLACIL, VACLAV

617-620

601-603

RANN, VOLLIAN BURR (attr.)

785

WAKHEVITCH, GEORGES

576

LONGENECKER, PAUL

284

REEDY, LEONARD HOWARD

212

WARREN, ELIZABETH BOARDMAN

759

LOOP, HENRY AUGUSTUS

572

RESNICK, SOPHIA

821

WEAVER, DONNA

LOUD, RICHARD K.

381

RICHARDS, WILLIAM TROST

LOWELL, ORSON BYRON

304, 346

RICHARDSON, LOUIS H.

700, 701 106

9

WEBBER, WESLEY ELBRIDGE

684

WEBSTER, E. AMBROSE

856, 857

WESTCOTT, CAROL WHORF

807, 808

LOZOWICK, LOUIS

754

RINCK, LOUIS NICHOLAS ADOLPH

MACNEIL, DANIEL

822

RIPLEY, AIDEN LASSELL

279

WHISTLER, JAMES A.M.

709, 710

MCGURL, JOSEPH

832

ROBERTS, F.E.

744

WHITESIDE, FRANK REED

215, 222

887

782-784

MCMANUS, JAMES GOODWIN

45

ROGERS, WENDELL M.

742

WHORF, JOHN

MEESER, LILLIAN BURK

761-764

ROSELAND, HARRY HERMAN

673

WHORF, RICHARD

MEIERHANS, JOSEPH

614, 615

ROUX I, ANTOINE (ANGE-JOSEPH)

373

WILLIAMS, H.D.

MILBY, FRANK

798-801

RYDER, CHAUNCEY FOSTER

889-891

WILLIS, SID

745 85 906-908

MILES, JOHN CHRISTOPHER

670

SABATINI, I.

567

WILSON, ARTHUR

563

MILLER, JAMES

380

SAILMAKER, ISAAC (attr.)

374

WILSON, SOL

796

MILLER, WILLIAM RICKARBY

675

SAWYER, HELEN A.F.

MITCHAM, HOWARD

758

SCHILLING, ALEXANDER

MITCHELL, DENNIS

616

MOFFETT, ROSS

773

MOHRMANN, JOHN HENRY

412

MORALES, ARMANDO

227

MORAN, PETER

692

MORAN, SANDY

343, 344

MORAN, THOMAS MUELLER, LOUIS MUNRO, JANET

693

790-793

WITHERSTINE, DONALD FREDERICK

750

281

WOELFLE, ARTHUR WILLIAM

789

SCHULENBURG, PAUL

824

WOOD, ROBERT EARLE

SENDAK, MAURICE BERNARD

307

WYETH, JAMIE

SHAPLEIGH, FRANK HENRY

683

WYMAN, DOROTHY CHURCHILL

SHEEHAN, DENNIS (attr.)

885

YABE, MAKOTO

SHEPPARD, WARREN

566

YATES, OWEN CULLEN

685

SHRAND, HYMAN

787

YENS, KARL JULIUS HEINRICH

225

SIMON, HERMANN GUSTAV

87

SMALL, FRED C.

317

84

YORKE, WILLIAM HOWARD ZUMMO, LORI

SMITH, RUSSELL

695

SMITH, VERNON B.

740

MYRER, ANGELE E.

756, 757

SMITHKIN, ILONA ROYCE

795

NEILY, HILDA

809, 810

STARKWEATHER, WILLIAM

883

NEWMAN, JOSEPH

897-899

STEVENS, WILLIAM LESTER

863

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794 590, 591

YORKE, WILLIAM G. AND MARY E. 375, 376

834

705-708

MURPHY, JOHN FRANCIS

223 607-609

367, 368 825

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SESSION I

T H U R S D AY, N O V E M B E R 1 8 , AT 9 : 3 0 A . M .

LOTS 1 - 4 1 5

Private Collection of Benjamin Franklin Portraits and Memorabilia Lots 1-41 Needleworks Lots 63-71 Weapons & Militaria Lots 120-123, 131-133 Sporting Art & Decoys Lots 134-199 Ethnographic and Western Art Lots 200-227 Oriental Rugs Lots 249-277 Toys Lots 321-333 Marine Art & Chinese Export Lots 342-415 Also Illustration Art, Furniture, Paintings, Americana, Folk Art and More

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A Private Collection of

B enj am i n Fr an klin Po rtra its a n d Me mo ra bilia

Lots 1-41

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1.

AFTER FRANÇOIS MARIE SUZANNE 19th Century Standing figure of Benjamin Franklin holding a tricorn and a scroll. Finely cast with excellent detail and a nice patina. Similar examples can be found in the permanent collections of the Wadsworth Atheneum and the American Philosophical Society.

Unsigned. On marble plinth. Bronze, height 14.75”. Total height 22.75”.

1,500/2,500 This bronze is modeled after the 1793 terracotta figure by Suzanne that was shown in the Paris Salon the same year. Along with Robert Wood’s porcelain, the Suzanne figure is one of the only known full-length 18th Century depictions of Franklin. The work proved extremely popular and was reproduced in bronze in the 19th Century.

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2.

ALBERT-ERNEST DE CARRIER-BELLEUSE France, 1824-1887 Seated figure of Benjamin Franklin holding his staff and tricorn, and with a book marked “Science” in his right pocket. Base inscribed with the phrase “Eripuit Coelo fulmen scep trumque tyranis”, attributed to French statesman Anne-Robert-Jacques Turgot, which translates to “He seized lightning from the skies and the scepter from tyrants”. Signed on base “Carrier”. Bronze, height 15.5”.

3,000/5,000 A smaller version of this work is in the collection of the American Philosophical Society.

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Benj ami n Fr a n kl i n Po rt r a its a nd M em o r a b il ia

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3.

HENRY KIRKE BROWN New York/Massachusetts, 1814-1886 Bust of Benjamin Franklin. Faint inscription and signature below bust. Bronze, diameter 9.625”.

Henry Kirke Brown was an accomplished and influential 19th 8,000/12,000 The bronze was executed in 1852 by the Ames Manufacturing Company in Chicopee, Massachusetts. The edition amount is unknown and the only known example with a foundry mark is in the Metropolitan Museum of Art in New York City.

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Century sculpture who focused on Native Americans, historic figures and large-scale public works including the statue of George Washington in Union Square, New York City.

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Benjamin Franklin (1706-1790) was the only person to sign the Declaration of Independence, the Treaty of Paris and the U.S. Constitution. He was a writer and printer, scientist and inventor, statesman and diplomat, and some of his notable other achievements include being the first U.S. Postmaster General and the first U.S. Ambassador to France, inventing the lightning rod and Franklin Stove, and founding what is now the University of Pennsylvania. His influence on the early history of America and on American ethos is pervasive, and his likeness is ubiquitous. It has adorned American currency (notably the $100 bill) and postage stamps, and is seen in everything from sculptures and oil portraits to engravings, portrait miniatures and ceramic figurines. Well-known examples include the 1793 terracotta figure by Suzanne, in which Franklin, in rumpled clothing, is astride a broken column, holding a rolled document in his right hand and a tricorn tucked under his left arm, and a 1779 bust portrait by Houdon.

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4.

JULES DUPRE France, 1811-1889 Miniature portrait of a seated Benjamin Franklin, his head canted slightly to the viewer.

Signed mid-right “J. Dupre”.

3,000/5,000 Provenance: Purchased from Israel Sack, Inc., New York, July 1975.

5.

BENJAMIN FRANKLIN MANTEL CLOCK 19th Century Gilt figure of Franklin, after Suzanne, stands atop an ormolu-mounted black slate base.

White enameled face with blue Roman numerals. Height 18.5”.

1,200/1,800 Provenance: Purchased from Israel Sack, Inc., New York, August 4, 1969 for $1,200.

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Benj ami n Fr a n kl i n Po rt r a its a nd M em o r a b il ia

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6.

PAINTED PLASTER BUST OF BENJAMIN FRANKLIN Unmarked. Height 23.5”.

400/600

7.

LARGE COLLECTION OF BENJAMIN FRANKLIN SOUVENIRS AND MEMORABILIA 20th Century Includes action figures, cloth dolls, a trashcan, framed and unframed prints and posters, books, ceramic and metal figurines, pins, etc. An amusing and diverse assortment.

200/300

8.

PLASTER BUST OF BENJAMIN FRANKLIN Circa 1850 After Houdon. Height 8”.

Provenance: Double Eagle Antiques, 1972.

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200/300

9.

DONNA WEAVER Kentucky/Pennsylvania, Contemporary Wax profile bust portrait of an older Benjamin Franklin wearing eyeglasses. Artist identified verso. 3.25” x 2.5”.

Framed 8.5” x 6.25”.

150/250

10.

TWO BENJAMIN FRANKLIN CERAMIC DECANTERS Circa 1976 Made for the McCormick Distilling Co. Removable heads fitted with cork stoppers. Heights 11”.

80/120

11.

WEDGWOOD COMMEMORATIVE BENJAMIN FRANKLIN BOWL Late 20th Century Marked on underside “The Franklin Bowl Expressly Designed for the Bailey, Banks, & Biddle Co.”. Height 5.75”. Length 13.5”.

100/150

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12.

COLOR MEZZOTINT OF BENJAMIN FRANKLIN WITH ACCOMPANYING PROVENANCE NOTES The two handwritten provenance notes indicate Franklin personally presented the print. Mezzotint believed to be Jean-François Janinet, circa 1789, cut and laid down. One note written in two hands: “Given

by Franklin to Admiral (Peter) M[...] (b.1741 d. 1808) left by him to Admiral Page. Given by him to Capn Wormeley[?] ... (b. 1785 d. 1852) Given by him to Franklin Dexter (1793-1837)” and “Written by Mrs. Franklin Dexter (1799-1891)”. Other note: “Doctor Benjamin Franklin of New England in North America 17th April 1790 - a genuine & good likeness”, with additional illegible or lost text. Housed in an antique gilt frame. Framed 13.25” x 11.25”.

500/1,000 Provenance: Carlen Galleries, Inc., Philadelphia, 1970.

13.

LETTER BELIEVED TO HAVE BEEN WRITTEN

BY BENJAMIN FRANKLIN Dated July 20, 1774 Addressed in what is believed to be Franklin’s hand to “Mr. Dilwyn N 39 Gracechurch Street” and written in the third person: “Dr Franklin presents his Respects to Mr. Dilwyn, hopes he is well, and requests he would send the Bearer the Papers he was so kind as to offer Dr F. the Sight of.”. Signed and dated “Craven Street [London] July 20 74”. Inscribed in different hand verso “Dr Franklin in London 7 mo 20. 1774”. 5.5” x 7.25”. Framed 7.25” x 8”.

500/1,000 Provenance: Sotheby & Co., London, private sale, 1966.

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Benj amin Fr a n kli n Po rt r a its a nd M em o r a b il ia

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14.

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FRENCH SCHOOL 19th Century Bust of Benjamin Franklin on socle.

Stamped verso “F. Barbedienne Foundeur”. Height 12”. 500/1,000

15.

BRONZE BUST OF BENJAMIN FRANKLIN 19th Century On socle atop a red marble base with bronze ribbed collar. Total height 14.5”.

800/1,200

16.

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METAL SCULPTURE OF A STANDING BENJAMIN FRANKLIN 19th Century After Suzanne. Height 10.75”.

300/500

17.

18.

BRONZE BUST OF BENJAMIN FRANKLIN 19th Century On socle atop a green marble pedestal. Total height 11.5”.

500/1,000

METAL SCULPTURE OF A SEATED BENJAMIN FRANKLIN Late 19th Century Unsigned. Accompanying note from Israel Sack, Inc. states “Typical of the Victorian flair is the placement of Franklin in the chair, seated, yet in a state of incipient action. Franklin has been interrupted at his work and gazes out to meet the intruder”. Patinated white metal on a white marble base, height 13”.

800/1,200

17

Provenance: Double Eagle Antiques, Lahaska, Pennsylvania, February 1973.

Purchased from Israel Sack, Inc., New York, October 31, 1975 for $2,950.

19.

18

BRONZE BUST OF BENJAMIN FRANKLIN Late 19th Century On a brass and green marble base. Total height 12.25”.

400/600

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20.

BRONZE BUST OF BENJAMIN FRANKLIN 19th Century On socle atop a pedestal. Unsigned. Height 12.5”.

500/1,000 20

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Be nj amin Fr a n kl i n Po rt r a its a nd M em o r a bil ia

21.

PAINTED PLASTER BUST OF BENJAMIN FRANKLIN America, Early 20th Century Unsigned. Diameter 9.75”.

300/500

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22.

23.

STAFFORDSHIRE FIGURE OF A STANDING BENJAMIN FRANKLIN 19th Century Loosely modeled after Suzanne, with Franklin holding his trademark tricorn and scroll.

Height 10.5”.

500/1,000

BATTERSEA ENAMEL KNOB DEPICTING BENJAMIN FRANKLIN Circa 1790 Bust portrait of Franklin on porcelain.

Pewter stem with hand-made iron screw.

Diameter 2”. Length 2.75”.

200/300

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24.

PAIR OF BRONZE BUSTS OF BENJAMIN FRANKLIN AND GEORGE WASHINGTON Late 19th/Early 20th Century Both with some likenesses to Houdon, in the positioning of Franklin’s head and modeling of his neckerchief, and Washington’s uniform. Total heights approx. 8.25”.

500/1,000 Provenance: Parke-Bernet, New York, 1971.

24, pair

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25.

STAFFORDSHIRE FIGURE OF BENJAMIN FRANKLIN 19th Century Standing and holding a scroll in his right hand and a tricorn at his left side. Unusual narrow face with hollow cheeks, characteristic of John Parr or Kent & Parr examples.

Height 10.5”.

400/600

26.

RARE STAFFORDSHIRE BENJAMIN FRANKLIN FAIRING TRINKET BOX Circa 1845 Lift-off top with bust of Franklin on socle, backed by a fleur-de-lis, arrows and drapery. Front of box with an oval medallion containing a spread-wing American eagle with a Liberty shield at its breast. Sides with shell design. Height 5”.

250/350 Provenance: Benjamin Ginsburg Antiquary, New York.

27.

CONTINENTAL MANTEL ORNAMENT COMMEMORATING BENJAMIN FRANKLIN 19th Century Bust of Franklin on socle atop a pedestal adorned with a ram’s head and swags and flanked by recumbent lions. Bust is possibly a later replacement. Height 15”.

500/1,000

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Benj ami n Fr a n kl i n Po rt r a its a nd M em o r a b il ia

29

28.

20

EPHEMERA AND PRINTS PERTAINING TO BENJAMIN FRANKLIN 19th/20th Century 1) Color bust portrait. Signed in pencil lower right “T. Hamilton Crawford”. Impressed mark lower left. Copyright 1927, Frost & Reed, Ltd. Framed 23.5” x 19.5”.

2) Color print of the Chappel portrait of Franklin with facsimile signature. Framed 11.25” x 7.75”.

3) Engraving on brass-colored metal plate depicting Franklin and other men in a library. Marked lower right “Bolect fam Aranda (1857)”. Framed 12.75” x 15.25”.

4) First Day Cover commemorating the 125th anniversary of the first U.S. postage stamp. Envelope with decorative image and text on left margin. 8¢ stamp depicts a magnifying glass over a stamp depicting Franklin. Postmarked New York, N.Y., Nov. 17, 1972. Canceled “First Day of Issue”.

Framed 10.75” x 10.5”.

5) Lithograph bust portrait of Franklin by Samuel Johnson Woolf (New York, 1880-1948). Signed in pencil lower left “S.J. Woolf ”. Framed 24” x 19.5”.

200/400

29.

FIVE BUSTS OF BENJAMIN FRANKLIN 20th Century 1) Alva Studios bronze-colored plaster or composite bust on a white socle. Inscribed on side “Houdon F. 1778” and on back “Alva Studios 1956”. Height 9”.

2) Robert Toth (America, Contemporary) bisque bust on black wooden stand. Incised verso “Friends of Franklin Robert Toth ‘02”. Signed and dated in ink “Robert Toth 05”. Total height 9”.

3) Bisque bust on footed plinth. Incised verso “CH ... ‘90”.

Height 11”.

4-5) Two nearly identical bisque busts. One marked on underside “Rouse Parian”, height 4”, and the other on a wooden stand, total height 5”.

200/300

30.

COLLECTION OF $100 BILL SOUVENIRS AND COLLECTIBLES Includes notepads, mugs, a ceramic bank, a plastic pencil case, a beach towel, a deck of playing cards, pens and pencils, a roll of toilet paper, etc. Approx. 22 items.

100/200

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32

31.

TEN PORTRAIT PRINTS OF BENJAMIN FRANKLIN 19th/20th Century Engravings, bookplates, etc., some in color. Includes three prints of the Chappel portrait with facsimile signatures, a bust portrait by Ferdinand, a bust portrait after Duplessis, two other French bust portraits, and three additional bust portraits.

Five unframed and five framed. Framed from 5.25” x 4.25” to 16.75” x 13.25”.

300/400

32.

FIVE CERAMICS PERTAINING TO BENJAMIN FRANKLIN 19th/20th Century 1) Bust of Franklin on plinth. Indistinct incised mark on reverse, possibly an “FC” monogram. Sticker on reverse for Herbert Schiffer Antiques, Exton, Pennsylvania. Height 11”.

2) Shaped-edge plate with transfer decoration at center of a farm scene surrounded by Franklin’s quote “He That By the Plough Would Thrive. Himself Must Either Hold Or Drive.

Franklin’s Prov.b”. Molded leaf border. Green rim. Indistinct impressed mark on underside. Diameter 7.25”.

3) Gorham 1976 Bicentennial limited edition plate depicting Norman Rockwell’s cover illustration for a 1926 Saturday Evening Post showing Franklin signing the Declaration of Independence. Gilt rim. Diameter 8.5”.

4) Winterthur Adaptation Mottahedeh plate, a reproduction of the 1825-1840 plate depicting Franklin’s electrical experiment.

Marked on underside. Diameter 8.5”.

5) Toby jug in the form of a seated gentleman in a tricorn, holding a mug in one hand and a pipe in the other. Not a strong resemblance to Franklin. Marked on underside “Toby Jug Hand-Painted in Staffordshire England” and with indistinct incised numbers. Height 7”.

350/500

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21

Benj amin Fr a n kli n Po rt r a its a nd M em o r a b il ia

33.

SEVRES BISQUE PORCELAIN BUST OF BENJAMIN FRANKLIN Circa 1921 Modeled after an 18th Century example. Bisque with impressed Sevres in an oval, “S 1921 DN” and “GR”. On a cobalt blue and gilt socle with overglaze red triangular “Dore a Sevres” mark. Labels for Sloans & Kenyon and O. Rundle Gilbert Auctioneer. Total height 13.5”.

500/1,000

34.

BISQUE FIGURE OF BENJAMIN FRANKLIN Circa 1850 Classical pose of a standing Franklin. “B Franklin” on round base.

Height 3.75”.

100/200

35.

THREE FIGURES OF BENJAMIN FRANKLIN 19th/20th Century 1) Cast iron standing figure on a round base. Hole in base, probably for mounting on a separate base. Height 8.5”.

2) Bust on wooden plinth. Total height 6.5”.

3) Black ceramic bust on socle on a cylindrical plinth with “Franklin” medallion. Total height 7”.

200/400

36.

SIX GLASS BOTTLES WITH BENJAMIN FRANKLIN DECORATION 20th Century Depictions of Franklin vary. Heights from 2” to 8.25”.

200/300

33

35

22

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38

37

37.

38.

BRONZE BUST OF BENJAMIN FRANKLIN Late 19th Century Probably European. Lacks strong resemblance to Franklin. Brass monumental base engraved with Franklin’s place and year of birth and death: “Boston 1706 Philadelphia 1790”. Total height 6.5”. 200/400

39.

JOHN J. BOYLE Pennsylvania/New York, 1852-1917 Bust of Benjamin Franklin. Incised signature verso “J.J. Boyle Sc.”.

Bronze, height 6.25”.

400/800 John J. Boyle was an important sculptor in Philadelphia in the last part of the 19th Century. In 1897 he was commissioned to create a seated figure of Benjamin Franklin, to be erected in front of the post office where Franklin first conducted experiments with electricity. The monument was widely commended when it was dedicated in 1899.

BRONZE FIGURE OF BENJAMIN FRANKLIN Circa 1840 Standing, holding a tricorn and scroll.

A loose interpretation of the Suzanne, with similar placement of the head, hands and feet. Base with Victorian embellishments. Total height 5.75”.

200/300

39

40.

BISQUE BUST OF BENJAMIN FRANKLIN Circa 1875 After Suzanne. Unmarked.

Height 9.5”.

300/500

41.

JOHN J. BOYLE Pennsylvania/New York, 1852-1917 Bust of Benjamin Franklin. Incised signature verso “J.J. Boyle Sc.”.

Bronze, height 6.25”.

400/800

Provenance: J.N. Bartfield, N.Y., 1962.

Joseph H. Hennage, Jr.

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23

42.

EARLY SCHOOLWORK Dated 1700 Pen and ink on paper, formatted as a double arcade, with “Fear”, “Hope”, an alphabet and verses. Signed at lower margin “Simeon Brooks Scituate” and dated March 1700.

14” x 11.75” sight. Framed 16” x 13.75”.

700/1,000

42

43.

WILLIAM & MARY CURLY MAPLE BLANKET CHEST New England, 18th Century Molded-edge lift top attached with original snipe hinges.

Two faux drawers over two working graduated full-width drawers with original brass hardware. Turnip feet.

Height 40.5”. Width 37.5”. Depth 18.75”.

1,200/1,800

43

44.

44

24

LARGE DECORATED POWDER HORN Scotland/America, Late 18th Century Arched steer horn engraved with images of women in various poses, a large sailor with sword, a ship, the sailor’s goodbye and two Scottish scenes of men in kilts dancing, all framed within foliate designs. With later shoulder strap. Length 25”.

1,200/1,800

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45

45.

LOUIS NICHOLAS ADOLPH RINCK Louisiana/France, 1810-1895 Portrait of a gentleman. Signed and dated lower right “A. Rinck 1856”. Possibly titled lower right. Oil on canvas, 34.5” x 29”.

Framed 43.5” x 38”.

800/1,200 Born in France, Adolph Rinck studied at the École des Beaux Arts in Paris before moving to New Orleans in the 1840s, where he painted portraits of the city’s elite.

46.

MANNER OF GILBERT STUART America, 19th Century Portrait of a gentleman. Unsigned. Inscribed in pencil verso “Atherton”. Oil on canvas, 18” x 16”. Framed 23” x 21”.

800/1,200

46

47.

WALNUT BOX CARVED WITH A VERSE 19th Century Sliding lid carved with “Angels Marvelous Song Pourd Through the Poals of the Potals Eternity 1830”. Carved design on two sides. Length 6.5”.

200/400

48.

CHIPPENDALE SLANT-LID DESK Late 18th Century In maple. Fitted interior. Case with four graduated full-width drawers and ogee bracket feet. Height 44”. Width 38”.

Depth 21”.

400/700

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25

49.

PAINTED PANEL FROM A POSTAL WAGON 19th Century “U.S. Mail. AM. Express.” in gilt and blue lettering on a red ground. Height 20.5”.

Width 42”.

500/1,000

49

50.

D.R. DIMES WRITING ARM COMB-BACK WINDSOR CHAIR New Hampshire, 20th Century In maple and pine. Fitted with two drawers. Labeled on underside of seat.

Back height 47”. Seat height 17.5”.

Width 38”. Depth 32”.

600/1,000

50

51.

PORTRAIT OF A WOMAN Early 19th Century Seated and wearing earrings, a brooch and a ring. Oil on canvas, 27” x 24”.

Unframed. 500/800

51

52.

AQUA BLOWN GLASS DEMIJOHN WITH ORIGINAL CASE 19th Century Includes tag inscribed “...From cellar of the Howe General Store, ... Hingham, Mass.” and that it is ex-collection John P. Richardson, Old Fort House, Hingham. Case height 17.75”. Width 7.5”.

400/600 52

26

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53.

PAINTED LEATHER FIRE BUCKET Massachusetts, 19th Century “John Tappan. No 65 State Street. 1820” in yellow lettering surrounding a polychrome hand holding a fire bucket. Green ground. Red rim. Height 13”.

800/1,200

53

54.

GATELEG DROP-LEAF TABLE New England, 18th Century In maple and curly maple. Single drawer at one end with a turned wooden knob. Height 28.75”.

Length 17.5” plus two 20.5” demilune drop leaves. Width 48”.

400/600

54

55.

MONROE COUNTY, PENNSYLVANIA WALL-MOUNTED MATCH SAFE Inverted heart-shaped walnut plaque with relief carved schimmel eagle and pine tree above two pockets flanking the strike pad.

Height 8.5”. Width 6.75”. Depth 1.5”.

1,000/1,500

55

56.

COPPER RUNNING HORSE WEATHER VANE Late 19th Century Green patina. Height 21”. Length 35”.

1,000/1,500

56

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27

58

57

60

59

57.

SHERATON STAND WITH OLD RED FINISH New Hampshire or Southern Maine, Early 19th Century Single drawer with a bird’s-eye maple facing surrounded by banded mahogany. Well-proportioned turned and tapered legs. Height 28”.

Width 17.75”. Depth 17”.

600/900

58.

59.

28

NEW ENGLAND COUNTRY CHIPPENDALE SLANT-LID DESK Late 18th/Early 19th Century In hardwoods under a red painted finish. Slant lid encloses a typical stepped and sectioned interior.

Case with four graduated full-width drawers and original bracket feet of an unusual small size. Height 41.5”.

Width 34.75”. Depth 20”.

800/1,200

NEW ENGLAND TAVERN TABLE Mid-18th Century In pine and maple. Oval top. Single drawer in apron. Block and turned legs end in button feet and are joined by a box stretcher. Height 27.25”.

Top 32.25” x 24.5”.

500/800

60.

CONTINUOUS ARM BRACE-BACK WINDSOR CHAIR New England, Late 18th Century In mixed woods. Back height 34.75”.

Seat height 17”.

600/900

61.

SMALL LIFT-TOP STORAGE CHEST 19th Century In pine under red paint. Initialed “J.H.S.” in gold paint on front panel. Height 15”. Width 35.25”.

Depth 15”.

400/600

62.

PINE TAVERN TABLE 19th Century Breadboard ends. Broad drawer in apron. Turned legs.

500/700

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63.

NEEDLEWORK SAMPLER Dated 1834 “Abigail T. Reeves Worked in the year 1834”. Upper half with rows of alphabets. Lower half with a tree and a flowering plant flanking a floral wreath containing the maker’s inscription, with the verse “Of Happiness” below. Stacked triangle border. Genealogical research indicates Abigail Reeves was born November 2, 1821 in Gloucester, New Jersey. Housed in a cherry and tiger maple frame. 14.5” x 9.5” sight. Framed 17.75” x 13”.

4,000/5,000

63

64.

NEW ENGLAND NEEDLEWORK SAMPLER Dated 1817 “Jane Martin’s Work, Aged 14 years”. Rows of alphabets and numerals over a large house flanked by trees and fronted by a dog amidst a garden of flowers.

Strawberry vine upper border and floral vine lower border. 17.25” x 10.25” sight. Framed 20” x 13”.

3,000/4,000

64

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29

65.

MARYLAND NEEDLEWORK SAMPLER Dated 1803 Wrought by Eliza Quarles. Central panel with a row of strawberries in the Queen Anne stitch, rows of alphabets and numerals, and the maker’s inscription. Colorful floral vine border interrupted by a basket of flowers at upper margin.

Genealogical research indicates Eliza Quarles was born in Prience [sic] George, Maryland in 1787.

15.25” x 14”. Framed 18” x 16.5”. 2,000/3,000

66.

TWO NEEDLEWORKS 19th Century A sampler wrought in 1838 by Margaret Stoket Mer and a remembrance of a child. Framed 18” x 15” and 15” x 13”.

300/500

67.

NEW ENGLAND NEEDLEWORK SAMPLER Dated 1807 Wrought by Frances Sarai. Rows of alphabets and numerals above two pine trees flanking a bird in flight and a basket of fruit. The raised handle of the basket and the formation of the F and S are in the Quaker style. 15.5” x 8” sight.

Framed 17.5” x 10.25”.

2,000/3,000

65

67

30

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68.

NEEDLEWORK SAMPLER Dated 1828 Wrought by “Abigail Stratton AE 14”. Three panels with sawtooth borders, the upper panel with rows of alphabets and numerals interspersed with birds, hearts and possibly an angel; the middle panel with date, a black bird perched in a potted flowering tree flanked by birds and baskets of fruit; and the lower panel with maker’s inscription. Strawberry vine exterior border. Genealogical research indicates an Abigail Stratton was born in Athol, Worcester County, Massachusetts, May 9, 1814. 16.5” x 9.75” sight.

Framed 18.25” x 11.5”.

3,000/5,000

69.

ENGLISH NEEDLEWORK SAMPLER Dated 1844 Wrought by Justina G Hofer. Brightly colored alphabets. 37” x 17”. Framed 41” x 21”.

400/600

68

70.

NEW ENGLAND NEEDLEWORK SAMPLER Dated 1816 Probably Massachusetts. Wrought by “Mary Jane Page Born Aguust 26th 1816 Aged 11y”.

Upper half with rows of alphabets. Lower half with maker’s inscription and a garden scene of a woman, a basket of flowers, two trees, strawberry bushes and three birds, one perched in a tree.

Sawtooth and diamond vine border. 16” x 11.5”.

Framed 18.25” x 13.25”.

1,500/2,000

71.

NEEDLEWORK SAMPLER Dated 1835 Wrought by Elizabeth Ann Palmers. Rows of alphabets above a verse and maker’s inscription “This work in hand my friends may have when I am dead and Gone. And Greedy worms my body eat in this you may read my name complete.

Elizabeth Ann Palmers. Sampler finished. July.

6th 1835. E.A. Palmer was Born May 12th 1818.”. Potted flowers and flower blossoms at lower margin. 16” x 15” sight. Framed 19.5” x 18.5”.

500/700

70

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31

72.

72

73.

D.R. DIMES WINDSOR-STYLE BENCH New Hampshire, 20th Century In pine under a black crackled finish. Spindle back with curved crest rail. Turned legs and stretchers. Paper D.R. Dimes label and two hand stamps on underside of seat. Back height 31”. Seat height 18”. Length 60”.

Depth 18”.

800/1,200

CONTINENTAL SCHOOL 19th Century “Darby & Joan O! the Days When WE, were young”.

Oil on canvas, 18.5” x 24”. Framed 22” x 27.5”.

2,200/2,500

73

74.

74

75.

32

HEPPLEWHITE ONE-DRAWER STAND New Hampshire, Circa 1810 In maple with fruitwood string inlay. Height 26.5”.

Width 17.5”. Depth 17.75”.

600/900

COPPER PRANCING HORSE WEATHER VANE Late 19th Century Two bullet holes. Length 22”.

500/800

75

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76

76.

ONE-PART STEP-BACK CUPBOARD Second Quarter of the 19th Century In pine under an old red wash finish. Upper half with two cupboard doors enclosing three interior shelves. Lower half with ten drawers over two cupboard doors. Height 81”.

Width 52.5”. Depth 17”.

1,000/1,500

78.

79.

77.

COPPER AND TIN ROOSTER WEATHER VANE 20th Century On stand. Height 28”. Length 24”.

300/500

PAIR OF AMBER SANDWICH GLASS LAMPS 19th Century Heights 8.5”.

200/300

J. NORTON & CO. STONEWARE JUG Bennington, Vermont, 19th Century Incised “J. Norton & Co. Bennington VT” over cobalt blue bird decoration. Height 12”.

150/200

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33

80.

AMERICAN SCHOOL 19th Century Portrait of a dog. Unsigned. Watercolor on paper, 11.25” x 14.75” sight. Framed 13.25” x 16.5”.

300/500

80

81.

PAIR OF ELDRED WHEELER STANDS Massachusetts, 20th Century In tiger maple, with one drawer and square tapered legs.

