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T H E FA L L S A L E NOVEMBER 22-23, 2019

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THE FALL SALE Friday and Saturday, November 22 and 23, 2019

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

Terms

A buyer’s premium will be added to all purchases. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. Payment must be in the form of a check, money order or wire transfer. We accept all major credit cards for auction purchases provided the total bill is $5,000 or less and the credit card has a U.S. billing address. PayPal is not an accepted form of payment.

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

Bidders holding a valid Massachusetts or out-of-state resale number must provide the certificate or a copy thereof when registering or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in our Mystic office or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Items shipped to New York or North Carolina are subject to state sales tax, plus any applicable local sales taxes. Other state and local taxes may also be applicable.

Auction

Important notices

Auction begins with Lot 501. Both sessions beginning at 10 a.m. Eastern at our East Dennis Headquarters.

Exhibit

Wednesday and Thursday, November 20 and 21, from 10 a.m. to 5 p.m. And the sale days beginning at 8:45 a.m.

Absentee and Telephone Bidding

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

Online Bidding

This auction will be held simultaneously online at www.invaluable.com and www.eldreds.com. The buyer’s premium is 25% for purchases bought online via Invaluable or Eldred’s Infinite Bidding. Prospective bidders must register and be approved prior to bidding.

Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is. All dimensions and weights are approximate. Per Federal and international regulations, items made with whale bone, ivory or other protected species will not be shipped internationally without a CITES and other necessary permits. Obtaining these permits is the exclusive obligation of the buyer. Items made with these materials and marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state. Firearms marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License.

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Eldred’s Staff Directory Antiques and Fine Art Specialists

Production and Administrative Staff

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

Mary Ann Giddings Eldred Appraisal and Mailing List Director maeldred@eldreds.com

John H. Schofield President Emeritus johns@eldreds.com Susan M. Schofield Treasurer The Prints of Paul Jacoulet sue@eldreds.com William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com Eric S. Mulak Assistant Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com Leah S. Kingman Head of European Decorative Arts lkingman@eldreds.com Glen Krawczyk Head of Oriental Rugs glen@eldreds.com Anne G. Lajoie Head of Asian Arts Condition Reports annie@eldreds.com

Kristin Kiley Client Services Manager / Shipping kkiley@eldreds.com Angela McParland Executive Assistant amcparland@eldreds.com Kristyn Mills Head of Photography kmills@eldreds.com Madison Morris Photography mmorris@eldreds.com Kathleen Morse Inventory Manager kmorse@eldreds.com Tanya E. Sargent Administrative Assistant tsargent@eldreds.com

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

Gregg Dietrich Senior Consultant and Specialist Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants

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Devyn Henry Administrative Assistant / Condition Reports dhenry@eldreds.com

Caleb G. Seaver Catalog Layout and Design cseaver@eldreds.com

Jennifer Lacker Mystic Representative

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Wendy A. Dunford Assistant Treasurer wendy@eldreds.com

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Sarah Eldred Taylor Head of Human Resources sarah@eldreds.com Jessica Turbide Assisstant Head of Photography Website Administrator / Condition Reports jturbide@eldreds.com

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As we head into the last few months of the year, it seems appropriate to take a moment for reflection. This has been a banner year here at Eldred’s. We hosted our first annual auction on Nantucket in July, our Marine Sales continue to pace the scrimshaw and marine art markets, we’ve made two trips to the West Coast and countless up and down the East Coast to collect consignments, our gallery in Mystic, Connecticut continues to flourish, and we’ve sold nearly 8,000 lots (so far!) across an increasingly diverse range of collecting categories. Some of the year’s highlights reflect this diversity -- a historically significant scrimshaw whale’s tooth by William A. Gilpin, paintings by George Inness, Alexandre Yakovlev and John Mecray, sculptures by Ruth Asawa and Evgenii Lanceray, a woodblock print by Blanche Lazzell, a carved snowy egret by A.E. Crowell, and a copy of the Articles of Confederation. It also seems appropriate to take a moment express our gratitude for our clients. We would not have had theses successes without you, and we are thankful for your continued patronage and support of Eldred’s. We wish you a very happy holiday season, and we look forward to seeing you at the auction. Joshua Eldred President

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Properties From A Private Collection, Philadelphia A Private Collection, New Jersey A Cape Cod Estate A Private Collection, Pennsylvania A Michigan Collection A Private New York Collection A Private Collection, Washington, D.C. A Connecticut Estate The Estate of Artist Howard Connolly And numerous other estates and collections

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index Auction Information Page 1 Staff Directory Page 2 Index of Artists Page 6-7 Session I Lots 501-869 Session II Lots 1001-1382 Bidder Information Page 254 Conditions of Sale Page 255 Bidder Pre-Registration Page 256 Absentee Bid Form Page 257

Illustrations Page 260

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Index of artists Adriani, Camillo Aho, Eric Albert, Ernest Allen, Charles Curtis Allrich, Steve Angier, Hope R. Audubon, John James Augur, David Bartlett, William Henry Barye, Antoine-Louis Beck, Margit Bellamy, John H. Bellows, Albert Fitch Benson, Frank Weston Bierstadt, Albert Blake, Anthony D. Borgord, Martin Bradis, Louisa Ann Gibson Braley, Clarence E. Brandriff, George Kennedy Bricher, Alfred Thompson Broe, Vern Brooks, Rob Brown, Dan Brown, George L. Brown, John George (after) Brunner, Frederick Sands Bush-Brown, Marjorie Conant Bustamante, Sergio Cahoon, Charles Drew Cahoon, Martha Farham Cahoon, Ralph E., Jr. Cardinal, Robert Carmody, Kelly Catlin, George Catlin, George (school of) Chapin, Bryant Chase, William Merritt Cibula, Joseph Claghorn, Joseph Conover Clark, Alson Skinner Clubb, John Clymer, James Floyd Coates, Edmund C. Connaway, Jay Hall Connolly, Howard Cook, Otis Pierce, Jr. Coon, Nelson Cooper, William Savage Corey, Bernard Crimmins, John Curtis, George Curtis, Roger William Czeczot, Andrzej

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1184 1326 1198 1185 1321 1209 529 835 1022 551 574 832 1008 731 1034 1095 552 1010 1110 572 1013 1301, 1302 1327 1324 1006 1024 1195 1114-1117 557, 558 1124-1126 1376-1378 1379-1382 1349 1225 784 785 1112 1134 728 1227 1179 861 1193 1015 1181 864-869 1174 1366 1137 1176, 1177 1170 1083, 1084 1189 1308

Dana, William Parsons Winchester Davis, William R. DeGrailly, Victor Del Deo, Salvatore Del Visco, Michael Robert Deming, Edwin Willard Dennis, Roger Wilson Desmarais, Arnold Diehl, Arthur Vidal DiTarando, Roger Drew, Clement Drummond, Arthur DuMond, Frank Vincent Dunbar, Harold C. Durer, Albrecht Durrie, John, Jr. (attr.) Duveneck, Frank (attr.) Eby, Kerr Eccles, Jane Edel, Arthur H. Edmonds, Francis William (attr.) Egeli, Arthur Bjorn Eldred, Lemuel D. Enneking, John Joseph Faust, David Feeney, Loretta Fisher, D.A. Fontaine, E. Joseph Frank, Friedrich Furman, David Garrett, Edmund Henry Gibbons, William Giles, Horace P. Gillette, Lester Glendening, Alfred, Jr. Goodwin, Arthur Clifton Goodwin, Arthur Clifton (attr.) Graves, Abbott Fuller Greenleaf, Jacob Greenwood, Joseph h. Griffel, Lois Griggs, Samuel W. Gropper, William Guy, Seymour Joseph (school of) Hagen, Peter Hare, John Cuthbert Harnett, William Michael Harrington, James Harris, William J. (after) Hartley, Marsden Hergelroth, Edward Higgins, Eugene Hill, John William Hills, Laura Coombs

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1239 1311-1317 1014 1358 1354 783 1190 1310 1371-1375 732 1085-1088 519 1223 1367 516, 517 1111 1120 1362 1355 1361 1228 1351 1122, 1123 1221 1350 1328-1330 1091 1368 522 586, 587 542 1099 1187 1182 521 1129 1130 1222 1162-1165 1020 1352 1007 565 1025 1309 1363 1127 1251 625 568 571, 1320 1121 1001 1238


Index of artists Hoenow, Max Hoffman, Harry Leslie Hollams, Frances Mabel Holmes, James Howes, Jerome Hutchinson, Marieluise Ireland, Leroy Johnson, Eastman Jones, Chet Keck, Hans Kendall, Johnathan Klassen, B. Nicole Klein, Steve Knapp, Charles Wilson Knaths, Karl Koffler, Mary Mintz Krafft, Carl Rudolph Kronberg, Louis Kuhn, Walt (Walter) Francis Lane, Betty Lever, Richard Hayley Lewis, Edmund Darch Lewis, Martin Lingquist, Arthur Loud, Richard K. Lumson, E. Christine Marie Voss Malzenski, Charles Maniatty, Stephen Margeson, Gilbert Tucker Mathewson, Frank Convers Mayhew, Frederick Mays, Maxwell McCrea, Samuel McEntee, Jervis McGuire, Michael McGurl, Joseph Meyerowitz, William Milby, Frank Moffett, Ross E. Moran, Edward Moran, Thomas (school of) Morrell, Wayne Beam Movalli, Charles J. Mumford, Elizabeth Murphy, Hermann Dudley Nadeau, Rosalie Nagel, Patrick Noggle, Anne Nordstrom, Carl Harold Noyes, George Loftus Oakley, Thornton Olinsky, Ivan Gregorewitch Oliver, Thomas Clarkson Ortlieb, Friedrich

528 1166, 1167 751 1026 1298-1300 1323 1236 1119 1325 553 1356 1365 1249 1011 566 1194 1237 1241 1232 1364 1180 1081 559, 560 1171 1096 527 1319 1192 1097 1109 677 1132 1191 1235 1360 1307, 1322 567 1353 1359 1089 1092 1169, 1178 1175, 1197 1318 1108 1246 562, 563 854 1186 1243 729 1240 1079, 1080 518

Packard, Anne Page, Edward A. Patterson, Margaret Jordan Paxton, William McGregor Pearson, Mary A. Pereira, Irene Rice Phillips, Ammi Plumb, Henry Grant Porter, Vivian Forsythe (attr.) Power, Cyril Prior, William Matthew Reid, Charles Ricciardi, Oscar Riordan, Eric Roark, Robert Rockwell, Norman Romano, Armando Sand, Max (possibly) Schulenburg, Paul Sell I, Christian Shapleigh, Frank Henry Sheppard, Warren W. Simbari, Nicola Situ, W. Jason Slade, Caleb Arnold Sloan, John French Sloane, Eric Smillie, George Henry Smith, Vernon B. Stark, Robert W., Jr. Stock, Joseph Whiting (attr.) Stone, Caleb Stone, Don Strisik, Paul Strobridge, Nellie (attr.) Stuart, Gilbert (attr.) Suydam, Henry Symons, George Gardner Thieme, Anthony Tomakan, Yasemin Kyrena Trego, William Brooke Thomas Turner, J.M.W. (after) Van der Plas, Niek Van Gorder, Luther Emerson Vance, Frederick T. Waldo, Samuel Lovett (attr.) Warthen, Ferol Sibley Wengenroth, Stow Wesson, Robert Shaw Wood, Ogden Wood, Thomas Waterman Woodbury, Charles Herbert Zorach, Marguerite Thompson

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1345-1347 1109AW 1172 1133 573 588 1023 1037 1093, 1094 564 1027 1245 523 1168 1305, 1306 600 555 1047 1295-1297 814 1012 1226 554 778 1370 1135, 1136 1229, 1230 1003 1369 1348 1028 1196 1188 1173 1128 1018, 1019 1004 1224 1183 1303, 1304 803 526 556 525 1002 1017 1357 561 1233 1009 1016 1161 569, 570

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Session I Friday, November 22 at 10 a.m. Lots 501-869 Including Silver, Decorative Arts, Contemporary Art & Design, Ceramics, Glass, Furniture, Folk Art, Sporting Art, Weapons & Militaria, Ethnographic Art, Early Books & Maps, and More

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501.

BALL, TOMPKINS & BLACK THREE-PIECE COIN SILVER TEA SET New York, Mid-19th Century Consists of a teapot, a covered sugar bowl and a covered creamer. Paneled sides with heavy repoussé decoration. Medallions engraved “To Helena” and “From Aunt Helena”. All with maker’s mark and further stamped “W.F”. Teapot height 6.5”. Approx. 28.0 troy oz. 400/600

502.

NINE TIFFANY & CO. ACID-ETCHED “LAP-OVER-EDGE” PATTERN STERLING SILVER OYSTER FORKS New York, 1880-91 Each with a different seashell design extending onto the sides. Hand-engraved identifications on the reverse: crown volute, cythrea [sic], fusus, heart shell, murex, scallop, Venus’ comb, wentletrap and winkle. Monogrammed “LBA”. Length 6”. Approx. 6.2 troy oz. 800/900

503.

GORHAM “VERSAILLES” PATTERN STERLING SILVER SALAD SERVING SET 19th Century Decorated with scenes of Versailles and a figural, bird and foliate design. Gold-washed shell bowl with scalloped edges. Monogrammed underneath “NS”. 300/500

504.

AMERICAN STERLING SILVER HAND-WROUGHT WATER PITCHER Late 19th/Early 20th Century Neck and handle with scrolling vine and berries in relief. Squat body with hammered surface. Lacking maker’s mark. Height 6”. Approx. 25.1 troy oz. 600/800

502

504

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505.

FOUR GORHAM “CHANTILLY” PATTERN WEIGHTED STERLING SILVER CANDLESTICKS Two with date marks for 1913, one 1901 and one lacking a date mark. Not monogrammed. Heights 10.75”. 800/1,200

506.

FIVE-PIECE GORHAM STERLING SILVER TEA AND COFFEE SERVICE Providence, 1876-81 Retailed by William Kendrick’s Sons, Louisville, Kentucky. Consists of a coffeepot, height 9.5”, a teapot, a covered sugar bowl, a creamer and a waste bowl. Bulbous form, with die-cast foliate register. Monogrammed. Approx. 79.5 troy oz. 1,200/1,800

507.

TIFFANY & CO. “CLINTON” PATTERN STERLING SILVER FLATWARE SERVICE New York, 1912-47 Monogrammed. Consists of: 9 9.25” knives 8 7” forks 9 gumbo soup spoons 9 teaspoons 6 sorbet spoons 6 iced tea spoons 9 flat butter spreaders 6 oyster forks 2 serving spoons 1 sugar spoon 1 tomato server 1 lemon fork 1 olive fork 1 cheese server 1 serving spoon 1 pastry server 9 salad forks with gold-washed tines 11 pastry forks with gold-washed tines 9 grapefruit spoons with gold-washed bowls 1 two-piece small carving set 1 three-piece large carving set _1 cold meat serving fork 1 cream ladle with gold-washed bowl 1 large jelly spoon with gold-washed bowl Approx. 117.3 troy oz. weighable 2,000/3,000

508.