Unmarked. Heights 27.5”. Widths 17”. Depths 17”.

400/600

81, pair

82.

SLANT-LID DESK Second Half of the 18th Century In figured maple. Simple fitted interior with drawers, pigeonholes and removable side panel. Case with two half drawers over two full-width drawers and flat bracket feet.

Brass drawer pulls. Height 44”. Width 35.5”. Depth 18”.

400/800

82

83.

34

POSSIBLY AMERICAN SCHOOL Second Quarter of the 19th Century Two portraits of a scholar. In one he is dressed in a gown and holding a cap. In the other he is holding a book. Most likely the same sitter, executed in the same hand. No signature noted.

Watercolors on paper, 6” x 4.5” sight. Framed 9” x 8.5”.

500/800

83, pair

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84

85

86

87

84.

HERMANN GUSTAV SIMON Pennsylvania/Germany, 1846-1895 Cattle at a watering hole. Signed and dated lower right “H. Simon 1885”. Oil on canvas, 14” x 20”. Unframed.

1,000/1,500

86.

GEORGE W. PICKNELL Connecticut/Vermont/France, 1864-1943 A path worn through a field. Signed lower right “G.W. Picknell”. Oil on canvas, 23” x 31”. Framed 29” x 37.5”.

800/1,200

85.

H.D. WILLIAMS America, Late 19th/Early 20th Century Village across the marsh. Signed lower right “H.D. Williams”.

Oil on canvas, 11” x 18”. Framed 18.5” x 25.5”.

500/1,000

87.

LOUIS MUELLER Indiana, 1886-1958 “Hillside Farm Landscape with Haystacks”. Signed lower right “Louis Mueller”. Titled verso. Oil on board, 21.5” x 31”.

Framed 25” x 35”.

500/1,000

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35

88

88.

PLANK-TOP KITCHEN TABLE First Half of the 19th Century Hardwood top with natural finish. Hardwood base under chrome yellow paint. Single drawer at one end. Tapered block legs. Height 30”. Length 71”. Width 37.25”.

500/1,000

91.

KITCHEN TABLE, POSSIBLY SHAKER 19th Century In pine and cherry. Single drawer at one side of front apron.

Tapered legs. Height 28.5”. Length 60”. Width 23.5”.

500/1,000

89.

LEONARD’S FULL-SIZE TESTER BED AND A TRUNDLE BED 20th Century Both in maple. Tester bed with reeded and acanthus-carved posts. Leonard’s stamped mark on back of headboard. Includes canopy top, rails and bolts. Height approx. 68”. Width 56”.

Takes a 54” mattress.

500/800

92.

PENNSYLVANIA DEACON’S BENCH 19th Century Under old green paint. Crest rail with shaped top edge. Scrolled arms. Height 35.5”. Length 73”. Depth 23”.

300/500

93.

HANGING STORAGE CABINET 19th Century In pine under red paint. Paneled door opens to reveal a compartmented interior and single drawer. Height 24.5”.

Width 18.5”. Depth 11.5”.

200/300

90.

36

THREE WARREN CHAIR WORKS WINDSOR CHAIRS Warren, Rhode Island, 20th Century In maple. All with Warren Chair Works brand on underside of seat. Back heights 46”. Seat heights 26”.

600/800

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94

95

94.

ONE-PART CUPBOARD America, 19th Century Under old green and brown paint. Upper half with two paneled doors enclosing two interior shelves. Lower half with two paneled doors enclosing one interior shelf. Height approx. 85”.

Width 43.5”. Depth 15.5”.

800/1,200

95.

PANTRY CUPBOARD 19th Century In pine under a red stain. Rudimentary top edge molding and feet. Two paneled doors enclose three interior shelves.

Height 73.5”. Width 51”. Depth 19.5”.

500/1,000

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37

96.

ELDRED WHEELER WINDSOR-STYLE BENCH AND FOUR BOWBACK WINDSOR CHAIRS Massachusetts, 20th Century In maple. Unmarked but all purchased directly from Eldred Wheeler. Bench back height 39.5”. Seat height 17”. Length 72”. Chair seat heights 18”.

1,500/2,000

96, bench and chairs

97.

EDWARD BURRILL, JR. Massachusetts, 1835-1913 Marsh landscape, likely Lynn, Massachusetts, with a hay wagon, a reclining figure and a dog.

Signed lower left “E. Burrill Jr.”. Oil on canvas, 12” x 18”. Unframed.

800/1,200 Edward Burrill, Jr. is one of the seven artists referred to by 20th Century scholars as the “Lynn Beach Painters”. The other artists making up the group are Nathaniel L. Berry, William Partridge Burpee, C.E.L. Green, T. Clark Oliver, Edward A. Page and Charles H. Woodbury.

97

38

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98.

ELDRED WHEELER TABLE Massachusetts, 20th Century Tiger maple top and black painted stretcher base. Height 30”. Length 68”. Width 35”.

1,400/1,800 98

99.

GEORGE ARTHUR HAYS Rhode Island/Massachusetts/New Hampshire, 1854-1945 “Ploughing”. Signed and dated lower right “GA Hays 1900”. Titled on frame plaque.

Dated verso “No 23-1900”. Oil on canvas, 19.75” x 34”. Framed 23.5” x 37.5”.

800/1,200

99

100.

ELDRED WHEELER SERVER Massachusetts, 20th Century In strongly figured tiger maple. Six drawers. Original Eldred Wheeler paper label inside center top drawer. Height 38.5”. Width 64”.

Depth 21.75”.

2,500/3,000

100

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39

101, six

101.

SET OF SIX WARREN CHAIR WORKS BOWBACK WINDSOR CHAIRS Warren, Rhode Island, 20th Century Antiqued black and red finish. Warren Chair Works brand on undersides. Back heights 38.5”. Seat heights 17.5”. 800/1,200

102.

ARTHUR BATT United Kingdom, 1846-1911 A dog and a toad. Signed and dated lower right “Arthur Batt 95”.

Oil on board, 9.5” x 12”. Framed 11.5” x 14”.

400/600

102A. D.R. DIMES QUEEN ANNE-STYLE DROP-LEAF TABLE New Hampshire, 20th Century In cherry. Cabriole legs end in pad feet. Marked “D.R. Dimes” on underside of top. Height 28”. Length 12.25” plus two 9” demilune drop leaves. Width 28.25”.

400/600

40

102A

102B. ELDRED WHEELER CHIPPENDALE-STYLE MIRROR Massachusetts, 20th Century Tiger maple frame. Original Eldred Wheeler label on back.

Height 37”. Width 20”.

250/350

102C. ELDRED WHEELER KING-SIZE BED Massachusetts, 20th Century In tiger maple. Headboard with fan carving. Turned posts.

Eldred Wheeler paper label and brand on back of headboard.

Includes rails, bolts and center mattress support. Height 65”.

Headboard width 78”.

1,500/2,000

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102D

102D. AMERICAN SCHOOL 1833 Pair of portraits of Louis Pitney and his wife and daughter.

Pitney was a founder of the Pitney Bowes company. Unsigned.

Oils on canvas, 28” x 24”. Framed 37.5” x 33”. 2,000/3,000

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41

103

103.

42

ELDRED WHEELER TWO-PART STEP-BACK CUPBOARD Massachusetts, 20th Century In tiger maple. Upper case with two glazed paneled doors enclosing two interior shelves. Lower case with two paneled cupboard doors enclosing one interior shelf. Flat bracket base.

Original Eldred Wheeler paper label. Height 81”. Width 51”.

Depth 18”.

3,000/5,000

104.

BLANKET BOX 19th Century In pine under a red stain. Lift top attached with iron strap hinges. Interior with tray. Rudimentary bracket base.

Height 25.5”. Width 44”. Depth 23”.

300/400

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105.

AMERICAN SCHOOL 19th Century Waterfall, possibly Niagara Falls. Unsigned. Oil on panel, 16” x 9”. Framed 24” x 16”.

800/1,200

106.

LOUIS H. RICHARDSON New York/Massachusetts, 1853-1923 Landscape, likely southeastern Massachusetts.

Signed and dated lower left “Louis H. Richardson 1917”. Oil on board, 11.75” x 10”. Framed 19.25” x 17.25”.

1,000/1,500

107.

AMERICAN SCHOOL 19th Century A bridge over a mountain river. Unsigned. Housed in a Newcomb-Macklin frame. Oil on canvas, 30” x 25”. Framed 34” x 29”.

500/1,000

105

106

107

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43

108.

CHIPPENDALE-STYLE TWO-PART BLIND-FRONT SECRETARY Late 19th/Early 20th Century In cherry. Upper case with paneled double doors. Lower case with hinged slant lid over four graduated full-width drawers. Bracket feet.

Typical sectioned interior. Width 39.75”.

Depth 21.5”.

1,500/2,500

109.

PINE DRY SINK 19th Century Paneled cupboard doors and sides. Rudimentary square tapered feet. Height 30”. Width 40.25”.

Depth 20.5”.

250/350

110.

PINE FARM TABLE Late 19th Century Simple turned legs. Height 30”. Length 72”.

Width 36.25”.

250/350

111.

TWO-TIER WATER BENCH 19th Century In pine under a red stain. Paneled ends with shaped front edges and feet. Height 21.5”.

Width 45.5”. Depth 15.5”.

300/500

108

44

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112.

CHIPPENDALE SLANT-LID DESK New England, Late 18th Century In maple. Reconfigured stepped interior with serpentine drawer fronts. Case with flat bracket feet. Height 41”. Width 35.5”. Depth 20”.

800/1,200

112

113.

AMERICAN SCHOOL 19th Century Portrait of Captain Crosby of Brewster, Cape Cod, Massachusetts.

Unsigned. Identified on handwritten note verso. Watercolor on paper, 4.75” x 3.5” sight. Framed 6.75” x 6”.

1,000/1,500

113

114

114.

ELDRED WHEELER QUEEN ANNE-STYLE TABLE Massachusetts, 20th Century In maple and tiger maple. Top with cut porringer corners.

Tapered legs end in pad feet. Original Eldred Wheeler label on underside of top. Height 30”. Length 58”.

Width 36”.

1,400/1,800

115.

DANIEL J. STRAIN Massachusetts, 1847-1925 Portrait of a woman. Signed and dated lower right “Daniel Strain Paris 1882”. Remnants of a Boston Art Club label verso. Oil on canvas, 36” x 22”. Framed 45” x 31”.

800/1,200 115

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45

116.

AMERICAN SCHOOL 19th Century Sunset mountain landscape. Unsigned. Oil on canvas, 23” x 35”. Framed 24” x 46”. 1,000/2,000

117.

AMERICAN SCHOOL 19th Century Waves rolling onto a beach. Signed and dated lower left “C.W.R. 1877”. Watercolor and gouache on board, 6” x 17.75” sight. Framed 17” x 29”.

800/1,200

118.

AMERICAN SCHOOL 19th Century Brilliant sunset over a mountain lake. Unsigned.

Oil on canvas, 10” x 22”. Framed 15.5” x 27.5”.

800/1,200

119.

ATTRIBUTED TO ARTHUR BOWEN DAVIES New York/California/Italy, 1862-1928 “... Hudson Valley”. Unsigned. Titled verso.

Oil on panel, 5.5” x 9.75”. Framed 9” x 13”.

1,200/1,800 Provenance: Spanierman Gallery, New York.

116

117

118

119

46

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120

120.

ASTON CONTRACT U.S. MODEL 1832 PERCUSSION PISTOL 19th Century .54 cal. Lock plate dated 1852. Double stamped cartouches on left side. Length of barrel 7.75”. Total length 14.5”.

900/1,200

121

121.

AMES MODEL 1850 SWORD AND SCABBARD Circa 1860 Etched blade. Length of blade 31”. Total length 37”.

500/800

122.

CIVIL WAR-PERIOD POCKET WATCH AND CHAIN Silver plated case. Paper label on interior of case “D. Jones, Clock, Watch Maker ... Wellsburgh, Brooke County, Va.”.

Exterior of case engraved with two Civil War naval officers in uniform on one side and a steam/sail sidewheeler on the other. Key wind movement. Diameter 1.875”. 800/1,200 122

123.

TWO U.S. CIVIL WAR-ERA SWORDS Circa 1860 A general officer’s sword and scabbard and a cavalry sword. Lengths 38” and 41”.

300/500

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47

127

124.

U.S. MODEL 1852 SWORD AND SCABBARD Circa 1860 Etched blade and scabbard. Length of blade 33”.

Total length 39”.

300/500

125.

D. WILLIAMSON’S PATENT VEST POCKET REVOLVER Patent Date 1864 Silvered frame engraved with floral motifs. Spur trigger. Wood grip has split. Length of barrel 3.25”.

Total length 7.25”.

200/300

126.

THREE CIVIL WAR-ERA ISSUES OF THE NEW YORK HERALD One a supplement titled “Grant’s Brilliant Campaign in Virginia”. Framed from 28” x 21” to 27.25” x 37”.

400/600

127.

HAND-COLORED PRINT “UNION” 19th Century

By H.S. Sadd after a painting by T.H. Matteson.

Depicts the Compromise of 1850. 21.5” x 27” sight.

Framed 31.5” x 37.5”.

900/1,200

128.

HAND-COLORED PRINT “THE FIRST READING OF THE EMANCIPATION PROCLAMATION BEFORE THE CABINET” 19th Century Alexander H. Ritchie, engraver. After a painting by Francis B. Carpenter. Depicts Lincoln sitting with his Cabinet members. 22.5” x 32.5” sight.

Framed 34” x 43”.

900/1,200

129.

HAND-COLORED PRINT “ABRAHAM LINCOLN’S LAST RECEPTION” 19th Century

By John Smith, Philadelphia. After a painting by Anton Hohenstein. Depicts Abraham Lincoln and Mary Todd Lincoln at their last reception. Several Civil War generals pictured. 23” x 31” sight.

Framed 34” x 42”.

900/1,200

130.

PRESIDENT ULYSSES S. GRANT A.L.S. March 16, 1871 Two-sheet stay of execution for convicted murderer James Grady. Also signed by Secretary of State Hamilton Fish and affixed with the seal of the United States of America. Framed together with a lithograph portrait of Grant copyrighted 1901. Framed 17” x 29”.

1,500/2,500

128

129

48

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131

132

131.

133.

CHARLES DALY DAMASCUS BARREL SHOTGUN 19th Century 12-ga., Serial #1321. Engraved decoration of fowl and dog. Retains case colors. Length of barrels 30”. Total length 46”.

700/1,000

132.

* BROWNING LIGHTNING OVER-UNDER SHOTGUN Belgium, 20th Century 20-ga., Serial #19455. Choked skeet and skeet. Vent ribbed barrel. Blued finish. Length of pull 14.25”.

Length of barrel 26.25”.

900/1,200 *This gun will only be delivered to holders of a Federal Firearms Dealer’s License. Please be aware of license requirements and delivery regulations and bid accordingly. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith.*

ISAAC WALTON TABER New York/Massachusetts, 1860-1933 Cavalry charging into battle. Signed lower left “Taber”.

Pencil on paper, 9” x 14.5” sight. Framed 15” x 21”.

400/600

133

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49

CHARLIE ROBERT KNIGHT New York, 1874-1953

134

134.

50

Elk in winter.

Unsigned. Identified on exhibition label verso.

Oil on canvas, 17” x 36”. Framed 22” x 42”.

2,000/3,000

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135.

RARE BOOK GREAT AND SMALL GAME OF AFRICA “An Account of the Distribution, Habits, and Natural History of the Sporting Mammals, With Personal Hunting Experiences”. Edited by H.A. Bryden. London: Rowland Ward, Limited, 1899. Limited edition, numbered 292 of 500 and signed “Rowland Ward”. Twenty-five contributors, including noted big game hunters of the era and naturalist Richard Lydekker. Fifteen hand-colored plates, all present, and numerous photogravure illustrations. Large quarto (approx. 12” x 9”). Green cloth with gilt lettering.

1,500/1,800

135

136.

FOLK ART CARVING OF A JUMPING RABBIT 20th Century Wonderfully carved and detailed with eyes, an open mouth and curled front legs. Mounted on an iron base. Height 9.5”. Length 13”.

500/800

136

137.

MINIATURE KINGFISHER Early 20th Century Maker unknown. Perched on a carved branch on a round base. Height 7”.

250/350

137

138.

DAVINSON HAWTHORN MINIATURE RUFFED GROUSE Maryland, 20th Century Mounted on a carved wooden base. Height 5”.

300/400

138

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51

139

139.

52

JOHN JAMES AUDUBON ELEPHANT FOLIO AQUATINT ENGRAVING OF GROUSE Early 19th Century “American Ptarmigan” and “White-tailed Grouse”.

Plate CCCXVIII, No. 84. Marked lower right “Engraved, Printed & Coloured by Robt. Havel, 1838”. Printed on J. Whatman paper. 20” x 26” sight. Framed 36” x 43”.

1,200/2,000

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140

140.

MANTON JUDAH NICKERSON Nova Scotia, Canada, 1871-1940 A lobster trap and assorted sea life. Signed lower right “Manton Nickerson Clarks Harbor, NS”.

Oil on canvas, 24” x 28”. Framed 26” x 31”.

700/1,000

141

141.

DANNY BRUFFEE CODFISH WEATHER VANE Middleboro, Massachusetts, 20th Century Carved and painted wooden body. Copper fins. On stand. Length 36”.

600/900

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53

142

54

142.

LAWRENCE IRVINE Winthrop, Maine, 1918-1998 Carved and painted wooden landlocked salmon. Mounted on an oval painted wooden backboard. Salmon length 21”. Total length 29”.

700/1,000

143.

FISHING CREEL 20th Century Found in Rangeley, Maine. Lid with central hole. Length 14”.

200/400

144.

PAINTING OF A BROOK TROUT AND FISHING TACKLE 19th Century Unsigned. Oil on canvas, 12” x 18”. Framed 16” x 22”.

300/500

145.

TWO FLY REELS 19th/20th Century An early cased Orvis with nickel finish, patent date of May 1874, and a Taylor salmon reel stamped “Made in England” and “Alex Taylor New York”. Diameters 3” and 4”. 300/500

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146, twelve

146.

TWELVE EXCEPTIONAL HAND-CARVED WOODEN FISH PINS 20th Century Includes trout, bass, salmon, snook and more. Lengths from 2” to 3”.

800/1,200

147.

VICKI NITKIEWICZ Sherman, New York, 20th Century Carved and painted rainbow trout and brown trout. Mounted on mahogany and poplar backboards, with business cards affixed verso. Lengths 16”.

400/700

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55

CARRIE G. STEVENS Rangeley, Maine, 1882-1970

Carrie G. Stevens (1882-1970), who was born and lived her entire life in the state of Maine -- never leaving its borders -- created her first fly in July 1924. From there, she would revolutionize the world of fly tying. She called her first pattern “Shang’s Go-Getum”, and it caught her a prize-winning brook trout the first day she used it. After Field & Stream magazine published her account of the trophy catch, she immediately began receiving orders for flies. She created dozens of patterns and thousands of streamer flies, which she sold to private clients and in stores and camps around Rangeley, Maine, where she lived.

148

148.

56

CARRIE G. STEVENS MEMORABILIA I N SHADOW BOX Upper Dam, Rangeley, Maine, 20th Century Includes five photographs of Stevens, five streamers with two on her cards, and a small advertisement for her flies. Wood and glass shadow box with birch bark backing. 27.5” x 15.5”.

1,000/1,500

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149.

COLLECTION OF CARRIE G. STEVENS TROUT AND SALMON FLIES Upper Dam, Rangely, Maine, 20th Century Total of 64 streamers, 17 with her mounting cards. Housed in five simple shadow box frames. 2,000/4,000

149, with detail of fly

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57

150.

“DUPONT’S GUN POWDER” REPRODUCTION ADVERTISING POSTER 20th Century

By Major & Knapp. Depicts hunters and various game. 18” x 22” sight. Framed 24” x 28”.

300/500

151.

CURRIER & IVES LARGE FOLIO HAND-COLORED LITHOGRAPH “WILD DUCK SHOOTING, A GOOD DAY’S SPORT.” After the painting by A.F. Tait, 1853. On stone by O. Knirsch, 1854. Framed.

2,000/3,000

152.

FRANK WESTON BENSON Massachusetts, 1862-1951 “In Dropping Flight”. Signed in pencil lower left “Frank W Benson”. 1926 Paff 255. Etching on paper, sheet size 12.25” x 15.25”. Unframed.

500/700

150

151

152

58

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153

153.

REX BRASHER Connecticut, 1869-1960 Five waterfowl studies, including views of mallards, plovers, pelicans and a heron. All signed lower right “Rex Brasher”.

1,200/1,500

154.

ROBERT AND VIRGINIA WARFIELD HALF-SIZE GREAT HORNED OWL Jaffrey, New Hampshire, 20th Century Mounted on a driftwood and hardwood base. Signed “Robert Warfield Virginia Warfield Jaffrey, N.H.”.

Height 13”.

500/800

155.

ROBERT AND VIRGINIA WARFIELD LIFE-SIZE SCREECH OWL AND MOUSE Jaffrey, New Hampshire, 20th Century Mounted together on a driftwood base. Signed “Warfield 1978”. Height 16”. Length 12”. 500/1,000

156.

154

THREE ROBERT AND VIRGINIA WARFIELD MINIATURE BIRD CARVINGS 20th Century A pintail drake, a grouse and a Canada goose with its young. Mounted on driftwood bases. Heights 10”, 6”, and 8”.

500/1,000

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155

59

157, pair

158

159, pair

157.

60

PAIR OF WESTPORT, MASSACHUSETTS GOLDENEYE DECOYS 20th Century Maker unknown. Glass eyes. Original paint. Lengths 14”.

400/700

158.

MARTHA’S VINEYARD GOLDENEYE HEN DECOY Early 20th Century Maker unknown. Turned head.

Length 12.5”.

500/800

159.

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PAIR OF GEORGE STRUNK PINTAIL DECOYS New Jersey, 20th Century Hollow-carved. Glass eyes. Signed in lead weight “G. Strunk”. Lengths 17” and 21”.

700/1,000

160

161

162

160.

LONG ISLAND MERGANSER DRAKE DECOY Early 20th Century Maker unknown. Original paint with gunning wear. Length 17”.

800/1,200

161.

LONG ISLAND MERGANSER HEN DECOY Early 20th Century Original paint, including painted eyes. Carved bill. Length 15.5”.

900/1,200

162.

163

CANADIAN MARITIMES FOLKSY EIDER DRAKE DECOY Early 20th Century Original paint, including unusual diamond-form painted eyes. Carved bill. Length 14.5”.

600/1,000

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163.

WONDERFUL FOLK ART GOLDENEYE DRAKE DECOY New York, Early 20th Century Maker unknown. Tack eyes with paint. Length 12”.

400/700

61

164.

JOE LINCOLN MINIATURE AMERICAN MERGANSER DRAKE Accord, Massachusetts, 1859-1938 Original paint with wear. Length 4.5”.

1,000/1,500

165.

JOE LINCOLN MINIATURE BLUE-WINGED TEAL DRAKE Accord, Massachusetts, 1859-1938 Original paint with wear. Stamped on underside “Joe Lincoln Accord, Massachusetts” and marked in pencil “2”. Length 3.5”.

1,000/1,500

166.

JOE LINCOLN MINIATURE MALLARD DRAKE AND BLUEBILL HEN Accord, Massachusetts, 1859-1938 Bluebill missing its bill. Both in original paint with wear.

Lengths 4” and 3”.

1,000/1,500

164

167.

TWO RALPH D. LAURIE MINIATURE BIRD CARVINGS Hingham, Massachusetts, 20th Century An eider hen and a goldeneye hen. Both mounted on round wooden bases with sand finish. Both with ink stamps on undersides. Heights 5” and 3.5”.

200/300

168.

THREE MINIATURE BIRD CARVINGS Massachusetts, 20th Century 1-2) Pair of Russ B. Burr Canada geese in flying position.

Mounted together on a driftwood base. Stamped “Russ P. Burr Hingham, Mass”. Height 5”.

3) Dr. Lewis Webb Hill redhead drake with glass eyes and carved wings. Mounted on a wooden base. Signed on right back corner of base “Hill”. Length 6”.

150/250

169.

WENDELL GILLEY MINIATURE WOOD DUCK DRAKE Southwest Harbor, Maine, 20th Century Mounted on a driftwood base. Unsigned. Length 8”. 250/350

165

166, two

62

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A. ELMER CROWELL East Harwich, Massachusetts, 1862-1952

170.

BLACK DUCK DECOY Circa 1925 Head turned right. Glass eyes. Original paint with gunning wear. Oval brand. Length 17.5”.

1,000/2,000

170

171

171.

YELLOWLEGS FLATTIE DECOY Circa 1920 Tack eyes. Original paint. Length 12”.

1,000/1,500

172.

172

BLACK DUCK DECOY Circa 1925 Low head. Glass eyes. Original paint with gunning wear. Oval brand. Length 17”.

1,000/2,000

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63

A. ELMER CROWELL East Harwich, Massachusetts, 1862-1952

173

64

MINIATURE BLUEBILL DRAKE Circa 1928 Unusual low position. Mounted on an oval base. Rectangular stamp. Height 3”.

1,400/1,800

180.

MINIATURE REDHEAD DRAKE Circa 1928 Mounted on an oval base. Ink “3” on underside. Height 3.5”.

1,000/1,500

181.

MINIATURE OLDSQUAW DRAKE Circa 1925 Mounted on an oval base. Ink stamp. Height 2.75”.

1,500/2,000

182.

OVERSIZE MINIATURE SURF SCOTER HEN Circa 1928 Mounted on an oval base. Ink stamp. Height 4”. 2,000/3,000

183.

MINIATURE BUFFLEHEAD DRAKE Circa 1928 Mounted on an oval base. Ink “4” on underside. Height 3.75”.

1,500/1,800

184.

PAIR OF MINIATURE MALLARDS Circa 1930 Mounted together on a round base. Rectangular stamp.

Height 4”.

1,000/2,000

185.

RARE LARGE-SCALE MINIATURE WOOD DUCK DRAKE Dated 1938 Glass eyes. Standing on a painted oval base. Rectangular stamp.

Inscribed in ink on underside “1938 With all my wishes for a Happy X-Mass Elmer Crowell”. Height 5.5”. Length 6.5”.

3,000/5,000

186.

MINIATURE MALLARD DRAKE Circa 1930 Mounted on a round base. Rectangular stamp. Height 3.5”.

1,400/1,800

174

173.

MINIATURE GREEN HERON Circa 1930 Mounted on an oval base. Rectangular stamp. Height 5.75”.

2,000/2,500

174.

MINIATURE KINGFISHER Circa 1925 Mounted on an oval base. Rectangular stamp. Height 2.5”.

Length 3.5”.

1,200/1,800

175.

179.

MINIATURE PURPLE SANDPIPER Circa 1930 Mounted on an oval base. Rectangular stamp. Height 3”.

1,500/2,000

176.

MINIATURE JACK SNIPE Circa 1925 Mounted on an oval base. Ink stamp. Height 2.5”. 2,000/2,500

177.

MINIATURE RUDDY TURNSTONE Circa 1930 Mounted on an oval base. Rectangular stamp. Inscribed in ink on underside “A.E. Crowell East Harwich Turn Stone Cape Cod”. Height 2”.

1,800/2,200

178.

MINIATURE BLUEBILL HEN Circa 1930 Mounted on an oval base. Rectangular stamp. Height 3”.

1,000/1,500

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175

178

179

181

184

177

176

180

182

185

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183

186

65

187

187.

66

DAVID BREGA Massachusetts/California, b. 1948 “Birdhouse”. Signed lower right “David Grega”. Titled on label verso. Graphite on paper, 8” x 5.5” sight. Framed 8.5” x 16.25”.

2,000/3,000

188.

STAN SPARRE MINIATURE GROUSE IN FLIGHT Cape Cod, Massachusetts, 20th Century Mounted on a wooden base with applied wooden branches.

Stamped on underside “Stan Sparre Cape Cod”. Height 9.75”.

300/400

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189

189.

JAMES LAPHAM MINIATURE MALLARD DRAKE Dennisport, Massachusetts, Circa 1955 Original paint. Mounted on a driftwood base. Signed on base “J. Lapham Dennisport Mass”. Height 5”.

200/300

190

190.

RICHARD PALMER MOCKINGBIRD Middleboro, Massachusetts, Dated 2005 Mouth open and wings down. Mounted on a round base with foliate embellishments. Height 9.5”.

1,200/1,500

191.

RAND GLEASON BUFFLEHEAD DRAKE Massachusetts, 20th Century In sleeping position. Mounted on an oval hardwood base.

Signed on underside “Bufflehead (at rest) Maker: Rand Gleason”. Length 7.5”.

400/600

191 192

192.

ALAN CHAFFEE YELLOWLEGS DECOY Nantucket, Massachusetts, 20th Century Glass eyes. Carved wings. Carved “Chaffee” on underside.

Length 11”.

300/400

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67

194

193

68

193.

MARTY COLLINS MARTHA’S VINEYARD-STYLE MERGANSER DRAKE DECOY Wareham, Massachusetts, 20th Century Turned head. Glass eyes. Round lead weight. Stamped on underside “M.D. Collins”. Length 17.5”.

300/400

194.

MARTY COLLINS SANDPIPER Wareham, Massachusetts, 20th Century In feeding form. Glass eyes. Carved wing outline. Length 5.5”. 400/600

195.

MARTY COLLINS BLACK DUCK DECOY Wareham, Massachusetts, 20th Century Together with a red-breasted merganser drake head by Keith Mueller, made for a carving competition and mounted on an oval wooden base. Collins black duck with turned head, glass eyes and oval brand. Lengths 17” and 8”.

400/700

196.

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THREE MERGANSER DECOYS Contemporary One by Byron Bruffee, stamped “B” on underside, one by Chuck Roudebush with ink stamp on underside, and one from Maine with a horsehair crest. Lengths from 16” to 22”.

400/600

197.

BIG SKY CARVERS LIFE-SIZE TURKEY Contemporary Numbered 215/1250. Original paint. Glass eyes. Length 26”.

300/400

198.

SEVEN RARE SPORTING PRINTS 19th/20th Century 1) “Shooting or One Day’s Sport of Three Real Good Ones, By Henry Alken.”. Thomas McLean, 1823.

2) “A Very Warm Corner”. Currier & Ives, 1883.

3) “The Administration Decoy Duck”.

Puck, 1870.

4) “Wild Duck Shooting”. Currier & Ives.

5) “Rail Shooting”. Currier & Ives.

6) Dupont’s Powder Wagon print by H. Pyle.

7) Contemporary print of baldpates.

From 11” x 14” to 14” x 20”.

500/800

199.

KERR EBY Connecticut/Canada, 1889-1946 Three etchings: Each signed lower right outside the plate margin “Kerr Eby”.

1) “The Clam Diggers”. Also with additional numbering. Plate 8.25” x 12.5”. Framed 14.75” x 20.75”.

2) “The Surf Caster”. Also signed and dated 1929 on the lower left of the plate. Plate 7.5” x 15.25”. Framed 14.75” x 20.75”.

3) “The Hunter”. Also with additional numbering. Plate 11” x 7”. Framed 19.75 x 13.75”.

700/1,000

199, three

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69

200.

COLLECTION OF PENOBSCOT INDIAN BASKETS AND MORE 20th Century Includes six covered baskets, four without covers, and a frame with canoe decoration. Heights from 3” to 14”.

1,000/1,500

200

201.

THREE INUIT CARVED AND PAINTED WOODEN FISH 20th Century Each mounted on a backboard, signed on the front “J. Lee” and with the type of fish identified on the reverse. Each fish with detailed coloring, scales, fins, teeth and other details. Includes a barbel (a type of carp), backboard 8” x 22.75”, a pinagor or sparrow fish, backboard 9” x 16.25”, and a eagle croaker, backboard 11.25” x 23.5”.

800/1,200

201, three

202.

WALTER ETOKA Inuit, b. 1919 Large whale vertebrae, carved in the form of a candlestand with a traditional Inuit “Smiling Face”. Supported by a steel T-stand.

Height on stand 18”. Width 19”. Depth 11”.

700/1,000

202

70

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203

204

205

206

203.

JAMES LEE Alaskan Inuit, 20th Century Walrus tusk with deep relief carving of a pair of polar bears hunting seals on one side and a polar bear chasing a pair of walrus on the opposite side. Signed on the bottom “Alaska J. Lee”. Length 19.5”.

1,500/2,500

204.

INUIT SCRIMSHAW ENGRAVED WALRUS TUSK DEPICTING POLAR BEARS AND WALRUS Circa 1959 Signed and dated on the base “OS . 59”. Engraved and inked in brown and blue, one side depicting a family of polar bears and the other side depicting walrus on an ice pack. Length 11.75”.

800/1,200

205.

INUIT ENGRAVED SCRIMSHAW WALRUS TUSK ON STAND Early 20th Century Signed and dated on the base “OS . 49”. Engraved and inked in brown, one side depicting a family of polar bears, walrus on an ice flow, huskies and Inuit figures in a boat, and the other side depicting an Inuit shore scene with figure hauling a boat, animals, children and caribou. Displayed on diamond-shaped black painted wood base with pin and ball spacer. Height on stand 5”. Length 14.5”.

700/1,000

206.

INUIT BALEEN HUSK TATTOOED WITH A WHALE 20th Century Depicts a detailed image of a sperm whale in black ink near the base. The surface appears to be varnished and there is a string for hanging. Approx. 3.5” x 12.5”.

300/600

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71

207

207.

NAVAJO WOVEN BLANKET Early 20th Century Red, tan, brown and dark brown geometric designs. 46” x 78”.

800/1,200

208.

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

200/400

209.

NATIVE AMERICAN WEAVING First Half of the 20th Century Eye Dazzler diamond-shaped medallion in vibrant shades of pink, yellow, green, blue, violet, tan and dark red occupies a field composed of solid red, blue, yellow and brown stripes, and tan stripes bearing arrow motifs.

38” x 76”.

200/400

210.

ROBERT FARRINGTON ELWELL Wyoming/Arizona/Massachusetts, 1874-1962 Native American in a canoe. Samoset Chocolate mark on prow of canoe. Signed on left side “R. Farrington Elwell”. Mounted on a wooden base.

Composite sculpture, height 9”. Length 40”.

1,000/2,000

211.

NATIVE AMERICAN BEADWORK BELT First Quarter of the 20th Century Dark blue, light blue, green, red and orange beads are strung to form repeating geometric design on a bright white background.

Length 37”.

300/500

210

72

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212, pair

213

212.

LEONARD HOWARD REEDY Illinois, 1899-1956 Pair of western scenes. One signed lower left and the other lower right “Leonard H. Reedy”.

Watercolors on paper, 8” x 10.75”. Framed 15.5” x 18.5”.

500/1,000

213.

NAVAJO WEAVING Early 20th Century Geometric white, dark brown and red designs.

51” x 78”.

800/1,200

214.

EDWARD SHERIFF CURTIS Washington/California, 1868-1952 “The Old Well of Acoma, 1904”. Signed in ink lower right “Curtis”. Stamped lower left “Copyright E.S. Curtis”. Photograph on paper, 5.75” x 7.5”. Framed 12.75” x 15”.

1,000/2,000 214

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73

215

219

74

215.

FRANK REED WHITESIDE Pennsylvania/Maine, 1866-1929 Buffalo on the prairie. Unsigned. Estate stamped verso. Mixed media on paper, 11” x 19” sight.

Framed 18” x 24”.

500/1,000

216.

TWO NATIVE AMERICAN CLOTH DOLLS First Half of the 20th Century Each wearing clothing, metal belts and bead necklaces. Heights 7”.

250/350

217.

TWO APACHE COIL BASKETS Early 20th Century Tightly woven geometric designs. One with beadwork sewn into exterior (has sizable deterioration). Diameters approx. 9.5” and 11”.

200/400

218.

SMALL NAVAJO WEAVING, POSSIBLY A SADDLE BLANKET Early 20th Century Tan center with beige and coral geometric borders. 29” x 35”.

400/600

219.

NAVAJO WEAVING Early 20th Century Allover geometric design in dark brown, tan, red and white. 54.5” x 106”.

800/1,200

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220.

ATTRIBUTED TO EDWARD BOREIN California, 1872-1945 “The Ropers”. Unsigned. Inscribed on mat “The Ropers from Edward Borein’s Sketchbook - Collection of Mr. and Mrs. Donald Padilla”.

Ink on paper, 5.5” x 9” sight. Unframed.

1,200/1,800

220

221.

FRANK BRITO FOLK ART CARVING OF A FARMER, AN ANGEL AND OXEN Santa Fe, New Mexico, 20th Century Pine base. Signed “Frank Brito”. Height 16”.

Length 22”. Width 6.75”.

250/300

221

222.

FRANK REED WHITESIDE Pennsylvania/Maine, 1866-1929 A man and a donkey outside a house. Unsigned. Estate stamped verso. Watercolor on paper, 8” x 9.5” sight. Framed 16” x 18”. 700/1,000

222

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75

223

223.

ROBERT EARLE WOOD California, 1926-1999 “Autumn Drama (Banff Parkway, Hillsdale Meadows, Sawback Range)”. Signed lower right “Robert E. Wood”. Titled and dated 1998 verso. Oil on board, 24” x 36”. Framed 33” x 45”.

800/1,200

224.

ATTRIBUTED TO FRED WILLIAM BECKER New York/Oklahoma, 1888-1974 Mexican landscape. Unsigned. Artist identified on frame plaque. Oil on board, 16” x 12”. Framed 20.5” x 16.5”.

1,000/1,500

224

225

225.

KARL JULIUS HEINRICH YENS California/Germany, 1868-1945 “Evening Shadow. Laguna Beach, 1924”. Signed lower left “Karl Yens”. Titled on mat. Watercolor on paper, 9.75” x 7.5”.

Framed 14” x 11.5”.

500/1,000

226.

DWIGHT CLAY HOLMES Texas/California, 1900-1986 “Near Brownwood Texas”. Signed lower left “Dwight C. Holmes”. Titled on artist’s label verso. Oil on canvas board, 8” x 10”. Framed 14.75” x 16.75”.

700/1,000

226

76

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ARMANDO MORALES New York/Nicaragua/Mexico, 1927-2011

227

227.

“Yiezita”.

Signed lower right “A Morales ‘62”. Titled and signed verso.

Oil on canvas, 18” x 14”. Framed 22” x 18”. 7,000/9,000

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77

From the Estate of

C a b i n e t m a k e r D av i d L e F o rt

Lots 228-252

228.

DAVID LEFORT TALL-CASE CLOCK Massachusetts, 20th Century Maple and pine case. Bonnet with carved and pierced fretwork, brass finials on plinths, and full reeded brass-capped columns at front.

Trunk with carved quarter columns at sides.

Shaped bracket base. Painted Roman numeral dial with urn and swag decoration. Unsigned.

Includes pendulum and weights. Height 81”.

Width 18.5”. Depth 10.5”.

1,000/2,000

David LeFort’s love of antique furniture and restoration led to his career as a cabinetmaker, producing exceptional limited edition reproductions of American 18th and Early 19th Century furniture.

He founded his company, LeFort Fine Furniture, located in Hanover, Massachusetts, in 1980. He was known for his fine artistry, skilled craftsmanship, and his use of solid, fine-grain hardwoods, and his work was sought-after by collectors from around the country. He retired in 2012 and passed away in 2021.

228

78

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229.

DAVID LEFORT CHIPPENDALE-STYLE CHEST Massachusetts, 20th Century In tiger maple. Four graduated full-width drawers. Flat bracket feet. Height 34”. Width 40”. Depth 19”.

500/700

230.

DAVID LEFORT UPHOLSTERED BENCH Massachusetts, 20th Century Maple base with bulbous turnings. Floral and geometric-patterned upholstery. Unsigned.

Height 19.5”. Length 42”. Depth 18”.

150/250

229

231.

DAVID LEFORT QUEEN ANNE-STYLE LOWBOY Massachusetts, 20th Century In tiger maple, with black painted highlights.

Overhanging top over a full-width drawer over three side-by-side drawers, the central with fan carving.

Skirt with acorn drops. Cabriole legs end in pad feet.

Original paper label on back. Height 31”. Width 32”.

Depth 18”.

500/700

231

232.

DAVID LEFORT HEPPLEWHITE-STYLE ONE-DRAWER SIDE TABLE Massachusetts, 20th Century In maple. Drawer with brass pull. Slightly splayed legs. Original paper label on underside. Height 27”.

Width 28”. Depth 18.25”.

100/200

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79

233.

DAVID LEFORT CHIPPENDALE-STYLE CHEST Massachusetts, 20th Century In maple. Four graduated full-width drawers. Shaped bracket base with central fan-carved drop. Signed in pencil on back “LeFort”. Height 32”. Width 39”.

Depth 19.5”.

300/500

233

234.

DAVID LEFORT NEW HAMPSHIRE HEPPLEWHITE-STYLE BOWFRONT CHEST Massachusetts, 20th Century In mahogany, with extensive fruitwood and satinwood inlay.

Four full-width drawers. High French splayed bracket feet.

Original paper label on back. Height 37.5”. Width 41.5”.

Depth 22.5”.

1,000/2,000

234

235.

DAVID LEFORT CHIPPENDALE-STYLE CHEST Massachusetts, 20th Century In maple. Four graduated full-width drawers. Shaped bracket base with central fan-carved drop. Original paper label on back. Height 31”. Width 39”.

Depth 17”.

350/450

235

80

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From the estate of cabinetmaker David LeFort

236.

DAVID LEFORT QUEEN ANNE-STYLE TWO-PART HIGHBOY Massachusetts, 20th Century In maple, with pine secondary woods. Upper case with five graduated full-width drawers, the upper drawer simulating three side-by-side drawers with central fan carving. Lower case with two graduated full-width drawers, the lower drawer simulating three side-by-side drawers with central fan carving.

Shaped apron. Cabriole legs end in pad feet.

Carved “DL” and numbered in pencil “No. 184”.

Height 71.5”. Width 36”. Depth 18.5”.

1,000/2,000

237.

TWO CHIPPENDALE-STYLE MIRRORS

BY DAVID LEFORT Massachusetts, 20th Century Both with mahogany and mahogany veneer frames. One with original Lefort label on back.

Heights 20” and 43”. Widths 13” and 24”.

250/350

238.

DAVID LEFORT SHERATON-STYLE QUEEN-SIZE BED Massachusetts, 20th Century In tiger maple. Reeded and carved posts with urn finials and turned legs. Includes finials and rails.

Original paper label on back of headboard.

Height 72.5”. Total width 65”.

700/1,000

239.

PAIR OF DAVID LEFORT BOWBACK WINDSOR CHAIRS Massachusetts, 20th Century In maple. Unsigned. Back heights 37.5”. Seat heights 17.5”.

150/250

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236

81

241

82

240.

SIX DAVID LEFORT CHIPPENDALE-STYLE CHAIRS Massachusetts, 20th Century Two armchairs and four side chairs, all in maple, with slip seats.

Four with pierced splats. Back heights approx. 40”. Seat heights approx. 18”.

600/900

241.

DAVID LEFORT TRESTLE TABLE Massachusetts, 20th Century Tiger maple top and black painted base. Turned legs end in bun feet. Unsigned. Height 30.75”. Length 72”. Width 36”.

500/800

242.

NEAR-PAIR OF HEPPLEWHITE-STYLE ONE-DRAWER STANDS Contemporary One in maple by David LeFort (Massachusetts, 20th Century), signed in pencil “LeFort” on underside. Other in tiger maple by Barton-Sharpe Ltd., with paper label on underside. Both with brass drawer pull. Heights approx. 27.5”. Widths approx. 17.5”.

Depths 17”.

150/250

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From the estate of cabinetmaker David LeFort

243

244

243.

DAVID LEFORT TWO-PART CHIPPENDALE-STYLE SECRETARY Massachusetts, 20th Century In mahogany. Upper case with compass rose-inlaid paneled doors above candle slides. Interior fitted with pigeonholes, drawers and shelves. Lower case with a compass rose-inlaid slant lid over four graduated full-width drawers and an ogee bracket base. Interior fitted with pigeonholes, letter slides and drawers, one central drawer with shell carving. Signed in pencil on back.

Height 79.5”. Width 36”. Depth 20.5”.

1,500/2,500

244.

DAVID LEFORT CHIPPENDALE-STYLE TALL CHEST Massachusetts, 20th Century In tiger maple. Six full-width drawers. Flat bracket feet. Original paper label on back. Height 50”. Width 37”. Depth 18”.

900/1,200

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83

245.

COPPER FLYING PIG WEATHER VANE Late 20th Century Includes finders and stand. Height on stand 49”.

Length 28”.

150/250

245

246

246.

DAVID LEFORT HEPPLEWHITE-STYLE ONE-DRAWER TABLE Massachusetts, 20th Century In beautifully grained tiger maple. Unsigned.

Height 29”. Width 35”. Depth 20.5”.

300/400

247.

DAVID LEFORT BELLAMY-STYLE EAGLE PLAQUE Massachusetts, 20th Century Carved from mahogany and painted gold. Length 22”.

150/250

247

84

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From the estate of cabinetmaker David LeFort

248.

LINDA HANNIGAN SAILOR’S VALENTINE Massachusetts, 20th Century Composed of multicolored shells. Depicts “For the Love of My Life” with heart and geometric designs.

Housed in an octagonal maple case. 15.25” x 15.25”.

1,500/2,000

249.

SOUTH PERSIAN RUG: 4’10” x 6’10” Last Quarter of the 20th Century Dark red field is traversed by diagonal rows of traditional geometric medallions with latch hook perimeters. Medallions are surrounded by a variety of tiny blossoms in light blue, dark blue, ivory, light green, dark green, pink, brown and subtle yellow.

Navy blue subfield reveals itself throughout the perimeters. Ivory, light blue and pink guard borders.

250/350

250.

KAZAK DESIGN RUG: 6’0" x 6’5" Late 20th Century Large dark blue gabled medallion with a red and ivory center is flanked by light blue geometric panels on a dark red field. Colorful traditional stylized elements throughout. Light green, dark blue and bright ivory borders.

500/700

251.

BOKHARA DESIGN RUG: 3’2" x 5’2" Late 20th Century Double prayer design with ivory and peach prayer niches and mihrabs surrounded by stylized midnight blue vines on a dark red field. Peach, ivory and red borders. Red elem panels at each end.

100/200

252.

SOUTH PERSIAN RUG: 6’2” x 7’8” Last Quarter of the 20th Century Central bright ivory and black geometric medallion contains bright orange flowering branches and is surrounded by multiple rows of a small colorful repeating flower branch. Scarlet red field. Dark blue subfield with red, green, ivory and mauve stylized branches. Multiple narrow guard borders. Ivory main border.

400/600

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248

250

85

254 255

253

253.

86

CAUCASIAN RUG: 3’9” x 5’7” Early 20th Century Rust red and marine blue Lesghi stars and delicate ivory, pink, tan, red, green and blue flowering branches and blossoms on a dark blue field.

Reciprocal spearpoint guard borders.

Ivory double main borders. 500/700

254.

CAUCASIAN RUG: 3’4” x 4’4” Three Lesghi stars in faded shades of red, brown and blue with stylized floral centers occupy an ivory field decorated with small blossoms and animal figures. Brown, ivory, light blue and pale yellow borders.

500/700

255.

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KAZAK PRAYER RUG: 3’9” x 5’1” 19th Century Ivory panel is surrounded is by an abrashed blue and brown ribbon that forms the mihrab. Variety of stylized motifs, including a delicate flowering vine, throughout red field.

Blue, brown and ivory borders. Small panels containing dates at upper edge of field.

800/1,200

256.

VISS RUG: 9’10” x 13’10” Second Half of the 20th Century Open bright red field with a bold cream and blue Herati pattern medallion and pendants. Light blue subfield with flowering ivory branches. Light blue, bronze and navy blue guard borders.

1,000/2,000

257.

CAUCASIAN RUG: 3’7” x 4’6” Faded ivory and gold geometric medallions on overlapping blue and gold fields surrounded by brown and ivory borders.

Traditional stylized motifs throughout.

300/400

256

258.

KESHAN RUG: 10’0” x 13’2” Second Half of the 20th Century Rich red field with a traditional central medallion and pendants in light blue, cream and navy blue. Spandrels echo the medallion. Ivory and light blue guard borders. Midnight blue main border. Elegant meandering olive green and ivory branches bear traditional colorful elements throughout.

1,200/1,800

259.

PESHAWAR RUG IN TRIBAL PRAYER DESIGN: 5’5” x 7’0” Early 20th Century Terracotta field with double navy blue mihrabs surrounded by panels containing traditional stylized elements in navy blue, marine blue, ivory and salmon pink. Geometric motifs throughout borders and elem to echo the field. Small rectangular panel lower right contains Arabic script. 400/600

258

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87

260.

PESHAWAR RUG IN KARAJA DESIGN: 2’8” x 15’6” 21st Century Terracotta field with a column of navy blue, marine blue, ivory and gold gabled medallions that contain and are surrounded by a variety of flowering branches in green, blue, gold and subtle amethyst. Subtle sawtooth guard borders. Navy blue main border. 650/850

261.

KILIM STORAGE BAG: 2’8” x 5’10” 20th Century Borderless field of the face composed of columns of contiguous geometric medallions with latch hook edges rendered in bright ivory, navy blue, dark red, light blue and brown. Reverse with alternating red, blue and brown bands in between ivory zigzags.

300/500

262.

TURKOMAN RUG: 5’2” x 6’9” Late 19th/First Half of the 20th Century Faded red field with five columns of quartered geometric guls in faded shades of brown and red. Red, brown and subtle ivory borders. 300/400

263.

TURKISH PRAYER RUG: 3’9” x 6’6” Second Half of the 20th Century Dark rust red field contains a single linear branch bearing colorful blossoms. Ivory subfield with gold stylized elements above the mihrab. Pale gray, rust red, green and ivory guard borders. Yellow main border.

250/450

264.

TWO TRIBAL RUGS: BOTH 6” x 3’1” Pair of animal trappings with abundant tassels and fringes, all woven in dark shades of red, blue, green, rust red and ivory.

300/500

265.

NORTHWEST PERSIAN RUG: 3’4” x 10’6” Second Half of the 20th Century Rich red field with two alternating geometric medallions that contain and are surrounded by branches, stylized blossoms and animal figures in red, blue, cream and brassy gold. Narrow red, blue and gold borders.

400/600

260

88

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266.

SAROUK RUG: 8’9” x 11’9” Second Quarter of the 20th Century Rich red field with a central floral element composed of six light blue, dark blue, pink, red and gold blossoms. Field also contains a variety of blossoms, serrated leaves and urns in bright colors that echo the central element. Rich gold guard borders and a navy blue main border.

700/1,000

266

267.

KAZAK DESIGN RUG: 8’2” x 9’9” 21st Century Bright red field with a column of three cream, red and blue traditional geometric medallions orbited by smaller medallions and a variety of stylized blossoms in light blue, light green, dark blue and ivory. Light blue, red, ivory and pale green guard borders. 700/1,000

267

268.

TABRIZ RUG: 10’1” x 12’10” Last Half of the 20th Century Navy blue and ivory medallion and pendants occupy the center of a bright red field and are surrounded by gracefully curving vines bearing blossoms and leaves in tans, blue, emerald green, celadon, pink and gold. Dark gold and aqua guard borders.

Blue main border.

700/1,000

268

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89

269

269.

SULTANABAD DESIGN RUG: 8’2” x 10’0” 21st Century Light gray field with columns of traditional bold blossoms and delicate vine in shades of blue, ivory, dark red, violet, gold and dark gray. Ivory guard borders and sky blue main border with elements to match the field.

900/1,200

270.

PESHAWAR RUG IN SULTANABAD DESIGN: 9’0” x 11’9” 21st Century Dark red field with bold gold, light blue, ivory and navy blue blossoms. Cream guard borders and navy blue main with blossoms and meandering vine.

1,500/2,500

271.

ARTS AND CRAFTS DESIGN RUG: 8’0” x 10’1” 21st Century Onyx field with a sumptuous array of elaborate clusters of tan and beige leaves emanating from celadon meandering vines.

Delicate stylized motifs throughout guard borders. Bold floral and foliate elements throughout main border to echo the field.

1,000/1,500

270

90

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271

272.

NORTHWEST PERSIAN RUG: 4’5” x 10’9” Second Half of the 20th Century Red field with two columns of floral clusters and urns bearing red, cream and faded green floral arrangements. Tan interior border and red exterior border with a serpentine flowering vine.

500/800

273.

CAUCASIAN RUG: 3’9” x 5’4” Late 19th Century Four blue and abrashed tan geometric medallions are flanked along the length of a blue field by stylized blossoms. Blue guard borders. Leaf and wine cup motif throughout tan main border.

500/700

274.

TURKISH RUG: 5’1” x 7’3” First Quarter of the 20th Century Gray central medallion floats above overlapping dark red and bright orange fields and is flanked by ivory end panels. Charcoal and ivory borders. Various decorative motifs throughout in colors listed above.

400/600

275.

TURKISH RUG IN KAZAK DESIGN: 4’4” x 5’10” 20th Century Traditional geometric medallions are surrounded by bold geometric motifs in rust red, pale turquoise, brown, blue and gold on an ivory field. Brown, ivory and turquoise borders.

400/500

276.

HAMADAN RUG IN SENNA DESIGN: 4’3” x 6’10” 19th/20th Century Dark blue medallion and pendants bear a single colorful rendering of the Herati pattern. They are surrounded by rows of repeating red, brown, pink and blue floral elements on an ivory field. Herati pattern throughout blue subfield. Faded gold and red borders.

400/600

277.

KAZAK DESIGN RUG: 5’5” x 6’10” 21st Century Traditional geometric motifs in shades of dark red, dark blue, ivory, subtle brown and gold. Subtle human figures appear near the waist of the field. Dark red guard borders. Midnight blue main border with a dark green serpentine motif.

700/900

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272

91

278

279

280 281

278.

279.

92

FREDERICK MILTON GRANT California/Illinois/Iowa, 1886-1959 “Park View, Autumn”. Unsigned. Identified on gallery label verso. Gouache on paper, 3.75” x 4.75”. Framed 11.25” x 11”.

500/1,000

AIDEN LASSELL RIPLEY Massachusetts/New York, 1896-1969 Figures in Boston Public Garden. Signed lower right “A. Lassell Ripley”. Watercolor on paper, 9” x 11.5” sight. Framed 17” x 20”.

500/700

280.

WILLIAM HENRY HOLMES Washington, D.C./Illinois, 1846-1933 “Harbor Scene through Wisteria”. Unsigned. Identified on gallery label verso. Oil on board, 14” x 18”. Framed 26” x 30”.

500/1,000 Provenance: Debra Force Fine Art, New York.

281.

ALEXANDER SCHILLING New York/Illinois, 1860-1937 A stand of trees. Unsigned. Identified on gallery label verso.

Pastel on paper, 12.5” x 10.75” sight. Framed 21” x 19”.

500/1,000 Provenance: Spanierman Gallery, New York.

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282.

CHARLES M. COX Massachusetts, Early 20th Century A flower-lined path. Signed lower right “Charles M. Cox”. Oil on board, 18” x 24”. Framed 22” x 28”.

800/1,200

282

283.

SHEET METAL PRANCING HORSE WEATHER VANE Early 20th Century Painted black. Includes finders.

Height 56”. Length 31”.

250/350

283

284.

PAUL LONGENECKER New York/Massachusetts/France, 1920-2008 Daffodils. Signed lower right “Paul Longenecker”. Oil on masonite, 15.75” x 11.75”. Framed 20.75” x 16.75”.

700/1,000 Provenance: Purchased from Morley Bryant & Company, Los Alamos, California, 2013.

284

285.

SET OF EIGHT CUSTOM-MADE FAN-BACK WINDSOR CHAIRS 20th Century Seven side chairs and one armchair. In tiger maple. Unmarked. Back heights 43”.

Seat heights 17”.

1,500/2,000

285, eight

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93

286.

286

287.

ELDRED WHEELER SIDEBOARD Massachusetts, 20th Century In tiger maple, with three drawers and square tapered legs. Height 36.5”.

Width 66”. Depth 20”. 1,000/1,500

AMERICAN SCHOOL 19th Century Still life of an artist’s palette and sketches.

Unsigned. Oil on canvas, 18” x 26”.

Unframed. 800/1,200

287

288.

ASSEMBLED SET OF EIGHT WARREN CHAIR WORKS FOR ELDRED WHEELER WINDSOR CHAIRS Rhode Island and Massachusetts, 20th Century Six side chairs and two armchairs. All with Warren Chair Works brand on underside of seats. Back heights 38”.

Seat heights 17.5”.

1,400/1,800

288, eight

94

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289.

AMERICANA-DECORATED WOODEN ARCHITECTURAL ELEMENT Late 19th Century Possibly a door transom. Two coffered panels painted and decorated, the left with an American crest backed by flags and the right with an eagle clutching an American crest in its talons and an “E. Pluribus Unum” pennant in its beak. Gold liners.

Frame decorated with foliage wrapped around red pipes. Height 23.25”.

Width 38.75”.

800/1,200 289

290.

CAST IRON TROTTING HORSE WEATHER VANE America, Late 19th Century Mounted on an iron shaft with a fleur-de-lis pointer.

Displayed on a later marble stand. Height 13.5”.

Length 32.25”.

600/800

290

291.

METAL TRADE SIGN Late 19th/Early 20th Century A boar backed by a cutout tree.

Diameter 42.25”.

1,000/1,500

291

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95

292.

"ARTHUR E. REIMER SOCIALIST LABOR PARTY FOR PRESIDENT" POLITICAL BUTTON Circa 1912 Rare celluloid stud. Reimer was a Presidential candidate in 1912 and 1916. Diameter .5”.

700/1,000

292

293.

AMERICAN PARADE PENNANT 20th Century Printed cotton Whipple-type “peace flag” with 48 stars. 9” x 23”. Framed 18” x 31”.

300/500

293

294.

294, pair

295.

PAIR OF CARVED AND GILT WOODEN EAGLES Early 20th Century On stepped bases. Heights 9.5”. Widths approx. 15”.

500/700

RARE 1924 OLYMPIC DIPLOMA AWARDED TO ALBERT SPEAROW For sixth place in the pole vault (Saut à la Perche), at a height of 3m70. Lithograph on paper depicting winged Victory surrounded by other figures and signed by Charles Clary, President of the French Olympic Committee, and Pierre de Coubertin, the founder and first president of the International Olympic Committee. Going into the games Spearow was the favorite in the event, but an ankle injury limited him and he finished a disappointing sixth. 24.75” x 18.75” sight.

Framed 20” x 26”.

1,500/2,500

295

96

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296.

WORLD WAR I RED CROSS MESS BASKET Wicker with canvas, steel and leather. A red cross painted on interior of lid. Height 16”. Width 30”.

Depth 14”.

250/350

296

297.

RARE MOXIE SODA FOUNTAIN BANNER Circa 1917 Lithographed on canvas. Depicts Frank Archer riding the Moxie Mobile above “Drink Moxie”.

27” x 36”. Loosely framed 30” x 39”.

1,000/1,500

297

298.

298, sampling

COLLECTION OF GLASS PLATE NEGATIVES DOCUMENTING EARLY AUTOMOBILES America, Circa 1930 Ten glass plate negatives within the original box labeled “Standard Dry Plate Co. Removed to Rochester, N.Y.”. Each negative documents different large cars of the period, including a Lancia Lambda or Lancia Dilambda, a Pierce, a sleek sports/touring car, logging trucks and farm vehicles.

Each plate 6.5” x 10.5”.

400/600 Provenance: Frank E. Dodge, New York.

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97

299

Naval officer and explorer Richard E. Byrd’s first expedition to the Antarctic ran from 1928 to 1930. The team established a base camp, named “Little America”, on the Ross Ice Shelf, and from there explorations were made by snowshoe, dog sled, airplane and snowmobile. On November 28, 1929, Byrd and his crew made the first successful flight to the South Pole and back; Byrd was promoted to the rank of rear admiral in recognition of this accomplishment. Byrd would make additional expeditions to the Antarctic in 1934, 1939, 1946 and 1955.

Francis D. Coman was born on October 31, 1895 in Wellsville, New York. Records indicate he was part of Lincoln Ellsworth’s expedition to the Antarctic in the 1930s. He died January 28, 1952 in Fort Churchill, Manitoba, Canada.

299.

SCRAPBOOK OF THE FIRST ANTARCTIC EXPEDITION 1928-1930 Circa 1930 Descended in the family of Dr. Francis D. Coman, the expedition medical officer. Includes newspaper and magazine clippings, typed letters from the Canadian Westinghouse Company pertaining to communication transmission plans, greetings on “Byrd Antarctic Expedition Radiogram Received by The New York Times” letterhead, a handwritten letter “Best wishes from Little America F.D. Coman Winter night 1929” on “Little America - Antarctica Byrd Antarctic Expedition” letterhead, with coordinating envelope, and an October 31, 1928 typed letter “On board barque ‘City of New York’ Society Islands enroute to New Zealand ... I’ve had a great time, like it better than anything I’ve done so far, but miss some of my old boon companions…” on “Byrd Antarctic Expedition” letterhead, with coordinating envelope and a small black and white photo of Admiral Byrd and Dr. Coman affixed to the upper left corner of the letter. Contained in a red “Photographs” album 11.5” x 15.25”.

500/1,000

300.

WILLIAM HORTON New York/Michigan/France, 1865-1936 At the beach. Signed lower right “Horton”.

Charcoal on paper, 7” x 9”. Framed 14” x 16”.

700/1,000 Provenance: The artist’s son, W. Gray Norton (as noted verso).

M. Knoedler & Co., New York.

Spanierman Gallery, New York.

300

98

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301.

EDWIN HALE LINCOLN Westminster, Massachusetts, 1848-1938 The library. Stamped lower left “Edwin H. Lincoln”.

Silver print, 9” x 11”. Framed 14.5” x 16.5”.

500/800

301

302.

JOHN GEORGE BROWN New York/California, 1831-1913 A shoeshine boy addressing his friends. Engraving on paper, 25.25” x 35.25” sight. Framed 31” x 41”.

800/1,200

302

303.

FRANK BENSING New York/Illinois, 1893-1983 “Enery Earns His Shoes, 1944”. Signed lower left “Frank Bensing ‘44”. Titled upper right. Original illustration for a 1944 syndicated newspaper story

by Leon Ware titled “Enery Earns His Shoes”. Oil on board, 21” x 24”. Unframed.

400/600

303

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99

304.

ORSON BYRON LOWELL New York/Wyoming, 1871-1956 An elegant party. Signed middle right “Orson Lowell”. Pen and ink on paper, 19” x 18.25” sight. Framed 27” x 27”.

1,000/2,000

305.

DEAN CORNWELL New York/California, 1892-1960 A lady with a mirror. Signed lower right “Dean Cornwell”. Mixed media on paper, 23” x 17” sight. Framed 33” x 26.5”.

600/900

306.

DEAN CORNWELL New York/California, 1892-1960 Portrait of a woman. Signed lower left “Dean Cornwell”. Mixed media on paper, 22” x 18” sight. Framed 32” x 28”.

600/900

304

305

306

100

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MAURICE BERNARD SENDAK Connecticut/New York, 1928-2012

307

307.

Portrait of “Really Rosie”.

Signed lower right “Maurice Sendak”. Personally inscribed “For Clive ~ for a good day, March 17, 77/Ridgefield”.

Pencil on paper, 11.5” x 7.5” sight. Framed 20” x 16”.

3,000/5,000 Provenance: Gift of the artist, thence by descent in the family.

Private Massachusetts Collection.

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101

308.