EDWARD I. FARMER INC. STERLING SILVER, JADE AND CARNELIAN CIGARETTE BOX New York, Circa 1925 Hinged cover mounted with a pierced spinach jade plaque carved with foliage and a central character. Silver engraved with stylized foliage and meanders. Four carnelian ball feet. Hinged glass panel on interior of cover. Interior lined in cedar. Height 3.25”. Width 7.25”. Depth 6”. 2,500/3,500

508

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509

509.

WALLACE “PURITAN HAMMERED” STERLING SILVER FLATWARE SERVICE Second Quarter of the 20th Century Not monogrammed. Consists of: 8 9.5” knives 8 7.75” forks 8 7” forks 8 salad forks 16 teaspoons 8 soup spoons 8 ice cream forks 8 flat butter spreaders 3 serving spoons 1 gravy ladle 1 sauce ladle 1 master butter knife 1 sugar spoon Approx. 77.1 troy oz. weighable 1,200/1,800

510.

PAIR OF NEOCLASSICAL GEORGE III WEIGHTED STERLING SILVER CANDLESTICKS Sheffield, 1782 Removable bobèches Tudor & Leader (Henry Tudor & Thomas Leader), maker. Candlesticks lacking maker’s marks. Tapered columns on square bases engraved with a heraldic shield. Heights 11”. 500/700

511.

EIGHT PAIRS OF ROCOCO-STYLE CHINESE EXPORT OR BRITISH COLONIAL SILVER OPEN SALTS AND PEPPER SHAKERS 19th Century Pseudo British marks. Pierced salt bowls supported by putti, on conforming pierced feet. Heights 5.25”. Pear-form shakers with floral finials and weighted feet. Heights 6.5”. 1,000/1,500

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512

512.

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DANISH ARTS & CRAFTS SILVER THREE-PIECE TEA SET Copenhagen, 1923 I. Paulsen, maker. Christian F. Heise, assayer. Stamped with the Dansk Arbedje mark. Consists of a teapot, covered sugar bowl and covered cream jug, all with berry-form finials, beaded rims, ebony handles and flaring foot joined by four scrolled brackets. Hand-wrought, with hammered surfaces. Teapot height 10”. Approx. 38.0 troy oz. 2,000/3,000

513.

GEORG JENSEN “ACORN” PATTERN STERLING SILVER FLATWARE SERVICE Denmark, Post-1945 Not monogrammed. With original I. Magnin felt bags. Consists of: 12 9” knives 12 7.5” forks 12 salad forks 12 6” teaspoons 12 fruit spoons 6 oyster forks 6 mocha spoons 1 cheese knife 1 8” cold meat serving fork 1 cake knife 1 fish serving fork 1 pair of grape shears 2 serving spoons in different sizes 1 tea strainer 1 individual hors d’oeuvres fork 1 cheese scoop 1 two-piece relish set with horn tines and bowl 12 6.5” spoons with egg-form bowls 1 letter opener with hollow handle and sterling silver blade 12 butter spreaders with hollow handles and sterling silver blades Approx. 108.5 troy oz. weighable 3,000/5,000

514.

HANS HANSEN “KOLDRING” PATTERN STERLING SILVER FLATWARE SERVICE Denmark, Mid-20th Century Also marked for H. Nils. Not monogrammed. In a wooden case. Consists of: 12 8.75” knives 12 7” forks 24 salad forks 24 teaspoons 12 soup spoons 12 iced tea spoons 12 mocha spoons 1 serving fork 1 serving spoon 12 butter spreaders with hollow handles Approx. 124.1 troy oz. weighable 2,000/3,000

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515.

MEXICAN STERLING SILVER TEA AND COFFEE SERVICE Mexico City, Mid-20th Century Consists of a melon-form hot water kettle-on-stand with burner, a coffeepot, a teapot, a creamer, a covered sugar bowl and a waste bowl. Matching oval tray with shell-form feet. All with rims cast as scrolling foliage. Lacking maker’s mark. Not monogrammed. Tray length handle-over-handle 31”. Approx. 273.2 troy oz. 2,000/3,000

515

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Albrecht Durer Nuremberg, Germany, 1471-1528 Lots 516-517

516

516.

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ALBRECHT DURER Nuremberg, Germany, 1471-1528 “Virgin and Child Crowned by an Angel”. Bartsch 37. Meder 41. Verso with collectors’ stamps “A.D.”, “R. Scholtz” and an indistinct monogram. Pencil notations include “Poyrier m. d. Krug”, “NK22736” and “Mezo”. Backing with paper label for the Casson Galleries of Irving & Casson A.H. Davenport Co., 575 Boylston St., Boston. Engraving on laid paper with an indistinct watermark, possibly the small jug. Matrix 136mm x 98mm. Sheet 5.25” x 3.875”. 5,000/7,000

517.

ALBRECHT DURER Nuremberg, Germany, 1471-1528 “Christ Taken Captive/The Kiss of Judas”, plate ten from the “Large Passion”, first published 1511. Bartsch 7; Meder 116. Woodcut on paper with Latin text on the verso. Matrix 393mm x 282mm. Sheet 15.75” x 11”. Framed 25.25” x 20.5”. 1,500/2,500 Provenance: A note affixed to the reverse of the frame inscribed “Given to M & D by Dr. Carl [sic] Arnstein - Back to Akron”. Dr. Karl Arnstein was a preeminent airship engineer and worked for Goodyear Aircraft, headquartered in Akron, Ohio. He also designed airships for the U.S. Navy. Dr. K. Frank Austen, Arnstein’s son, donated a portion of his father’s old master print collection to the Mead Art Museum at Amherst College.

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Albrecht Durer Nuremberg, Germany, 1471-1528 Lots 516-517

517

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518

518.

FRIEDRICH ORTLIEB German, 1839-1909 Comical genre scene of a priest quoting from the Bible to a friar, while the friar is visibly distracted by a classical nude sculpture. Signed lower left “F. Ortlieb”. Oil on canvas, 32.25” x 26.5”. Framed 42” x 35”. 1,500/2,500 Provenance: A Cape Cod, Massachusetts Estate.

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519.

ARTHUR DRUMMOND United Kingdom, 1871-1951 Bathing scene with nude females. Signed lower right “Arthur Drummond”. Oil on canvas, 17.5” x 26”. Framed 28” x 38”. 2,500/3,500 Provenance: A Cape Cod, Massachusetts Estate.

519

520.

OLD MASTER SCHOOL Continental, 18th or 19th Century Livestock in a mountain landscape. Unsigned. Oil on beveled panel, 6.5” x 7”. Framed 10” x 11”. 500/700

520

521.

ALFRED GLENDENING, JR. England, 1861-1903/07 “St. Marys Le Ghyll Barnoldswick”. Signed lower right with monogram “AG”. Titled verso. Oil on board, 10” x 14”. Framed 12” x 16”. 800/1,000

521

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522

522.

FRIEDRICH FRANK Austria, 1871-1945 “Cairo”. Titled and signed lower right “Friedrich Frank”. Watercolor on paper, 16.5” x 15” sight. Framed 25” x 23”. 1,000/2,000

523.

OSCAR RICCIARDI Italy, 1864-1935 Naples market scene. Signed lower right “Oscar Ricciardi”. Oil on canvas, 21.5” x 11.5”. Framed 25.25” x 15.25”. 1,000/1,500

524.

BRITISH SCHOOL 19th Century Satirical illustration of three men. Unsigned. Paper label verso for George Rowney & Co., London. Oil on milled board, 13.75” x 10.5”. Framed 18.5” x 15.25”. 500/1,000

523

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524


525

525.

LUTHER EMERSON VAN GORDER Ohio/New York, 1861-1931 A Paris boulevard, circa 1910. Signed lower left “L. Emerson Van Gorder”. Oil on canvas board, 8.25” x 10”. Framed 16.5” x 18.25”. 3,000/5,000

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526.

AFTER JOSEPH MALLORD WILLIAM TURNER United Kingdom, 1775-1851 Late 19th Century copy of Turner’s “The Fighting Temeraire”, which is part of the collection of the National Gallery, London. Depicts the 1805 Battle of Trafalgar, during which Lord Nelson was fatally wounded. Unsigned. Old typed label verso. Oil on canvas, 12” x 18”. Framed 16” x 21.75”. 400/600

527.

E. CHRISTINE MARIE VOSS LUMSDON New York/France, 1870-1937 “Peasant Woman and Child”. Signed verso in two places “Lumsdon”. Titled verso. Inscribed verso “Painted in Florence Italy. 1910.” Oil on board, 8.75” x 6.25”. Framed 12” x 9.5”. 700/900

526

527

528.

MAX HOENOW German, 1851-1909 Pair of woodland landscapes. Both signed lower right “Hoenow”. Oils on board, 14” x 18”. Framed 18.5” x 22.5”. 800/1,000

528, pair

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529.

530.

JOHN JAMES AUDUBON New York/France, 1785-1851 “Bachmans Finch”. Plate CLXV from The Birds of America, engraved by Havell. Hand-colored engraving and aquatint, 23” x 16” sight. Framed 45” x 37”. 500/1,000

RARE DR. WALL WORCESTER MUG Late 18th/Early 19th Century With large strap handle and decoration of sunflowers and roses. Cypher “C” mark on base. Height 5.83”. Diameter of rim 4.25”. 400/600

529

531.

RARE ENGLISH CREAMWARE PITCHER 19th Century “John and Bettey Bennet 1827” under spout. One side depicts a woman seated near a memorial. Other side with scene titled “Success to the Brave Coal Miner’s”. Polychrome painted floral decoration throughout. Height 7.75”. 500/800

531

532.

PAIR OF JOSEPH HOLDCROFT HERON AND STORK MAJOLICA SPILL VASES England, Late 19th Century Heron with impressed “J. Holdcroft” mark. Stork unmarked. Tallest height 15.25”. 2,000/3,000

532, pair

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533

533.

534.

535.

536.

537.

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ENGLISH CHIPPENDALE CHEST OF DRAWERS Circa 1780 In mahogany. Molded-edge top. Four graduated full-width drawers with brass pulls. Shaped bracket base. Height 32”. Width 37”. Depth 21.25”. 400/600

536, pair

538.

NEOCLASSICAL PARCEL-GILT BRONZE SINUMBRA LAMP 19th Century Onion-form shade cut with floral motifs. Tapered and reeded columnar stem issuing from a tulip. Elaborate base with three ram’s heads. Unmarked. Total height 32.5”. 400/600

539.

PAIR OF BRONZE HIPPOCAMPUS GONDOLA ORNAMENTS Venice, Italy, 19th Century With winged cherubs riding on their backs. Dark patina. Height 11”. Length 17”. 300/400

540.

BAROVIER & TOSO MURANO GLASS VASE Italy, Mid-20th Century Balustroid, with delicate white bands, and a blue knop and rims. Signed on underside. Height 12.25”. 300/500

541.

TEN BACCARAT “MICHELANGELO” PATTERN CRYSTAL DOUBLE OLD FASHIONED GLASSES France, Mid-20th Century Etched strapwork design. Factory mark on undersides. Heights 4.25”. Rim diameters 4”. 600/800

OVAL CELLARETTE 19th Century Barrel-style construction with wooden staves and brass bands. Brass lion’s-head handles at sides. Includes an oval tin lining with cover and a fitted stand. Height on stand 23”. Length 25”. Width 16.5”. 300/500

VINTAGE CAST IRON PATIO SET Includes a settee, two armchairs, one side chair and a side table, all with a grapevine design. Painted white. Chair back heights approx. 28.5”. Settee length 37.5”. Table diameter 21”. 500/800

PAIR OF EUROPEAN TIN HANGING LANTERNS 19th Century Octagonal. Heights 33”. 400/600

PARCEL-GILT BRONZE SINUMBRA LAMP Shade cut with scrolling foliage. Columnar base with three satyr’s masks. Height 28.75”. 400/600

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542.

EDMUND HENRY GARRETT Massachusetts/New York, 1853-1929 Three works: Spring, Summer and Autumn. Each with a seasonal Art Nouveau border surrounding a young beauty adorned with a flower garland in her hair. Entwined “EG” monogram incorporated into the background of each. Spring signed and dated 1906 verso. Oils on canvas, 12” x 28”, 12” x 29” and 12” x 36”. Framed. 1,200/1,800 These works were possibly influenced By Louis Comfort Tiffany’s “Four Seasons” window panels that were once on display at Laurelton Hall, his estate on Long Island, and are now at the Charles Hosmer Morse Museum of American Art.

542, three

543.

CARVED MAHOGANY LAMP TABLE Dated 1897 Monogrammed “EG”, possibly for Emile Galle. Circular top with floral-carved rim and apron. Medial shelf. Four carved legs end in hooved feet. Height 29.5”. Diameter 26”. 1,000/1,500

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543

25


544.

LOUIS VUITTON STEAMER TRUNK Early 1900s Exterior with allover LV monograms, beechwood slats, brass locks, and metal handles and hardware. Sides with travel labels, red stripes and initials “ABS” for Adele Berry Sloane (1841-1911). Interior fitted with a lift-out linen tray, straps and a covered ditty box. Original label inside marked “Louis Vuitton 1 Rue Scribe Paris 149 New Bond St. London”, and with serial number 137187. Original lock, no key. Height 23”. Length 21”. Width 39”. 3,000/5,000

548.

LOUIS VUITTON STEAMER TRUNK Early 1900s Exterior with allover LV monogram, beechwood slats, and brass locks, handles and hardware. Sides with red crossed stripes and initials “ESG” for Evelyn Sloane Griswold (1877-1944). Original label inside cover marked “Louis Vuitton Paris 1 Rue Scribe 149 New Bond St. London”, and with serial number 137176. No key. Height 13”. Length 31”. Width 21”. 2,000/3,000

545.

LOUIS VUITTON STEAMER TRUNK Early 1900s Exterior with allover LV monogram, beechwood slats, brass lock, handles and hardware. Interior fitted with linen trays and a ditty box. Sides with red cross stripes and initials “EGS” for Evelyn Griswold Sloane (1877-1944). Original label inside cover marked “Louis Vuitton Paris 1 Rue Scribe149 Bond St. London”, and with serial number 137175. Original lock has been replaced. Height 21”. Length 36”. Width 22.5”. 3,000/5,000

549.

VINTAGE LOUIS VUITTON HARD-SIDED SUITCASE Mid-20th Century Exterior with allover LV monogram, leather handle, and brass hardware and lock. Label on inside lid numbered 847072 and marked “Louis Vuitton Ave Marceau 78 Paris”. Lock numbered 112374. Remnants of Holland America 1957 Statendam cruise sticker on side. Height 18.5”. Width 28”. Depth 7”. 600/800

546.

LOUIS VUITTON STEAMER TRUNK Early 1900s Solid brown canvas exterior with beechwood slats, brass nailhead and black patinated metal lock, handles and hardware. Sides with travel labels and inititals “ABS” for Adele Berry Sloane (1841-1911). Interior fitted with three red-striped paper linen trays. Original label inside marked “Louis Vuitton 1 Rue Scribe, Paris and 454 Strand, London”, and with serial number 44716. Height 27.5”. Length 43.5”. Width 24”. 800/1,200

550.