WORLD WAR II COMMEMORATIVE QUIMPER POTTERY BUST OF MADAME CUEFF 20th Century Bust was a gift from the liberated citizens of the French city of Plouay to Col. Leslie A. Claff. Claff, along with seven members of his liaison, freed the city, captured 482 Germans and provided food and relief for the starving townsfolk. Included in the lot are his medals, related newspaper clippings, photographs, and a letter to his wife dated August 21, 1944, in which he writes about taking the city. Bust with Henriot mark on underside and marked on side “Lill Nicot 1928”. Height 26”.

Width 17”. Depth 8”.

1,000/2,000

308

309.

GERMAN FLAK ARTILLERY BINOCULARS AND TRIPOD WITH CASE World War II-Era Binoculars painted gray and stamped “D.F. 10 X 80 DKL 31224”. Tripod stand painted tan. The consignor’s uncle won this from an English officer during a card game during the war. Tripod height 49”. Length of binoculars 11”.

1,000/1,500

309

310.

310

102

SCHATZ CLOCK AND WEATHER INSTRUMENT SET Bavaria, Circa 1850-1985 Clock signed below the XII “Schatz”. White enamel 5.25” face with Roman numerals and black steel hands. Dual barrel key wind for the movement and ship’s strike. Brass case with hinged face. Mounted on a backboard with a thermometer, barometer and humidity meter, each with 2.75” silvered faces marked with appropriate readings, black steel indicator hands, and nickel (German silver) cases. Backboard 11.5” x 15.25”.

600/800

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311.

THIRTEEN BRASS STENCILS, MANY PERTAINING TO APPLES Mid-20th Century Twelve apple-related: “Duchess”, “Bellflower”, “XXXXDucks” (Jacob Bros., 23 Market St., Boston), “N. Spy”, “Greenings”, “Fancy Kings”, “Stark”, “T. Sweets”, “Baldwin”, “Gravenstein” (F.G. Stone, Lockport, New York) and “McIntosh Red”, lengths from 2.5” to 6.75”, and an apple “Min. Size” chart stencil, 9.75” x 8”. Also includes a “John Deere”, length 12”. 350/450

312.

PICTORIAL HOOKED RUG: 2’4" x 4’1" Mid-20th Century Depicts a large red barn, apple trees, cats, songbirds and a rooster. 250/350

313.

PRIMITIVE WOODEN CARVING OF A PEACOCK 20th Century Mounted on a white painted plinth. Height 31”. Width 23”.

300/500

314.

TWO CARVED WOODEN CANES 20th Century One handle carved as a Dartmouth Indian and the other as a Bruin bear. Lengths 36” and 33”.

250/350

315.

JANIS PRICE Ohio, b. 1933 Family portrait. Signed lower right. Oil on canvas, 30” x 36”.

Framed 32.75” x 38.75”.

1,200/1,800

316.

JANIS PRICE Ohio, b. 1933 “The Joy of Winter”. Signed lower right. Titled on an index card affixed to reverse. Oil on canvas, 30” x 24”. Framed 35.5” x 29”.

1,000/1,500

317.

JANET MUNRO Massachusetts/Florida, b. 1949 “Picking Apples”. Signed lower left “Munro”. Titled verso.

3” x 4”. Unframed.

400/600

318.

BEN (BERNARD) BADURA Wisconsin/Pennsylvania, 1896-1986 Carved and painted frame. Signed verso “Badura”. Currently housing a mirror. 22” x 26”. Aperture 18.5” x 12.5”.

500/1,000

315

316

317

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103

319.

"WORLD’S FAIR POST CARD VENDER" VENDING MACHINE 20th Century “Glorified Glamour Girls” postcards, 1¢. Machine manufactured by International Mutoscope Reel Company. Working. Height 22”.

800/1,200

319

320

320.

321.

321

104

PAINTED WOODEN "TO ALL TRAINS" SIGN 20th Century White and red lettering and directional arrow on a black ground. Height 16”. Width 59”.

300/400

CAROUSEL HORSE 20th Century Traces of original paint. Cast iron tri-foot base. Horse height 32”.

Total height including base 52.5”.

Length 48”. Width 9”. 700/1,000

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322.

KEYSTONE PACKARD CHEMICAL PUMP ENGINE Circa 1926 Pressed steel. Painted red. With ladders; missing hose.

Length 27”.

600/900

322

323, two

323.

TWO J. & E. STEVENS MECHANICAL BANKS Late 19th Century A Novelty Bank and a William Tell Bank. Lengths 5” and 10”.

500/800 Provenance: Property from Heritage Museums & Gardens. Sold to support museum collections.

324.

TWO CAST IRON TOYS Early 20th Century An open touring car and a Hubley woman in a sleigh.

Lengths 12” and 15”.

300/500 Provenance: Property from Heritage Museums & Gardens. Sold to support museum collections.

324, two

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105

325.

IVES GIRL ON A SWING TOY Circa 1870 Retains partial original label. Height 14”.

400/700 Provenance: Property from Heritage Museums & Gardens. Sold to support museum collections.

325

326.

RARE YELLOW KID WOOD AND LITHOGRAPHED TOY Late 19th Century Four dancing figures in a stage setting. Height 9.75”. 300/500 Provenance: Property from Heritage Museums & Gardens. Sold to support museum collections.

326

327.

FRENCH TIN AND WOOD SWING TOY Late 19th Century Three figures on swings. Painted yellow. Height 9”.

250/350 Provenance: Property from Heritage Museums & Gardens. Sold to support museum collections.

327

106

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328, four

328.

FOUR CAST IRON HORSE-DRAWN TOYS 331. KEYSTONE LADDER TRUCK Late 19th/20th Century Circa 1930 A Kenton Express cart, a Wilkins Landau, a Wilkins hose reel, Pressed steel. Painted red. Length 29”. and a Dent horse and carriage. Lengths from 12” to 15”.

400/700 Provenance: Property from Heritage Museums & Gardens. Sold to support museum collections.

329.

KEYSTONE WATER TOWER TRUCK Circa 1930 Pressed steel. Painted red. Length 30”.

600/900

EIGHT CAST IRON TOYS 20th Century Includes a Kilgore double-decker bus, a Hubley open touring car, a Williams ladder truck, a Kenton fire pumper, a horse 333. TWO HORSE-DRAWN PULL TOYS and wagon, a camel and driver, an elephant still bank, and a 19th/Early 20th Century reproduction woman and donkey pull toy. Lengths from 5” to 9”.

A wooden horse painted white and black, and a tin horse and 300/500 wagon. Lengths 16” and 19”.

250/300 Provenance: Property from Heritage Museums & Gardens. Sold to support museum collections.

330.

332.

600/900

Provenance: Property from Heritage Museums & Gardens. Sold to support museum collections.

CAST IRON AND LITHOGRAPHED WOODEN TRAINS Early 20th Century Includes a Dent locomotive and tender, a Bliss lithographedover-wood three-piece train, a locomotive and two cars in silver cast iron, a mine train with tender, two cast iron flat cars, a fourpiece cast iron locomotive with three cars, and a lithographedover-wood three-piece set. Lengths from 5” to 30”.

400/600 Provenance: Property from Heritage Museums & Gardens. Sold to support museum collections.

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107

334

334.

SWORDFISH BILL SWORD OF RHODE ISLAND INTEREST First Half of the 20th Century “Sakonnet P.T. - R.I. By the Sea Little Compton R.I. - Have a Good Day God’s Country”. Length 48”.

400/600

335.

ESSEX, MASSACHUSETTS TRADE SIGN Mid-20th Century “Welcome to Essex Home of Famous Essex Clams and Fine Seafood Dinners Essex Board of Trade”, primarily in black lettering on a cream-colored ground. Height 30”. Width 24”.

800/1,200

335

336.

DOUBLE-SIDED PAINTED “TOURISTS ACCOMMODATED” SIGN Late 19th Century Height 21.5”. Width 31.25”.

400/600

336

337.

AMERICAN SCHOOL Early 20th Century Shore scene with Egg Rock Light (Nahant, Massachusetts) in the distance. Signed and dated lower right “Nellie Maroon 1901”. Oil on canvas, 18” x 30”. Framed 26” x 36”.

800/1,200

337

108

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338

339

340

338.

339.

AMERICAN SCHOOL 19th Century “Corner of Cliff Rd. and Chester St. Nantucket”.

Unsigned. Titled verso. Watercolor on paper, 11” x 17.5”.

Framed 19” x 26”.

1,200/1,800

ALBERT VAN NESSE GREENE Pennsylvania/Washington, D.C., 1887-1971 Dories on the shore. Signed lower right “A.V. Greene France”.

Pastel on paper, 9” x 11” sight. Framed 18” x 20.5”.

800/1,200

340.

341

CHARLES ABEL CORWIN New York/California/Illinois, 1858-1938 “Out of Commission”. Signed lower right “Charles Abel Corwin”. Titled on gallery label verso. Oil on canvas, 19.5” x 29.5”. Framed 26” x 36”.

1,200/1,800 Provenance: Adelson Gallery, New York.

341.

AMERICAN SCHOOL Early to Mid-20th Century Church view, possibly Provincetown, Massachusetts. Unsigned.

Oil on board, 18” x 14”. Framed 23.5” x 19.5”.

400/600

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109

342.

SHADOW BOX MARITIME DIORAMA OF A FULL-RIGGED SHIP OFF TWIN LIGHTHOUSES America, Circa 1900 Ship with black hull, and white sails and rigging. An American flag is painted on the background above the gaff-rigged sail. Off her bow is a white-hulled tug and twin lighthouses on an island, possibly the twin lights on Thacher Island. Painted background. Shadow box height 19.25”. Width 30.5”. Depth 7”.

700/1,000

342

343.

SANDY MORAN Cape Cod, Massachusetts, 1944-2020 Sailor’s valentine “Down by the Seaside”.

Composed of multicolored shells. Signed and titled verso. Housed in an octagonal tiger maple case. 9.25” x 9.25”.

500/1,000 Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

343

344.

SANDY MORAN Cape Cod, Massachusetts, 1944-2020 Sailor’s valentine “Lilium”. Composed of multicolored shells. Signed and titled verso. Housed in an octagonal wooden case. 9.25” x 9.25”.

500/1,000 Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

344

345.

AMERICAN SCHOOL 19th Century “Her Last Port”. Unsigned. Oil on canvas, 22” x 30”. Unframed.

800/1,200

345

110

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346.

ORSON BYRON LOWELL New York/Wyoming, 1871-1956 “Row, Row, Row”. Signed upper left “Orson Lowell”. Mixed media on paper, 12” x 10.5” sight. Framed 18.75” x 17.5”.

500/1,000

346

347.

ENGLISH WOOLWORK PICTURE OF A THREE-MASTED SHIP 19th Century A fine example depicting a British gunboat under full sail off buoy #26. Housed in a period bird’s-eye maple veneered frame with gilt liner. 13.5” x 24” sight. Framed 18.5” x 28.5”.

600/1,000

347

348.

POLYCHROME LIVERPOOL JUG Late 18th/Early 19th Century Transfer of the three-masted American ship the Boston Packet on one side. Opposite side with images of Washington, Justice and Liberty, and a ribbon and star garland surrounding the names of fifteen states. Marked below the spout with initials within a wreath and the Great Seal of the United States. Height 11.5”.

1,800/2,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire.

349.

348

POLYCHROME LIVERPOOL SOFT-PASTE SHALLOW SOUP BOWL Early 19th Century Transfer of a three-masted vessel flying an American flag and maritime motifs bordering the water. Diameter 10”. 250/400 349

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111

350.

NEST OF NINE NANTUCKET-STYLE BASKETS

BY R.J. MICHAEL Framingham, Massachusetts, Dated 1995 Round, with swing handles. Smallest basket with wooden lid. Each signed and dated on underside “R.J. Michael 1995”. Basket heights from 2.75” to 7.25”.

Diameters from 3.25” to 13.5”.

3,500/5,000

351.

NANTUCKET BASKET BY SAMUEL COLMAN 19th Century Round, with swing handle. Turned base. Signed on base in pencil. Basket height 4”. Diameter 7.5”. 700/1,000

352.

LARGE NANTUCKET BASKET 19th Century Round, with swing handle. Turned base. No apparent signature. Basket height 8”. Diameter 11”. 800/1,200

353.

WILLIAM D. APPLETON NANTUCKET BASKET Early 20th Century Round, with swing handle. Turned base. Partial label.

Basket height 5.5”. Diameter 7”.

700/1,000

354.

WILLIAM R. SAYLE NANTUCKET BASKET PURSE Nantucket, Massachusetts, Dated 1975 Oval, with swing handle. Carved seagull mounted to top of hinged lid. Signed and dated on underside “W.R. Sayle 1975”. Height 7”.

900/1,200

350

351

352

353

354

112

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355

356

357

358

355.

BRIAN COOLE America/United Kingdom, b. 1939 Whaling scene. Signed lower right “Brian Coole”. Oil on board, 14” x 19.75”. Framed 18” x 23.75”.

1,500/2,500

357.

EARL COLLINS Connecticut/New York, 1925-1992 A whale hunting scene. Signed lower right “Earl Collins”.

Oil on canvas, 20” x 30”. Framed 24.5” x 34.5”. 4,000/6,000

356.

BRIAN COOLE America/United Kingdom, b. 1939 American ship in the Arctic. Signed lower right “Brian Coole”.

Oil on board, 16” x 20”. Framed 18.5” x 22.5”. 1,500/2,500

358.

EARL COLLINS Connecticut/New York, 1925-1992 The whaleship Wanderer. Signed lower right “Earl Collins”.

Oil on canvas, 24” x 36”. Framed 30” x 42”.

1,500/2,500

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113

359

361

360

359.

114

FERDINAND SYLVARO NANTUCKET BASKET Nantucket, Massachusetts, Circa 1920 Round, with swing handle. Base incised with three concentric circles, typical of Sylvaro. Handwritten label on underside “Made by Ferdinand Sylvaro 97 Orange St. Nantucket Mass”. Basket height 4”.

Diameter 7.25”.

1,000/1,500

360.

FERDINAND SYLVARO NANTUCKET BASKET Nantucket, Massachusetts, Circa 1920 Round, with swing handle.

Handwritten label on underside “Made by Ferdinand Sylvaro 97 Orange St. Nantucket Mass”.

Basket height 4.75”. Diameter 10.25”.

1,000/1,500

361.

NANTUCKET BASKET PURSE

BY STEPHEN GIBBS 20th Century Oval, with swing handle. Carved sperm whale, attributed to Charlie Sayles, mounted to top of hinged lid.

Stamped on underside. Height to rim 7”. Width 9.75”. Depth 7”.

500/800

362.

NANTUCKET BASKET First Quarter of the 20th Century Round, with swing handle. Unsigned.

Basket height 4”. Diameter 5.5”.

300/500

It’s believed Ferdinand Sylvaro (1868-1952) learned to weave Nantucket baskets from A.D. Williams, who had learned from William D. Appleton. Sylvaro owned the molds that had belonged to Davis Hall, the New South Shoal lightship keeper and noted basket maker in the late 1800s.

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363

364

365

363.

NANTUCKET BASKET PURSE

BY SHERWIN P. BOYER Nantucket, Massachusetts, Mid-20th Century Oval, with swing handle. Carved sperm whale mounted to top of hinged lid. Printed label on underside, with some loss, marked “[I Was] Made on Nantucket Island I am Strong and [Stout] Don’t Lose or Bu[rn Me] I’ll Never Wear Out Made by S.P. Boyer”. Incised crossing “Boyer” mark. Height 8”. Width 11”.

2,000/3,000

364.

NANTUCKET BASKET PURSE

BY STEPHEN GIBBS Nantucket, Massachusetts, Mid-19th Century Oval, with swing handle. Carved gull mounted to top of hinged lid.

Branded on underside “S. Gibbs Maker Nantucket, Mass.”. Height 7”.

Width 11”.

800/1,200

Stephen Gibbs (1896-1974) was a woodworker, builder and innkeeper in addition to making baskets. He is said to be mostly self-taught, but when he was a small boy his mother often had him bring supper to noted basketmaker Mitchy Ray, an island character and confirmed bachelor who was looked after by his neighbors. Gibbs wove baskets from 1954 until his death, and his work is known for its superior quality.

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366

365.

NANTUCKET BASKET PURSE

BY PAUL WHITTEN Nantucket, Massachusetts, Dated 1976 Oval, with swing handle. Carved dolphin mounted to top of hinged lid.

Owner’s plaque mounted to interior of lid. Signed and dated on interior of base “Paul F. Whitten Nantucket Island Mass. 1976”. Height 7”.

Width 10.5”.

1,000/1,500

366.

NANTUCKET BASKET PURSE

BY STANLEY ROOP Nantucket, Massachusetts, Dated 1973 Oval, with swing handle. Carved sperm whale mounted to top of hinged lid. Basket signed and dated on underside “Nantucket, Mass. 1973 Stanley M. Roop”. Height 6.25”.

Width 9.5”.

800/1,200

115

selections from

The Kelton Collection Eldred’s is pleased to offer maritime art and artifacts from the Kelton Collection over a series of auctions, including Lots 367-379 presented here.

367.

WILLIAM HOWARD YORKE Canada/United Kingdom, 1847-1921 The barque Lurlei of Liverpool off Fastnet Rock, Ireland. Signed and dated lower left “W.H. Yorke - 1893” and further inscribed bottom center “Lurlei of Liverpool - T.J. Gill Master”. Oil on canvas, 19.75” x 30”. Framed 30.25” x 39.5”.

4,000/6,000 Provenance: Property of a Glasgow dealer.

Christie’s East, New York, Maritime Sale, February 1999.

The barque Lurlei was an iron-hulled ship, built in Liverpool in 1875 by Thomas Royden & Sons.

116

368.

WILLIAM HOWARD YORKE Canada/United Kingdom, 1847-1921 The four-masted barque Kenilworth off Fastnet Rock, Ireland.

Signed and dated lower right “W.H. Yorke - 1890”. Oil on canvas, 24” x 36”. Framed 31” x 43”.

5,000/7,000 Provenance: A private collection, Florida.

Hyland Granby Antiques, Hyannis Port, Massachusetts, 2004.

Kenilworth was the last of five ships built for Williamson and Milligan’s “Waverly” Line. Launched March 1887, she set a record on her maiden voyage of 41 days from San Francisco to Newcastle. On her second voyage, in 1889, she sailed from Liverpool to San Francisco in only 128 days, but then caught fire and burned while lying at Port Costa waiting to take on cargo.

She was declared a complete structural loss. Purchased at auction by Arthur Sewall and Company, the hulk was repaired at the Union Iron Works in San Francisco at a cost of $45,000, making Kenilworth the first steel-hulled U.S. flag merchant sailing ship. After several changes in ownership she was purchased near the end of the Prohibition Era, by the notorious Las Vegas mobster, bootlegger and gambler Tony Cornero and his partners, including Benjamin “Bugsy” Siegel. They roofed over her decks to create a spacious gambling hall. Cornero renamed the ship Rex and anchored her 3.1 miles off the Santa Monica pier, just beyond the legal three-mile limit and a quick ten-minute boat ride from shore. After a nine day standoff known to the press as “The Battle of Santa Monica Bay”, the law eventually prevailed and Rex was shut down in 1940. She returned to service in 1942 in the lumber trade as the Star of Scotland. On a trip bound for Brazil from South Africa, she was torpedoed by U-159, ending her long career.

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367

368

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117

selections from

T H E K E LT O N C O L L E C T I O N

369.

ANTIQUE SHIP MODEL OF THE GRAND TURK OF 1791 America, 19th Century Hull built up in wood, with a painted green bottom, black topsides, a white waistband and faux gunports. Simple deck detailed with anchors, pin and fife rails, ladders, deck hatches, deck house, ship’s wheel, etc. Rigged with bowsprit, three masts, and standing and running rigging. Displayed on a simple wood cradle. Height on cradle 45.25”. Length 49.5”. Width 17”.

400/600 Provenance: Skinner, Inc., Boston, June 2006.

369

370.

Built by Enos Briggs, on land adjacent to Derby Wharf in Salem, this was the first vessel built by Briggs at Salem. Modeled after the second of four vessels named Grand Turk, and to replace an earlier 300-ton vessel, she was laid down March 27, 1790.

Launched sideways (with difficulty) from Derby Wharf on March 10, 1791, the three-decker known as “Mr. Derby’s Great Ship” proved too big for Salem Harbor and had difficulty finding sufficient cargoes. She was subsequently sold to Boston interests in 1795 after only two voyages for Elias Derby, and then made passages to India, China and Russia. She was wrecked in a gale off Portland, Maine on January 4, 1798.

BRITISH SCHOOL 18th Century East Indiaman in two positions. Finely detailed and precisely drawn, with the mid-course of sails luffing and flying the red duster. Watercolor and gouache on paper, sheet size 8” x 11.25”. Framed 17” x 20”.

800/1,200 Provenance: Tad Dales, Santa Fe, New Mexico, 1987.

370

118

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371

371.

OCTANT BY GILBERT & SONS, LONDON AND OTHER PROPERTY OF JOHN ADAMS Late 18th/Early 19th Century Collection of John Adams (1757-1807), of Edmonton, England, who maintained a practice of instruction in navigation and mathematics. Descended directly through his family.

Included are his fine octant, a framed engraving of himself, a couple of letters in his possession and a splendid silver medal he was awarded.

1) Ebony and brass “T” frame octant, circa 1806, signed “Gilbert & Sons London” on the 12” brass radius arm. Fitted with screw clamp, inset ivory 0-90 degree scale, pinhole sight, solar filters, auxiliary telescope with eyepiece, fine rotary adjustment of the index mirror rather than the horizon mirror, handle and feet. Complete with original keystone-shaped box with the partial trade label of “Gilbert & Sons, late Gilbert & Wright, No. 148 Leadenhall Street ...” selling “Improved achromatic plated and brass telescopes, Octants...”. The octant dates from 1806, when “Gilbert & Sons” took over from “Gilbert & Wright”. Length of radius arm 12”. Scale arc 9.5”.

2) Print of John Adams by J.T. Smith, published in 1795, with a paper fragment showing the signature “J. Adams”. (Fragment previously attached to the back of the print.) Framed 11” x 13”.

3) Group of letters that reveal astronomical and mathematical practices of the day. One, written in 1779 to an unknown recipient, is from Jonathan Wheatcroft of Paxford (in the Cotswolds), reporting on his failure to observe a new comet, even with his “2-1/2” Foot Improved Achromatic Dollond telescope. Another is from Charles Small of Ferryhill, writing to Jonathan Lindsay of London, discussing complicated problems in plane geometry, complete with proof and various kind words about colleagues and family. Complete with remains of a wax seal, and early postal markings.

4) Silver presentation medal “Arts and Commerce Promoted”, inscribed “To Mr. John Adams, 1785” for “Artificial Horizon Improved”. In the Society’s records, twelve pages were devoted to Adams’ improvement. In seeking an instrument capable of measuring arcs up to 180 degrees, for use with his new horizon, Adams turned “to Messrs. Gilbert & Wright, who immediately presented me with an improved Quadrant, by which the fore and back observations are equally facile and just”. Medal in excellent condition, in its original wood case lined in green velvet and covered in shagreen. Diameter 1.75”.

4,000/6,000 Provenance: John Adams, and thence by descent through the Adams family.

Gorrings, East Susex, United Kingdom, April 2007.

Acquired by Tesseract, Hastings-on-Hudson, New York, at the above sale.

Acquired by the Kelton Foundation from the above, March 2008.

John Adams worked in Edmonton, Middlesex, seven miles north of London. In 1782 he revised and corrected James Atkinson’s epitome of the Whole Art of Navigation. In his preface of that year, Adams explains “The present reviser, having been eight years in the fea fervice, and eighteen a teacher of this art, enables him to say ... that he has now rectified what was amifs; alterered [sic] what was diforderly; explained what was obfcure; ftruck out what was not abfolutely neceffary; and copioufly added where it was wanting, ...”.

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119

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T H E K E LT O N C O L L E C T I O N

372.

ATTRIBUTED TO GIUSEPPE FEDI Italy, 1792-1819 Ship Palladium of Boston in two positions.

Inscribed in lower margin “Palladium of Boston -- Henry Larcom Commander”.

Watercolor and gouache on paper, 19.25” x 27”. Framed 21.75” x 29.5”.

2,000/3,000

Provenance: Christie’s, London, March 1985.

373.

ANTOINE (ANGE-JOSEPH) ROUX I France, 1765-1835 Three-masted ship at anchor. Pen, ink and watercolor on paper, 12.25” x 16.75” sight.

Framed 19.5” x 24.25”.

1,500/2,500

372

Provenance: The collection of J.W. Henderson.

Northeast Auctions, Portsmouth, New Hampshire, August 1994.

373

120

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374

H.M.S. Britannia of 1689 carried 100 guns during wartime and 90 in home waters. She was “girdled” in 1701, increasing her beam, but then was broken up in 1716. The flag flown from Britannia’s foremast is the Banner of England, a flag associated only with the King, William III. The Banner of England, with its three gold lions on a red ground, could only be flown when the King was present. In addition, Britannia flies the pre1707 Red Ensign, with the Cross of St. George on a red ground, and the Royal Navy Union Jack flies at the bow. The broad pennants flown at the mainmasts of both central vessels are command pennants designating ships are under the authority of the officer commanding in the Downs (on the east coast of Kent), which helps identify the location as most likely the mouth of the Thames. Other details include the crew and the ship’s complement of Marines shown in full uniform, including hats, on deck for a formal event, the starboard sally port with the boarding steps still in place, and all of Britannia’s gun ports open, suggesting a Royal salute, and the departure of the ketch-rigged Royal transport in the right foreground. The scale and grandeur of this work was undoubtedly a commission to commemorate the visit of His Majesty.

374.

ATTRIBUTED TO ISAAC SAILMAKER The Netherlands/United Kingdom, 1633-1721 A three-decker flying the Royal Standard and with the Royal Yacht in the foreground. Probably the pre-Establishment ship H.M.S. Britannia of 1689.

Oil on canvas, 35.5” x 58”. Framed 46.25” x 68.5”.

7,000/10,000 Provenance: Sotheby’s, New York, May 22, 1997, Lot #56A. Private collection, London.

Christie’s, South Kensington, London, May 11, 2000, Lot #37.

Vallejo Gallery, Newport Beach, California, 2001, purchased by the Kelton Foundation.

Literature: Dictionary of Sea Painters by E.H.H. Archibald (Antique Collector’s Club, 2000), p. 80, plate 17.

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121

selections from

T H E K E LT O N C O L L E C T I O N

375

375.

WILLIAM GAY AND MARY E. YORKE New York/Canada/England, 1817-c. 1888 and c. 1854-1893 Race Day, America’s Cup 1885. Signed lower left “W.G. Yorke”.

Oil on canvas, 22” x 30”. Framed 29.5” x 37.5”. 7,000/10,000 Provenance: Vallejo Gallery, Newport Beach, California, September 1997, purchased by the Kelton Foundation.

The 1885 America’s Cup race between Puritan and Genesta was the first in which the cutter design dictated the shape of the competitors. Cutters were primarily raced in England and their design described as “plank-on-edge”, with deep hulls and towering rigs that were fast in the strong winds in England. Boston designer Edward Burgess was the master of the “compromise sloop”, which were lightweight, with a wide beam and a shallow hull with centerboard. This design paradigm proved ideal for the lighter winds in America during the summer.

The American yacht Puritan defeated the English Genesta in two races to win the America’s Cup. This painting exhibits many of the traits of Mary Yorke’s style, including the naive background, the pink sky and lazy sea. By the time of this work she had attained considerable competence as a ship portraitist.

122

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376

The yacht’s private signal, along with comparisons to several period photographs and a Louis Roux painting at the Peabody Essex Museum in Salem, Massachusetts, conclusively identifies this vessel as the 1889 steam/sail yacht Sultana, owned by Trenor L. Park, a New York Yacht Club member elected in 1883.

The bow view was almost certainly painted by Mary Yorke and due to the late date of this work (the yacht was not launched until 1889), it is possible Mary was the primary creator of the overall painting.

376.

WILLIAM GAY AND MARY E. YORKE New York/Canada/England, 1817-c. 1888 and c. 1854-1893 The steam/sail yacht Sultana of the New York Yacht Club, circa 1889. Signed lower left “Wm. G. Yorke”. Oil on canvas, 24” x 36”. Framed 29.5” x 49.5”.

8,000/12,000 Provenance: N.R. Omell Gallery, London, November 1998, purchased by the Kelton Foundation.

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123

selections from

T H E K E LT O N C O L L E C T I O N

377.

THREE PLATINUM PRINT PHOTOGRAPHS DEPICTING SIR THOMAS LIPTON’S YACHTS SHAMROCK AND SHAMROCK II 1899/1901

By Charles Edward Bolles (America, 1847-1914).

Each signed and copyrighted with the photographer’s indicia lower right “Copyright 1899/1901 by C.E. Bolles Brooklyn, NY”. Largest 9” x 7.75” sight. Each framed 17” x 13”.

800/1,200 Provenance: Christie’s East, Sale 8347, August 2000, purchased by the Kelton Foundation.

Lipton returned to New York in 1901 with his new boat, Shamrock II, designed by G.L. Watson, to race J.P. Morgan’s Columbia, defending the America’s Cup for a second time. Shamrock II was the first Cup boat designed with the help of model towing in a test tank. On September 6, 1901, Shamrock II vs. Columbia was the closest match in Cup history, with an average winning margin of only 1 minute, 52 seconds.

377, three

378.

Shamrock, built in 1898, was the unsuccessful challenger for the 1899 America’s Cup against the defender, Columbia. Shamrock was designed by third-generation Scottish boatbuilder William Fife III and was built in 1898, under a shroud of secrecy, by J. Thorneycroft & Co. for Sir Thomas Lipton of the Royal Ulster Yacht Club. She sailed to New York for the Cup race in the summer of 1899, but Columbia beat her in all three races.

PHOTOGRAPHS OF THE AMERICA’S CUP DEFENDER RESOLUTE AND VANITIE CIRCA 1914, AND THE SCHOONER YACHT RESOLUTE Views of the America’s Cup defender Resolute during her trials against Vanitie, 5.5” x 7.75” sight, and a view of the Resolute, 9.25” x 7” sight, both silver gelatin photographs by Edwin Levick (New York, 1868-1929). View of the centerboard schooner Resolute circa 1871, 9.25” x 7” sight, attributed to Charles Edward Bolles (America, 1847-1914). Inscribed in pencil verso “#254. RESOLUTE. (David Carll 1871) W.M.T.”.

Each framed 13.25” x 17”.

800/1,200

378, three

Provenance: Christie’s East, New York, Sale 8197, February 1999.

West Sea Company, Old Town, San Diego, California, 1999, purchased by the Kelton Foundation.

124

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379

379.

Bingo I was designed by Alfred Luders Jr. and the model was built by Lou Banks, pattern maker and loftsman of the Luders Construction Company of Stamford, Connecticut.

LOU BANKS TANK TEST MODEL FOR THE 5.5-METER YACHT BINGO I America, Circa 1959 Built up in wood, the interior hollowed, and the exterior of the hull shaped, faired and finished to a race finish. On the leading edge of the bow, down to the bottom edge of the keel, sand has been glued in place. This sand was used to create a disturbance to the laminar flow, so the flow below the waterline and around the keel could be more easily documented. Exterior of the hull marked #2164, which is the identification number for the Davidson Lab at the Stephens Institute where the model was tested. In addition, the exterior of the hull is marked on the starboard side with station frames and a dotted line that represents an alternative, longer, waterline. The interior of the hull is marked “Bingo I - Feb. 27 1959 - LLB Jr”. Also marked with two dates in the hull: February 27, 1959 and December 28, 1964.

Inscribed “New type keel, Dec. 28, 1964”; keel modification is visible on model.

Height 14.5”. Length 61.25”. Beam 12.25”.

1,500/2,500 Provenance: Bill Luders, Luders Yachts.

Benjamin D. Gilbert, Darien, Connecticut.

Maine Maritime Academy, Castine, Maine.

Don Mallow & Bob Wallstrom, Blue Hill, Maine.

Christie’s East, Maritime Art Auction #8347, August 2000.

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125

380.

JAMES MILLER United Kingdom, b. 1926 “Rainbow vs. Endeavor II - America’s Cup 1937”.

Signed lower left “James Miller”. Titled verso.

Oil on canvas, 24” x 40”. Framed 30” x 45”.

2,500/3,500

381.

RICHARD K. LOUD Massachusetts, b. 1942 A yacht race. Signed lower left “R.K. Loud”.

Oil on canvas, 26” x 38”. Framed 31.5” x 43”.

2,500/3,500

382.

GORDON HOPE GRANT New York/California/United Kingdom, 1875-1962 “Sailing on Long Island Sound.” Signed lower left “Gordon Grant”. Titled on gallery label verso.

Oil on masonite, 9” x 12”. Framed 16.25” x 19.25”.

1,000/1,500

380

381

382

126

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383.

POND MODEL OF THE NEPTUNE Late 19th Century Hull painted green and white. Includes stand. Length 46”.

300/500

383

384.

CURRIER & IVES LARGE FOLIO COLORED LITHOGRAPH “THE YACHT SQUADRON AT NEWPORT” 19th Century Framed 25” x 36.25”.

500/1,000

384

385.

BELLAMY-STYLE CARVED AND PAINTED WOODEN EAGLE 20th Century Attributed to the Boston Artistic Carving Company. Gold eagle with an applied red, white and blue “E Pluribus Unum” banner. Width 45”.

700/900

385

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127

386.

CONTINENTAL SCHOOL 19th Century The brigantine Margaret in heavy seas. Unsigned. Watercolor on paper, 15.25” x 22.5” sight.

Framed 23” x 29.5”. 800/1,200 Provenance: Childs Gallery, Boston.

386

387.

ENGLISH CAMPAIGN DESK 19th Century In mahogany. Lift top over a pull-out writing slide over five drawers and tapered legs. Inset brass hardware. Height 43.5”.

Width 28”. Depth 19.5”.

800/1,200

387

388.

SCALE MODEL OF A 16TH CENTURY VENETIAN MERCHANT SHIP Italy, 20th Century Hull built up in plank-on-solid construction, the bottom painted a cream color and the topsides finished bright, with applied strakes, chain plates, raised poop and fore-peak, balcony around quarter galleries and stern.

Simple decks detailed with deck hatches, doors, ladders, skylight, tiller and mizzen boom. Rigged with a bowsprit and four masts with cross spars, crow’s nest, standing and running rigging and a full suit of sails detailed with panel seams. Displayed on a simple painted wooden cradle on a wooden base within a mahogany and glass case.

Two brass plaques mounted to the base, one engraved “Mercantile Veneziana del XVI Siècle” and the other a gift presentation engraved “1929-1954/ Al Sir Basil A. McLean/ L’ufficio di Genova”. Case height 28.25”.

Length 53.25”. Width 20”.

400/600 388

128

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389.

ENGLISH TWO-PART CAMPAIGN CHEST 19th Century In mahogany, with brass mounts, bindings and inset hardware. Upper case with four half drawers over a full-width drawer. Lower case with two full-width drawers and turned ball feet. Height 51”. Width 48”.

Depth 21”.

1,800/2,500

389

390.

FOLK ART DIORAMA OF THE THREE-MASTED SHIP BALCLUTHA America, Early 20th Century Hull built up from the solid and painted red, white and black, with false gunports just below the waist. Simple deck with catheads, anchors, deck structures and other details. Rigged with a bowsprit, three masts, and standing and running rigging. Set into a cast and molded sea and displayed within a mahogany and glass case. Case height 10.5”. Length 18”.

Width 10”.

200/300

390

391.

EPHRAIM FRANK LINCOLN Massachusetts, Early 20th Century “The Whaling Bark Canton”. Signed lower right “E.F. Lincoln”. Titled lower center and verso.

Oil on canvas, 24” x 36”. Framed 27.5” x 29.5”.

2,000/3,000

391

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129

392

392.

PAIR OF CHINESE EXPORT REVERSE PAINTINGS ON GLASS 19th Century One depicts noblemen fishing and the other warriors chasing dragons. Housed in hardwood frames. 16” x 23”. Framed 19” x 26”. 400/700

393.

CHINESE EXPORT ROSE CANTON ON CELADON PORCELAIN PUNCH BOWL Last Quarter of the 19th Century Decorated with exotic birds, butterflies, flowers and rockery. Height 5”. Diameter 16.5”.

700/900

394.

CHINESE EXPORT ROSE MEDALLION PORCELAIN PUNCH BOWL Last Quarter of the 19th Century Interior with alternating panels of ladies in a courtyard and flowers and butterflies. Rim with birds in cartouches on a bat-filled ground.

Height 4.5”. Diameter 16”.

700/900

393

394

130

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395

395.

COLLECTION OF CHINESE EXPORT PORCELAIN Circa 1750 In an Imari pattern. Includes: 1) Large serving bowl with armorial crest. Diameter 10”.

2-5) Four covered teapots. Heights from 4.5” to 5.5”.

6-7) Two creamers, one with cover. Heights 4” and 5.5”.

8) Large tea canister with cover. Height 10”.

9) Tea caddy with cover. Height 5.5”.

10-11) Two covered serving bowls. Height 4.5” and 5”.

12-13) Two octagonal serving dishes. Lengths 11” and 11.5”.

14-15) Two serving bowls. Diameters 7”.

16) Shell-form dish.

17) Small tureen.

18) Pots de cream with cover. Height 3”.

19-24) Three cups and saucers. Cup heights 1.75”.

25) Small handled cup. Height 1.5”.

26-28) Three bowls. Diameters 4.5”, 6” and 9”. 1,000/1,500

396.

CHINESE EXPORT PAINTING 19th Century Depicts a figural court scene. Housed under glass in a traditional rosewood frame with two bail handles at top.

Oil and gouache on paper, 17” x 25”. Framed 21” x 19”.

600/800

397.

CHINESE CAMPHORWOOD DOCUMENT BOX 19th Century Brass bound and inlaid. Height 6.5”. Width 18.75”. Depth 11.75”.

300/500

398.

CHINESE EXPORT PORCELAIN HELMET-FORM CREAMER Late 18th/Early 19th Century Depicts vessels flying American flags on both sides and a garlanded shield below the spout. Decoration may be of a later date. Height 5.5”.

500/800 Provenance: Northeast Auctions, Portsmouth, New Hampshire.

399.

CHINESE EXPORT PORCELAIN HEXAGONAL GARDEN SEAT 19th Century Floral and foliate decoration. Height 19.5”. Width approx. 15”.

300/500

400.

TWO PIECES OF CHINESE EXPORT PORCELAIN IN AN IMARI PATTERN 19th Century 1) Bottle vase with slightly flared mouth and floral courtyard decoration. Height 10”.

2) Bowl with decoration of figures in a landscape punctuated by coins and other Chinese motifs. Height 3.5”. Diameter 8”.

500/700

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131

403

401.

CHINESE EXPORT BLUE AND WHITE NANKING PORCELAIN HOT WATER DISH 19th Century Octagonal. Length 10.25”.

400/600 Provenance: Private Wellesley, Massachusetts Collection.

402.

132

403.

CHINESE EXPORT FAMILLE ROSE PORCELAIN PARTIAL TEA SET WITH MASONIC DECORATION Mid-19th Century Consists of a ball-form teapot, a creamer, a covered tea caddy, three handled cups, six handless cups and eight saucers.

Decorated with Masonic symbols and a stag over “A I DH” surrounded by a floral swag and a gilt bamboo border.

1,500/2,500

CHINESE EXPORT POLYCHROME PORCELAIN BOWL WITH UNDERTRAY 19th Century Decorated with cobalt blue and iron red floral sprays, cobalt blue borders with gilt stars, Greek key borders, and alternating foliate reserves. Bowl height 3.25”. Diameter 8.5”. Undertray diameter 10.5”.

300/400

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404.

CHINESE EXPORT LACQUERED SEWING STAND 19th Century Gilt decoration on a black ground. Fitted interior.

Height 28.5”. Width 15.5”. Depth 17.25”. 800/1,200

404

405, pair

405.

PAIR OF CHINESE EXPORT BLUE AND WHITE PORCELAIN MEAT DISHES 18th Century Decorated with floral sprays. Lengths 12.25”.

600/800 Provenance: Linda Willauer Antiques, Nantucket, Massachusetts.

Private Wellesley, Massachusetts Collection.

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133

406.

406

407.

FOLK ART MODEL OF A THREE-MASTED RAM-BOW CRUISER 19th Century Well-detailed model, built up from the solid with a copper painted bottom, black topsides with a white gunport band, twisted rope waterline and rubbing strakes. Simple mahogany decks detailed with ivory rudder, anchors, catheads, chocks, railings, cleats, ventilators, pin and fife rails, doors, binnacle, cannons, davits, stern canopy, etc. Also detailed with seven ship’s boats on davits with ivory decks and seats, two funnels with ivory vent pipes, skylights, coils of rope, etc. Rigged with a bowsprit and three masts, the gaff, stun’sail booms, trees and tops, junction partners, and other rigging details in ivory. Displayed on a pair of simple wood cradles. Height on cradles 28.5”. Length 39.5”. Width 15.5”.

1,000/1,500

THREE-PART CAMPAIGN DESK Mid-19th Century In mahogany. Top with lift-up central section. Pedestals with three graduated drawers and turned ball feet. Recessed brass drawer hardware. Height 31.5”.

Width 44.5”. Depth 24.5”.

1,000/2,000

407

Provenance: Endicott family, Dedham, Massachusetts.

408.

408

134

FOLK ART MODEL OF THE CLIPPER SHIP STATE OF MAINE America, 19th Century Hull built up from the solid, the bottom painted a dark bronze and the topsides in black. Painted decks detailed with anchors, capstan, deck houses, ship’s boats, hatches, railings, wheel house, etc.

Rigged with a bowsprit and three masts, standing and running rigging, and other rigging details.

Displayed on a simple wood cradle. Height on cradle 40.5”. Length 28.5”. Width 12”.

250/350

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A N T O N I O N I C O L O G A S PA R O J A C O B S E N New York/New Jersey/Denmark, 1850-1921

409

410

409.

The Steamer Zeeland.

Signed lower left “A. Jacobsen”. Oil on board, 22” x 36”.

Framed 30” x 44”.

7,000/10,000

410.

The steamer Vederland.

Signed and dated lower right “A. Jacobsen 1910”. Oil on board, 22” x 36”. Framed 30” x 44”.

7,000/10,000

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135

411.

CLEMENT DREW Massachusetts, 1806-1889 Ship in a storm off a rocky coast.

Unsigned. Oil on canvas, 14” x 20”.

Framed 21.25” x 27.75”.

1,200/1,800

412.

JOHN HENRY MOHRMANN California/Germany/Canada/ Belgium, 1857-1916 Portrait of the Victoria Bay. Signed and dated lower left “H. Mohrmann 1891”. Oil on canvas, 23.5” x 35”.

Framed 28” x 39.5”. 3,000/5,000

413.

WILLIAM RICHARDSON TYLER New York/New Hampshire, 1825-1896 Ship at sea. Signed lower left “W. Tyler”. Oil on canvas, 22” x 38”.

Framed 29” x 45”.

2,000/3,000

411

412

413

136

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414.

414

SILVER HUMIDOR AND OTHER SERVICE FOR THE YACHT NIRVANA IV Circa 1922-29 Silver humidor by William B. Kerr & Co., Newark, New Jersey. Etched with flowers, birds and scrolls within bellflower borders, the cover engraved “Yacht Nirvana Holger Struckmann From Frederick C. Fletcher” and applied with two enameled burgees.

Two-compartment interior fitted with a removable wood tray and a humidor fitting. Also includes six silver napkin rings by Evald Nielsen, Copenhagen, engraved “Nirvana III”, and ten glasses enameled with the same burgees and “Nirvana” on a ribbon. Humidor height 6”. Width 12”. Depth 6”.

2,500/3,500 Provenance: Holger Struckmann, and thence by descent through his family. Holger Struckmann was president of International Cement Co. and lived in Rye, New York. He was a member of the Larchmont Yacht Club in Larchmont, New York.

Sotheby’s, New York, Important Americana, January 2017, Lot #4062.

A private collection, Maine.

415

415.

CHART OF PART OF THE SOUTH COAST OF NEWFOUNDLAND, INCLUDING THE ISLANDS OF LANGLEY, ST. PETERS AND MIQUELON 18th Century From The North-Atlantic Pilot for Newfoundland, Labradore, the Gulf and River St. Laurence, drawn from original surveys taken by James Cook and Michael Lane, etc. London: Printed for R. Sayer and J. Bennett.

Engraving on paper, three joined sheets 25.25” x 67.25” sight, with a 7.5” x 8” sheet extending Fortune Bay. Framed 31” x 81”.

1,500/2,500

James Cook (1728-1779) joined the British merchant fleet at the age of 18 and the Royal Navy in 1755. As a result of serving in North American waters during the Seven Years’ War, he surveyed and mapped much of the entrance to the Saint Lawrence River and the coast of Newfoundland. His charts, included in The NorthAmerican Pilot, remained the standard navigational reference for those waters for over a century. This led directly to his commission as Commander of the HMS bark Endeavour for three Pacific voyages, in which he made the first recorded European contact with the eastern coastline of Australia and the Hawaiian Islands, and the first recorded circumnavigation of New Zealand.

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137

SESSION II

F R I D AY, N O V E M B E R 1 9 , AT 9 : 3 0 A . M .

LOTS 5 0 1 - 9 0 8

European and Contemporary Fine & Decorative Art Lots 501-621 Oriental Rugs Lots 622-647 Clocks Lots 648-652 Also Paintings, Furniture and More

138

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A P r i vat e C o l l e c t i o n

Lots 501-558

501.

ENGLISH ENAMEL LION BONBONNIERE Circa 1765 Recumbent lion on a grass green ground. Cover painted with a building in a landscape. Length 1.5”.

800/1,200

501, two views

502.

ENGLISH ENAMEL BIRD BONBONNIERE Circa 1770 Preening bird on a grass green ground. Cover depicts two birds by a fountain. Cover interior labeled “Harriet Wilkes”. Length 2.75”.

1,000/1,500 502, two views

503, two views

503.

ENGLISH ENAMEL BULL DOG BONBONNIERE Circa 1770 Reclining on a green ground. Cover depicts the dog and an elegant woman playing in a garden. Length 2.75”.

1,000/1,500

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137

A P r i vat e C o l l e c t i o n

507, two views

504.

ENGLISH ENAMEL MOTTO BOX Circa 1800 “Expression Kind Divert the Mind”. Blue body. Cover interior with mirror. Length 1.5”.

250/350

505.

ENGLISH ENAMEL COW BONBONNIERE Circa 1770 Recumbent black and white cow on a green grass ground.

Cover with floral decoration. Length 2”.

700/900

506.

ENGLISH ENAMEL SNUFF BOX Circa 1780 Cover painted with a bird and the sides with landscapes, all against a pale blue ground. Length 2.75”.

250/350

507.

ENGLISH ENAMEL FROG BONBONNIERE Circa 1765 On a green grass ground. Cover depicts figures in a landscape.

Length 2”.

1,200/2,000

508.

ENGLISH ENAMEL MOTTO PATCH BOX Circa 1800 “Let him Love now Who never Lov’d before Let him whoever Lov’d Now love the more”. Pink body. Cover interior with mirror. Length 1.75”.

300/500

509.

ENGLISH ENAMEL SPANIEL BONBONNIERE Circa 1770 Recumbent dog atop a yellow and blue striped cushion. Cover painted with a tree and distant church. Length 2”. 900/1,200

510.

ENGLISH ENAMEL BIRD BONBONNIERE Circa 1770 In preening position on a green grass ground. Cover painted with a flower spray. Length 1.75”.

900/1,200

511.

ENGLISH ENAMEL RABBIT BONBONNIERE Circa 1765 Mottled brown rabbit atop finely rendered grass. Cover transferdecorated and hand-colored with two dogs pursuing the rabbit.

Length 3”.

900/1,200

511, two views

138

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sts

512.

ENGLISH ENAMEL MOTTO PATCH BOX Circa 1800 “Have Communion with few Be familiar with one Deal justly with all Speak evil of none”. Green body. Cover interior with mirror. Length 1.5”.

250/350

513.

ENGLISH ENAMEL SPANIEL BONBONNIERE Circa 1770 Black and white recumbent dog lying on a green cushion. Cover painted with a flower spray. Length 1.75”.

900/1,200

514.

ENGLISH ENAMEL SNUFF BOX Circa 1780 Cover painted with two peacocks amidst classical ruins. Body decorated with flowers. Length 2.5”.

300/400

515.

ENGLISH ENAMEL SPANIEL BONBONNIERE Circa 1770 Brown and white recumbent dog lying on a tasseled cushion.

Cover depicts the dog and a fashionable woman seated by a riverbank. Length 2.25”.

600/800

516.

ENGLISH ENAMEL BIRD BONBONNIERE Circa 1770 Seated on a green grass ground. Cover depicts the bird with a flower and insect. Length 2.5”.

900/1,200

517.

ENGLISH ENAMEL STAG BONBONNIERE Circa 1765 Recumbent on a grassy ground. Cover painted with a flower spray. Length 2”.

1,200/1,800

518.

ENGLISH ENAMEL PATCH BOX Late 18th Century Cover painted with a sheep and “An Emblem of Innocence”.

Cobalt blue body. Cover interior with mirror. Length 2”.

500/700

519.

ENGLISH ENAMEL SPANIEL BONBONNIERE Circa 1770 Lying on a blue cushion. Cover with a flower spray against a checked ground. Length 2.25”.

800/1,000

516

517, two views

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139

A P r i vat e C o l l e c t i o n

531, two views

520.

521.

ENGLISH ENAMEL MOTTO PATCH BOX Circa 1800 “May Trade increase And bless our Isle And Commerce make This Land to smile”. Pale blue body. Cover interior with mirror.

Length 2”.

500/700

523.

140

ENGLISH ENAMEL COW BONBONNIERE Circa 1770 On a grass ground with floral border. Cover depicts a building in a landscape. Length 2”.

600/800

525.

ENGLISH ENAMEL MOTTO PATCH BOX “Have Communion with few Be familiar with One Deal justly with All Speak evil of none”. Blue body. Cover interior with mirror. Length 1.75”.

250/350

526.

ENGLISH ENAMEL MOTTO PATCH BOX Circa 1800 “Friendship Shall ever sacred be Between my worthy Friend & me.”. Cobalt blue body. Diameter 1.5”.

250/350

527.

ENGLISH ENAMEL HORSE BONBONNIERE Circa 1770 Chained and seated on a grassy slope. Cover depicts a boar hunt. Length 2.5”.

1,000/1,200

528.

ENGLISH ENAMEL PUG BONBONNIERE Circa 1770 Seated on a grass ground. Cover depicts the dog near a colonnade. Diameter 2”.

700/1,000

529. ENGLISH ENAMEL BIRD BONBONNIERE Circa 1770 ENGLISH ENAMEL SNIPE BONBONNIERE Seated on a green grass base. Cover painted with a flower spray.

Circa 1770 Length 1.5”.

500/800 Bird seated in preening position on a detailed grass ground.

Cover depicts a bird perched atop fruit. Length 2.5”.

1,000/1,200 Provenance: Manheim Collection, with label on cover interior.

522.

524.

ENGLISH ENAMEL MOTTO PATCH BOX Circa 1800 “Have communion with few Be familiar with one Deal justly with all Speak evil of none”. Cobalt blue body. Cover interior with mirror. Length 1.75”.

400/600

ENGLISH ENAMEL MOTTO PATCH BOX Circa 1800 “My Friends Interest I prefer To any Thing I do over”. Blue body. Cover interior with mirror. Length 1.5”.

150/250

530.

ENGLISH ENAMEL PATCH BOX Circa 1800 Cover with raised white enamel decoration of birds and a nest on a cobalt blue ground. Cover interior with mirror.

Length 1.75”.

250/350

531.

ENGLISH ENAMEL SWAN BONBONNIERE Circa 1765 In preening position amongst pond reeds. Cover painted with a shepherd playing a pipe on a riverbank. Length 2.75”.

1,000/1,200 Provenance: Manheim Collection, with label on cover interior.

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sts

532.

ENGLISH ENAMEL MOTTO PATCH BOX Circa 1800 “Tell me ye knowing and discerning few Where I can find a friend that’s firm and true Who dares stand by me when in deep distress And then his love and friendship most express”. Blue fluted body. Cover interior with mirror. Length 1.75”.

400/500

533

533.

534.

534

535.

536.

17TH CENTURY ENGLISH CEDAR AND HORN SNUFF BOX Circa 1650 Oval. Lift-off cover with distinctive diamond- and kidney-form inlay dated, initialed “CK” and inscribed “Your Pup”. Sides attached with fine nails. Length 3.5”.

2,000/3,000

Provenance: Collection of Eila Grahame. Underside with sticker label “Eila Grahame Collection No. 10”. Much of Grahame’s collection sold at Cheffins from November 30 to December 1, 2016. We do not know if this snuff box was included.

17TH CENTURY ENGLISH CEDAR AND HORN SNUFF BOX Circa 1683 Oval. Lift-off cover with distinctive diamond- and kidney-form inlay dated and inscribed with the motto “The Best Is Not Too Good For You”. Sides attached with fine nails. Length 3.5”.

2,000/3,000

ENGLISH SNUFF BOX Circa 1709 Oval. Lift-off cover with octagonal inlay dated and inscribed with the motto “If You Love Mee Lend Mee Not”. Length 3.5”.

1,200/1,800

17TH CENTURY ENGLISH CEDAR AND HORN SNUFF BOX Circa 1680 Oval. Lift-off cover with brass pique monogram “GS”. Sides attached with fine nails. Length 4.25”.

400/600

536

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141

A P r i vat e C o l l e c t i o n

537.

ENGLISH SILVER-MOUNTED SHELL SNUFF BOX Circa 1700 Oval, with hinged cover and lobed body. Hinge with period monogram “RT”. Length 3.5”.

800/1,200

538.

ENGLISH SILVER-MOUNTED SHELL SNUFF BOX Circa 1700 Oval, with hinged cover and lobed body. Openwork silver hinge. Cover with silver blank cartouche. Length 3.5”.

800/1,200

539.

JOHN OBRISSET PRESSED HORN SNUFF BOX DEPICTING CHARLES I London, Circa 1710 Oval. Lift-off cover depicts the monarch in profile, wearing a suit of armor and on horseback. “Carolus D.G. Anglus, Scotia, Hiberniae. Rex. etc” inscribed above and a coat of arms below.

Signed “OB London Fecit.” beneath the coat of arms.

Length 4”.

500/1,000

540.

142

JOHN OBRISSET PRESSED HORN SNUFF BOX COMMEMORATING SIR FRANCIS DRAKE London, Circa 1710 Oval. Lift-off cover depicts “Sir Francis Drake” above a ship, helmet and the Drake family coat of arms with the motto “Sic Magna Paruis”. A small drake, or male swan, incorporated into the scrolled foliage ground. Signed “John Obrisset Fecit” on the cover exterior and stamped “OB” on the cover interior.

Length 4”.

800/1,200

541.

ENGLISH CEDAR AND HORN SNUFF BOX 18th/19th Century Oval. Lift-off cover and sides carved with a geometric pattern.

Length 2.75”.

300/500

542.

TWO SNUFF BOXES 19th Century Chip-carved wood with slide cover, length 3”, and a Tunbridge ware oval box with lift-off cover and chevron design, length 3.25”.

200/300

543.

ENGLISH ELMWOOD SNUFF BOX 19th Century Oval. Wooden hinged cover with thumb piece and indentation.

Underside with indistinct inscription dated 1841. Length 3.25”.

300/400

544.

ENGLISH CEDAR SNUFF BOX 19th Century Oval, with lift-off cover, domed ends and lap-seam sides.

Length 3”.

300/400

545.

GEORGE SINCLAIR SCOTTISH BURR WOOD SNUFF MULL 19th Century Naturalistic form, following the shape of the burl. Hinged cover stamped on interior “Geo. Sinclair Bonnington”. Length 4.25”.

300/500

546.

TWO ENGLISH WOODEN BOOT-FORM SNUFF BOXES 19th Century Slide covers. Lengths 3.5” and 4”.

300/400

547.

MAHOGANY AND PIQUE BOOT-FORM SNUFF BOX England or France, 19th Century Pique work and bone inlay, including on sole. Raised slide cover. Length 4.5”.

300/500

548.

MAHOGANY AND PIQUE BOOT-FORM SNUFF BOX Possibly France, 19th Century Includes brass pique work and nickel taps on sole. Length 4”.

300/500

John (Jean) Obrisset (active 1705-1727) was a French Huguenot immigrant who specialized in pressed horn and tortoiseshell work.

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sts

539

543

545

548

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143

A P r i vat e C o l l e c t i o n

549.

ENGLISH BOOT-FORM SNUFF BOX WITH PIQUE 19th Century Fine brass pique work, including on sole and slide cover.

Length 5.5”.

500/800

550.

FRENCH CARVED OAK SNUFF BOX Late 17th Century Oval. Lift-off cover relief-carved with a standing figure. Side with elaborate scrolled carving. Cover interior with traces of foil. Length 3”.

300/500

551.

FRENCH SHELL AND GOLD PIQUE SNUFF BOX Circa 1720 Oval. Hinged cover inlaid with fine pique strap work.

Length 3”.

800/1,200

552.

GERMAN LEATHER TOBACCO BOX Circa 1745 Octagonal, with hinged cover. Exterior tooled and gilded with foliage and the motto “Ver Wahrt der Rauch Toback von Guter Ahrt Wird in Meine Dose”. Cover interior with tooled and painted vellum initialed “JCK” and dated 1745. Length 5”.

400/600

553.

CONTINENTAL PAINTED BENTWOOD SNUFF BOX Possibly France, 18th Century Oval. Lift-off lap-seam cover painted with a seated woman playing a mandolin. Foliate accents. Length 2.75”.

300/500

554.

CONTINENTAL CARVED BONE SNUFF BOX Possibly Scandinavia, Circa 1820 Oval. Lift-off cover depicts the Crucifixion surrounded by assorted iconography. Underside depicts the snake coiled around the Tree of Knowledge, flanked by naked and clothed figures. Sides decorated with animals and sunbursts.

Length 3.25”.

500/1,000

551

554, two views

144

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sts

555.

556.

CARVED IVORY BILBOQUET 19th Century Floral designs. Height 4.5”.

INLAID EBONY BILBOQUET Probably France, 19th Century Geometric inlay. Height 6”.

557.

400/600

558.

200/300

ENGLISH LIGNUM VITAE BILBOQUET 19th Century Height 8.75”.

200/300

ENGLISH TREEN WARE WALNUT SPICE TOWER 19th Century Five compartments with threaded covers. Height 8.75”.

200/300

556

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145

559.

ENGLISH SCHOOL 18th/19th Century Portrait of a gentleman and his dog. Signed lower right “T.C.”. Oil on canvas, 39.25” x 33”. Framed 42.5” x 35.5”.

2,500/3,500

559

560.

CASED LIQUOR SET Probably England, Early 19th Century Contains ten blown glass gilt-decorated bottles and one port wineglass. Case height 11”. Width 17”. Depth 12”.

800/1,000

560

561.

CHARLES SILLEM LIDDERDALE England, 1831-1895 “The Farmer’s Daughter”. Monogrammed lower left. Identified on label verso. Oil on canvas, 24” x 20”. Framed 29.5” x 25”.

3,000/5,000

561

146

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562.

CONTINENTAL SCHOOL 19th Century Horses in a storm. Unsigned. Julius Weitzner label verso reads “Ward”.

Oil on canvas, 25.25” x 30.25”.

Framed 36” x 42”.

2,000/3,000

562

563.

ARTHUR WILSON England, 19th Century A moonlit meeting. Signed lower right “Arthur Wilson”.

Oil on canvas, 16” x 24”. Framed 22” x 31”.

1,000/1,500

563

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147

564

565

564.

OLD MASTER DRAWING 17th/18th Century Study of feet. Unsigned. On paper, 17” x 10.5”. Framed 30” x 24”.

800/1,200

565.

OLD MASTER DRAWING 17th/18th Century Studies of legs and feet on three separate sheets applied to one. On paper, 16.5” x 10.5”. Framed 30” x 24”.

800/1,200

566.

WARREN SHEPPARD New Jersey, 1858-1937 Venetian scene. Signed lower right “Warren Sheppard”. Oil on canvas, 24” x 16”. Framed 29.5” x 21.5”.

2,000/3,000

566

148

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567

567.

I. SABATINI Italy, 19th Century Magician performing in a grand parlor for an attentive audience. Signed lower left “I. Sabatini”. Oil on canvas, 25” x 34”. Framed 39” x 48”.

6,000/9,000

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149

568.

FREDERIC ARTHUR BRIDGMAN New York/France, 1847-1928 “Arab Woman, ca. 1880”. Unsigned.

Identified on gallery and exhibition labels verso. Mixed media on paper, 8” x 10” sight.

Framed 15” x 16.5”.

400/600 Provenance: Spanierman Gallery, New York.

Exhibited: The Arkansas Arts Center 1996 Collector’s Show, December 6, 1996 - January 5, 1997.

568

569.

GIOVANNI FATTORI Italy, 1825-1908 “Man Resting”. Unsigned. Identified on gallery label verso. Pencil on paper, 3.25” x 4.75”. Framed 9.5” x 11”. 500/700 Provenance: Borghi Fine Art, New York.

569

570.

SAMUEL GREEN WHEELER BENJAMIN Washington, D.C./Vermont, 1837-1914 “Island of Bugio off Madeira”. Inscribed verso “S.G.W. Benjamin Fecit 1873”. Titled verso.

Bugio is a part of the Portuguese Madeira Islands Archipelago off the northwest coast of Africa. Oil on canvas, 12” x 20”.

Framed 17” x 25”.

500/1,000

570

150

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571.

AFTER FRANÇOIS GÉRARD France, 19th Century “Cupid and Psyche”. Unsigned. 19th Century copy of the original masterpiece in the Louvre.

Oil on canvas, 45” x 35”. Framed 53” x 42”.

3,000/5,000

571

572.

HENRY AUGUSTUS LOOP New York/Europe, 1831-1895 The bath. Signed lower right “H.A. Loop”.

Oil on canvas, 22” x 15”. Framed 32” x 25”.

3,000/5,000 Provenance: Alexander Gallery, New York.

572

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151

E U G E N E LO U I S B O U D I N France, 1824-1898

573

573.

European harbor.

Signed lower right “Eugene Boudin”.

Oil on canvas, 15” x 24”. Framed 22” x 31”.

50,000/70,000 Provenance: A Cape Cod, Massachusetts estate.

152

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153

574

574.

154

GEORGES D’ESPAGNAT France, 1870-1950 Portrait of a young girl with flowers. Signed lower left “GDE”. Oil on canvas, 32” x 28”. Framed 40.5” x 36.5”.

10,000/15,000

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575

575.

TRAFFORD KLOTS Maryland/New York/France, 1913-1976 Oystermen at Brittany. Signed lower left “Trafford Klots”.

Oil on board, 25.5” x 32.5”. Framed 34.25” x 40.25”.

2,000/3,000

576.

GEORGES WAKHEVITCH France, 1907-1984 Expansive shore scene with sailboat. Signed lower right “Wakhevitch”. Oil on canvas board, 20” x 24”.

Framed 25” x 29”.

400/600

576

577

577.

NIEK VAN DER PLAS The Netherlands, b. 1954 Beachgoers. Signed lower right “Van Der Plas”. Oil on board, 15.5” x 19.5”. Framed 23” x 27”.

2,000/3,000

578.

NIEK VAN DER PLAS The Netherlands, b. 1954 Beach scene with umbrellas, likely Nantucket. Signed lower right “Van Der Plas”. Oil on board, 11.75” x 15.75”. Framed 17.25” x 21.25”.

1,500/2,500

578

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155

156

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D A N I E L R I D G WAY K N I G H T Pennsylvania/France, 1839-1924

579

579.

“Normandy Garden (Le Gouter)”.