LOUIS VUITTON “ALZER” HARD-SIDED SUITCASE Last Half of the 20th Century Exterior with allover LV monogram, leather handle, and brass hardware and lock. Interior fitted with linen tray with straps. Label on inside lid numbered 843774 and marked “Louis Vuitton Paris 70 Champs-Elysees Nice Vichy”. Lock numbered 110805. Height 18”. Width 28”. Depth 8.5”. 900/1,100

547.

Provenance: The Helen Pond and Herbert Senn Collection.

LOUIS VUITTON STEAMER TRUNK Early 1900s Brown canvas exterior with beechwood slats and black painted metal hardware and locks. Sides with red crossed stripes, travel labels and the initial “S” for John Sloane. Interior fitted with two red-striped linen trays. Original label inside marked “Louis Vuitton 149 New Bond St. W. London 1 Rue de Scribe Paris”, and with serial number 137155. Height 28”. Length 48”. Width 24”. 800/1,200

544

26

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545

546

547

548

549

550

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27


551.

ANTOINE-LOUIS BARYE France, 1795-1875 A lion. Signed “Barye”. Foundry mark for “F. Barbedienne Fondeur”. Dark green/black patina. Bronze, height 9”. Length 15.5”. Width 4”. 1,500/2,500

551

552.

MARTIN BORGORD Norway/America, 1869-1935 Candlestick with nude female figures. Signed and dated “Martin Borgord Paris 1925”. Valsuani Foundry stamp. Cast bronze, height 8.75”. 500/800

552

553.

HANS KECK Austria, 1875-1941 Erotic nude woman feeding a parrot. Base incised “H. Keck” and with a KB monogram foundry mark. Bronze, height 10.5”. 2,000/3,000

553

28

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554.

NICOLA SIMBARI Italy, 1927-2012 Beach scene with colorful umbrellas. Signed lower right “Simbari”. Oil on canvas, 24” x 32”. Framed 31” x 39”. 4,000/6,000

554

555.

ARMANDO ROMANO Italy, born 1953 Still life of red geranium and cherries. Signed lower left “A. Romano”. Signed and numbered BZ-1346 verso. Oil on canvas, 28” x 20”. Framed 35” x 27”. 1,000/1,500

555

556.

NIEK VAN DER PLAS The Netherlands, Contemporary Venetian scene. Signed lower right “Van Der Plas”. Oil on board, 11.5” x 15.25”. Framed 19” x 23”. 1,200/1,500

556

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29


557

558

557.

30

SERGIO BUSTAMANTE Mexico, b. 1942/43 Seated cheetah. Signed on back “Sergio Bustamante 68/100”. Hand-hammered brass, height 42”. 1,200/1,800

558.

SERGIO BUSTAMANTE Mexico, b. 1942/43 Standing elephant. Signed on back “Sergio Bustamante 23/100”. Handhammered brass, height 45”. Length 56”. 1,200/1,800

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Martin Lewis New York/Connecticut/Maine/Australia, 1881-1962 Lots 559-560

559.

“Shadows on the Ramp”, 1927, from an edition of 100. Signed lower right “Martin Lewis - imp.”. Includes invoice from Holman’s Print Shop, Boston, dated 1969. Etching on paper, 10” x 11.5” sight. Framed 15” x 19”. 2,000/4,000

559

560.

“Girls on the beach”. Signed lower right “Martin Lewis imp.”. Includes invoice from Holman’s Print Shop, Boston, dated 1969. Etching on paper, 8.5” x 13.5” sight. Framed 15” x 19”. 2,000/4,000

560

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31


561.

STOWE WENGENROTH New York/Massachusetts, 1906-1978 Two works: “City Street” and “Night Visitors”. Both signed in pencil lower right. Titled on Kennedy Galleries labels verso. Lithographs on paper, 11” x 10” sight. Framed 19.5” x 17”. 800/1,000

562.

PATRICK NAGEL California/Ohio/Germany, 1945-1984 “Hanson Investments ...”. Signed in pencil lower right “Nagel”. Numbered 40/250. Dated 1980, Mirage Editions. Serigraph on paper, 25” x 17”. Framed 35” x 26.5”. 500/700

563.

PATRICK NAGEL California/Ohio/Germany, 1945-1984 “The Piedmont Book Company Gallery Oakland California”. Signed in pencil lower left “Nagel”. Numbered 18/250. Dated 1979, Mirage Editions. Serigraph on paper, 25” x 16.5”. Framed 37” x 29”. 500/700

561, two

Influenced by the art of the Japanese woodblock print, Patrick Nagel is known for his Art Deco-style renderings of women. He created the cover for Duran Duran’s hit album “Rio” and worked as an illustrator for Playboy.

562

563

32

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564.

CYRIL POWER United Kingdom, 1872-1951 “Corps de Ballet”, depicting seven abstract dancers. No. 1 EP, 2nd State special copy. From the London Underground Railway series circa 1930. Linocut on Japan paper, 12.75” x 12.75”. Framed 17.75” x 17.5”. 6,000/8,000

564

565.

WILLIAM GROPPER New York, 1897-1977 “Fishermen”. Signed lower left “Gropper”. Titled on artist’s “Croton-on-Hudson, N.Y.” label verso. Watercolor on paper, 16.6” x 14”. Framed 30” x 34”. 2,000/3,000 Provenance: Private Collection, Pennsylvania.

565

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33


566.

KARL KNATHS Massachusetts/Wisconsin, 1891-1971 Four sketches, one of dunes, one of trees, and two figural. Each unsigned. Loose in a softcover “Pearless Drawing Book”. Together with the volume Karl Knaths: Five Decades of Painting by the International Exhibitions Foundation, 1973. Crayon and mixed medias, 11.5” x 8.75”. 500/1,000 Provenance: Private Collection, Cape Cod, Massachusetts and New York, given through descent of the artist.

566

567.

WILLIAM MEYEROWITZ New York, 1887-1981 “Gossip”. Signed lower left “W. Meyerowitz”. Titled and signed in pencil verso. Oil and pencil on board, 14” x 12”. Unframed. 400/600 Provenance: Private Washington, D.C. Collection. Acquired directly from the artist by the current owner.

567

34

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568

568.

MARSDEN HARTLEY Maine, 1877-1943 Study of Gattieres, France. Signed “Marsden Hartley” and dated 1927 verso. Oil on board, 10.75” x 8”. Framed 18.5” x 16.5”. 15,000/20,000 Provenance: Private Collection, Pennsylvania.

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35


569

569.

570

MARGUERITE THOMPSON ZORACH New York/Maine/California, 1887-1968 “New England, Saturday Night”. Titled in pencil lower left. Signed lower right “Marguerite Zorach”. Numbered AX 1860. Lithograph with watercolor and pencil on laid paper, 13” x 17.5”. Unframed. 800/1,000

570.

MARGUERITE THOMPSON ZORACH New York/Maine/California, 1887-1968 “Sunday After Noon, New England”. Titled in pencil lower left. Signed lower right “Marguerite Zorach”. Numbered AX 1858. Lithograph with watercolor and pencil on laid paper, 13” x 17.5”. Unframed. 800/1,000

571.

EDWARD HERGELROTH Pennsylvania/Maine, 20th Century Rocky cliff, Maine. Signed and dated lower right “E. Hergelroth ‘90”. Watercolor and gouache on paper, 25.5” x 37” sight. Framed 34.5” x 47”. 500/700

571

36

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572.

GEORGE KENNEDY BRANDRIFF California/New Jersey, 1890-1936 Boats moored in an inlet. Signed lower right “Geo. K. Brandriff”. Oil on masonite, 20” x 24”. Framed 26” x 30”. 2,500/3,500

572

573.

MARY A. PEARSON Early 20th Century Trees on a hill. Signed lower right “Mary A. Pearson”. Woodblock print, 11” x 7.5”. Framed 11.75” x 8.25”. 400/600

573

574.

MARGIT BECK New York/Romania/Hungary, 1911-1997 Abstract. Signed lower left “Margit Beck”. Babcock Galleries brand on stretcher. Oil on canvas, 24” x 32”. Framed 26” x 34”. 300/500

574

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37


575

576

575.

576.

38

CHELSEA KERAMIC ART POTTERY VASE Early 20th Century In teardrop form, with a raised chrysanthemum design on an olive green ground. Marked on base “CKAW”. Height 11.5”. 700/900

CHELSEA KERAMIC UNGLAZED POTTERY URN 20th Century In baluster form, with loop handles. Marked on base “CKAW”. Height 9.25”. 150/200

577.

SEVEN DEDHAM POTTERY CUPS AND NINE SAUCERS Early 20th Century In Rabbit pattern. Saucer diameters 6.25”. 600/800

578.

TWO DEDHAM POTTERY BOWLS Early 20th Century In Rabbit pattern. Diameters 4”. 150/200

579.

DEDHAM POTTERY CREAMER AND COVERED SUGAR Early 20th Century Both in Rabbit pattern. Creamer length 5.5”. 200/300

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580

582

583

584

585

580.

FIVE DEDHAM POTTERY PLATES Early 20th Century In Rabbit pattern. Diameters 8.5”. 600/800

582.

DEDHAM POTTERY PLATE Early 20th Century In Turkey pattern. Diameter 8.6”. 200/300

584.

DEDHAM POTTERY PLATE Early 20th Century In Horse Chestnut pattern. Diameter 8.6”. 200/300

581.

THREE DEDHAM POTTERY BREAD AND BUTTER PLATES Early 20th Century In Iris, Water Lily and Lotus patterns. Diameters 6”. 250/350

583.

DEDHAM POTTERY PLATE Early 20th Century In Camellia pattern. Diameter 8.5”. 200/300

585.

DEDHAM POTTERY PLATE Early 20th Century In Water Lily pattern. Diameter 8.5”. 200/300

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39


586

587

586.

40

DAVID FURMAN United States, Contemporary “Caveat Emptor”, a ceramic three-dimensional sculpture of a green chalkboard with eraser, pencil and chalk. Signed lower right “Furman”. Ceramic with board backing, 17.5” x 23.5”. 700/900

587.

DAVID FURMAN United States, Contemporary “Puca-Pucara 1988”. Ceramic sculpture of a bulletin board with brushes, a pencil, erasers, a watercolor tray, and tacked-up landscape drawings. Signed lower right “Furman”. Titled on handwritten label verso. Ceramic with plywood backing, 17.5” x 23.25”. 700/900

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Irene Rice Pereira New York/Massachusetts/Spain, 1902-1971 Lot 588

588

Irene Rice Pereira, an artist, poet and philosopher, was a founding member of the Design Laboratory during the WPA in New York and was an early member of the American Abstract Artsts. The Museum of Modern Art and The Whitney had major retrospectives of her works in the late 1940s and early 1950s.

588.

Abstract with spiderweb and bird. Signed lower right “Irene Pereira”. Mixed media collage on paper, 11” x 16” sight. Framed 18.5” x 23.5”. 8,000/10,000 Provenance: Private Cape Cod, Massachusetts Estate.

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41


589

42

591, pair

590

589.

CHARLES CATTEAU FOR BOCHE FRERES “BICHES BLEUES” CERAMIC VASE DECORATED WITH DEER Belgium, 1920s Balustroid, decorated with four stags. Crackle glazed. Factory-stamped and marked “D. 943”. Height 12.25”. 600/800

590.

CHARLES CATTEAU FOR BOCH FRERES “ALFRED” CERAMIC VASE DECORATED WITH PENGUINS Belgium, 1920s Egg-form, with flaring rim and decorated with eight birds. Crackle glazed. Factory-stamped and marked “Alfred D. 1104”. Height 12.5”. 800/1,200

591.

PAIR OF CHARLES CATTEAU FOR BOCHE FRERES “BICHES BLEUES” CERAMIC VASES DECORATED WITH DEER Belgium, 1920s Both balustroid, and decorated with three stags. Crackle glazed. Factory-stamped, incised and marked “D. 943 Ch. Catteau”. Heights 13.25”. 1,000/1,500

592.

CHARLES CATTEAU FOR BOCHE FRERES CERAMIC VASE DECORATED WITH FLOWERS Belgium, 1920s Balustroid, with orange and yellow flowers against a pale blue and black ground. Crackle glazed. Factorystamped and marked “D. 2075”. Height 11.75”. 300/500

593.

KAJ FRANCK FOR ARABIA FINLAND “MUSHROOM” PATTERN PORCELAIN DINNER SERVICE Mid-20th Century Comprised of: 9 unmarked 10” plates 7 7.5” plates, four with factory mark 11 unmarked cups 9 unmarked black saucers 1 unmarked black 6” bowl 1 unmarked 5.75” plate 500/700

594.

CHARLES AND RAY EAMES FOR HERMAN MILLER 670 LOUNGE CHAIR AND 671 OTTOMAN Both with deep brown leather upholstery, rosewood veneer and propeller bases. Both with metal tags and paper labels. Chair height 32.5”, width 32.75”. Ottoman height 16.5”, width 26.5”. 3,000/4,000

594

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595

595.

JIM ROSE Wisconsin, b. 1966 “Quilted” hot-rolled steel sideboard with four-piece top and three doors with multicolored windows. Interior with two drawers. Height 36”. Width 60”. Depth 21.5”. 800/1,000

596.

PAIR OF POLTRONOVA “SHE” ARMCHAIRS AND OTTOMANS DESIGNED BY PROSPERO RASULO Italy, 1992 Tight-back chairs and shaped ottomans with flared wooden legs. Checkered chenille removable slipcovers attach with velcro. Labeled Poltronova. Heights 36”. Widths 36”. Depths 30”. 500/1,000

597.

LIGNE ROSET “TOGO” THREE-PIECE SECTIONAL France, Contemporary L-shaped. Upholstered in marine blue microfiber. Labeled. Height 25”. Widths 40”, 52” and 72”. Depth 42”. 1,000/2,000

597

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43


598.

HAND-PAINTED CARNIVAL GAME OF CHANCE WHEEL America, Early 20th Century Center with painted lettering “St. Paul Minn Dailey Mfg Co”. Wheel with black numbers and red line dividers on a mustard yellow ground. Diameter 29.5”. 600/800

598

599.

TEMPLE ALUMINUM FOUNDRY CAST FROG Temple, Massachusetts, 20th Century Height 13”. Length 22”. Width 21”. 300/500

599

44

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600.

NORMAN ROCKWELL Massachusetts, 1894-1978 Set of eight Tom Sawyer lithographs. Includes “Whitewashing Fence”, “Dead Cat”, “Dog and Beetle”, “First Smoke”, “Sneaking Out”, “The Caning”, “The Cave” and “The Medicine”. According to the Norman Rockwell Museum these were created for Mark Twain’s 1936 edition of The Adventures of Tom Sawyer. They were produced by Circle Gallery in 1971 with 295 impressions, with 200 numbered, 60 artist’s proofs, and 35 marked with Roman numerals. This set is numbered 88/200 and pencil-signed by the artist. On paper, 22” x 17”. Framed 29” x 24”. 4,000/6,000

600, eight

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45


601

46

601.

COPPER AND LEAD WEATHER VANE IN THE FORM OF A PEACOCK Second Half of the 20th Century Includes original finders. Mounted on a cupola roof. Total height 68”. Peacock height 20”. Length approx. 32”. 500/1,000

602.

UNUSUAL NEEDLEWORK RUG 5’8” x 6’2” Colorful medallion at center surrounded by floral elements and a geometric border. 300/500

603.

PAIR OF EARLY FEDERAL BELL METAL ANDIRONS Fourth Quarter of the 18th Century Belted ball tops with steeple finials. Gradually tapering ring-turned shafts. Arch-spurred legs end in elongated slipper feet. Complete with period log stops and rests. Heights 18”. Depths 20”. 300/500

604.

DIMINUTIVE SET OF SIX BRASS AND COPPER GRADUATED HANDLED POTS Early 20th Century Lengths from 6” to 12.5”. 250/350

605.

TWO HEARTH ITEMS Late 19th Century A brass and iron trivet, height 16”, and a wrought iron cooking spit, height 30.5”. 300/500

606.

PAIR OF BRASS WALL SCONCES Second Quarter of the 19th Century Lyre-form, with three removable single-socle arms. Height 9.25”. Depth 8.75”. 300/400

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607

608

609

607.

608.

DOUBLE-SIDED WOODEN SIGN “OLD CARVER’S SHOP” Mid-20th Century Black lettering on a white ground, flanked by a silhouettecarved and painted lighthouse and sailboat. Height 16.5”. Length 53”. 300/500

609.

WOODEN SIGN “STABLE” Early 20th Century Black and gold lettering on a white ground. Iron mounts at sides. 9” x 36”. 300/500

Discovered on Cape Cod, Massachusetts.

610.

WALNUT, BRASS AND MARBLE PAN SCALE 19th Century With spool turnings. Height 9”. Length 2.5”. 200/300

DOUBLE-SIDED TIN SIGN “IT’S HOODS ICE CREAM FOR HEALTH ‘RICH IN FLAVOR’” First Quarter of the 20th Century Polychrome lettering surrounds a central image of ice cream. 17.75” x 23.75”. 400/600

611.

GRAY-BLUE PAINTED DOUGH BOX Early 19th Century With canted sides and dovetail construction. Cover with cut-out handle. Length 30.25”. 400/600

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47


612.

PAIR OF QUEEN ANNE BRASS CANDLESTICKS Early 18th Century With turned stems and six-petal bases. Retain original push-ups. Heights 9.5”. 250/350

612

613.

SILHOUETTE OF A CHILD HOLDING A DOLL Child stands in front of a stone wall. Signed in ink on mat “Caroline Lipencott[?] aged 4½ years”. 9.5” x 7.5” sight. Framed 12” x 10”. 700/1,000

613

614, six

614.

SIX TWO-PART BLOWN-MOLDED GREEN GLASS BOTTLES 19th Century With applied raised “D Sears” seals and numerals “4”, “5”, “8”, “6”, “5”, “4”, and reversed “5”. “Patent” on shoulder. Raised lettering on base. Heights approx. 11”. 400/600

615.

48

MINIATURE CARVED OAK SPINNING JENNY 19th Century With bone fittings. Painted “Strasbourg” on foot pedal. Height 20”. Length 9”. Width 7”. 300/500

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615


616

618

617

616.

COUNTRY CHIPPENDALE TALL CHEST Connecticut, Circa 1800 In cherry, with give graduated full-width drawers and flat bracket feet. Height 43.75”. Width 39.25”. Depth 19.5”. 500/800

617.

TIGER MAPLE TILT-TOP TABLE America, 18th Century With circular top and a tripod base ending in slipper feet. Height 28”. Diameter 35.75”. 500/1,000

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618.

JELLY CUPBOARD Pennsylvania, 19th Century In pine and poplar, with a faint redstained finish. Shaped cornice over two half drawers over two paneled doors over a single paneled fullwidth drawer simulating two half drawers. Drawers fitted with circular brass pulls. Doors enclose two interior shelves. Turned half-columns at sides of case terminate in turned legs. Height 54.5”. Width 48”. Depth 20”. 800/1,200

49


619

619.

50

CHIPPENDALE TIGER MAPLE TWO-PART LINEN PRESS Circa 1780 Upper case with molded, fluted and carved cornice, and paneled doors that enclose four interior shelves. Lower case with four graduated full-width drawers and bulbous turned feet. Drawers fitted with brass bail pulls. Height 81”. Width 49”. Depth 20”. 2,000/3,000

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620.

AMERICAN SCHOOL 19th Century Theorem painting with a squirrel and a basket of fruit. Unsigned. Watercolor on velvet, 9” x 9.5”. Framed 15.5” x 15”. 200/400

621.

TIGER MAPLE FOUR-DRAWER CHEST Circa 1810 Drawers with oval brass pulls. Shaped bracket base. Height 41”. Width 40.75”. Depth 18.75”. 700/1,000

622.

SHERATON GILT TABERNACLE MIRROR Circa 1810 Cornice with 15 drop balls. Upper reverse-painted glass tablet with scene of Mount Vernon. Marked on reverse “Norris”. Height 30.5”. Width 18.5”. 250/350

623.

GRAIN-PAINTED LIFT-TOP CHEST With ebonized turned legs. Height 23”. Width 39”. Depth 20.5”. 300/500

624.

ONE-DRAWER TAVERN TABLE 19th Century In red-stained oak, with a stretcher base and ball feet. Height 26”. Length 36.25”. Width 21.5”. 250/350

625.

AFTER WILLIAM J. HARRIS United States, 19th Century Moses Brown at his desk. Engraved by Thomas Pollack after Wm. J. Harris. Printed by Henry A. Hidden & Co., Providence, 1839. Steel engraving on paper, 12” x 9”. Framed 16” x 12.5”. 400/600 See: “Images of Moses Brown” by Nina Zannieri in “Rhode Island History” published by the Rhode Island Historical Society, August 1983, pp. 74-85.

620

622

621

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51


626 627

626.

SHERATON TWO-DRAWER STAND New York State, Circa 1815 In strongly figured bird’s-eye maple. Drawers with turned wooden knobs. Square block legs end in bun feet. Height 29”. 400/600

628.

627.

SHERATON TWO-DRAWER STAND New England, Circa 1815 In strongly figured bird’s-eye and tiger maple. Drawers with turned wooden knobs. Shaped medial shelf. Turned legs end in ball feet. Height 30.75”. Width 22.75”. Depth 18”. 400/700

NORTON & FENTON FOUR-GALLON STONEWARE JUG 19th Century Stamped “Norton & Fenton Bennington VT” above cobalt blue floral decoration. Height 16”. 250/350

628

629.

629

52

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THREE PIECES OF HARTFORD STONEWARE 19th Century Two ovoid crocks and an ovoid jug, all with cobalt blue decoration. Heights from 10” to 12”. 300/500


630.

SLANT-LID DESK America, Late 18th Century In maple. Slant lid encloses a fitted interior. Case with four graduated drawers and bracket base. Height 41”. Writing height 29”. Width 36.25”. Depth 17”. 800/1,000

630

631.

HEPPLEWHITE DROP-LEAF TABLE Circa 1810 In maple and tiger maple, with square tapered legs. Height 27.75”. Length 16” plus two 15” drop leaves. Width 47”. 300/400

631

632.

PAIR OF FEDERAL BELL METAL LEMON-TOP ANDIRONS Boston, Circa 1800 Together with a pair of matching fireplace tools. Andirons with slipper feet. Heights 19”. Depths 20.5”. 550/850

632

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53


633.

FEDERAL SHAVING MIRROR Boston, Circa 1800 In mahogany. Simple posts support a rectangular mirror. Three-drawer base with French splayed front feet. Height 20”. Width 22”. Depth 10.5”. 600/800

634.

FEDERAL LIFT-TOP KNIFE BOX Late 18th Century In mahogany and mahogany veneer, with brass hardware. Fitted velvet-lined interior. Height 14”. Depth 9”. 300/500

635.

SHERATON SHAVING MIRROR America, 19th Century In mahogany and mahogany veneer, with alternating light and dark inlay. Rectangular mirror supported by turned arms. Base with three drawers fitted with glass pulls and six turned legs ending in ball feet. Height 25”. Width 27”. Depth 8.5”. 400/600

636.

STONEWARE BUTTER CHURN 19th Century Stamped “Evan H Stone Pitts PA” and “6” above cobalt blue floral decoration. Height 19.5”. 300/400

637.

NORTON TWO-GALLON OVOID STONEWARE JUG 19th Century Impressed “L Norton and Son” and “2” above brown floral decoration. Height 14”. 200/300

633

634

635

54

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639

638

640

638.

COUNTRY ONE-DRAWER STAND New England, Circa 1810 In pine under red paint. Drawer with turned wooden pulls. Turned legs end in tapered feet. Height 28.5”. Width 23.5”. Depth 17”. 250/350

640.

HEPPLEWHITE ONE-DRAWER STAND Circa 1810 In maple under a brown stain. Drawer with brass ring pull. Square tapered legs. Height 27.5”. Width 17.5”. Depth 18”. 150/250

642.

FOUR-GALLON STONEWARE CROCK New York, 19th Century Impressed “Brady & Ryan Ellenville, N.Y.” above cobalt blue decoration of a bird on a stump. Applied handles at sides. Height 11.5”. Diameter 11.5”. 700/1,000

639.

RARE FOUR-GALLON STONEWARE BUTTER CHURN 19th Century Impressed “Whites Utica” and “4” above cobalt blue peafowl decoration. Includes dasher. Churn height 17”. Height with dasher 37.25”. 500/800

641.

TWO BENNINGTON STONEWARE CROCKS 19th Century One ovoid, with a cobalt blue “2”, height 12”, and the other impressed “J. Norton & Co. Bennington VT” and “1½” above cobalt blue songbird decoration, height 10.5”. 250/350

643.

THREE PIECES OF NEW YORK STONEWARE 20th Century A White & Sons three-gallon crock, height 10”, an Ottman Bros. three-gallon crock, height 10.5”, and a Clark two-gallon jug, height 14.5”. All with cobalt blue floral decoration. 400/700

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55


644 645

646 647

56

644.

EXCEPTIONAL MINIATURE DEACON’S BENCH New England, 19th Century Frame with yellow and white painted floral decoration on a green ground. Scroll-carved back and arms, and tapered legs. Height 16”. Length 26”. Depth 9.75”. 700/1,000

646.

SHERATON CHILD’S BUREAU Circa 1820 In mahogany and bird’s-eye maple veneer. Overhanging deep drawer over three graduated full-width drawers, all with swirled glass pulls. Turned columns at sides of case end in bun feet. Paneled sides. Height 24.75”. Width 18”. Depth 12.25”. 500/800

645.

PINE DOME-TOP DRESSER BOX WITH EXCEPTIONAL ORIGINAL PAINTED DECORATION Early 19th Century Red and black designs on a yellow ground. Height 8”. Width 15”. Depth 8.5”. 300/400

647.

MINIATURE CHEST OF DRAWERS New England, 19th Century Four graduated drawers, the upper with rope-style molding and the three lower fitted with milk glass pulls. Upper corners of case initialed “R” and “M”. Sides of case with decorative carved hands and hearts. Molded base raised on baluster legs. Height 12.5”. Width 9”. Depth 5”. 400/700

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649

648

653

648.

RARE QUEEN ANNE CHILD’S SIDE CHAIR In mahogany, with cabriole legs ending in padded slipper feet. Seat upholstered in a cranberry and cream-colored leaf print. Cabriole legs end in padded slipper feet. Back height 27”. Seat height 12”. 500/800

649.

CHILD’S PAINTED WOODEN ROCKING HORSE Late 19th Century White horse with glass eyes. Red stand with yellow, black and green decoration. Height 30”. Length 37”. Width including stand 13.25”. 300/500

650.

CHIPPENDALE CHILD’S CHEST Circa 1780 In mahogany and mahogany veneer. Two side-by-side drawers over three graduated full-width drawers, all with turned wooden pulls. Ogee bracket base. Height 14”. Width 14.75”. Depth 10.5”. 300/500

651.

QUEEN ANNE-STYLE CHILD’S WING CHAIR 20th Century Salmon red upholstery. Pad feet. Back height 30”. Seat height 12”. 150/250

652.

ELEVEN-PIECE COLLECTION OF SCHOENHUT BIG TOP CIRCUS TOYS Circa 1920 Includes two clowns, two chairs, a cow, a pig, a wheelbarrow, a donkey, a sheep, an elephant and a circus barrel. Heights from 2.5” to 8”. 700/1,000

653.

GERMAN CARVED AND PAINTED WOODEN NOAH’S ARK 19th Century Together with a shadow box containing 68 animal figures. Ark height 8”. Length 12”. Shadow box 20” x 15”. 500/1,000

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57


654

654.

58

ARTILLERY CAST IRON MECHANICAL BANK Circa 1892 By J. & E. Stevens Company. Original paint with moderate wear. Period trap. Height 6”. Length 8.75”. 500/800

655

655.

ORGAN CAST IRON MECHANICAL BANK Late 19th Century By Kyser & Rex. Original paint with moderate wear. Original trap. Height 7.25”. Length 5.25”. 400/600

656

656.

TRICK DOG CAST IRON MECHANICAL BANK Circa 1888 By Shepard Hardware Company. Well-worn original paint. Missing trap. Hoop damaged. Height 7.5”. Length 8.5”. 200/300

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657.

ROOSTER MECHANICAL BANK Circa 1880 By Kyser & Rex. Original paint with moderate wear. Height 6.5”. Length 5”. 500/800

658.

RABBIT WITH BALL CAST IRON MECHANICAL BANK Circa 1880 By Novelty Works Company. Faint traces of original paint. Height 5.75”. 400/700

659.

657

658

BULLDOG CAST IRON MECHANICAL BANK Circa 1880 By J. & E. Stevens Company. Well-worn original paint. Period trap. Height 8”. Length 6.5”. 300/500

659

660.

CREEDMOOR CAST IRON MECHANICAL BANK Circa 1890 By J. & E. Stevens Company. Original paint with moderate wear. Original trap. Height 6.5”. Length 9.75”. 300/500

660

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59


661

60

662

661.

WILLIAM TELL CAST IRON MECHANICAL BANK Late 19th Century By J. & E. Stevens Company. Original paint with moderate wear. Includes trap. Height 7”. Length 10.5”. 400/700

662.

INDIAN SHOOTING BEAR CAST IRON MECHANICAL BANK Circa 1888 By J. & E. Stevens Company. Original paint with moderate wear. Missing trap and floor plate. Height 8”. Length 10”. 900/1,200

663.

SPEAKING DOG CAST IRON MECHANICAL BANK Circa 1885 By J. & E. Stevens Company. Original paint with moderate wear. Original trap. Height 7”. Length 8”. 400/600

664.

PADDY & THE PIG CAST IRON MECHANICAL BANK Circa 1882 By J. & E. Stevens Company. Well-worn original paint. Missing trap. Height 8.5”. Length 7”. 500/800

665.

TAMMANY CAST IRON MECHANICAL BANK Circa 1873 By J. & E. Stevens Company. Original paint with moderate wear. Height 6”. Length 3.5”. 200/400

666.