Signed lower right “Ridgway Knight”.

Oil on canvas, 35” x 46”. Framed 44” x 54”.

40,000/60,000 Provenance: Sotheby’s New York, April 23, 1998, Lot #56.

580.

“Standing Woman with a Sickle”.

Unsigned. Identified on gallery label verso. Pencil on paper, 10.75” x 9” sight.

Framed 21.75” x 17.75”.

400/600 Provenance: Spanierman Gallery, New York.

580

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157

581

583

581.

158

PAIR OF FRENCH NEOCLASSICAL-STYLE BRONZE CHENETS Late 19th/Early 20th Century In the form of a pair of female sphinx flank a flaming urn. Unmarked.

Heights 18”. Depths 14.75”.

1,200/1,800

582.

ARMCHAIR, POSSIBLY HERTER BROTHERS New York, Mid-19th Century Beautifully carved walnut frame with basket of flowers at crest rail. Gold and burgundy damask upholstery. Back height 42”. Seat height 19”. 300/500

583.

GORHAM 14KT GOLD AND GLASS FOURTEEN-PIECE VANITY SERVICE Providence, Rhode Island, Early 20th Century Consists of a hand mirror, length 12”, a hand brush, a comb, a clothes brush, five assorted jars, two perfume bottles, a shoe horn, a nail file and scissors.

Monogrammed.

Approx. 159.98 dwt. weighable 10,000/12,000

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584.

CARTIER ART DECO TRAVEL ALARM CLOCK France, Circa 1925 Red bakelite and bronze with lapis lazuli cabochons.

In its original fitted case. Clock height 4”.

2,000/3,000

584

585.

GOYARD TRUNK Circa 1930 Cover with diagonal green stripe. Unmarked interior with lift-out tray. Height 14.5”.

Width 19.75”. Depth 17.75”. 1,500/2,000

585

586.

L. & J.G. STICKLEY OAK BREAKFAST TABLE Model no. 544. Circular top on four exposed tenoned post legs joined with a cross stretcher. Height 29.5”.

Diameter 48”.

1,000/1,500 Provenance: Peter-Roberts Antiques, Inc., New York.

Christie’s East, New York, Sale 8063, Lot #304.

Private Collection, Newport, Rhode Island.

587.

586

CECILIA BANCROFT GRAHAM California, 1905-1984 “Roma 1929 Maria Vareton” portrait plaque. Signed lower center “C.B. Graham”. Titled flanking portrait.

Bronze, diameter 8.5”. Framed 18” x 18”.

800/1,200

587

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159

588.

WILLIAM MATTHEWS HEKKING New York/California/Kansas/Wisconsin, 1885-1970 Ocean vista. Signed lower left “Wm. M. Hekking”.

Watercolor on paper, 14.5” x 21.5”. Framed. 400/600

589.

WILLIAM MATTHEWS HEKKING New York/California/Kansas/Wisconsin, 1885-1970 Sunrise over the ocean. Signed lower left “W Hekking”. Watercolor on paper, 20” x 29” sight.

Framed 30” x 39”.

400/600

590.

MAKOTO YABE Japan/Boston, 1947-2005 Near-pair of stoneware plates with similar green, orange and blue abstract glazes. Both signed on base.

Diameters 12”.

700/900

591.

MAKOTO YABE Japan/Boston, 1947-2005 Conical stoneware bowl with blue and green glaze.

Signed on base. Diameter 12.5”.

700/900

588

589

590

591

160

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592 593

592.

GERSHON BENJAMIN New York/New Jersey/Romania, 1899-1965 “Waiting for the Tide”. Signed and dated lower left “Gershon Benjamin 1981”. Titled verso. Watercolor on paper, 17.5” x 23.25” sight. Framed 23” x 29”.

3,000/5,000

593.

GERSHON BENJAMIN New York/New Jersey/Romania, 1899-1965 Moonlit trees. Signed and dated lower right “Gershon Benjamin 76”. Gouache on board, 23.25” x 17.25” sight. Framed 30.5” x 24.25”.

3,000/5,000

594.

CHAIM GROSS New York/Massachusetts/Austria/Poland, 1904-1991 Profile of a man and a woman. Signed lower right “Chaim Gross”. Bas relief bronze plaque, 11.5” x 15”.

500/700

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594

161

595.

WAYLANDE GREGORY New Jersey/Ohio, 1905-1971 Giraffes in a grove of trees. Estate stamped upper left “Waylande Gregory New York”.

Mixed media on paper, 30” x 29.5”. Framed 36” x 34.5”.

800/1,200

596.

AMERICAN SCHOOL 19th Century Study of insects and chickens. Unsigned. Oil on canvas, 12” x 14”. Framed 15” x 18”.

1,500/2,500

595

Provenance: Spanierman Gallery, New York.

Adelson Galleries, New York.

596

597.

AMERICAN SCHOOL Circa 1925 Figural abstract. Unsigned. Oil on board, 12” x 12” sight. Framed 16.25” x 16”.

500/1,000

597

162

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598

598.

DAVID HOCKNEY 599.

New York/California/England, b. 1937 “Pembroke Studio with Blue Chairs and Lamp”. Numbered 93/98. Signed lower right and dated “’84”. Titled on Barbara Krakow Gallery label verso. Lithograph on paper, 18.5” x 22”. Framed 27” x 29.5”.

4,000/6,000

BARNEY ILMES Missouri, b. 1951 “Riverside Lounge, Shaw, 1986”.

Chromogenic print, 14” x 16.5” sight.

Framed 21” x 25”.

250/350

Provenance: Barbara Krakow Gallery, Newbury Street, Boston, inventory #1948.

BARNEY ILMES Missouri, b. 1951 “Rooster near Columbus, Missouri, 1986”.

Chromogenic print, 18” x 14” sight.

Framed 25” x 21”.

250/350

600.

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163

601.

O. WINSTON LINK New York/Virginia, 1914-2001 “Sometimes the Electricity Fails, Vesuvius, VA, 1965”.

Silver gelatin print, 20” x 16”. Framed 22.5” x 26.5”.

900/1,100 Illustrated: “Ghost Trains: Railroad Photographs of the 1950s by O. Winston Link” (Norfolk, Va.: Chrysler Museum, 1983), p. 21, reference number NW1122.

601

602.

O. WINSTON LINK New York/Virginia, 1914-2001 “Hawksbill Creek Swimming Hole, Luray, Virginia, 1956”. Silver gelatin print, 16” x 20”.

Framed 22.5” x 26.5”.

900/1,100 Illustrated: “Ghost Trains: Railroad Photographs of the 1950s by O. Winston Link” (Norfolk, Va.: Chrysler Museum, 1983), p. 22, reference number 1126.

602

603.

O. WINSTON LINK New York/Virginia, 1914-2001 “Hester Fringer’s Living Room on the Tracks, Lithia, Virginia, 1956”. Silver gelatin print, 20” x 16”.

Framed 22.5” x 26.5”.

900/1,100 Illustrated: “Ghost Trains: Railroad Photographs of the 1950s by O. Winston Link” (Norfolk, Va.: Chrysler Museum, 1983), p. 15, reference number NW720.

603

164

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604.

BERND (BERNHARD) AND HILLA BECHER Germany, 1931-2007 and 1934-2015 Image from “Six Double Water Towers” Portfolio, 1972. Edition of 100. Photographic print on paper, 16.5” x 20.5”. Framed 18” x 22”.

3,000/5,000 Provenance: Acquired directly from the artists.

Private Collection, Germany.

Animation and Fine Art Galleries, Carrboro, North Carolina.

Sothebys.amazon.com, December 17, 1999.

Private Collection, Cape Cod, Massachusetts.

604

605.

BERND (BERNHARD) AND HILLA BECHER Germany, 1931-2007 and 1934-2015 Image from “Six Double Water Towers” Portfolio, 1972. Edition of 100. Photographic print on paper, 16.5” x 20.5”. Framed 18” x 22”.

3,000/5,000 Provenance: Acquired directly from the artists.

Private Collection, Germany.

Animation and Fine Art Galleries, Carrboro, North Carolina.

Sothebys.amazon.com, December 17, 1999.

Private Collection, Cape Cod, Massachusetts.

605

606.

BERND (BERNHARD) AND HILLA BECHER Germany, 1931-2007 and 1934-2015 Image from “Six Double Water Towers” Portfolio, 1972. Edition of 100. Photographic print on paper, 16.5” x 20.5”. Framed 18” x 22”.

3,000/5,000 Provenance: Acquired directly from the artists.

Private Collection, Germany.

Animation and Fine Art Galleries, Carrboro, North Carolina.

Sothebys.amazon.com, December 17, 1999.

Private Collection, Cape Cod, Massachusetts.

606

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165

JAMIE WYETH Pennsylvania/Maine/Delaware, b. 1946

607.

“S.O.S. 1981”.

Numbered 134/150 lower left.

Signed in pencil lower right “Jamie Wyeth”.

Etching on paper, sheet size 26” x 30”. Unframed.

800/1,200

608.

“Atlantic City Rolling Chair”.

Numbered 147/150. Signed in pencil lower right “Jamie Wyeth”. Etching on paper, sheet size 22.5” x 26”. Unframed.

800/1,200

609.

“Chicken Basket”.

Numbered 145/150. Signed in pencil lower right “Jamie Wyeth”. Etching on paper, sheet size 25” x 20”. Unframed.

500/700

607

608 609

166

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610.

PHILIP HOWARD (BLASHKI) EVERGOOD New York/Connecticut, 1901-1973 “Woman Cutting Thread 1926”. Signed and dated lower left “Philip Evergood ‘26”. Titled on label verso for Terry Dintenfass Gallery, New York. Pencil on paper, 14” x 12” sight.

Framed 22” x 19”.

800/1,200

611.

PHILIP HOWARD (BLASHKI) EVERGOOD New York/Connecticut, 1901-1973 Study of a nude. Signed and dated lower right “Philip Evergood '30”. Pencil on paper, 16” x 11.5” sight. Framed 23” x 18”.

800/1,200

610

611

612

612.

ANTONIO SUAREZ Spain, 1923-2013 Untitled abstract. Signed and dated lower right “Suarez '62”.

Inscribed verso “Suarez 1962 ... Madrid ... ‘Pintura 106’”.

(Painting 106). Oil on canvas, 32” x 40”. Framed 33.5” x 41”.

1,000/2,000

613.

LEON KROLL New York/New Mexico/Europe, 1884-1974 “Reclining Woman”. Unsigned. Titled on gallery label verso. Mixed media on paper, 18” x 11.75” sight.

Framed 25.75” x 19.5”.

800/1,200 Provenance: Spanierman Gallery, New York.

613

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167

614.

JOSEPH MEIERHANS New York/Pennsylvania/North Carolina/Switzerland, 1890-1980 Untitled abstract. Signed lower left “Jos Meierhans”.

Oil on masonite, 20” x 32”. Unframed.

800/1,200

615.

JOSEPH MEIERHANS New York/Pennsylvania/North Carolina/Switzerland, 1890-1980 Mountain landscape. Signed lower right “J. Meierhans”.

Watercolor on paper, 12” x 18” sight. Framed 21” x 27”.

500/700

614

615

616.

DENNIS MITCHELL United Kingdom, 1912-1993 Abstract gu form. Mounted on a black slate base.

Bronze, height 13”.

1,000/2,000

616

168

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VA C L AV V Y T L A C I L New York/California, 1892-1984

617

618

619

620

617.

“Sparkill N.Y. 1972”.

Signed lower left “Vytlacil”. Titled verso.

Mixed media on paper, 21.75” x 27.75”. Unframed.

2,000/3,000

619.

“Vine-Yard Landscapes”.

Signed and dated lower left “Vytlacil 1968”. Titled verso.

Oil and crayon on paper, 14” x 16.75”. Unframed.

2,000/3,000

618.

Colorful abstract.

620. Untitled abstract.

Signed and dated lower right "Vytlacil 1955". Unframed.

Signed lower right “Vaclav Vytlacil”. Mixed media on 1,000/1,500 paper, 8” x 10.5”. Framed 16” x 18”.

800/1,200

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169

SERGE CHARCHOUNE Russian Federation, 1888-1975

621

621.

170

Abstract with violion, bow and sheet music.

Signed lower right “S Charchoune.”. Oil on canvas mounted on board, 7.25” x 10.76”.

Framed 9” x 12”.

4,000/6,000

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622.

MOROCCAN DESIGN RUG: 10’3” x 13’10” 21st Century Simple steel blue lattice pattern on a borderless light cream field.

600/900

623.

UNUSUAL TRIBAL FLAT WOVEN STORAGE BAG: 9” x 1’9” Early 20th Century Face with blue, green, ivory and gold blossoming branches on a dark red field surrounded by a keyfret border. 100/150

622

624.

CONTEMPORARY FLATWEAVE RUG: 6’9” x 9’7” 21st Century Colorful amethyst, terracotta, dark blue, faded maize and aqua stripes compose a field that is traversed along the center by a subtle gray zigzag stripe.

500/800

625.

CHINESE PEKING RUG: 3’0” x 5’0” Early 20th Century A large flower vase on pedestal is surrounded by scholars’ objects rendered in blues, ivory, tan and brown on a pale yellow field. Keyfret and floral borders.

300/500

624

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171

626

626.

172

ARTS AND CRAFTS DESIGN RUG: 8’3” x 10’8” 21st Century William Morris design composed of a dense array of meandering branches bearing gray and celadon green leaves and bold dark red, tan and ivory orchid blossoms throughout a midnight blue field. Dark red guard borders. Main borders in colors and motif to match the field.

1,200/1,800

629

627.

CONTEMPORARY FLATWEAVE RUG: 9’6” x 11’8” 21st Century A yellow irregular wave pattern with a subtle amethyst outline traverses the center of a field composed of alternating panels in variegated shades of jungle green and Bengal orange.

700/1,000

629.

SULTANABAD DESIGN RUG: 8’1” x 10’0” 21st Century Light blue field with a variety of bold stylized blossoms emanating from a traditional meandering vine, all rendered in colorful shades of bright ivory, tan, pink, brassy gold, red, blue and violet.

900/1,200

628.

KAZAK DESIGN RUG: 5’1” x 6’7” 21st Century Light blue field with three columns of traditional geometric medallions in scarlet red, salmon red, cream, dark aqua and navy blue. Multiple bronze, navy blue, cream and scarlet red borders. 500/700

630.

SERAPI DESIGN RUG: 6’1” x 8’10” 21st Century Traditional dark rust red, salmon red, celadon green and midnight blue gabled medallion suspends light blue pendants on an ivory field. Salmon and celadon spandrels. Turtle motif throughout rust red border.

600/900

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631

632

633

631.

SOUMAC MAFRASH PANEL: 3’1” x 5’2” Second Quarter of 20th Century Three red and blue bands with numerous colorful stylized animals. Interior pink and green spearpoint borders and exterior ivory, red, green and blue geometric borders.

800/1,200 633.

632.

SUZANI PANEL: 1’9” x 4’10” Four red, blue, peach, magenta and tan blossoms are surrounded by teal blue garlands on an ivory field. Serpentine vine and flowers in colors to match field meander throughout the border.

500/1,000

TURKISH PRAYER RUG: 3’8” x 5’6” 19th/20th Century A slender gold cord suspends a delicate blue and ivory lamp and pendant on an abrashed red field beneath a latch hook mihrab and empty blue panel. Rectangular green and brown panels above and below the field and the green main border feature a variety of colorful elements.

500/800

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173

634

634.

174

MAHAL DESIGN RUG 12’0" x 18’5" Late 20th Century Traditional stylized blossoms in blues, pale green, ivory, pale gold, brown and subtle salmon red stretch in columns across a rust red field. Narrow light blue and gold guard borders. Navy blue main border with turtle motif.

2,000/3,000

635.

KURD HAMADAN RUG: 3’8” x 6’10” Abrashed blue medallion suspends anchor pendants and contains bright red and ivory stylized elements. Medallion is flanked by four geometric medallions on an otherwise empty ivory field. Dark blue subfield, broad red main border and light blue exterior border. 350/550

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636.

SAROUK RUG: 10’6" x 16’0" Mid-20th Century Elaborate clusters of flower branches in light and dark blue, greens, pink, ivory, peach, subtle yellow and orange are arranged symmetrically about a large floral bouquet at the center of a red field. Ivory, faded red and midnight blue borders.

1,000/2,000

636

637.

SPANISH SAVONNERIE RUG: 9’4” x 13’4” A robust meandering blue vine bears blue blossoms appearing in diagonal rows across a greenish-gold field. Blue main border with stylized Chinese clouds and gold mon.

1,000/2,000

637

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175

638

640

176

638.

KAZAK RUG: 4’1” x 9’6” 19th Century Seven red, blue, green, gray and tan geometric medallions with ivory outlines contain and are surrounded by a colorful variety of geometric shapes, small stylized blossoms and large boteh on a dark blue field. Main border with colorful serrated leaves arranged in a serpentine fashion.

1,000/1,500

639.

KARAJA RUG: 3’3” x 11’5” 20th Century Red field with traditional medallions that contain and are surrounded by a variety of stylized elements, including animal figures, all rendered in ivory, espresso, and faded shades of red, pink and light blue. Broad espresso main border with linear flowering branches.

500/700

640.

KAZAK DESIGN RUG: 4’10” x 9’7” Last Quarter of the 20th Century Three large red and ivory octagonal medallions occupy the center of a marine blue field. They contain and are surrounded by a typical variety of stylized branches and blossoms and geometric medallions, all rendered in shades of green, red, ivory, yellow and brown. Multiple borders with a variety of repeating motifs in colors to match the field and medallions.

600/900

641.

KAZAK DESIGN RUNNER: 2’8” x 13’0” 21st Century Light blue field with traditional sunburst and geometric medallions and serrated leaves rendered in dark red, light salmon red, light blue, cream and pale yellow. Small blossoms throughout. Cream and dark blue guard borders. Dark red main border.

500/700

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642

644

642.

SULTANABAD DESIGN RUG: 9’1” x 12’0” 21st Century Bold stylized celadon green, gold, tan, red, blue and ivory blossoms and fragments of serpentine branches on a light blue field. Bright ivory guard borders. Broad blue main border with colorful motifs to echo the field.

1,000/1,500

644.

SERAPI DESIGN RUG: 8’10" x 11’4" Late 20th Century Red medallion with green pendants occupies the center of an ivory field above a pink subfield with gold and blue spandrels.

Traditional array of meandering vines bearing blossoms and leaves throughout. Red main border.

800/1,200

643.

CHODOR PRAYER RUG: 2’10” x 3’9” First Half of the 20th Century Ivory field with simple red and blue Chodor guls. Multiple narrow borders and ribbon mihrab with a variety of small geometric elements in colors to match the field.

150/200

645.

MALAYER RUG: 4’3” x 7’3” Second Half of the 20th Century A broad faded red geometric medallion contains and is flanked by a variety of stylized branches, blossoms and geometric motifs in shades of blue, tan, gray and cream on an abrashed blue field.

Faded red guard borders. Navy blue main border.

400/600

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177

646

646.

NORTHWEST PERSIAN RUNNER: 3’2” x 14’0” Early 20th Century Field composed of a series of gabled overlapping geometric medallions in rich shades of light blue, dark blue, abrashed gold, dark red, brown, aqua and bright pink. Narrow red, blue and gold borders.

1,500/2,500

647.

KURD HAMADAN RUNNER: 3’6” x 16’6” Early 20th Century Three columns of colorful flower blossoms connected by an ivory linear vine traverse the length of a dark blue field. Similar motif in yellow main border. Red and blue guard borders.

800/1,200

647

178

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649

648

648.

650

WALTER CORNELL TALL-CASE CLOCK Newport, Rhode Island, Early 19th Century Cherry case with chestnut backboard.

Arched bonnet with arched glazed dial door and full front columns.

Arched pendulum door. Flat bracket base. Painted metal face with Roman numeral dial and bird and floral decoration. Second sweep and calendar aperture. Signed “Walter Cornell Newport”. Includes weight and pendulum. Height 85.5”.

Width 19.25”. Depth 10.75”.

2,500/3,000

649.

AMERICAN BANJO CLOCK Massachusetts, Circa 1810 Unsigned. Once had a finial on plinth. Total height 29”.

1,000/1,500

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650.

PAUL ROGERS TALL-CASE CLOCK Berwick, Maine, Late 18th/Early 19th Century Butternut case. Bonnet with three brass finials on plinths and a broken arch ending in carved rosettes. Arched dial door flanked by brass-capped full columns. Trunk with arched pendulum door flanked by brasscapped fluted quarter columns. Base with nicely shaped bracket feet.

Burnished steel dial with second sweep and calendar dial. Eight-day movement. Face signed. Complete with pendulum, weights and key.

Height 85”. Width 18”. Depth 10”.

1,500/2,500

179

651.

T. & E. RHODES FLOOR-STANDING REGULATOR CLOCK Kendal, England, Circa 1875 Dial signed “T. & E. Rhodes Kendal”. Beautifully figured mahogany dome-top case. Hinged access door in the hood. Full-length door with chamfered corners, three-quarter bead molding along the perimeter of the glass, and a finely carved foliate presentation below the dial. Architectural stepped base with chamfered lamb’s-tongue columns at sides and simple flat feet. Recessed panels at rear of case interior and on base panel with book match graining. Silvered 12” astronomical dial with outer Arabic numeral minutes ring and subsidiary Arabic numeral seconds and Roman numeral hour dials.

Blued steel hands. Eight-day movement with freestanding silvered beat scale/plaque, 5mm thick trapezoidal plates, maintaining power, and deadbeat escapement, outboard mounted cable roller, brasscased weight and a faceted mercury jar compensating pendulum.

Height 75”. Width 16”. Depth 11”.

8,000/10,000 Brothers Thomas and Edward Rhodes worked in Highgate, Kendal from 1869 to 1905.

651

180

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652.

AARON WILLARD FEDERAL TALL-CASE CLOCK Boston, Circa 1800 Mahogany Roxbury case. Bonnet with pierced fretwork and three brass steeple-top finials on plinths, arched glazed side panels and dial door, and fluted full front columns with brass stop fluting. Case with arched pendulum door and fluted quarter columns with brass stop fluting. Ogee bracket base. Expertly repainted metal face with Roman numeral dial and foliate and floral decoration at corners. Moon phase, second sweep and calendar aperture. Complete with weights and pendulum. Height 93.25”. Width 19”. Depth 10”.

10,000/15,000

652

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181

653.

653

654.

ELDRED WHEELER DUNLAP-STYLE SIDEBOARD Massachusetts, 20th Century In strong tiger maple. Three graduated full-width drawers, the top simulating three side-by-side drawers and the lower with central fan carving. Scroll- and fan-carved apron. Cabriole legs end in pad feet. Original paper label inside a drawer. Height 36”. Width 39”. Depth 19.75”.

1,000/1,500

HEPPLEWHITE BOWFRONT BUREAU Portsmouth, New Hampshire, Circa 1790 In mahogany and mahogany veneer. Four graduated full-width drawers with flame satin veneer panels. Shaped skirt. French splayed bracket feet. Height 36”. Width 39.5”.

Depth 21”.

2,500/3,000

654

182

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655

656

655.

QUEEN ANNE FLAT-TOP HIGHBOY New England, Circa 1790 In tiger maple. Upper case with three side-by-side drawers, the central with fan carving, over four fullwidth drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving.

Cabriole legs end in pad feet. Height 71”. Width 37”.

Depth 18.5”.

2,000/3,000

656.

ELDRED WHEELER TALL CHEST Massachusetts, 20th Century In tiger maple. Six graduated full-width drawers, the top simulating three side-by-side drawers with central fan carving. Shaped bracket base. Height 54.5”. Width 37”.

Depth 19”.

1,000/1,500

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183

657.

QUEEN ANNE BONNET-TOP HIGHBOY Wethersfield, Connecticut, Circa 1760 Attributed to Timothy Loomis. In cherry. Broken arch pediment with bold moldings.Upper case with three side-by-side drawers, the central with fan carving, over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Nicely shaped skirt. Cabriole legs with unusual hawk knee and pad feet. Height 87”.

Width 39.5”. Depth 19”.

10,000/15,000

657

184

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658

658.

EARLY QUEEN ANNE LOWBOY Probably Windsor, Connecticut, Mid-18th Century In maple with strong tiger maple solid drawer fronts.

Deep rich patina. Molded-edge top over a shallow fullwidth drawer over three varied side-by-side drawers.

Retains original engraved brasses. Shaped skirt with two drops. Diminutive cabriole legs end in modified slipper feet raised on turned balls. Height 29.75”.

Maximum width 36.25”. Width at waist 32.5”.

Depth 22.5”.

4,000/6,000 Illustrated: Connecticut Valley Furniture by Thomas and Alice Kugelman, catalog 8, p. 39.

659.

659

QUEEN ANNE WING BACK CHAIR New England, Mid-18th Century Broadly proportioned with rolled arms. Cabriole front legs and slightly tapered rear legs, all of which end in pad feet. Embroidered floral upholstery. Back height 48”.

Seat height 17.5”. Width at arms 33.5”. Seat depth 20”.

2,500/3,500

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185

660.

CHIPPENDALE-STYLE CAMELBACK SOFA Second Half of the 19th Century Molded front legs joined by H-stretchers. Beige damask upholstery. Back height 39”. Seat height 22”. Length 81.5”.

500/1,000

661.

ELDRED WHEELER TILT-TOP CANDLESTAND Massachusetts, 20th Century In cherry. Octagonal top on a turned pedestal raised on spade feet. Original label on underside of top. Height 29”.

Top 19.5” x 14”.

250/350

662.

BARTON-SHARPE, LTD. TEA TABLE New York, 20th Century In maple. Original Barton-Sharpe paper label on underside.

Height 25.5”. Top 26” x 18”.

300/400

663.

ELDRED WHEELER QUEEN-SIZE CANOPY BED Massachusetts, 20th Century In maple. Fluted and turned posts with urn-form finials. Eldred Wheeler stamp on back of headboard. Includes finials, rails, bolts, center mattress support and canopy support. Post heights 66”. Headboard width 65.5”.

1,400/1,800

660

186

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664.

CHIPPENDALE TWO-PART CHEST ON CHEST Connecticut, Circa 1780 In cherry. Upper case with a central fan-carved deep drawer flanked by stacks of two small drawers, all over four graduated full-width drawers. Lower case with four graduated full-width drawers and dovetailed flat bracket feet. Height 72.5”.

Width 39.5”. Depth 19.5”.

1,800/2,500

664

665.

CHIPPENDALE CHEST ON CHEST New England, Circa 1780 In maple. Upper case with five graduated full-width drawers, the upper simulating three side-by-side drawers with central fan carving. Lower case with three graduated full-width drawers and bracket feet. Married.

1,200/1,800 Provenance Richard A. Bourne Company, Hyannis, Massachusetts, July 1968, purchased by the current owner.

665

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187

666

667

666.

JOHN WILLIAM CASILEAR New York/Vermont, 1811-1893 Study of trees. Unsigned. Identified on gallery label verso. Pencil on paper, 10.5” x 13.5”.

Unframed. 500/1,000

667.

JOHN WILLIAM CASILEAR New York/Vermont, 1811-1893 “Study of a Tree”. Inscribed and dated lower right “Shandaken Aug 15. 76”. Titled on label verso. Pencil on paper, 11” x 9.5” sight.

Framed 15.75” x 14.25”.

500/1,000

668.

FREDERICK BOSLEY Massachusetts/New Hampshire, 1881-1942 Portrait of a girl. Signed and dated lower right “Frederick Bosley 1925”. Pencil on paper, 18” x 14.5” sight. Framed 28” x 24”.

700/1,000

668

188

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669

670

669.

ROBERT SPEAR DUNNING Massachusetts/New Hampshire, 1829-1905 Still life of fruit. Signed and dated “R.S. Dunning 1885”. Signed and dated verso “R.S. Dunning Painter. 1885”. Oil on canvas, 12” x 16”. Framed 23” x 27”. 15,000/25,000

670.

JOHN CHRISTOPHER MILES Massachusetts/Canada, 1837-1911 Still life of grapes. Signed lower left “J.C. Miles”. Oil on canvas, 8” x 12”. Framed 16” x 20”.

1,000/1,500

Provenance: Private Connecticut Collection.

Shannon’s Fine Art Auctioneers, Milford, Connecticut, April 28, 2016, Lot #100.

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189

671.

PAUL DE LONGPRE California/France, 1855-1911 Still life of red and white carnations in a vase. Signed and dated lower left “Paul de Longpre Los Angeles 1902”.

Watercolor on paper, 19” x 24” sight.

Framed 26.5” x 31.5”.

3,000/5,000

672.

ATTRIBUTED TO LOUIS LANG New York/Pennsylvania, 1814-1893 Children in a garden. Unsigned. Oil on canvas, 14.5” x 17.75”. Framed 22” x 27”.

1,000/1,500

671

672

190

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673

673.

HARRY HERMAN ROSELAND New York, 1868-1950 The fortune-teller. Signed and dated upper left “Harry Roseland Copyright 1905”.

Oil on canvas, 18” x 24”. Framed 33” x 37”.

5,000/10,000

674.

DANIEL HUNTINGTON New York, 1816-1906 Portrait of a young woman. Unsigned.

Inscribed lower left and right. Identified on gallery label verso. Framed. 500/1,000 Provenance: Spanierman Gallery, New York.

674

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191

675.

675

676

677

678

WILLIAM RICKARBY MILLER New York, 1818-1893 “Fall In the Catskill Clove, 1859”. Signed and dated lower left “W.R.Miller 1859”. Titled verso. Watercolor on paper, 11.25” x 15.25” sight. Framed 21” x 25”.

1,000/1,500 Provenance: Grogan & Company, Boston.

The Estate of Willie Postar, 2014.

676.

192

NIKOLAY TYSLAND LEGANGER New York, 1832-1905 “On Concord River -- Mass”. Signed lower left “N.T. Leganger”. Titled and dated 1895 verso. Oil on canvas, 25.25” x 29.5”. Framed 29” x 43”.

500/1,000

677.

OTTO GREBZE Canada, 1910-1999 “Niagara Falls on the American Side”. Signed and dated lower right “O.N. Grebze 1950”. Titled verso. Oil on canvas, 26” x 33”. Framed 31.25” x 38.25”.

500/700

678.

MARTIN JOHNSON HEADE New York/Massachusetts/Florida, 1819-1904 “Two Trees”. Unsigned. Titled on gallery label verso. Pencil on paper, 6.75” x 9.75” sight. Framed 17” x 21”.

800/1,200 Provenance: Eaton Fine Art, West Palm Beach, Florida.

Spanierman Gallery, New York.

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679

680

679.

GEORGE INNESS, JR. New York/Florida/France, 1854-1926 Meadow landscape with house. Signed lower left “Innes Jr.”.

Oil on canvas, 26” x 32”. Framed 34” x 40”.

4,000/6,000

680.

JAMES WETHERED BELL America, Late 19th Century Hudson River view. Signed and dated lower left “JW Bell 1882”. Oil on canvas, 30” x 50”. Framed 40.5” x 60.5”.

6,000/8,000

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193

681.

ALFRED THOMPSON BRICHER New York/New Hampshire, 1837-1908 Two coastal views. Both signed lower right “AT Bricher”.

Watercolors on paper, 9.5” x 19.5”. Framed 18” x 28”.

4,000/6,000

681, two

682.

WHITE MOUNTAIN SCHOOL 19th Century Birches on a rocky stream. Unsigned. Oil on canvas, 22” x 14”. Framed 27.5” x 19.5”.

500/1,000

682

683.

FRANK HENRY SHAPLEIGH New Hampshire, 1842-1906 Coastal Maine scene. Signed lower left “FH Shapleigh”.

Oil on canvas, 10” x 16”. Framed 18.5” x 24.5”.

2,000/3,000

683

194

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684.

WESLEY ELBRIDGE WEBBER Massachusetts/California/Maine, 1841-1914 Autumnal river landscape with figures. Signed lower right “W. Webber”. Oil on canvas, 14” x 24”.

Framed 23” x 33”.

2,000/3,000

684

685.