NOVELTY CAST IRON MECHANICAL BANK Late 19th Century By J. & E. Stevens Company. Original paint with moderate wear. Trap possibly a replacement. Height 6.75”. Length 4.75”. 300/500

667.

CENTENNIAL CAST IRON MECHANICAL BANK Circa 1875 By Enterprise Manufacturing Company. Patent date “Sept. 21, 75”. Painted red, brown and gold, showing moderate wear. Height 10”. 200/400

668.

KICKING MULE CAST IRON MECHANICAL BANK Circa 1880 By J. & E. Stevens Company. Original paint with moderate wear. Period trap. Height 5.25”. Length 8.5”. 400/600

669.

DOG ON TURNTABLE CAST IRON MECHANICAL BANK Late 19th Century Copper finish shows wear. Height 5”. Length 4”. 200/300

670.

HALL’S EXCELSIOR CAST IRON MECHANICAL BANK Circa 1869 By J. & E. Stevens Company. Original white paint with moderate wear. Height 5.5”. Length 4”. 200/300

671.

PUNCH AND JUDY CAST IRON MECHANICAL BANK Late 19th Century By Shepard Hardware Company. Original paint with moderate wear. Height 7.5”. Length 6.25”. 300/500

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664

665

663

667

668

666

671

670 669

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61


672

672.

62

H.F. WALLING MAP OF NANTUCKET, MARTHA’S VINEYARD AND CAPE COD New York, 1858 “Map of the Counties of Barnstable, Dukes and Nantucket Massachusetts”. A very scarce and richly informative wall map. Depicts Nantucket, Edgartown, West Tisbury and Homes Hole (today Vineyard Haven) on Martha’s Vineyard, and Chatham, Wellfleet, Provincetown, Hyannis, Truro Village and other locations on Cape Cod. Includes 40 inset maps and historic information such as business listings and locations of early industries, names of residents and the locations of their homes, early rail lines and roads, and early topographic and shoreline features. Seven vignettes about the perimeter, including two of Provincetown as seen in 1620 and 1858 and one of the Pacific Bank on Nantucket. Original rollers. Attractive original color, refreshed. Remounted on new linen and fully conserved. Approx. 60” x 56”. 7,000/9,000

As Joseph Garver noted in Surveying the Shore: Historic Maps of Coastal Massachusetts, 1600-1930, p. 102-103, “Walling aimed for a comprehensive, almost encyclopedic overview of these three counties and their principal population centers.” The map remains a valuable source of historic records, and the inset maps describe many communities in detail for the first time. “The map of the town of Nantucket, for instance, depicts a dense cluster of streets and properties and, in the immediate vicinity of the harbor, numerous candle manufacturers and oil sheds, boat shops, a bank, an inn, a bakery, the customhouse, a bowling alley and an abattoir- in fact, everything that he properly appointed port should contain in a compact space,” Garver said. A possible reason for the scarcity of the map is the relatively small population of this area at the time would have resulted in a small print run to begin with.

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673.

LIFT-TOP BLANKET CHEST FROM NANTUCKET Early 19th Century Branded “Coffin” on backboard and passed down through the Coffin family for four generations. Chest in pine with brown and beige painted decoration in a swag and wave pattern. Two full-width drawers below blanket compartment. Height 43.25”. Width 44.5”. Depth 19.5”. 3,000/4,000

674.

QUEEN ANNE TILT-TOP CANDLESTAND Possibly Nantucket, Massachusetts, 19th Century In mahogany, with shaped top, vasiform pedestal, and three cabriole legs ending in snake feet. Height 27.5”. Top 19.75” x 20.25”. 800/1,200

675.

LIFT-TOP BLANKET CHEST WITH NANTUCKET PROVENANCE Early 19th Century Passed down through the Coffin family for four generations and referred to as the “Tiger Chest” by family members. Backboard painted with initials “A[?]” and date 1810. Chest with red-wash finish, a large blanket compartment over two full-width drawers, and bootjack-style ends. Height 46”. Width 42”. Depth 21.5”. 800/1,200

673

674

675

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63


James Walter Folger was an extremely skillful painter and wood carver. For a discussion of this important Nantucket artist, see Picturing Nantucket edited by Michael Jehle (Nantucket Historical Association, 2000).

676

676.

JAMES WALTER FOLGER Nantucket, Massachusetts, 1851-1918 Pair of carved wooden panels depicting The Old Mill, Nantucket. “1746 The Old Mill, Nantucket” is carved with the right end simulating a broken board. The second bears no title other than ”1746”, the year The Old Mill was built. The carving occupies the left end of the board; presumably the remaining space was for a custom inscription or image. Both with a “James W. Folger Artistic Wood Carvings Paintings of Nantucket Scenery” business card affixed to the reverse. 9.5” x 13.5” and 9” x 14”. 800/1,200

677.

FREDERICK MAYHEW Massachusetts/Ohio, 1785-1854 Portrait of Hepsie N. Tilton of Martha’s Vineyard, Massachusetts. Signed lower left “Painted by F. Mayhew”. Inscribed lower right “H.N.T.”. Oil on board, 3” x 2.75” sight. Framed 4.25” x 3.75”. 1,000/1,500 677

678.

NEST OF SEVEN OVAL NANTUCKET BASKETS BY AINSLEY D. ROOKWOOD Cape Cod, Massachusetts, 20th Century All with cherry swing handles and base plates. Smallest basket contains a wooden robin’s egg. All signed “A.D.R.” and numbered on undersides. Heights from 2.5” to 7” excluding handles. Lengths from 3.75” to 14”. 2,000/3,000

678

64

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679

679.

VERY LARGE OVAL NANTUCKET BASKET BY ARTHUR R. MARTIN Massachusetts, Late 20th Century Swing handle. Single-wrap rim. Wooden base. Signed on underside “A.R.M. Handcraft Basket U.S.A.” Illegibly dated, possibly 1989. Height exclusive of handle 12”. Length 22.5”. 1,000/1,500 A.R. Martin (1930-2000) learned to make Nantucket baskets while he was incarcerated in Massachusetts state prisons. He was able

681.

ROUND NANTUCKET BASKET BY DIANE WEBB MACKEY Dated 1990 Turned wooden base with concentric incised lines. Signed on underside “Made By Diane Mackey 1990”. Height 3.5”. Diameter 8.5”. 250/350

682.

ROUND NANTUCKET BASKET BY DIANE W. HUNTER New Canaan, Connecticut, Dated 1987 Turned wooden base with concentric incised lines. Footed base. Signed on underside “Made By Diane W. Hunter New Canaan, Conn. 1987”. Height 5.5”. Diameter 11.75”. 250/350

683.

THREE MINIATURE NANTUCKET BASKETS 20th Century 1) One-egger by Paul Willer. Signed on base. Height 2”. 2) Signed and dated on base “Tim Alyn... Nantucket ‘84”. Height 4”. 3) Unsigned. Height 4”. 300/400

to gather wood from the grounds to use as bases and handles. He first began selling them while in prison and continued to do so after his release, while living in Turner Falls, Massachusetts. Martin is known for oversize baskets and his innovation to the craft has been recognized by the Nantucket Lightship Basket Museum.

680.

SMALL OVAL NANTUCKET BASKET BY DIANE WEBB MACKEY Dated 1998-2000 Swing handle with decorative notched carvings near brass ears. Wooden base. Signed on underside “Made By Diane Webb Mackey 1998-2000”. Height exclusive of handle 2.5”. Length 4.5”. 200/300

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65


684

66

684.

OVAL NANTUCKET BASKET BY DAVIS HALL Late 19th Century Swing handle. Partial label on base. Length 6.75”. 1,000/1,500

689.

ROUND NANTUCKET BASKET Early 20th Century Swing handle. Single-wrap rim. Turned wooden base with concentric grooves. Height exclusive of handle 5.25”. Diameter 8.5”. 400/600

685.

ROUND NANTUCKET BASKET Early 20th Century Possibly attributed to Ferdinand Sylvaro (Nantucket, 18681952). Single-wrap rim. Turned wooden base with two narrow concentric grooves. Height 11.5”. Diameter 13.75”. 800/1,200

690.

ROUND NANTUCKET BASKET BY JEFFREY CLARK 20th Century Turned wooden base plate with concentric grooves. Turned wooden foot. Signed on underside “Made by Jeffrey Clark”. Height 6”. Diameter 11.75”. 300/500

686.

ROUND NANTUCKET BASKET Early 20th Century Early-style “square” swing handle, typical of the work of Jose Reyes. Single-wrap rim. Turned wooden base with three concentric grooves. Height exclusive of handle 8.5”. Diameter 12.5”. 500/700

691.

ROUND NANTUCKET BASKET Early 20th Century Early-style “square” swing handle, typical of the work of Jose Reyes. Single-wrap rim. Turned wooden base, probably mahogany, with two concentric grooves. Height exclusive of handle 6”. Diameter 11”. 500/800

687.

ROUND NANTUCKET BASKET Early 20th Century Swing handle. Single-wrap rim. Turned wooden base with three concentric grooves. Height exclusive of handle 4.5”. Diameter 7.5”. 300/500

692.

OVAL NANTUCKET BASKET Late 19th/Early 20th Century Swing handle. Tightly woven. Height 4.5”. Length 10.5”. 400/600

688.

ROUND NANTUCKET BASKET Early 20th Century Swing handle that nearly matches the curvature of the rim, typical of the work of Ferdinand Sylvaro (Nantucket, 18681952). Single-wrap rim. Turned wooden base with two narrow concentric grooves. Height exclusive of handle 6.5”. Diameter 8.75”. 500/700

693.

ROUND NANTUCKET BASKET Late 19th Century Swing handle. Intricately turned base plate. Height 3.25”. Diameter 8.83”. 400/600

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685 686

687

688 690

689

691

692 693

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67


694.

PAIR OF CHINESE EXPORT REVERSE PAINTINGS ON GLASS Late 19th/20th Century Both depict a young woman with fanciful hair adornments seated at a courtyard window. Housed in rosewood frames. 22” x 16” sight. Framed 25” x 19”. 1,500/2,000

695.

GILT AND BLACK LACQUER BOMBÉFORM CHINESE EXPORT TEA CADDY First Half of the 19th Century Exterior with finely rendered scenes of court officials in a garden and pavilion landscapes, surrounded by a punchwork scrolled design. Interior of lid with gilt sheaf of wheat. Interior fitted with two paktong tea compartments with ivory finials. Carved and painted wooden dragon’s-head feet. Height 6”. Width 11”. Depth 8.5”. 1,000/1,500

694, pair

Provenance: Private Cape Cod, Massachusetts Collection, descended through a 19th Century Boston-area sea captain’s family.

696.

CHINESE EXPORT RETICULATED PORCELAIN CHESTNUT BASKET WITH UNDERTRAY Late 18th Century Basket with gilt handles. Both basket and undertray with intricate botanical trim and central medallion depicting flowers surrounded by birds. Basket length 8”. Undertray length 9.25”. 800/1,200

695

696

68

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697

697.

698.

CHINESE EXPORT MANTEL CLOCK Enamel face with Roman numerals, set in an engraved gilt metal surround with Chinese motifs. Chinese carved rosewood case inset with mother-of-pearl scholar’s objects. Openwork carved sides expose movement. Height 20”. Width 12”. Depth 6”. 700/1,000

701.

RARE CHINESE EXPORT ROSE MANDARIN PORCELAIN SOAP DISH Circa 1830 Rectangular, with pierced liner and cover. Length 5.4”. 250/350

702.

PAIR OF CHINESE EXPORT FAMILLE ROSE PORCELAIN BARBED-EDGE PLATES Late 18th Century With peony and prunus decoration against a rose ground. Diameters 9”. 200/300

703.

CHINESE EXPORT ROSE MANDARIN PORCELAIN PLATE Circa 1830 Diameter 9.8”. 150/200

PAIR OF CHINESE EXPORT PORCELAIN COVERED SAUCE DISHES WITH UNDERTRAYS Circa 1830 Oval, with fruit-form finials and Rose Mandarin decoration. Tray lengths 6.2”. 400/600

699.

CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN OVAL PLATTER Circa 1800 15” x 17.5”. 300/500

700.

CHINESE EXPORT FAMILLE ROSE PORCELAIN BOWL Early 19th Century Together with a covered cream pitcher with similar decoration. Height 5.5”. Bowl with rose-colored and gilt border. Height 3.75”. Diameter 9”. 300/500

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69


705 704

706

707

704.

705.

70

CHINOISERIE LACQUER TEA CADDY Early 19th Century In an unusual melon form, with stem-form finial and three dragon’s-head feet. Body decorated with gilt figural scenes on a black ground. Interior with six-lobed pewter container engraved with figures. Diameter 7.75”. 600/800

CHINOISERIE LACQUER TEA CADDY Early 19th Century Rectangular, with dragon’s-head feet and raised panels decorated with figural landscapes in gold on a black ground. Interior with container engraved with figures. Length 9”. 400/600

706.

CHINESE EXPORT ROSE MEDALLION PORCELAIN CHARGER Late 19th Century With alternating figural and floral cartouches. Diameter 16”. 400/600

707.

CHINESE EXPORT ROSE MEDALLION PORCELAIN BOWL Circa 1880 With enameled figural, floral, bird and butterfly decoration. Height 4”. Diameter 10”. Includes wooden stand. 300/400

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709

708, two

710

710.

CHINOISERIE LACQUER DOUBLE TEA CADDY Early 19th Century Octagonal, with dragon’s-head feet and elaborate figural landscapes in gold on a black ground. Interior with pewter containers engraved with figural and floral designs. Length 11.2”. 600/800

711.

CHINOISERIE LACQUER DOUBLE TEA CADDY Early 19th Century In modified rectangular form, with dragon’s-head feet and figural landscape designs in gold on a black ground. Interior with pewter containers engraved with a floral design. Length 9.5”. 350/450

712.

CHINESE EXPORT ROSE MANDARIN PORCELAIN FOOTED CURRY DISH Circa 1830 Length 14.25”. 300/500

712

708.

TWO PIECES OF CHINESE EXPORT ROSE MANDARIN PORCELAIN Circa 1830 A helmet-form creamer, length 6.8”, and a covered sugar bowl with entwined handles and fruit-form finial, height 5”. 250/350

709.

CHINESE EXPORT ROSE MANDARIN PORCELAIN CIDER PITCHER Circa 1830 Cover with foo lion finial. Pitcher with entwined handle. Height 8.5”. 500/700

711

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71


713

713.

CHINESE EXPORT ROSE MANDARIN PORCELAIN BOWL Circa 1830 Square cut-corner form. 9.5” x 9.5”. 300/500

714.

CHINESE EXPORT ROSE MANDARIN PORCELAIN COVERED SAUCE TUREEN Circa 1830 Cover with flower-form finial. Body with entwined handles. Length 8.75”. 250/350

715.

THREE PIECES OF CHINESE EXPORT ROSE CANTON PORCELAIN Late 19th Century A cut-corner bowl, height 5”, and two oval platters, lengths 14” and 15.5”. 600/800

716.

CHINESE EXPORT ROSE MANDARIN PORCELAIN BOWL Circa 1830 In flower form. Diameter 9.5”. 200/300

717.

CHINESE EXPORT ROSE MANDARIN PORCELAIN BOWL Circa 1830 In flower form. Diameter 10.25”. 200/300

718.