OWEN CULLEN YATES New York/Pennsylvania/Ohio, 1866-1945 Rocky coastal scene with calm waters in the distance.

Signed lower left “Cullen Yates”. Oil on artist panel, 24.5” x 29.5”. Framed 30.5” x 35”. 3,000/5,000

685

686.

GEORGE DREW New York, 1875-1968 “Shore Scene with Rocks & Sailboats”.

Signed lower left “George W. Drew”. Titled on frame plaque. Oil on canvas, 10” x 20”.

Framed 16” x 27”.

2,000/3,000 Provenance: Roger King Fine Arts, Rhode Island.

686

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195

FITZ HENRY LANE Massachusetts, 1804-1865

687

687.

“The Blood Family Homestead”.

Signed, dated and inscribed verso “The Residence of Reuben Blood Esq., Town of Stirling [sic], Mass Painted from a sketch taken August 1859 By Fitz H. Lane”. Oil on canvas, 18” x 30”. Framed 22” x 35”.

100,000/150,000 Provenance: Purchased from Kenneth Russell Lowe, Keene, New Hampshire, 1992.

Literature: For a smaller version painted by Lane and another version painted by Mary B. Mellen, see John Wilmerding’s Fitz Henry Lane & Mary Blood Mellen: Old Mysteries and New Discoveries, p. 70-71, cat. 19-20.

This painting is included in the Fitz Henry Lane catalogue raisonne being compiled at the Cape Ann Museum, Gloucester, Massachusetts.

196

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197

FITZ HENRY LANE Massachusetts, 1804-1865

688

688.

“View of Newburyport from Salisbury”.

From a sketch by A. Conant, Lane & Scott’s Lithography, Boston, published by A. Conant, 1846.

Lithograph with hand-coloring, 17.75” x 26” sight.

Framed 26” x 33.5”.

800/1,200 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 20-21, 1994, Lot #818.

Literature: Illustrated in Georgia B. Barnhill and Melissa Geisler Trafton’s Drawn from Nature & On Stone: The Lithographs of Fitz Henry Lane (Cape Ann Museum, 2017), p. 92, fig. 53.

Cape Ann Museum’s catalogue raisonne, Fitz Henry Lane Online, inventory #440.

198

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689

689.

“View of Gloucester From Rocky Neck”.

Drawn and published by Fitz H. Lane, Lane & Scott’s Lithography, Boston, 1846. Lithograph on tinted paper, 25” x 38” sight. Framed 34” x 47”.

800/1,200 Literature: For a detailed guide to the vessels, wharves and buildings depicted by Lane in this view, as well as its exhibition history and published references, see the Cape Ann Museum’s catalogue raisonne, Fitz Henry Lane Online, inventory #92.

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199

690.

WILLIAM MCGREGOR PAXTON Massachusetts/Maryland, 1869-1941 Sketchbook containing approx. 15 figural sketches. Some, but not all, signed “Paxton”. Sheet sizes 8.25” x 11.75”.

2,000/3,000

690

691.

DENIS MILLER BUNKER Massachusetts, 1861-1890 Figural sketches. Unsigned. Mixed medias on paper, 12” x 8.5”. Unframed.

1,000/2,000

691

200

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692

693

694

695

692.

PETER MORAN Pennsylvania, 1841-1914 Pond in a pasture. Signed lower left “P. Moran”. Watercolor on paper, 8.5” x 11” sight. Framed 16.5” x 19”.

800/1,200

694.

ATTRIBUTED TO SAMUEL COLMAN New York/California/Maine, 1832-1920 Landscape at dusk. Unsigned. Pencil notation verso attributes the work to Colman. Oil on unstretched canvas, 7.5” x 13”.

Unframed. 500/700

693.

THOMAS MORAN Pennsylvania/California, 1837-1926 Sketch of a rocky coastline. Monogrammed lower left “TM”.

Pencil on paper, 10” x 19.25”. Unframed.

700/1,000

695.

RUSSELL SMITH Pennsylvania/Scotland, 1812-1896 “Ben Nevis from the Calidonian’s Canal”, a view of the ship Nevis with mountain range in the distance. Signed verso “Russell Smith”. Oil on canvas, 8.25” x 12”. Framed 13” x 17”.

600/1,000

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201

696.

CHARLES HENRY GIFFORD Massachusetts, 1839-1904 Up for repairs. Signed and dated lower right “C.H. Gifford 1886”. Oil on canvas, 24” x 18”.

Framed 33” x 26”.

7,000/9,000

697.

LEMUEL D. ELDRED Massachusetts, 1848-1921 Sunset over a rocky coast. Signed lower right “L.D. Eldred”. Oil on canvas, 22” x 32”.

Framed 34.5” x 44.5”.

6,000/9,000

696

697

202

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698.

ALLEN TUCKER New York, 1866-1939 Clouds over trees and mountains. Signed and dated lower right “Allen Tucker 1930”. Housed in a Whistler NewcombMacklin frame. Oil on canvas, 25” x 30”.

Framed 33.5” x 38.5”.

8,000/12,000 Provenance: A Cape Cod, Massachusetts estate.

698

699.

WINCKWORTH ALLAN GAY Massachusetts, 1821-1910 Boathouse. Signed lower right “W.A. Gay 1863”. Oil on canvas, 17.5” x 21.75”.

Framed 26.75” x 30.75”. 5,000/10,000

699

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203

WILLIAM TROST RICHARDS Pennsylvania/Rhode Island, 1833-1905

700

700.

204

Sunlight over crashing waves.

Signed lower left “W.T. Richards”.

Oil on board, 8.75” x 16”. Framed 15” x 23”.

8,000/12,000

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701

701.

Fog descending over the coast.

Signed lower left “W.T. Richards”.

Oil on canvas, 27” x 47”. Framed 36.5” x 56.5”.

30,000/50,000

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205

D AV I D J O H N S O N New York, 1827-1908

703

704

702, three

702.

Three sketches.

703. “Apple Tree Plainfield N.J.”.

Two of trees and one of a landscape.

Titled, monogrammed and Unframed. 700/1,000 dated lower left “DJ 92”. Pencil on paper, 9” x 12.75” sight.

Framed 17.75” x 21.5”.

600/900

704.

Provenance: Spanierman Gallery, New York.

Exhibited: Arkansas Art Center 2002 Collector’s Show, November 22 - December 29, 2002.

206

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“Chestnut, Dashville, NY”.

Titled, monogrammed and dated 1872 lower right. Pencil on paper, 14” x 18” sight. Framed 21.5” x 26”.

700/1,000

JOHN FRANCIS MURPHY New York/Illinois, 1853-1921

705.

“October Afternoon 1917”.

Signed and dated lower left “J.F. Murphy 1917”. Oil on canvas, 7” x 9”. Framed 12” x 14”.

2,000/3,000 Provenance: Spanierman Gallery, New York.

706.

Trees and a pond in an expansive landscape.

Monogrammed lower right. Gouache on paper, 3.5” x 4.5” sight. Framed 9” x 10”.

700/1,000 Provenance: Spanierman Gallery, New York.

705

707

706

707.

Study of trees.

Signed lower left “J.F. Murphy”. Pencil on paper, 8” x 11” sight.

Framed 14” x 17.5”.

500/700

708.

“Miner’s Blacksmith Shop, Hibernia, New Jersey, 1877”.

Signed lower left “J.F. Murphy”. Titled verso. Oil on canvas, 10” x 12”. Framed 16” x 17.5”.

1,500/2,500 Provenance: J. Francis Murphy estate sale, November 1926 (stamped verso).

Mr. and Mrs. Herbert Baer Brill.

Exhibited: The Hudson River Museum, “J. Francis Murphy, The landscape Within”, April 29- July 4, 1982.

708

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207

709

208

709.

JAMES ABBOTT MCNEILL WHISTLER Massachusetts/England/France, 1834-1903 “Billingsgate” Includes label “Framed in Goodspeed’s Book Shop, Inc. July13, 1933 3115 Whistler Billingsgate Etching”.

Etching on paper, 9.5” x 13.5”. Framed.

700/1,000

710.

JAMES ABBOTT MCNEILL WHISTLER Massachusetts/England/France, 1834-1903 “The Wine-Glass”. Includes label from Frederick Keppel & Co. “508 The Wine Glass etched by Whistler (1859) Wedmore, catalogue, No. 31”. Etching on paper, 5.25” x 3.25”.

Unframed. 1,000/2,000

711.

710

JAMES ABBOTT MCNEILL WHISTLER ALS Circa 1864 Addressed “Dear Gambart” and discusses the copyright for a picture. In a post script Whistler declines a proposed visit to Garibaldi. The recipient wrote “1864 Whistler Apl” on the reverse. In a folder for Goodspeed’s Book Shop, Boston.

Sheet size 7” x 9”. Unframed.

1,500/2,000

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712

712.

CHARLES WARREN EATON New York/New Jersey, 1857-1937 Broken fence along the tree line. Signed lower right “Chas.

Warren Eaton”. Oil on canvas, 18” x 16”. Unframed.

2,000/3,000

713.

CHARLES WARREN EATON New York/New Jersey, 1857-1937 Landscape and cloud study. Signed lower right “Chas.

Warren Eaton”. Monotype on paper, 8” x 5.75” sight.

Framed 16” x 13.5”.

500/1,000

713

714.

JOHN FABIAN CARLSON New York/Colorado/Sweden, 1874-1945 “Autumn Sketch #2”. Unsigned. Titled verso. Vose Galleries estate stamp verso. Oil on board, 11.75” x 15.75”. Unframed.

800/1,200

715.

JOHN FABIAN CARLSON New York/Colorado/Sweden, 1874-1945 “Spring Contest”. Unsigned. Titled verso. Vose Galleries estate stamp verso. Oil on board, 6.5” x 6”. Framed 14.25” x 13.5”.

800/1,200

714

715

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209

716.

CHIPPENDALE OXBOW BUREAU Eastern Massachusetts, Circa 1780 In old, possibly original, red wash finish. Four graduated full-width drawers. Central drop at skirt with relief-carved shell. Bold claw & ball feet. Height 34.25”. Width 39”. Depth 22.25”.

9,000/12,000

716

717.

CHIPPENDALE OXBOW CHEST Boston or Salem, Massachusetts, 18th Century In beautifully grained mahogany. Bold overhanging top with molded edge. Four graduated full-width drawers retain original oval bail-handled brasses molded with stars surrounding a spread-wing eagle with a Liberty shield at its breast. Blocked ogee feet. Height 30.5”. Width 37.75”.

Depth 21.5”.

10,000/12,000 Provenance: The estate of the Duchess of Devonshire, sister-in-law of Kathleen “Kick” Kennedy, who was a sister of President John F. Kennedy. Against the wishes of her parents, Kathleen, who was Catholic, married the Duke of Devonshire, who was Protestant, in 1944. He was killed by a sniper during World War II just a few months after their wedding, and his younger brother inherited his title. Kathleen died in a plane crash in 1948, and many of her possessions remained at Chatsworth House, the seat of the Duke of Devonshire. It is believed this chest was amongst Kathleen’s items inherited by her in-laws.

210

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717

718

718.

CHIPPENDALE FLAT-TOP HIGHBOY Eastern Massachusetts, Circa 1780 In old, possibly original, red wash finish. Upper case with four graduated full-width drawers. Lower case with a fullwidth drawer over three side-by-side drawers, the central with fan carving. Cabriole legs end in claw & ball feet.

Height 69”. Width 37.5”. Depth 20.25”. 9,000/12,000

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211

719.

ELDRED WHEELER CHIPPENDALE-STYLE CHEST Massachusetts, 20th Century Maple top and drawer fronts and the case painted black.

Four full-width drawers. Flat bracket feet. Original paper label inside a drawer. Height 34”. Width 35”. Depth 19”.

400/700

719

720.

SHERATON BOWFRONT CHEST Circa 1810 In mahogany and mahogany veneer. Top with turret corners. Four full-width drawers. Case fronted by three-quarter turned and reeded columns terminating in tapered feet. Shaped apron. Height 38”. Width 43”. Depth 23”.

500/800

720

721.

ELDRED WHEELER CHIPPENDALE-STYLE CHEST Massachusetts, 20th Century In cherry. Four graduated full-width drawers. Flat bracket base.

Original Eldred Wheeler label inside a drawer. Height 33.5”.

Width 35”. Depth 18.5”.

600/900

721

212

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722.

ELDRED WHEELER CHIPPENDALE-STYLE CHEST Massachusetts, 20th Century In maple. Four graduated full-width drawers with tiger maple fronts. Flat bracket base. Original label inside a drawer. Height 33.5”. Width 35”. Depth 18.5”.

600/1,000

722

723.

ELDRED WHEELER BLOCK-FRONT CHEST Massachusetts, 20th Century In strong tiger maple. Four graduated full-width drawers.

Shaped bracket feet. Eldred Wheeler label in top drawer.

Height 32”. Width 37”. Depth 20.5”.

1,000/1,500

723

724.

HEPPLEWHITE BOWFRONT CHEST Circa 1790 In cherry, with four graduated full-width drawers and high French splayed feet.

Height 37.5”. Width 41.5”. Depth 22.25”.

1,500/1,800

724

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213

725

725.

ELDRED WHEELER QUEEN ANNE-STYLE DINING TABLE Massachusetts, 20th Century In maple. Includes two leaves. Original Eldred Wheeler paper label and brand on underside. Height 29.5”. Length 59.25”.

Width 41.5”.

1,000/1,500

726

726.

214

ELDRED WHEELER TWO-PART PEDESTAL DINING TABLE Massachusetts, 20th Century In cherry, with turned pedestals and pad feet. Includes slides and two 21” leaves. Height 32”. Length 82”. Width 47”. 1,000/1,500

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727 728

729

727.

ELDRED WHEELER NANTUCKET-STYLE TEA TABLE Massachusetts, 20th Century In tiger maple, with candle slides, shaped apron and cabriole legs ending in pad feet. Original label on underside. Height 27”. Length 28”.

Width 18”.

800/1,200

728.

NANTUCKET QUEEN ANNE 729. ELDRED WHEELER TILT-TOP TABLE NANTUCKET-STYLE TEA TABLE Massachusetts, Late 18th Century Massachusetts, 20th Century In mahogany. Shaped top indicative In tiger maple, with shaped apron of Nantucket cabinetmakers. Column and cabriole legs ending in pad feet. and urn-form pedestal raised on Original label on underside. cabriole legs ending in snake feet.

Height 27”. Length 28”. Width 18”.

Height 27.5”. Top 19.5” x 18.75”.

800/1,200 500/700 Provenance: Property of a direct descendant of Thomas Jefferson, the contents of the Brick House at Coolidge Point, Manchester by the Sea, Massachusetts.

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215

730.

WILLIAM HENRY COFFIN Massachusetts, 1812-1898 Harbor scene with pier. Signed and dated lower right “W. Coffin 85”. Oil on canvas, 9” x 14”. Framed 12.5” x 17.5”.

800/1,200

731.

JOY BIDDLE Massachusetts/Maine, 1928-2007 Winter landscape. Signed lower left “Joy Biddle”.

Acrylic on canvas, 18” x 24”. Framed 23” x 30”.

800/1,000

732.

VERNON HERBERT COLEMAN Massachusetts/Connecticut, 1898-1978 Mending the nets. Signed, inscribed and dated lower left “Vernon Coleman Cape Cod ‘73”. Oil on canvas, 18” x 24”. Framed 26” x 31”.

700/900

730

731

732

216

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733

734

735

736

733.

ATTRIBUTED TO CHARLES DREW CAHOON Massachusetts, 1861-1951 Ship off a lighthouse. Unsigned. Oil on canvas, 17” x 22”. Framed 20.25” x 25.75”. 1,200/1,800

735.

CHARLES DREW CAHOON Massachusetts, 1861-1951 Dune landscape. Signed lower right “C.D. Cahoon”.

Oil on masonite, 17” x 25.75”. Framed 20.5” x 29.5”.

2,500/3,500

734.

ATTRIBUTED TO CHARLES DREW CAHOON Massachusetts, 1861-1951 Dune scene with distant ship. Unsigned. Oil on canvas, 12.5” x 17.5”. Framed 16” x 20.5”.

1,200/1,800

736.

CHARLES DREW CAHOON Massachusetts, 1861-1951 Coastal scene. Signed lower right “C.D. Cahoon”.

Oil on board, 14.5” x 24”. Framed 18” x 27”.

2,500/3,500

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217

HAROLD DUNBAR Massachusetts, 1882-1953

737.

Pond landscape.

Signed lower left “H.C. Dunbar”.

Oil on canvas, 11” x 14”. Framed 18” x 21”.

1,200/1,500

737

738.

“Fishing Schooners in Port”.

Signed lower right “Harold Dunbar”.

Titled, signed and dated 1953 verso.

Oil on board, 12” x 15”. Framed 14” x 17”.

400/600

738

739.

Coastal shacks, one with “Cornella” on sign over the door.

Artist’s label verso. Oil on board, 7.5” x 9”.

Framed 15” x 16”.

800/1,000

739

218

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740

740.

741.

VERNON B. SMITH Massachusetts, 1894-1969 Boats in a harbor. Signed and dated “Vernon Smith 1956” and inscribed “No 11” verso. Painted wood bas relief carving, 22” x 84”.

2,000/5,000

ERIC A. FARHAM Harwich, Massachusetts, 1919-2006 Covered firkin with painted decoration of grapes, plums and leaves on a mustard yellow ground. Signed and dated on underside “E. Farham Anno -1987”. Height 12”.

Diameter 12”.

300/500

741

742.

WENDELL M. ROGERS Massachusetts, 1890-1973 Preparing for a day of fishing. Signed lower left “Wendell M. Rogers”. Oil on canvas, 34” x 42”.

Framed 39” x 46”.

3,000/5,000

742

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219

743

745

744

220

743.

LLOYD EMBRY Massachusetts, Mid-20th Century Sailboat on the beach, likely Cape Cod, Massachusetts. Signed lower left “Lloyd Embry”. Watercolor on paper, 11.25” x 17” sight. Framed 19.5” x 24.75”.

400/600

744.

F.E. ROBERTS America, 20th Century Dune scene. Signed and dated lower right “F.E. Roberts 33”.

Oil on board, 12” x 16”. Framed 16” x 20”.

500/700

745.

RICHARD WHORF California/Massachusetts, 1906-1966 French waterfront street scene. Signed and dated lower left “Richard Whorf 1931”. Gouache on paper, 17” x 14” sight.

Framed 25” x 22”.

700/1,000

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SAM (SAMIR) BARBER Massachusetts/Italy, b. 1943

746

In the mid-1960s, when he was in his twenties, Sam Barber adopted the Impressionist color theories of Henry Hensche. In concert with American and French Impressionism, Barber has developed his unique style of airy and light “broken color” brushwork. He primarily captures scenes of Cape Cod, where he makes his home, but he also travels extensively. Born in Europe but raised in New York, he attended the Art Students League on a scholarship. He is a member of the Society of American Impressionists and his work is in public and private collections throughout the world.

747

746.

Harbor landscape with dock.

Signed lower left “S. Barber”. Oil on canvas, 16” x 20”. Framed 23” x 27”.

800/1,000

747.

“Town Hall Provincetown”.

Signed lower right “S. Barber”. Titled, signed and dated 2004 verso. Oil on canvas, 11” x 14”. Framed 16.5” x 9.5”. 600/800

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221

748.

WILLIAM A. DRAKE Canada, 1891-1964 “A Fisherman’s Shanty”. Signed lower right “William A. Drake”. Etching on paper, 7.5” x 9.75” to the plate line.

Framed 15.5” x 17”.

300/400 Exhibited: The Art Gallery of Toronto, Exhibition of Graphic Art, number #73.

748

750

749.

ALBERT H. EDEL Massachusetts/France, 1894-1970 “The Town Wharf ”. Signed lower right “A. Edel”. Titled lower left. Etching, 4.75” x 6” to the plate line. Framed 12” x 12”.

200/250

750.

DONALD FREDERICK WITHERSTINE Massachusetts, 1895-1961 “Bringing in the Nets”. Signed in pencil lower right “Donald Witherstine”. Titled lower left. Woodcut on paper, 10” x 9” sight. Framed 23.5” x 23.5”. 200/300

751.

LUCY L’ENGLE New York/Massachusetts, 1889-1978 “The Bird Demon” (Hittite). Titled lower center and on label verso. Mixed media on paper, 16” x 12” sight.

Framed 20” x 16”.

300/500

Provenance: Annual Provincetown Art Association Museum (PAAM) Auction, 1997, Lot #25.

751

222

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752, two

752.

BLANCHE LAZZELL Massachusetts/West Virginia, 1878-1959 Two sketches for an oil painting. Unsigned. The finished original is in a private collection in New York. Pencils on paper, largest 12” x 10”. Unframed.

3,000/5,000

753.

TOD LINDENMUTH Massachusetts/Florida, 1885-1976 “Mantas Wharf ” (Provincetown, Massachusetts). Signed in pencil lower right “Tod Lindenmuth”. Titled in pencil lower left. Color woodcut on paper, 12” x 15” sight.

Framed 22” x 24.5”.

1,200/1,800

753

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223

754.

LOUIS LOZOWICK New Jersey/New York/Russian Federation, 1892-1973 “Far View of Provincetown”. Numbered 10/15. Signed and dated lower right “Louis Lozowick ‘68”. Lithograph on paper, 17” x 8.5” sight. Framed 24.5” x 14.5”.

300/500

755.

BLACK AND WHITE PHOTOGRAPH OF A BIRD’S-EYE VIEW OF PROVINCETOWN 20th Century Taken during the building of the Pilgrim Monument.

22” x 37” sight. Framed 31” x 47”.

300/500

754

755

756.

757.

ANGELE E. MYRER Massachusetts, 1896-1970 “Tree and Candles #2”. Signed in pencil lower center “Angele Myrer”. Titled and inscribed verso “original design woodblock water color print”. Whiteline woodcut on paper, 7.5” x 6.25”. Framed 10.5” x 8.5”. 800/1,000

756

ANGELE E. MYRER Massachusetts, 1896-1970 The Weavers. Monogramed lower right “AM”. Whiteline woodcut on paper, 7” x 5.25”. Framed 8.5” x 10.5”.

700/900

757

224

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758.

HOWARD MITCHAM Massachusetts/Mississippi, 1917-1996 “Quiet Harbor, 1950”. Signed lower right “Mitcham 1950”. Titled lower left. Hand-colored woodblock print, 5.75” x 7.25”. Matted 10” x 12”.

200/300 Provenance: Annual Provincetown Art Association Museum (PAAM) Auction, 1997, Lot #139.

Private Cape Cod, Massachusetts Collection.

758

759.

ELIZABETH BOARDMAN (E.B.) WARREN Massachusetts/Florida/Maine, 1886-1980 Street scene, Provincetown, Massachusetts. Signed lower left “E.B. Warren”. Mixed media on paper, 13” x 10” sight. Framed 21” x 17”.

400/600

759

760.

MAURICE KING BURNS New York/Massachusetts, 1895-1934 Street scene, likely Provincetown, Massachusetts.

Signed lower right “Maurice Burns”. Oil on canvas, 25” x 30”. Framed 32” x 37”.

1,200/1,800

760

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225

LILLIAN BURK MEESER Pennsylvania/Michigan, 1864-1942

761

762

226

761.

Coastal dune landscape.

Signed lower right “Meeser”.

Oil on board, 10” x 10”. Framed 12” x 12”.

500/700

762.

Still life of roses and a figurine.

Signed lower left “Meeser”.

Watercolor on paper, 13” x 10” sight.

Framed 20” x 16”.

300/500

763.

Fishing off the wharf, Provincetown.

Signed lower right “Meeser”. Housed in a Summit frame. Oil on board, 10” x 8”.

Framed 19” x 17”.

700/900

764.

Fishing boats in the harbor.

Signed lower right “Meeser”. Oil on board, 14” x 12”. Framed 18” x 16”.

1,000/2,000

763

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764

HENRY HENSCHE Massachusetts/Louisiana/Germany, 1899-1992

765

765.

Portrait of Mrs. Siminoff, 1957.

Unsigned. Artist and sitter identified on handwritten note by sitter, attached verso.

Oil on canvas, 20” x 16”. Framed 28” x 23”.

800/1,000

766.

Portrait of a woman in blue.

Signed lower right “Henry Hensche”. G uild of Boston Artists label verso. Oil on canvas, 25” x 20”. Framed 31” x 27”. 900/1,100

767.

Still life of two vases and a bowl.

Signed lower right “Henry Hensche”. Oil on canvas, 22” x 26”. Framed 28” x 24”.

1,500/2,500

768.

Still life of a bowl and a pitcher filled with flowers.

Signed lower right “H. Hensche”. Oil on canvas, 20” x 24”. Framed 25” x 29”.

1,500/2,500

766

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767

768

227

JOHN CUTHBERT HARE Massachusetts/Florida, 1908-1978

769

770

771

769.

228

772

“Early Morning Fog, Gloucester Harbor”.

Signed lower right “John Hare”. Oil on canvas, 20” x 30”.

Framed 26.5” x 36.5”.

1,000/1,500

770.

“Old Fishing Wharf Gloucester”.

Signed lower right “John Hare”. Watercolor on paper, 14” x 17” sight. Framed 22.5” x 26.5”.

500/700

771.

“Clearing Weather”.

Signed lower right “John Hare”. Oil on canvas, 24” x 30”.

Framed 28.5” x 34.5”.

1,000/1,500

772.

“Rock Harbor”.

Signed lower right “John Hare”. Titled verso. Oil on canvas, 20” x 30”. Framed 25” x 36”.

700/900

John Cuthbert Hare was a watercolorist who painted boats, seascapes and harbor scenes. He was primarily associated with New England, especially Cape Cod, Massachusetts, where he spent his summers from 1938 to 1965. However, he also painted in Florida, where was a member of the St. Augustine Art Association as well as other locations on the East Coast.

It is likely Hare was born in New York City. He studied commercial art in Brooklyn at the Pratt Institute and in Manhattan at the Art Students League. He also worked for Hearst Newspaper Corporation.

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ROSS MOFFETT Massachusetts/California/Iowa, 1888-1971

773

773.

Tabletop still life with a clock and shells.

Signed upper right “Moffett”. Oil on canvas, 20” x 30”. Framed 26” x 36”.

7,000/9,000

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229

775, two

774.

MARY CROCKER FASSETT Massachusetts, 1915-2016 Portrait of Jancis Robinson. Signed lower right “Mary Fassett ...1970’s”. Mixed media on paper, 18” x 12.5” sight. Framed 27” x 12.5”.

200/400

775.

COURTNEY CHARLES ALLEN New York/Massachusetts/France, 1896-1969 Two works: 1) Seated nude. Unsigned. Dated “January 6/30, 25 min.”. Watercolor on paper, 11” x 11” sight.

Framed 16” x 16”.

2) Nude kneeling on one leg. Signed lower center and dated “May 8/29, 10 min”. Charcoal on paper, 15.5” x 10” sight. Framed 21.5” x 15.5”. 300/400 Provenance: From the collection of Truro Historical Society Museum, Truro, Massachusetts, September 1995.

776

776.

ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Crashing waves. Signed lower left “Arthur V. Diehl”.

Oil on canvas, 8” x 10”. Framed 10.5” x 12.5”.

500/1,000

777.

ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Winter sunset. Signed lower right “A.V. Diehl”.

Oil on board, 8” x 10”. Framed 9.25” x 11.25”.

500/1,000

777

230

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778.

LEWIS PAINTER CLEPHANE Massachusetts/Florida, 1869-1948 “Provincetown, Cape Cod, 1937”. Signed lower left “Lewis Painter Clephane”. Titled, signed and dated verso. Oil on board, 20” x 24”. Framed 26” x 30”.

1,200/1,500 Provenance: Private Collection, Cape Cod, Massachusetts.

Exhibited: Florida Federation 11th Annual Art Exhibit, 1937.

779.

778

GERRIT HONDIUS New York, 1891-1970 Buoys. Signed upper left “G Hondius”. Housed in a Heydenryk frame. Mixed media on paper, 13” x 10”. Framed 22.5” x 19”.

500/700 Provenance: Outer Cape Auctions, December 30, 2007, Lot #23.

780 779

780.

CHARLES LLOYD HEINZ Illinois/Massachusetts, 1884-1953 Fishing boat in the harbor. Signed lower left “Charles L. Heinz”. Watercolor and gouache on paper, 17” x 23” sight.

Framed 24” x 30”.

600/800

781.

HEINRICH HERMAN R. PFEIFFER Massachusetts/Florida, 1874-1960 Cottage scene. Signed lower right “Pfeiffer”. Oil on board, 13.5” x 15.5” sight. Framed 18” x 21”.

500/700

781

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231

JOHN WHORF Massachusetts, 1903-1959

782.

Winter scene of a horse and buggy outside a seaside cottage.

Signed lower left and right “John Whorf ”. Watercolor on paper, 15” x 22” sight. Framed 23” x 30.5”.

2,000/3,000

783.

The fishing boat North Star at dock.

Signed lower right “John Whorf ”. Watercolor on paper, 14” x 21” sight. Framed 23” x 29”.

3,000/5,000

784.

“Quarries - La Pomme”.

Titled and signed lower left “John Whorf ”. Watercolor on paper, 13.75” x 20”. Unframed.

1,500/2,500

782

783

784

232

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785.

ATTRIBUTED TO VOLLIAN BURR RANN Massachusetts/North Carolina, 1897-1956 Street scene, Provincetown, Massachusetts. Inscribed in pencil verso “Rann”. Oil on canvas, 40” x 32”.

Framed 45.5” x 38”.

2,500/3,500

786.

XAVIER GONZALEZ Massachusetts/Mexico, 1898-1993 “The Studio”. Signed lower right “XG ‘83”. Signed, titled and dated “11/25” verso. National Academy of Design exhibit label affixed to stretcher. Oil on canvas, 34” x 53”. Framed 37” x 57”. 3,000/4,000

785

786

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233

789

787.

234

HYMAN SHRAND Massachusetts, 1921-1999 “Yellow Light”. Signed upper right “Shrand ‘95”. Titled verso. Painted for the “Great Lighthouse Paint-off” to benefit Truro Historical Society, September 16, 1995. Oil on canvas, 36” x 24”. Framed 37.5” x 25”.

300/500

788.

789. ARTHUR WILLIAM WOELFLE ALEXANDER JASNOW Massachusetts, 1915-1997 New York/New Jersey, 1873-1936 “Provincetown Vista”. Signed lower “Tauromachy”. Signed, titled and dated 1995 verso. Acrylic on paper, right “Arthur W. Woelfle”. Titled 12.5” x 19” sight. Framed 20” x 24”. on frame plaque. Oil on canvas, 200/300 20” x 30”. Framed 28” x 38”.

6,000/9,000 Exhibited: Provincetown Art Association Museum (PAAM) “Animals” exhibit, 1996.

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H E L E N A LT O N FA R N S W O R T H S AW Y E R Massachusetts/Florida/Washington, D.C., 1900-1999

790.

Cape Cod house with turret.

Signed lower left “Helen Sawyer”. Inscribed in pen on stretcher “Helen Sawyer, N. Truro, Mass.”.

Oil on canvas, 25” x 22”. Framed 26.5” x 24”.

1,000/1,200

791.

“West Wind”.

Signed lower left “Helen Sawyer”. Titled on stretcher. Oil on canvas, 22” x 28”.

Framed 31” x 37”.

1,500/2,000

790

792 791

792.

Still life of a bouquet of colorful flowers.

Signed lower left “Helen Sawyer”. Oil on masonite, 22” x 18”. Framed 28” x 24”. 700/900

793.

“Bouquet at Bay”.

Signed lower left “Helen Sawyer”. Titled verso.

Oil on masonite, 30” x 25”. Framed 36” x 30”.

800/1,000

793

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235

794

794.

DOROTHY CHURCHILL WYMAN Massachusetts/Texas, 1899-1993 “Pool in the Dunes”. Signed lower left “D.C. Wyman”. Oil on canvas, 10” x 13” sight. Framed 20” x 23”.