CHINESE EXPORT ROSE MANDARIN PORCELAIN SHRIMP DISH Circa 1830 With salmon-colored and gilt handle. Length 10.6”. 250/350

719.

CHINESE EXPORT ROSE MANDARIN PORCELAIN SERVING DISH Circa 1830 Length 10.9”. 200/300

714

715

716

717

719

718

72

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720

720.

K. WILL KAUTZ Vermont, Contemporary Wonderful folk art sculpture of the paddlewheeler Nantasket, inspired by a Mid-19th Century weather vane. Signed on boat house “K. Will Kautz”. Height 29.5”. Length 48”. Width 14”. 2,000/3,000

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73


721

721.

74

RARE BOXED PAIR OF SAILOR’S VALENTINE’S 19th Century Two-drawer box, each drawer filled with a sailor’s valentine composed of multicolored shells. One valentine with central anchor and “Farewell” banner. The other with “Home Again” surrounding a central heart. Box with contrasting wood inlay at top, with petals about the perimeter and four hearts forming a flower blossom at center. Sides and drawer fronts chip-carved in a stylized rope design. Shaped bracket base. Height 7.75”. Width 11.75”. Depth 11.25”. 1,000/1,500

722.

CARVED AND STAINED PINE CHEST Early 20th Century In the style of a sea chest. Lift top attached with snipe hinges and carved with a three-masted ship. Front carved with a whale. Beckets with ropework handles at sides. Bun feet. Height 23.5”. Width 49”. Depth 17.5”. 200/300

723.

PAIR OF CARVED WOODEN FAUX ELEPHANT TUSKS Early 20th Century With whale carvings. Lengths 47”. 400/600

724.

BRASS LIGHTHOUSE-FORM LAMP 20th Century Mahogany turned wooden base. Height 13.5”. 250/350

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725

725.

727.

SCHOOLBOY PENMANSHIP EXERCISE 19th Century With “Isaac Hiller’s Book” inscribed 16 times, multiple differing alphabets and three sketches of sailing vessels. Sheet taken from a workbook. Descended in the Hiller family of Mattapoisett, Massachusetts, a seafaring town like its neighboring Fairhaven and New Bedford. Sheet 12.5” x 15”. Framed 19” x 21.5”. 600/900

726

726.

INLAID WALNUT LIFT-TOP BOX Early 20th Century Lid with geometric ivory inlay. Dovetail construction. Interior of lid with mirror. Height 5.25”. Width 15.5”. Depth 8.75”. 300/500

PAINTED WOODEN SIGN “L’HOMARD ...” 20th Century Four-board pine backboard with painted seashells at each corner and black lettering surrounding a yellow plaque depicting a lobster and seashells. 24” x 36”. 300/400 Formerly used in the Snow Inn, Harwichport, Massachusetts. Private Collection, Cape Cod, Massachusetts.

727

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75


728.

JOSEPH CIBULA Connecticut, b. 1946 “Fish Decoy”. Signed on upper fin “Cibula”. Titled verso. Oil and watercolor on board, 10” x 22.5”. Framed 13.5” x 26”. 300/500

728

729.

THORTON OAKLEY Pennsylvania, 1881-1953 Fish on a coral reef. Initialed in pencil lower right “TO”. Inscribed on mat “To Florence Butcher, May 28, 1948 from Thorton Oakley”. Inscribed verso “Pen drawing by Thorton Oakley. Illustration for “Behold the West Indies” by Amy Oakley, N.Y. D. Appleton. Century Co. 1941”. Pen and ink on paper, 3.5” x 6.5” sight. Framed 11.5” x 14.5”. 300/500

729

730.

FRANK ADAMO HUMPBACK WHALE DECORATIVE CARVING Pocasset, Massachusetts, Contemporary Glass eyes. Mounted on a driftwood base. Signed on underside of base “Frank Adamo”. Height 11.25”. Length 17”. 800/1,200

730

76

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731

731.

FRANK WESTON BENSON Massachusetts, 1862-1951 “Geese”. Signed lower left “Frank W. Benson”. Drypoint etching, 14” x 18”. Framed 17.5” x 21.5”. 1,000/1,500

732.

ROGER DITARANDO Vernon, Connecticut, Contemporary Bronze birdbath with a mother bird feeding her three young in a twig nest. Height 22”. Width 42”. Depth 34”. 500/1,000

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77


733.

CARVED AND PAINTED WOODEN TREE OF SONGBIRDS Contemporary Nine birds perched on the tree’s branches. Carved pedestal base. Height 21.5”. Each bird approx. 4”. 500/800 Purchased in Virginia in the 1980s.

733

734.

DECORATIVE CARVED GREAT HORNED OWL BY MIKE BORRETT Madison, Wisconsin, 20th Century Mounted on a carved wooden rockery base. Marionettestyle mechanism flaps the wings. Branded on underside of base “Borrett”. Height including stand 25”. 1,000/1,500

734

735. 735

78

WENDELL GILLEY MINIATURE BLACK DUCK CARVING Southwest Harbor, Maine, 20th Century Together with a signed copy of Bird Carving: A Guide to a Fascinating Hobby by Wendell Gilley. Carving mounted on a driftwood base. Faintly signed on underside of base “Gilley”. Height 4.5”. 700/1,000

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736.

PAIR OF MINIATURE CANADA GEESE BY MARK HOLLAND Brewster, Massachusetts, 20th Century Both with glass eyes. One with outstretched wings. Mounted together on a driftwood base. Signed on base “Mark Holland Slough Rd Brewster Mass 76”. Height 11”. Length 22”. Width 9”. 300/500

737.

THREE MINIATURE WOOD DUCKS BY RUSS P. BURR Hingham, Massachusetts, Circa 1940 Mounted together on a driftwood base. Height 4.75”. 300/500

738.

ROGER MITCHELL RUDDY DUCK DRAKE DECOY Kingston, Massachusetts, Contemporary Carved in the style of A.E. Crowell. Glass eyes. Carved wing and tail feather details. Stamped on underside “R.C. Mitchell Kingston MA”. Length 11”. 250/350

738

739

739.

MARTY COLLINS BUFFLEHEAD DRAKE DECOY Buzzards Bay, Massachusetts, 20th Century In preening position with wing raised. Branded on underside “M.D. Collins”. Length 10”. 350/450

740.

MARTY COLLINS RED-BREASTED MERGANSER DRAKE DECOY Buzzards Bay, Massachusetts, 20th Century Carved in the style of Gus Wilson. Head turned right. Leather crest. Signed and dated in pen on underside “Martin D. Collins 1988”. Length 19.5”. 400/600

741.

740

COLIN MCNAIR AMERICAN MERGANSER DRAKE DECOY Cambridge, Massachusetts, Contemporary Carved eyes. Carved wing feather detail. Carved on underside “C McNair”. Length 20.5”. 400/700

741

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79


742

80

743

742.

NANTUCKET GOLDEN PLOVER DECOY Circa 1890 Original paint and bill. Traces of the Mackey Collection stamp on underside of tail. Length 11”. 1,500/2,000

743.

NANTUCKET GOLDEN PLOVER DECOY Circa 1900 Maker unknown. Tack eyes. Length 9”. 1,000/1,500

744

744. SOUTHEASTERN MASSACHUSETTS YELLOWLEGS DECOY Circa 1910 Maker unknown. In running position. Original paint with minor gunning wear. Length 10”. 1,000/1,500

745

746

746. MASSACHUSETTS YELLOWLEGS DECOY Circa 1890 Maker unknown. Head turned left. Shoe button eyes. Original paint with minor gunning wear. Length 9”. 2,000/2,500

745. MASSACHUSETTS NORTHSHORE YELLOWLEGS DECOY Circa 1890 Maker unknown. Painted eyes. Head is dovetailed into the body. Original paint with gunning wear. Length 9”. 1,800/2,200

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747

748

747.

TWO NEW JERSEY CURLEW DECOYS Late 19th Century Makers unknown. One hit with shot. Both with gunning repaint and wear. Lengths 14” and 16”. 600/900

748.

THREE NEW JERSEY BLACK-BELLIED PLOVER DECOYS Late 19th Century Makers unknown. One with carved wings. Two lightly hit with shot. Lengths from 9” to 11”. 400/700

749.

TWO FLATTIE WILLET DECOYS Southeastern Massachusetts, Circa 1900 Makers unknown. Original paint. Lightly hit by shot. Lengths 16.5” and 17”. 300/500

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750.

TWO NEW JERSEY BRANT DECOYS 20th Century Different makers. Original paint with gunning wear. Lengths 17.5”. 300/500

81


751.

FRANCES MABEL HOLLAMS United Kingdom/France, 1877-1963 “Coll”, a portrait of a labrador retriever. Signed and dated lower left “F.M. Hollams 93”. Titled upper right. 18” x 12.75”. Framed 23” x 17.5”. 1,000/1,500 Provenance: A Connecticut Estate.

752.

COLLECTION OF SEVEN NEW JERSEY BLACK DUCK DECOYS 20th Century Various makers. All hollow-carved. All with gunning wear. Lengths from 14” to 17”. 1,000/1,500

751

752

82

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753.

TWO NEW JERSEY RED-BREASTED MERGANSER DRAKE DECOYS 20th Century Maker unknown. Larger branded on underside “WFO”. Lengths 15” and 18”. 300/500

753

754.

RARE HARLEQUIN DRAKE DECOY South Shore of Massachusetts, Early 20th Century Hollow-carved. Painted eyes. Length 17”. 500/800

755.

CAPE COD MERGANSER DRAKE DECOY Early 20th Century In swimming position. Tack eyes. Traces of original paint with gunning wear. Length 18”. 1,500/2,500

755

754

757.

756.

WARD BROTHERS PINTAIL HEN DECOY Crisfield, Maryland, 20th Century Painted by Chris Sprague. Length 16.5”. 300/500

LLOYD JOHNSON PINTAIL HEN DECOY Bayhead, New Jersey, 20th Century Hollow-carved. Head turned right. Glass eyes. Carved wing and tail feathers. Original paint with gunning wear. Retains Richard A. Bourne Company sale tag on underside. Length 14”. 300/400

756

758.

757

DAVIS MERGANSER HEN DECOY Waquoit Bay, Massachusetts, 20th Century Tack eyes. Original paint. Length 15.5”. 400/600

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

83


759

760

761

759.

GRENFELL HOOKED MAT Labrador, Canada, Early 20th Century Depicts four Canada geese in flight on a green ground. Black and yellow border. Retains Grenfell label on reverse. 26.5” x 38”. 600/900

760.

GRENFELL MOUNTED HOOKED MAT Labrador, Canada, 20th Century Depicts a sled and rider being pulled by five dogs, while another figure runs alongside. Retains Grenfell label on reverse. 26.5” x 40.5”. 1,000/1,500

761.

HOOKED BAG ATTRIBUTED TO GRENFELL Labrador, Canada, Circa 1920 Double-sided, both sides depicting a hunter and his dog walking past a red-roofed cabin amidst pine trees. Bag with two loop handles. No label. 11.75” x 13.5” (not including handles). 300/500 An identical example with Grenfell label was sold at Thomaston Place Auction Galleries, Thomaston, Maine, November 9, 2013, Lot #204.

84

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763 762

764

762.

763.

NORTH ALASKAN ESKIMO WOVEN BALEEN COVERED BASKET 20th Century Possibly by the Omnik family of Point Hope, Alaska. Lid with carved partially petrified walrus ivory finial in the form of a whale’s tail. Basket with walrus ivory base plate. Unsigned. Height 2.75”. Diameter 3.25”. 300/500

764.

THREE ALASKAN INUIT WOVEN BASKETS 20th Century Each with carved ebony finials, one in the form of a bird, one in the form of a turtle and one in the form of two frogs. Heights from 3” to 8”. Lengths from 4” to 6”. 300/400

765.

COLLECTION OF WHALEMEN AND INUITCARVED WHALEBONE AND WALRUS ITEMS Includes two decorative cribbage boards, ebony and ivory dominoes, a cane with a whale’s tooth handle, a magnifying glass with baleen handle, a baleen cane handle, a clothespin, three glove stretchers, a pocketknife, two napkin rings, a small cup, a knife, four spoons, and approx. 20 miscellaneous sewing items. Lot sold as-is. 500/800

766.

ESKIMO CARVED AND ENGRAVED WALRUS IVORY SMOKING PIPE Third Quarter of the 19th Century Length of pipe with four flat faces, each engraved with scenes of Eskimo life including dwellings and hunters in kayaks in pursuit of walruses. Removable bowl. Deep patina. Length 12”. 2,000/3,000

NORTH ALASKAN ESKIMO WOVEN BALEEN COVERED BASKET Point Hope, Alaska, 1991 By John Omnik (1930-1997). Lid with carved walrus ivory finial in the form of a whale’s tail. Basket with walrus ivory base plate. Dated and signed on interior “1991 John Omnik Pt. Hope AK”. Height 4”. Diameter 3.25”. 300/500

766

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85


767.

FOUR MILE RUIN POTTERY JAR 20th Century In pear form, with black-on-red decoration. Signed on underside “Clifton #ed 236”. Height 5.75”. 300/500

768.

JEAN STARK PAINTED GOURD BOULE 20th Century In ovoid form, with a red and black wave-like design. Labeled. Height 6.1”. 200/300

769.

CHEROKEE PITCH-COVERED WATER CARRYING BASKET 20th Century In pear shape, with horsehair handles and embellishment. Height 8.25”. 600/700

770.

PAIR OF PLAINS INDIAN BEADED MOCCASINS 20th Century With a red, turquoise, yellow, black and white geometric design. 400/500

771.

NAVAJO SILVER AND TURQUOISE CUFF BRACELET 20th Century Two central turquoise stones surrounded by eight small silver balls. Raised scalloped edges engraved with a scroll and starburst design. Bird, sun and flower symbols at each end of cuff. Signed on interior “M-J”. Height 2”. Width approximately 2.75”. 150/200

767 768

769

770

771

86

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772

772.

SILVER AND TURQUOISE SQUASH BLOSSOM NECKLACE Last Half of the 20th Century With silver beads, ten mounted turquoise “blossoms” and a horseshoeshaped drop pendant with seven mounted turquoise “blossoms”. Silver unmarked. Length 13.5”. 350/450

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87


773, eleven

88

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773.

ELEVEN NATIVE AMERICAN PORTRAIT COLORED LITHOGRAPHS 19th Century By Lehman & Duval, C.B. King, published by E.J. Biddle, Philadelphia. Includes Tish-CoHan, O’-Check-Ka, Waa-Ba-Shaw, Weesh-Cub, Lap-Pa-Win-Soe, The Little Crow, Nabu-NaaKee-Shick, Chat-O-Nis-See, Ong-Pa-Ton-Ga, Red Jacket and Kaa-Nun-Der-Waaguinse-Zoo. Many with labels for Abel M. MacReynolds Old Prints and Ancient Maps, Doylestown, Pennsylvania, dated 1837. Framed 17” x 11.5” and 23” x 17.5”. 600/1,000 774

774.

NATIVE AMERICAN RUG 2’0” x 4’9” Eye-dazzler pattern in rich red, pumpkin, dark brown, gray and ivory. Narrow red border. 500/700

775.

NATIVE AMERICAN RUG 3’7” x 4’8” Gray field with geometric medallions and stylized blossoms surrounding a diamondshaped medallion, all rendered in dark brown, ivory, red and gray. Broad ivory border with a black and gray stylized vine. 300/500

776.

NATIVE AMERICAN RUG 2’8” x 3’11” Field composed of brown, light gray and ivory diamonds, with bisected red and brown diamonds at each end. 400/600 775

777.

PAIR OF POLYCHROME CAST IRON NATIVE AMERICAN CHIEF BOOKENDS Early 20th Century Heights 5.5”. 300/400 777, pair

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89


778

778.

W. JASON SITU California/China, b. 1949 “Golden Gate Morning, Tucson, AZ”. Signed lower left “W.J. Situ”. Signed and titled on stretcher. Stamped on canvas verso “Arizona Sonora Desert Museum Plein Air 2003”. Oil on canvas, 11” x 14”. Framed 16.5” x 19.5”. 1,000/1,500

779.

FIVE EARLY ANASAZI POTTERY PIECES Four vases, two with handles, and one bowl. Heights from 3.5” to 7.25”. 500/1,000

779

90

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780.

CALIFORNIA NATIVE AMERICAN CARRYING BASKET Circa 1940 Conical, with a geometric banded design. Rim and foot embellished with rawhide strips. Height 11.5”. Diameter 15.5”. 350/450

780

781.

YUROK HAT BASKET Circa 1940 With a brown, black and tan geometric design. Diameter 7”. 400/600

782.

NORTHWEST COASTAL SHEEP HORN LADLE 20th Century Length 12”. 250/350

783.

EDWIN WILLARD DEMING Connecticut/New York/Ohio, 1860-1942 A Native American and a young woman. Signed lower left “E.W. Deming”. Oil on board, 20” x 24”. Framed 31” x 26”. 1,000/1,500

781

783

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91


785 784, two

784.

92

GEORGE CATLIN Pennsylvania/New Jersey, 1796-1872 Two hand-colored lithographs: “Archery of the Mandans” and “The Snow-Shoe Dance”. Printed by Day & Hague, London. On paper, 14” x 18.5” sight. Framed 20” x 25”. 3,000/5,000

785.

SCHOOL OF GEORGE CATLIN American, 19th Century Portrait of a Native American Chief. Unsigned. Watercolor on paper, 13” x 10” sight. Framed 25” x 20”. 1,000/1,500

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786

786.

EXCEPTIONAL MARLIN BALLARD SCHUETZEN SINGLE-SHOT RIFLE Late 19th Century Model 6½ off-hand mid-range. .32-.40 cal., Serial #23383. Barrel stamped “A.W. Peterson Denver, Col.” Receiver ornately engraved with elk, deer and scrollwork. Peterson modified double-set triggers, Peterson Schuetzen lever, Peterson forend and Peterson adjustable palm rest. Swiss nickel butt plate. Blued with case colors. Length of barrel 30.5”. Also includes a 20x Lyman Spot Shot scope mounted to barrel. 5,000/7,000

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93


787.

GERMAN WORLD WAR II-ERA ZEISS FLAKFERNROHR BINOCULARS Mid-20th Century Marked “ENG 10 x 80”. Includes replacement tripod. Length 18.75”. 1,000/2,000

787

788. * GRULLA/UNION ARMERA MODEL 219 SIDE-BY-SIDE SHOTGUN 28-ga., Serial #13663. Receiver with floral engraving. Heavily figured walnut stock. Length of barrels 26.5”. Length of pull 14.25”. Overall length 43.5”. Includes fitted case with very minor wear. 4,000/6,000

788

IMPORTANT NOTICE Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith. All guns shipped have a 5-day inspection period that begins upon arrival at the FFL dealer.

94

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789

790

791

792

789.

790.

* PARKER REPRODUCTION DHE SIDE-BY-SIDE SHOTGUN 28-ga., Serial #01784. Choked at improved cylinder. Single trigger. Capped pistol grip stock. Skeleton butt plate. Length of barrel 28”. Overall length 45”. 4,000/6,000

* PARKER REPRODUCTIONS DHE SIDE-BY-SIDE SHOTGUN 20-ga., Serial #00201. Choked at full and mod. Single trigger. Capped pistol grip stock. Skeleton butt plate. Length of barrel 28”. Overall length 45”. Includes canvascovered case. 3,000/4,000

791.

* J. STEVENS SIDE-BY-SIDE SHOTGUN 12-ga., Serial #8506. Blued finish with case colors. Length of barrels 30”. Overall length 46.5”. 500/800

792.

* WINCHESTER MODEL 1892 LEVER-ACTION RIFLE .25-20 cal., Serial #442923. Blued finish with moderate wear. Length of barrel 24”. Overall length 42”. 1,000/1,500

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95


793.

794.

* NEW ENGLAND ARMS ITALIAN SIDE-BY-SIDE SHOTGUN 20-ga., Serial #B7329. Screw-in chokes. Boxlock action. Blued finish with strong case colors. Very minor wear. Length of barrel 28”. Length of pull 14.5”. Overall length 44.75”. 700/1,000

* ZOLI DAKOTA SPORT #3 OVER-UNDER SHOTGUN 12-ga., Serial #233937. Screw-in choke. Vent ribbed barrel. Silver receiver engraved with quail in flight. Length of barrel 29.5”. Length of pull 14.75”. Overall length 47”. 3,000/4,000

795.

* WINCHESTER MODEL 42 SLIDE-ACTION SHOTGUN .410-ga., Serial #61032. Choked at full. Blued finish with light wear. Length of barrel 26”. Overall length 45”. 1,000/1,500

796.

* SMITH & WESSON REVOLVER .22 cal., Serial #174305. Checkered walnut grips. Blued finish with case colors. Length of barrel 6”. Overall length 10.5”. 300/500

793

794

795

96

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IMPORTANT NOTICE Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith. All guns shipped have a 5-day inspection period that begins upon arrival at the FFL dealer.

797

799

798

800

797.

SMITH & WESSON FIRST MODEL REVOLVER .30 cal., Serial #53500. Nickel-plated finish. Hard rubber grips. Length of barrel 3.5”. Overall length 7”. 200/400

800.

SMITH & WESSON REVOLVER .36 cal., Serial #42. Nickel-plated finish. Hard rubber grips. Length of barrel 4”. Overall length 7.5”. 200/400

798.

SMITH & WESSON FIRST MODEL REVOLVER .32 cal., Serial #33277. Nickel-plated finish. Hard rubber grips. Length of barrel 4”. Overall length 8”. 200/400

801.

ALLEN WHEELOCK SPUR TRIGGER REVOLVER .30 cal., Serial number not visible. Length of barrel 4”. Overall length 7.5”. 300/500

799.

* REMINGTON-ELLIOT RING TRIGGER REVOLVER .22 cal., Serial #6602. Nickel-plated finish. Walnut grips. Length of barrel 3”. Overall length 4”. 1,400/1,800

802.

* RUGER P89 SEMI-AUTOMATIC PISTOL 9mm, Serial #314-52702. Length of barrel 4”. Overall length 8”. Includes case. 200/300

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97


803

803.

WILLIAM BROOKE THOMAS TREGO Pennsylvania, 1858-1909 “Mounted Cavalryman”. Signed lower right “Trego”. Identified on label verso for Vose Galleries, Boston. Oil on board, 13.5” x 16.5”. Framed 19” x 25”. 1,500/2,500

804

805

804.

98

KERR REVOLVER Civil War Era .44 cal., Serial #11075. Finish worn to dull silver. Checkered walnut grips. Length of barrel 5.75”. 1,000/1,500

805.

PERRIN DOUBLE-ACTION REVOLVER Civil War Era .45 cal., Serial #424. Finish worn to bright silver. Length of barrel 6”. 2,000/3,000

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806.

BENJAMIN F. JOSLYN ARMY REVOLVER Civil War Era .44 cal., Serial #838. Finish worn to dull brown. Checkered walnut grips. Length of barrel 8”. 1,500/2,000

807.

REMINGTON 1861 ARMY REVOLVER Civil War Era .44 cal., Serial #84710. Left side of grip with faint cartouche stamp. Finish worn to dull brown. Length of barrel 8”. 1,000/1,500

808.

ENGRAVED COLT MODEL 1849 POCKET REVOLVER Civil War Era .31 cal., Serial #57281, all matching. Engraved on back strap “Lieut Jas P. Butler CO. F. 45 Reg T. PM”. Finish worn to dull gray. Length of barrel 4”. 1,000/1,500

809.

RARE C.R. ALSOP POCKET REVOLVER Civil War Era .36 cal., Serial number not visible. Traces of case colors. Walnut grips. Length of barrel 4”. 2,000/2,500

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806

807

808

809

99


810

810.

PALMER BOLT-ACTION CARBINE Civil War Era .50 cal., Serial number not visible. No visible inspector marks. Finish with strong case colors. Length of barrel 20”. 2,000/2,500

811

811.

JOSLYN MODEL 1855 “MONKEY TAIL” CARBINE Civil War Era .54 cal. Lever stamped on inside “5K”, otherwise no visible serial number. No visible inspector marks. Finish worn to dull gray. Length of barrel 22.5”. 2,500/3,500

812

812.

100

KENTUCKY-TYPE RIFLE CONVERTED TO PERCUSSION Circa 1810 .38 cal. Strong tiger maple stock, with brass patch box on right side. Barrel stamped “J. Hale”. Lock plate with scroll engraving. Replaced ramrod. Length of barrel 41”. Overall length 55.5”. 500/800

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813, pair

813.

MATCHED PAIR OF JAMES LONDON FLINTLOCK PISTOLS 18th Century 16-bore. Damascus twist barrels wth floral and scroll engraving. Brass trigger guard and butt plate. Barrels stamped “James London”. Lock plate stamped “James”. Length of barrels 9.5”. Overall lengths 15.5”. 6,000/9,000

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101


814.

CHRISTIAN SELL I German, 1831-1883 Franco-Prussian War scene. Signed lower right “Chr. Sell”. Oil on panel, 8” x 10.25”. Framed 10.25” x 12.5”. 200/300

814

815.

CAST IRON SIGNAL CANNON 19th Century Barrel painted gold. Carriage painted black and orange. Bore diameter 1”. Length of barrel 10”. Overall length 15”. 500/800

815

816.

AMERICAN SCHOOL 19th Century Portrait of a naval officer. Unsigned. Label verso for a Manchester, New Hampshire framer. Oil on canvas, 30” x 24”. Framed 37” x 31”. 500/1,000

816

102

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817

817.

RARE VOLUME REGARDING 18TH CENTURY TROOP REGULATIONS Regulations for the Order and Discipline of the Troops of the United States, Part 1 by Gen. Friedrich von Steuben (Hartford: Nathanial Patten, [18th Century]). Includes fold-out diagrams. 300/500

818

818. VOLUME THE HISTORY OF THE COLONY OF MASSACHUSET’S BAY By Mr. Hutchinson, LieutenantGovernor of the Massachuset’s [sic] Province (London: M. Richardson, 1765). Fully titled The History of the Colony of Massachuset’s [sic] Bay, From the First Settlement Thereof in 1628, until its Incorporation with the Colony of Plimouth, Province of Main, &c. by the Charter of King William and Queen Mary, in 1691. 2nd ed., first English Edition. 200/300

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819

819.

RARE VOLUME REGARDING 18TH CENTURY TROOP REGULATIONS Regulations for the Order and Discipline of the Troops of the United States, Part 1, The Tenth Edition, To Which is Added, the Manual Exercise, and Evolutions of the Cavalry As Practiced in the Late American Army by Baron de Steuben (New York: Greenleaf ’s Press, 1794). Includes fold-out leaves. 300/500

103


820.

RARE EARLY MAP OF NORTH AMERICA “NOVA ANGLIA NOVUM BELGIUM ET VIRGINIA” BY JOHANNES JANSSONIUS Holland, 17th Century 19” x 22.75”. Unframed. 1,000/1,500

820

821.

NEEDLEWORK MAP OF THE EASTERN HEMISPHERE Circa 1800 Spherical composition centered on the Indian Ocean, depicting the Pacific, labeled as the “Eastern Ocean”, and Australia, labeled as “New Holland”, as well as Europe, Africa, Asia, the Southern Ocean, the Antarctic Circle, etc. Also includes the equator and latitudinal and longitudinal lines and degrees. Europe highlighted in red, and other continents in pale yellow. 15” x 14.75” sight diameter. Framed 20” x 20”. 800/1,200

821

104

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822

822.

HAND-COLORED ENGRAVING “A VIEW OF THE CITY OF BOSTON THE CAPITAL OF NEW ENGLAND, IN NORTH AMERICA” “Drawn on the Spot by his Excellency Governor Pownal 1757”. Early label verso for Samuel L. Lowe, Jr. Antiques, Inc., 80 Charles St., Boston. Approx 7.75” x 20.75” sight. Framed 17.5” x 29”. 250/350

824

823

824. 823.

PIPE BOX FROM THE DEERFIELD, MASSACHUSETTS AREA Made of hardwoods. One panel with pierced “1773” above a pierced snowflake centering “25”. Single drawer at base. Height 21”. Width 8.5”. Depth 6”. 2,000/3,000

CARVED WOODEN BUSK DATED 1780 Obverse finely carved with assorted designs including hex signs, a heart containing a cross, pinwheels, shells, etc. Reverse deeply carved “Abigail Bucklin ~ S Bowers ~ 1780” in elegant serifed lettering. Accompanying handwritten document provides the dates of births and deaths for members of the Bucklin family from 1736 to 1846, noting Abigail was born July 20, 1762. Length 12.25”. Maximum width 3”. 300/500

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105


825.

PENNSYLVANIA CHIPPENDALE SPICE CABINET Circa 1780 In walnut. Nicely molded top. Paneled door opens to reveal ten drawers of varying shapes and sizes. Flat bracket feet. Height 19.35”. Width 15”. Depth 10”. 3,000/4,000

825

826.

THREE PENNSYLVANIA FRAKTURS With polychrome bird, floral and figural decoration. One dated 1790. Framed from 9” x 14” to 17” x 20”. 400/700

826, three

106

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827

827.

MASSACHUSETTS NEEDLEWORK SAMPLER 19th Century “Wrought by Mary G Ashley in the 11th year of her Age Troy Mass 1822”, with alphabets and a verse surrounded by a rose border. 16.75” x 12.5” sight. Framed 19” x 14.75”. 500/800

828

828.

GROTON, CONNECTICUT NEEDLEWORK SAMPLER 1832 “Nancy L. Daboll Sampler Groton CT. 1832”, with multiple alphabets and a house flanked by trees and floral baskets. Nancy Ledyard Daboll (1818-1901) was the daughter of the Noank lighthouse keeper. 2,000/3,000

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107


829.

AETNA SLAVE INSURANCE POLICY Dated January 18, 1853 From the life department of the Lexington, Kentucky agency. Notes William H. Brand of Fayette County, Kentucky purchased a $600 life insurance policy for three slaves for a term of twelve months. Printed document, completed by hand. Sheet 13.5” x 8.25”. 3,000/4,000 The Kentucky Historical Society, repository for the William H. Brand Papers, notes that Brand was a lawyer and businessman from Lexington and later Columbia, Missouri.