250/350

795.

ILONA ROYCE SMITHKIN America, b. 1920 Seated nude. Signed verso “Ilona Smithkin”. Oil on canvas, 24” x 12”. Framed 28” x 16”.

300/500

795

796.

SOL WILSON New York/Poland/Russian Federation, 1896-1974 Self-portrait at a window overlooking the harbor. Inscribed, dated 1969 and signed “Sol Wilson” lower right. Oil on canvas, 24” x 20”. Framed 31” x 27.5”.

900/1,100

797.

SALVATORE DEL DEO Massachusetts, b. 1928 “Highland House”. Signed lower right “S. Del Deo”. Titled on stretcher. Oil on canvas, 30” x 40”. Framed 31” x 41”.

2,000/3,000

796

797

236

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FRANK MILBY Massachusetts, b. 1933

798.

Fishing boat headed out.

Signed lower right “Milby”. Watercolor on paper, 12” x 15” sight. Framed 20” x 24”.

300/500

799.

Dune scene, likely Pilgrim Lake, Provincetown, Massachusetts.

Signed lower right “Milby”. Oil on canvas, 18” x 30”. Unframed.

700/1,000

800.

Cape Cod street scene.

Signed lower right “Milby”. Oil on canvas, 24” x 36”. Framed 25” x 37”. 800/1,200

799

800

801.

“Spring Flowers”.

Signed lower left “Milby”. Titled on

label verso. Oil on canvas, 24” x 30”.

Framed 29” x 35” .

800/1,000

801

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237

A N N E PA C K A R D Massachusetts/New Jersey, b. 1933

802 803

802.

Portrait of a nude.

Signed and dated lower left “Anne Packard 93”.

Oil on canvas, 18” x 28”. Framed 34.5” x 24”.

800/1,000

803.

Sailboat.

Signed lower right “A. Packard”. Housed in a Guido frame. Oil on canvas, 24” x 20”.

Framed 30” x 25”.

8,000/10,000 Provenance: Packard Gallery, 2001.

Private Collection.

238

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ROBERT CARDINAL Massachusetts/New York/Canada, b. 1936

804.

Barn at twilight.

Signed lower right “Cardinal”. Oil on canvas, 9” x 12”. Framed 14” x 17”.

2,000/3,000

804

805.

“Cold Storage Beach”.

Signed lower right “Cardinal”. Titled on stretcher.

Oil on canvas, 40” x 40”. Framed 45” x 45”.

6,000/8,000

805

806.

“Low Tide”.

Signed lower right “Cardinal”. Titled on stretcher.

Oil on canvas, 36” x 36”. Framed 41” x 41”.

5,000/7,000

806

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239

807.

CAROL WHORF WESTCOTT Massachusetts, 1926-2008 “Watching the Clouds Go By”. Signed lower right “Carol Westcott”. Titled verso. Oil on canvas, 16” x 12”.

Framed 20” x 16”.

400/600

808.

CAROL WHORF WESTCOTT Massachusetts, 1926-2008 “In the Garden”. Signed lower right “Westcott”. Titled verso.

Oil on canvas, 18” x 24”. Framed 26” x 31”.

1,500/2,500

807

808 809

809.

HILDA NEILY Massachusetts/Florida, b. 1947 Outdoor still life. Signed lower right “Neily”. Oil on board, 20” x 16”. Framed 24” x 20”.

700/900

810.

HILDA NEILY Massachusetts/Florida, b. 1947 Cottages on the water, Provincetown, Massachusetts.

Signed lower right “Hilda Neily”. Oil on board, 16” x 20”.

Framed 22” x 26”.

1,000/1,200

810

240

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811

811.

JAMES HOLLAND Massachusetts/Florida, b. 1955 “Behind the Dune”. Signed lower right “Holland”. Titled verso.

Oil on canvas, 40” x 40”. Framed 41.5” x 41.5”. 5,000/7,000

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241

813 812

815

814

242

812.

STEVEN ALLRICH Massachusetts, b. 1954 Shadows on the dunes. Signed lower right “Allrich”. Oil on canvas, 18” x 24”. Framed 25” x 31”.

800/1,000

814.

JOAO DE BRITO California/Massachusetts/Portugal, b. 1958 “Fresh Catch”. Signed “Joao de Brito” and titled verso. Oil on canvas, 24” x 18”. Framed 29” x 23”.

800/1,000

813.

CYNTHIA PACKARD Massachusetts/Florida, b. 1957 Tuscan landscape. Signed lower right “Cynthia Packard”.

Packard Gallery label verso. Oil on cardboard, 7” x 13”.

Framed 14” x 20”.

400/600

815.

JOAO DE BRITO California/Massachusetts/Portugal, b. 1958 “Fishing Boats in P-town”. Signed and dated lower right “J. D. Brito 2006”. Titled verso. Oil on canvas, 16” x 20”. Framed 26.5” x 30”.

600/800

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816.

SELINA TRIEFF New York/Massachusetts, 1934-2015 Woman in red. Signed and dated verso “Trieff 1993”.

Oil and gold leaf on canvas, 12” x 12”. Framed.

600/800

816

817.

F. RONALD FOWLER Massachusetts/New York, 1946-2014 “Stay in the Tracks”. Signed lower left “Fowler”. Titled and signed verso. Oil on board, 12” x 16.5”. Framed 15” x 20.5”.

1,000/2,000

817

818.

MOE VAN DERECK Massachusetts, Contemporary “Bird Dog House”. Metal bird with outstretched wings mounted on a wooden doghouse. Signed and titled on base. Height 18”. Length 24”. Depth 28”. 300/400 818

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243

819.

SUSAN BAKER Massachusetts, Contemporary Two “Tick” works: Five ticks in grass and “Whitticker Chambers”. Both signed lower right. Housed together in a common frame. Also includes a copy of the small hardcover illustrated book Tick ABC. Oils on card, 7” x 7”. Framed 14” x 21.75”.

300/500

819, two and book

820.

NANCY NICOL Massachusetts, Contemporary Two works: 1) “Weirs”. Signed lower right “N. Nicol”. Titled on Provincetown Art Association Museum (PAAM) “Surrounded by Water” 1994 exhibit label. Oil on canvas, 14” x 14”. Framed 15” x 15”.

2) Untitled figural abstract. Signed lower left “N. Nicol”. Oil on canvas, 13” x 13”. Framed 14” x 14”.

400/600

821.

SOPHIA RESNICK Massachusetts, Contemporary “Green Straps”. Signed lower right “Sophia Resnick '14”. Titled verso. Oil on board, 16” x 12”. Framed 24” x 20”.

400/600

821

244

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820, two

822.

DANIEL MACNEIL Massachusetts/New Mexico, Contemporary Blue house, red sky. Signed lower right “MacNeil”.

Oil on board, 10” x 8”. Framed 14” x 12”.

400/600

822

823.

CHESTER "CHET" JONES Massachusetts, b. 1957 Red house. Signed lower left “Chester Jones”.

Signed and dated 1994 verso. Oil on canvas, 32” x 30”. Framed 33” x 30.5”. 2,000/3,000

823

824.

PAUL SCHULENBURG Massachusetts, b. 1957 “River Through Marsh Grass”. Signed lower right “Schulenburg”. Titled and signed verso. Oil on board, 12” x 16”. Framed 13.5” x 17.5”.

900/1,100

824

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245

825.

LORI ZUMMO Nantucket, 20th Century Nantucket Harbor scene. Signed lower right “Zummo”. Oil on board, 8” x 10”. Unframed.

1,000/2,000

825

826.

DAVID LAZARUS Nantucket, Massachusetts, b. 1952 “Nantucket Harbor”. Signed lower right “D. Lazarus”. Signed and titled verso. Oil, 11.5” x 15.25”. Framed 14.5” x 12.5”.

1,000/2,000

826

827.

ELEVEN CABINET CARDS WITH VIEWS OF NANTUCKET 19th Century Includes Swain’s Carriage Shop, ‘Sconset, a lighthouse, the Folger house and more. From 4” x 7” to 8” x 10”. Unframed.

400/600

827

246

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828

829

828.

KATHERINE ANN HARTLEY 829. ROBERT DOUGLAS HUNTER New York/Arizona/Massachusetts, b. 1959 Massachusetts, 1928-2014 Still life of foliage and glass containers. Signed lower right “A Tribute to Herman[sic] Dudley Murphy”. Signed and dated “KAH”. Oil on board, 10” x 20”. Framed 14.5” x 24”. lower left “Robert Douglas Hunter ‘92”. Titled on note verso.

1,000/2,000 Oil on canvas, 36” x 36”. Framed 42” x 42”.

4,000/6,000 Provenance: Gardner Colby Gallery, Edgartown, Massachusetts, 1996.

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247

830.

JOHN AUSTIN Massachusetts/New York, 1918-2000 “Dave Street in Winter”. Signed lower right.

Titled on label verso for Main Street Gallery, Nantucket, Massachusetts. Tempera on board, 6” x 14”. Framed.

1,500/2,500

831.

WILLIAM R. DAVIS Massachusetts, b. 1952 “Winter Colors #2”. Signed lower left “W. Davis”. Titled verso. Oil on panel, 5” x 7”.

Framed 11” x 13”.

700/900

832.

JOSEPH MCGURL Massachusetts, b. 1958 Sailing off Cuttyhunk. Signed lower left “Joseph McGurl”. Oil on canvas board, 9” x 12”. Framed 15.5” x 18”. 2,500/3,500

830

831

832

248

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833.

PAINTED HIGHLAND LIGHT CAST IRON DOORSTOP Early 20th Century In the form of the Cape Cod lighthouse and keeper’s cottages.

Titled on base in raised lettering. Height 8.25”. Width 9.5”.

Depth 4”.

600/800

833

834.

FRED C. SMALL Cape Cod, Massachusetts, 20th Century “The Approaching Storm, Highland Light, Cape Cod, Mass.”. Signed lower right. Titled lower center. Dated 1906. Black and white photographic print on paper, 15” x 19.5”. Framed 26.25” x 32”.

800/1,000

834

835.

"A PICTURE CHART OF CAPE COD, MARTHA’S VINEYARD AND NANTUCKET" Circa 1940 Published by Trina Publishers, Westwood, Massachusetts. Lithograph on paper, 28.75” x 21.5”. Framed 31” x 24”. 500/1,000

836.

"MAP OF COTUIT AND SANTUIT DESIGNED BY R. CAHOON" Dated 1960 “Local specialties: Oysters, Peace and Quiet, Sailing, Swimming, Birdwatching”. Copyrighted and published by Dudley and Kerr. Black and white lithograph on paper, 19.5” x 15.5” sight.

Framed 21.25” x 17.25”.

300/400 836

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249

837.

ELDRED WHEELER QUEEN ANNE-STYLE HIGHBOY Massachusetts, 20th Century In tiger maple. 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 side-by-side drawers, the central with repetitive fan carving. Cabriole legs end in pad feet. Original paper label inside a drawer. Height 71.5”. Width 36”. Depth 19”.

2,000/3,000

837

838.

QUEEN ANNE TILT-TOP STAND Mid-18th Century In mahogany. Oval top. Unusual turned pedestal with band of carved beading. Cabriole legs end in pad feet. Height 29”.

Top 24” x 18.5”.

300/500

838

839

839.

250

ELDRED WHEELER PORRINGER-TOP TEA TABLE Massachusetts, 20th Century In maple. Eldred Wheeler label on underside. Height 25.5”.

Length 25.5”. Width 18”.

300/400

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840.

QUEEN ANNE DROP-LEAF TABLE Boston, Mid-18th Century In Cuban mahogany. Drop leaves with cut corners. Bold cabriole legs end in pad feet.

Height 28.25”. Length 16.5” plus two 16.25” drop leaves. Width 42”.

500/800 Provenance: Property of a direct descendant of Thomas Jefferson, the contents of the Brick House at Coolidge Point, Manchester by the Sea, Massachusetts.

840

841.

ELDRED WHEELER TRIPOD BREAKFAST TABLE Massachusetts, 20th Century In cherry, with turned pedestal base and pad feet. Original Eldred Wheeler brand on underside of top. Height 29”.

Diameter 33.5”.

500/800

841

842

842.

FINE SHERATON CARD TABLE ATTRIBUTED TO THOMAS SEYMOUR Circa 1805 In mahogany and mahogany veneer. Flame satinwood oval panel at center of skirt and rectangular panels at tops of front legs. Tapered reeded legs. Height 29.25”.

Width 36.25”. Depth 18.25”.

2,500/3,500

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251

843.

843

844.

HEPPLEWHITE CARD TABLE ATTRIBUTED TO JOHN SEYMOUR Circa 1800 In mahogany. Bird’s-eye maple veneer around the entire skirt. Double tapered legs. Height 29.5”.

Width 36.25”. Depth 17.75”.

1,200/1,800

CHIPPENDALE TALL CHEST Late 18th Century In tiger maple, with six graduated full-width drawers and bracket feet. Height 49”. Width 37.5”. Depth 18.5”.

1,000/1,500

844

845

845.

252

SHERATON BOWFRONT GAMES TABLE Early 19th Century In fine figured mahogany. Hinged top with an unusual notched carved molded edge.

Inlaid banded panel at front of apron. Turned and fluted legs. Height 29.25”. Width 35.5”.

Depth 17.25”.

1,200/1,600

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846.

HEPPLEWHITE BOWFRONT BUREAU Massachusetts, Circa 1800 In cherry with tiger maple veneer to edge of top and between drawers. Four graduated full-width drawers with string inlay and period hardware. Flat bracket feet. Height 36.75”. WIdth 39.5”. Depth 21”.

1,200/1,800

846

847.

RARE TRAY-TOP CHIPPENDALE LOWBOY Pennsylvania, Circa 1775 In mahogany. Central drawer flanked by stacks of two drawers. Cabriole legs with shell-carved knees and claw & ball feet. Height 29.75”. Width 33.25”.

Depth 21”.

6,000/8,000

847

848

848.

SHERATON SOFA New York, Circa 1810 In mahogany and mahogany veneer. Paneled crest rail. Scrolled arms with reeded urn-form supports. Turned, tapered reeded legs fitted with brass casters. Back height 37”. Seat height 18”.

Length 75”.

2,000/3,000

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253

849 850

849.

FEDERAL TWO-DRAWER STAND New York, Circa 1820 In mahogany and mahogany veneer with brass string inlay.

Acanthus-carved base with paw feet. Height 31”. Width 24.5”.

Depth 18.75”.

300/500

850.

SHERATON BUREAU New England, Circa 1815 In cherry with tiger maple and bird’s-eye maple facings.

Scrolled backsplash. Four full-width drawers, the top slightly overhanging. Spool-turned columns at sides of case terminate in turned legs. Height 47.25”. Width 44”. Depth 20.25”.

800/1,200

851

851.

254

852

SHERATON FOUR-DRAWER CHEST Early 19th Century In mahogany with pine secondary wood. Drawers with beading and oval brasses in a beehive design. Turned spindle legs.

Height 40.5”. Width 39.5”. Depth 18”.

300/600

852.

SHERATON FOUR-DRAWER CHEST America, Early 19th Century In mahogany. Top with turret corners. Drawers with bird’s-eye maple fronts. Turned and tapered legs. Height 40”. Width 44”.

Depth 19.5”.

500/700

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854

853

853.

GILT FEDERAL MIRROR Circa 1820 Upper panel with raised molded grape design. Rope-twist columns at sides. Beveled glass. Height 56.5”. Width 32.25”.

500/1,000

854.

HEPPLEWHITE BOWFRONT BEAU BRUMMELL/ DRESSING TABLE Late 18th Century In mahogany and mahogany veneer with banded inlay. Central section lifts to reveal a hinged mirror. Side compartments with hinged lids. Sectioned interiors. Tapered square legs end in brass-capped feet fitted with casters. Height 30”.

Width 26.875”. Depth 20”.

800/1,200

855.

FEDERAL TWO-PART 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”.

2,000/2,500

855

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255

E. AMBROSE WEBSTER Massachusetts, 1869-1935

856

856.

256

“Volcanic Cliffs, Azores, 1913”.

Signed and dated upper right “E.A. Webster 13”.

Titled on gallery label verso. Oil on canvas, 29.5” x 39.25”. Framed 40” x 49.5”.

15,000/20,000

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857

857.

“Azores, 1913”.

Signed lower right “Webster”. Titled on gallery label verso.

Oil on canvas, 29.5” x 39.5”. Framed 29.5” x 49.5”.

15,000/20,000

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257

EMILE ALBERT GRUPPE Massachusetts, 1896-1978

858.

Birch trees along the stream.

Signed lower left “Emile A. Gruppe”. Oil on canvas, 25” x 30”. Framed 36” x 41”. 5,000/7,000

859.

“Beach with Pier and Shacks”.

Signed lower right “Emile A. Gruppe”. Titled on label verso. Watercolor on paper, 11.75” x 19” sight. Framed 20.5” x 27”.

500/1,000

860.

“Morning, Gloucester”.

Signed lower right “Emile A. Gruppe”. Titled verso.

Oil on canvas, 24” x 30”. Framed 31” x 35.5”.

5,000/7,000

858

859

860

258

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ANTHONY THIEME Massachusetts/California, 1888-1954

861.

Three landscape sketches.

All signed lower right “A. Thieme”.

Mixed medias on paper, 3.75” x 9.5”, 11” x 9”, and 6.5” x 10”. Unframed.

1,000/1,500

861, three

862.

Two wharf scene sketches.

Signed lower right “A. Thieme”. Pencils on paper, 10” x 14” and 6” x 8”. Unframed.

600/800

862, two

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259

863

863.

260

WILLIAM LESTER STEVENS Massachusetts, 1888-1969 Winding road through a New England town.

Signed lower right “W. Lester Stevens”. Oil on canvas, 40” x 36”. Framed 50” x 46”.

15,000/20,000

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864.

SEARS GALLAGHER Massachusetts, 1869-1955 “Double-Head Mountain, Jackson, N.H.”.

Signed lower right “Sears Gallager”. Titled verso. Watercolor on paper, 14” x 19.75”.

Unframed. 2,000/3,000

864

865.

SEARS GALLAGHER Massachusetts, 1869-1955 Fishing boat in a harbor, likely Monhegan.

Signed lower left “Sears Gallagher”. Oil on board, 8” x 10”. Unframed. 1,000/1,500

865

866.

SEARS GALLAGHER Massachusetts, 1869-1955 “Harvesting Below the Giant Stairs, Jackson, NH”. Signed lower left “Sears Gallagher”. Titled on gallery label verso.

Watercolor on paper, 13.5” x 19.75” sight.

Framed 19.5” x 25.5”.

1,500/2,500 Provenance: Spanierman Gallery, New York.

866

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261

867.

CHARLES SALIS KAELIN Ohio/Massachusetts, 1858-1929 “Coast”. Unsigned. Identified on gallery label verso. Oil on board, 11” x 14”. Framed 19” x 22”.

2,000/3,000 Provenance: Spanierman Gallery, New York.

867

868.

CHARLES SALIS KAELIN Ohio/Massachusetts, 1858-1929 “Breakers”. Unsigned. Titled and artist identified on gallery label verso. Oil on board, 11” x 14”. Unframed. 2,000/3,000 Provenance: Spanierman Gallery, New York.

868

869.

CHARLES SALIS KAELIN Ohio/Massachusetts, 1858-1929 “Rocky Cliff and Sea”. Signed in pencil lower left “CS Kaelin”.

Titled on gallery label verso. Pastel on paper, 15.75” x 17” sight.

Framed 21” x 23”.

1,000/2,000 Provenance: The Vincent Price Collection.

869

262

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870.

T.M. NICHOLAS Massachusetts, b. 1963 “Sea and Rocks”. Signed lower left “T.M. Nicholas”. Titled on North Shore Arts Association exhibition label verso. Oil on board, 8” x 10”. Framed 14” x 16”.

1,000/2,000

870

871.

BERNARD COREY Massachusetts, 1914-2000 “Downtown Worcester”. Signed lower right “Bernard Corey”.

Titled verso. Estate stamped, number 732. Housed in a Goodnow frame. Oil on board, 8” x 12”. Framed 14” x 18”.

1,000/1,500

871

872.

ALEXANDER FARNHAM New Jersey, b. 1926 “Ferry to Block Island”. Signed lower left “A. Farnham”. Titled verso. Oil on canvas, 18” x 24”. Unframed.

1,500/2,500

872

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263

H AY L E Y L E V E R New York/Massachusetts/England, 1876-1958

873

874

875

873.

874.

“After the Rain, Woodstock, New York 1922”.

Initialed lower right “HL”. Titled and dated verso. Watercolor on board, 17.5” x 21.25”. Unframed.

800/1,200

“Lobster Shacks, Marblehead”.

Titled, signed and dated lower right “Hayley Lever 1925”.

Watercolor on paper, 16” x 21”. Unframed.

1,000/1,500

876

875.

“City Island N.Y.”.

Signed lower left “Hayley Lever”. Titled verso. Oil on board, 12” x 16”. Unframed.

2,000/3,000 Provenance: Mongerson Wunderlich Galleries.

876.

“Picnic on Brandt Rock, MA”.

Monogrammed lower right. Titled on gallery label verso.

Watercolor on paper, 16” x 20.25” sight. Framed 24” x 28”.

1,200/1,800 Provenance: Spanierman Gallery, New York.

264

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877.

L.W. BURCH America, Mid-20th Century “#28 Gloucester Docks”. Signed and dated lower right “LW Burch ‘36”. Oil on canvas, 20” x 16”. Framed 26” x 22”.

700/1,000

878.

JACOB I. GREENLEAF Massachusetts, 1887-1968 Figures outside fishing shacks. Signed lower left “J. Greenleaf ”.

Oil on canvas board, 12” x 16”. Framed 16” x 19.5”.

800/1,000

877

878

879.

FRANCIS STILLWELL DIXON New York/California, 1879-1967 Fishing schooner alongside a pier. Unsigned. Estate stamped lower right. Oil on board, 12” x 16”. Framed 18” x 22”.

800/1,200

880.

FRANCIS STILLWELL DIXON New York/California, 1879-1967 Rocky seascape. Unsigned. Estate stamped lower right. Oil on board, 8” x 10”. Framed 15.5” x 17.5”.

500/700

879

880

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265

881

882

881.

JOSEPH BARRETT Pennsylvania/North Carolina, b. 1936 “Fishermen”. Signed lower right “Barrett Lahaska”. Titled verso.

Oil on canvas, 16” x 18”. Framed 23” x 25”.

2,500/3,500

882.

JERRY FARNSWORTH Massachusetts/Florida, 1895-1982 Portrait of a seated woman wearing a Chinese-style vest.

Signed lower left “Farnsworth”. Oil on canvas, 30” x 20”.

Framed 37” x 26.5”.

700/900

883.

WILLIAM STARKWEATHER New York/Connecticut/Spain, 1879-1969 “Springtime in Staten Island N.Y.”. Signed lower right “William Starkweather”. Oil on board, 10.5” x 14”. Framed 17.25” x 20.75”.

1,000/2,000

884.

EDWARD HENRY POTTHAST New York/Ohio, 1857-1927 “Beach Umbrella and Figures” (Ogunquit, Maine). Unsigned.

Identified on gallery label verso. Graphite on paper, 5” x 8”.

Framed 11.5” x 15”.

1,000/1,500

883

Provenance: Spanierman Gallery, New York.

884

266

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885

886

887

885.

ATTRIBUTED TO DENNIS SHEEHAN New Hampshire/Massachusetts, b. 1950 Sunset over a marsh. Oil on canvas, 16” x 28”. Framed 23” x 35”.

2,000/3,000

886.

JAMES KING BONNAR Massachusetts, 1885-1961 Winter scene with stream, birch trees and distant mountains.

Signed lower right “James King Bonnar”. Oil on canvas board, 15.5” x 20”. Framed 23.5” x 27.5”.

1,200/1,800

888

887.

JAMES GOODWIN MCMANUS Connecticut, 1882-1958 “Connecticut Hills”. Signed faintly lower left “James Goodwin McManus”. Titled on label verso. Oil on board, 12” x 16”.

Framed 18” x 22”.

800/1,200

888.

PAUL CARTER GOODNOW Rhode Island, 1958-2021 “Sterling Ridge, Jeffersonville, VT”. Signed lower right “Goodnow”. Titled verso. Housed in a frame hand-carved by the artist. Oil on masonite, 8” x 12”. Framed 14.5” x 18.5”.

500/700

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267

CHAUNCEY FOSTER RYDER New York/New Hampshire, 1868-1949

889.

“Grande Corniche, Nice to Monte Carlo”.

Signed lower right “Chauncey F. Ryder”. Titled verso. Watercolor on paper, 10” x 14” sight.

Framed 18” x 21.5”.

1,000/1,500

889

890.

“Western N.Y., Steuben Co.”.

Signed lower left “Chauncey F. Ryder”. Titled verso. Watercolor on paper, 10” x 14” sight.

Framed 18” x 21.5”.

1,000/1,500

890

891.

“Jericho Bend”.

Signed lower right “Chauncey F. Ryder”. Titled verso. Watercolor on paper, 10” x 14” sight.

Framed 18” x 21.5”.

1,000/1,500

891

268

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ROBERT EMMETT OWEN New York/Connecticut/Massachusetts/England, 1878-1957

892

893

894

From 1920 until the start of World War II, Robert Emmett Owen operated the Robert Emmett Owen New England Landscape Gallery on Madison Avenue in New York, where he exhibited and sold his own paintings – colorful and Impressionistic views of New England pastoral scenes. His work was popular amongst critics and patrons, and he received several important public and private commissions.

Owen also had a successful career as an illustrator, contributing to major newspapers and magazines of the era.

He studied at the Eric Pape School of Art in Boston, the Art Students League, the Chase School, and the National Academy of Design.

Throughout his career he moved between the cities of Boston and New York and the countrysides of New York and Connecticut.

895

896

892.

Mountain landscape with trees.

Signed lower right “R. Emmett Owen”. Oil on canvas board, 12” x 16”. Framed 20” x 24”.

1,200/1,800

893.

“Afternoon Light Williamstown Mass”.

Signed lower left “R. Emmett Owen”. Titled verso.

Oil on board, 12” x 16”. Unframed. 800/1,200

894.

Autumnal landscape.

Signed lower left “R. Emmett Owen”. Oil on canvas, 20” x 24”. Unframed.

1,500/2,500

895.

“Pemi Valley October”.

Signed lower right “R. Emmett Owen”. Titled verso. Oil on canvas, 13” x 16”. Unframed.

1,000/1,500

896.

Fall landscape.

Signed lower right “R. Emmett Owen”. Oil on canvas, 25” x 30”. Framed 32” x 37”. 2,000/3,000

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269

JOSEPH NEWMAN New York, 1890-1979

898

897

897.

Two women on a porch.

Signed lower right “J. Newman”.

Oil on board, 15.75” x 11.75”.

Unframed. 1,000/1,500

898.

Harbor scene.

Unsigned. Oil on canvas, 25” x 35”.

Unframed. 1,500/2,500 Provenance: The artist’s estate.

899.

899

270

By the wharf.

Signed lower left “J. Newman”. Oil on board, 8” x 10”. Framed 12” x 14”.

400/600

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ABRAHAM JACOB BOGDANOVE New York/Maine/Russian Federation, 1887-1946

900.

Crashing waves.

Signed and dated lower right “A.J. Bogdanove 1939”.

Oil on masonite, 25” x 30”. Framed 30” x 35”.

3,000/5,000

900

901.

“Oceanside”.

Signed lower right “A.J. Bogdanove”. Titled on gallery label verso. Oil on board, 12” x 16”.

Framed 16.5” x 20.5”.

1,200/1,800 Provenance: Spanierman Gallery, New York.

901

902.

“Landscape”.

Signed lower right “A.J. Bogdanove”. Titled verso.

Oil on board, 12” x 16”. Unframed.

1,000/1,500

902

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271

903.

HARRY LESLIE HOFFMAN Connecticut, 1871-1964 Sunset over the ocean. Unsigned. Estate stamped verso. Oil on canvas, 6.25” x 8.25”. Framed 12” x 13.75”.

800/1,200

904.

HARRY LESLIE HOFFMAN Connecticut, 1871-1964 “Bermuda”. Unsigned. Estate stamped verso. Titled verso.

Oil on board, 12” x 15.75”. Unframed.

1,000/1,500

903

904

905.

ARMIN BUCHTERKIRCH New York/California/Bahamas, 1859-1915 Pair of landscapes, possibly Nassau, the Bahamas. Signed lower left or right “A. Buchterkirch”. Watercolors on board, 10” x 14” sight. Unframed.

1,000/1,500

905, two

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906

907

906.

SID WILLIS New Hampshire/Massachusetts, b. 1930 Golf-themed still life. Signed lower right “S. Willis”. Oil on panel, 14” x 31”. Framed 20” x 37”.

800/1,200

907.

SID WILLIS New Hampshire/Massachusetts, b. 1930 “Silks”. Signed lower right “S. Willis”.

Titled on gallery label verso. Oil on panel, 30” x 24”. Framed 37” x 31”.

1,000/1,500

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908

908.

SID WILLIS New Hampshire/Massachusetts, b. 1930 “Phlox”. Signed lower left “S. Willis”.

Titled on label verso. Oil on panel, 18” x 14”. Framed 25” x 21”.

800/1,200

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G LO S S A R Y O F T E R M I N O LO GY A N D A DV I C E TO B I D D E R S Authorship of Paintings and Works of Art

Advice to Bidders

A.

1. Carefully read the Conditions of Sale.

B.

C.

LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, this is a work by the artist.

ATTRIBUTED TO LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, probably a work by the artist based on the style of the piece, however, the work lacks a signature, marking or adequate provenance to fully ascribe it.

MANNER OF LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, a work made in the style of the artist listed, most likely by a follower or student.

D. SCHOOL OF LEMUEL D. ELDRED

Late 19th Century In our opinion, a work executed at the time and in the style of the artist listed.

E.

AFTER LEMUEL D. ELDRED 20th Century In our opinion, a work made in the style of the artist listed, but not by the artist. Often used to describe a direct reproduction of an original work of art.

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

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.

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.

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

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.

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.

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

Condition Reports Condition reports can be viewed at www.eldreds.com. The absence of a condition report does not imply an object is free of defects or restoration. If provided, a Condition Report may only detail flaws or restorations, and may not take into account wear, fading or other issues consistent with an object’s age. Please contact Eldred’s before bidding with any questions as to condition.

The property listed in this catalog will be offered and sold subject to the terms and conditions listed in this catalog.

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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.

We provide limited shipping services directly from our gallery; our staff can assist determining if your items qualify for in-house shipping.

Shipments from our gallery may take 4-6 weeks from receipt of payment. You will be charged for carrier fees, packing and handling, and required insurance. There is a minimum handling charge for all shipments. 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 once your payment has cleared. Shipping estimates can be provided only AFTER we receive payment for your invoice.

Bidding Increments $0-$99: $10 I $100-$499: $25 I $500-$999: $50 $1,000-$2,999: $100 I $3,000-$4,999: $250 $5,000-$9,999: $500 I $10,000-$29,999: $1,000 $30,000-$49,999: $2,500 I $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

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

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.

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

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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.

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ABSENTEE/TELEPHONE BID FORM

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.

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. 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. We reserve the right to hold goods until payment has cleared.

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.

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.

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.

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.

1.

Clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow our standard bidding increments.

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.

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:

No:

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

info@eldreds.com

Phone: 508-385-3116

Fax: 508-385-7201

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

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Invitation to Consign Now accepting entries for 2022 auctions

Offering Personalized Expert Service Competitive Rates Prompt Payment Proven Results

To speak with a specialist Call 508-385-3116 Email consign@eldreds.com Visit www.eldreds.com

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Edward Henry Potthast seascape, sold for $162,500 in Summer 2021

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

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I L L U S T R AT I O N S Front Cover Lot 686 Rear Cover Lots 3, 654, 698, 185 Page 3 Lot 782 Page 5 Lot 516 Page 6-7 Lot 686 Page 8 Lot 199 Page 136 Lot 799 This Page Lot 894

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