829

830.

LOT OF MOSTLY 19TH CENTURY PHOTOGRAPHS Contained in velvet-covered album. Includes an image of Abraham Lincoln at a camp site and numerous portraits, including one of New York composer W.B. Dinsmore. 700/1,000

830

831

831.

108

BELLAMY-STYLE WOODEN EAGLE PLAQUE Early 20th Century Accompanied by a red, white, blue and gold “Bass River” banner, length 17.75”. Eagle painted gold, with red tongue and white eye. Shows traces of earlier paint. Length 43.5”. 500/800

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832

832.

JOHN H. BELLAMY Maine/New Hampshire, 1836-1914 Rare and important frame commemorating the Emancipation Proclamation. Crest carved with a scrolled paper, chains and a pen. Lower section carved with a Union shield flanked by American flags. Unsigned. Height 25�. Width 22�. 7,000/10,000

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109


833.

SAMUEL LANGHORNE CLEMENS (MARK TWAIN) AUTOGRAPH LETTER July 6th, 1875 One-page letter on “Farmington Avenue, Hartford” stationery. Concerns an inquiry about safety matches. Signed “Samuel L. Clemens”. Framed together with an illustration of Clemens. Letter 9.5” x 11” sight. Framed 10.25” x 12.5”. 1,000/1,500

834.

CHARLES DICKENS AUTOGRAPH LETTER AND ENVELOPE On “Office of All the Year Round” letterhead. Letter and envelope addressed to Benjamin Webster, Esq. The letter reads “Monday Second June 1862 My Dear Webster, The train I recommend for Saturday the fourteenth June is from North Kent daily, London, daily at 2.20 in the afternoon. My station is Higham (the next one Gravesend) for which take your ticket. You will find ___ and ____ Roberts at the station.” Letter signed “CD” within a heart-shaped paraph. Envelope signed “Charles Dickens” lower left. Housed together in a single frame. Framed 8” x 12.25”. 800/1,200

835.

DAVID AUGUR Vermont, c. 1790-1864 Two letters with watercolor decoration. Both dated 1855 and proclaiming the importance of reading and grammar. One signed Samuel H. Consideration and addressed to John I. Inspection. Ink and watercolor on blue writing paper, 9.75” x 7.75” sight. Framed 12.5” x 10.5”. 300/500

833

For a detailed account of Augur’s life and work, see “David Augur: LittleKnown Vermont Folk Painter” by Arthur and Sybil Kern in the Fall 2004 issue of Folk Art.

836

110

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837

841

836.

“AMERICAN ENSIGN” WYOMING STATE FLAG Patented April 20th, 1870 “8 - ft” wool construction. 52” x 92”. 200/400

837.

BROADSIDE “OLD COLONY R.R. GRAND REGATTAS” Dated May 30, 1878 “Old Colony R.R. Grand Regattas of the Eastern Rowing Association at Silver Lake, (Plympton, Mass.,) ...”. Lists excursion ticket prices and stations. In red ink. Printed by Geo. H. Ellis & Co., 101 Milk Street, Boston. 28” x 20.5” sight. Framed 29.75” x 22.25”. 350/450

838.

GRAIN-PAINTED BOX CONTAINING DOCUMENTS AND EPHEMERA FROM NEW BEDFORD TEACHER SYLVANDER HUTCHINSON Late 19th/Early 20th Century box with dark green and black painted decoration. Height 6.25”. Width 14.25”. Depth 9.75”. Includes Hutchinson’s teaching certificate, an 1837 scrapbook, reading glasses, approx. 14 embroidered gifts and notes from students, a wallet given to him in 1852 by his students, newspaper clippings, a period photograph of 57-59 Campbell St., New Bedford, and lecture notes. 300/500

839.

TWO ITEMS FOUND IN A FALMOUTH, MASSACHUSETTS HOME A leather fire bucket painted green with “S.T.” in black stenciled lettering on front, height 13.25”, and a wooden cranberry scoop with replacement metal screening, length 21”. 300/400

840.

YARMOUTH PORT, MASSACHUSETTS LEATHER FIRE HELMET Late 19th Century With copper eagle-form finial and a shield marked “2”. Height 9”. Length 15”. 200/400

841.

SMALL COVERED FIRKIN MADE FROM CEDAR 20th Century Believed to have been made by Joseph Clark of Andover, Massachusetts, circa 1920. Tapered construction. Height 5.5”. Diameter at base 5.5”. 500/800

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111


843 842

842.

RARE LITHOGRAPH OF FIREFIGHTING INTEREST Circa 1860 Central image of a horse-drawn pumper identified as “Adriatic Engine 31, of New York.” Also marked “Wm. Jeffers & Co. Builders of End & Side Stroke Engines Pawtucket, R.I.”. Lithograph by Endicott & Co., New York. 17.5” x 21.75” sight. Framed 26.25” x 31”. 1,000/1,500

843.

LITHOGRAPH OF FIREFIGHTING INTEREST Late 19th Century “Engine of the Red Jacket Veteran Firemen’s Association, Cambridge, Mass. Champion of the New England League 1894. Awarded the Prize for Being the Handsomest Engine at N.E. League Tournament Held at Hartford, Conn. Sept. 12th, 1895.” Published by Brooks Bank Note Co., Boston. 14” x 20.5” sight. Framed 23” x 28.5”. 800/1,200

844.

WOODEN SIGN “AMERICAN RAILWAY EXPRESS” Circa 1910 Gold lettering on a black sandpaper ground. 9.75” x 70.75”. 500/800

This appears to be very rare lithograph; the only other example we were able to locate is in the Museum of the City of New York (46.228.25).

Provenance: Found in Virginia.

844

112

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I T E M S P E R TA I N I N G TO

T H E D E L A N O FA M I LY O F N E W YO R K Lots 846-860

845

845.

BOOK HANDWRITTEN BY EMILY POST 1899 Includes a list of “Books I have Read” and extensive notes on her responses to authors Rudyard Kipling, H.G. Wells and others. 800/1,200

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113


I T E M S P E R TA I N I N G TO T H E D E L A N O FA M I LY O F N E W YO R K

846

846.

847.

848.

114

FASCINATING TRAVEL SCRAPBOOK INCLUDING WATERCOLORS ATTRIBUTED TO ANTON SCHRANZ Includes seven watercolors of Egyptian scenes attributed to Schranz (German, 19th Century), several with pencil notations signed “Schranz”, as well as several prints and watercolors with images of Lisbon, Pompeii, Constantinople, Cairo, Jerusalem, etc., and portraits of women. Scrapbook with gilt-embossed red cover. 14” x 10.5”. 1,000/1,500

849.

ALBUM OF DRAWINGS AND PRESSED FLOWERS 1845-1846 Kept by Kathy D. Robbins, seemingly during a trip to Europe. Leather-bound album with gilt designs. 7.5” x 10”. 300/500

FISHING LOG KEPT BY GEORGE ST. GEORGE Early 20th Century Contains notes about animals and weather conditions. Dates from 1897 to 1938. Kept in a leather-bound “Game Book”. 7.5” x 13.5”. 300/500

850.

TWO JOURNALS BY REVEREND GILLER 19th and 20th Century Discusses his duties as minister, social life and his personal emotional life. Dated from 1892 with later materials included. Journals approx. 8.5” x 7”. 200/300

851.

FUNERAL BOOK FOR MARY PRICE COLLIER 1872 Provides an account of Collier’s life. Printed on blue paper. Book approx. 8.5” x 5.5”. 200/300

TWO ALBUMS OF POSTCARDS Late 19th and Early 20th Century Contain approx. 300 cards, with images of the royal families of Denmark, Norway, Britain, Spain, Holland, Sweden and Germany, tourist destinations throughout Europe and the United States, famous works of art, etc. Some with handwritten messages. Albums approx. 10” x 14”. 400/600

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849

852.

853.

854.

VOLUME FINDEN’S TABLEAUX OF THE AFFECTIONS 1834 “A series of picturesque illustrations of the womanly virtues”, from paintings by W. Perring. Edited by Mary Russell Mitford. Beautifully engraved and published by Charles Tilt, Fleet Street, London. Green gilt boards. Approx. 15” x 11.5”. 100/300

856.

SCRAPBOOK KEPT BY A. ST. GEORGE BIDDLE “PONY” DUKE 1950s Includes clippings, photographs, cards and handwritten labels. Scrapbook with brown ornamental boards. Approx. 14” x 12”. 100/300

857.

SCRAPBOOK OF NAVAL OFFICER PRICE COLLIER Circa 1898 Price Collier was an Ensign in the Spanish-American War. Includes typed and signed letters from the Navy Department, political cartoons, maps of Cuba, photographs and newspaper clippings. 200/300

858.

JOURNAL OF CONGRESSMAN HIRAM PRICE’S DAUGHTER-IN-LAW Early 20th Century Titled on cover “A Rough Diary or Scribbling Journal”. Approx. 13” x 8”. 200/300

859.

BRIDE’S BOOK OF A RELATIVE OF FRANKLIN DELANO ROOSEVELT Leather-bound book titled “The Bride Elect” and gilt embossed “Katharine D. Price-Collier”, used for an April 14, 1917 wedding. Contains names of bridesmaids, ushers, and attendees and their gifts. Lists 206 guests including Mr. and Mrs. T. Roosevelt, Mrs. Rodman Wanamaker and Mr. Forbes. Hiram Price Collier (1860-1913) was one of Franklin Roosevelt’s uncles. 200/300

860.

PHOTO ALBUM CONTAINING IMAGES OF THEODORE ROOSEVELT Late 19th and Early 20th Century Includes black and white photographs of the Roosevelt family, enjoying the outdoors and sailing. Embossed and painted leather-bound album. Approx. 10” x 12”. 200/300

VOLUME THE DIADEM 19th Century “A book for the Boudoir”. Includes mythological Italian tales, poems and intricate engravings. Red boards with an ornate neoclassical gilt design on cover. Approx. 14.5” x 10.5”. 200/300

ANNE NOGGLE New Mexico, 1922-2006 Black and white photograph of a young child among many dolls and toys. 8” x 10”. Unframed. 100/300 Anne Noggle was a photographer and a pilot. Her work is in the collections of well-known institutions, including the New Mexico Museum of Art, the Denver Art Museum, the Minneapolis Institute of the Arts and the National Gallery of Canada.

855.

THREE PIECES OF SHEET MUSIC In Latin, and with polychrome ornamentation. Framed 16” x 21” and 18” x 21”. 200/300

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115


861, two

861.

JOHN CLUBB New York, 1875-1934 Two Early 20th Century political cartoons: 1) “Better Come Back Home, Colonel”, depicting William “Plain Bill” Sulzer climbing the “New York Moose Tree”. Signed lower right “Clubb”. 2) “Trouble Ahead” depicting Elihu Root paddling a “Presidential Boom” canoe next to “B. Moose”. Signed lower right “Clubb”. Pen and inks on paper card stock, both approx. 17” x 14”. 200/300

862.

RARE LITHOGRAPHED LINEN TEXTILE DEPICTING TWO TEDDY BEARS Circa 1907 Copyright 1907 by Schwab & Co., N.Y. Believed to be a political satire on the Canadian/ U.S. border dispute. A bear dressed as Teddy Roosevelt sports an “I Did It” hat, and the bears are carring a slayed Canadian lynx, further signifying victory. 21” x 22.5” sight. Framed 23” x 24.5”. 1,000/1,500

863.

ROBERT PENN WARREN AUTOGRAPH MANUSCRIPT Dated August 31, 1976 On Robert Penn Warren West Wardsboro, Vermont letterhead. For “Was Not the Lost Dolphin” from his 1969 book of poetry Audubon: A Vision. Written in pen. Signed and dated. 8.5” x 11”. 200/300 Robert Penn Warren, an American novelist, poet, critic and teacher, was a founder of “New Criticism” literary

862

116

theory.

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Howard Connolly Rhode Island, 1903-1990 Lots 864-869 From the Estate of the Artist

864, three

864.

Three portraits: 1) Actress Bette Davis. Signed and inscribed lower left “Howard Connolly” and “Bette Davis”. Pencil drawing on paper, 9.5” x 7.5”. Framed 13” x 11”. 2) Portrait of a woman on brown paper. Cover art for Popular Publications, 1950-51. Faintly signed lower center “Howard Connolly”. Pastel on paper, 9.25” x 6”. Framed 21.5” x 17.75”. 3) Spanish Girl with Bouquet, 1990. Signed upper right “Howard Connolly”. Oil on academy board, 6.5” x 4.5”. Framed 9.5” x 7.5”. 400/800

865

865.

A young woman in a white hat and veil against an orange background. Cover art for College Humor magazine, circa 1930s. Unsigned. Oil on board, 15.25” x 12.25”. Framed 17.5” x 14.5”. 400/600

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117


866

867

868 869

118

866.

“1940’s Vintage”, circa 1940. Portrait of a red-haired woman in a teal gown holding a yellow rose. Signed lower right “Howard Connolly”. Titled verso. Oil on cardboard, 25.25” x 20”. Framed 28” x 22”. 1,000/1,500

867.

Pin-up girl with a collie. Signed and inscribed verso “Howard Connolly Vintage 1946. Made for calendar mid 1950’s”. Oil on canvas, 31.5” x 26”. Framed 37” x 32”. 2,000/4,000

868.

Hopalong Cassidy, the 1930s-1940s cowboy movie character portrayed by actor William Boyd, based on the novels by Clarence E. Mulford. Signed lower center. Gouache on cardboard, 38.5” x 27”. Framed 42” x 30”. 800/1,200

869.

Full-length portrait of Marilyn Monroe in a pink gown against a teal ground. Unsigned. Pastel on gessoed canvas stapled to stretcher, 57” x 44”. 800/1,200

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Session II Saturday, November 23 at 10 a.m. Lots 1001-1382 Including Paintings, Furniture, Clocks and Oriental Rugs

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119


1001

1001. JOHN WILLIAM HILL New Jersey/California, 1812-1879 “The Hudson River at Caldwell’s Landing”. Signed lower right “J.W. Hill 1873”. Titled on gallery label verso. Watercolor on paper, 8” x 12” sight. Framed 13.25” x 17.25”. 5,000/10,000 Provenance: Christie’s New York, “East”, October 4, 2000, Lot #24. Sotheby’s New York, May 19, 2004, Lot #66. Thomas Colville Fine Art (label verso).

120

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1002

1002. FREDERICK T. VANCE New Jersey, 19th Century Two works: “Avalanche Lake Adirondacks” and “Lake Colden Adirondacks”. Signed verso “Fred T... Vance”. Titled verso. Housed together in a single frame. On board, both 4.5” diameter sight. Framed 12” x 16.5”. 500/700

1003

1003. GEORGE HENRY SMILLIE New York/California, 1840-1921 “The Catskills from Hudson”. Initialed lower left “G.H.S. 67”. Titled on gallery label verso. Oil on canvas, 6” x 10”. Framed 12.5” x 16.75”. 6,000/9,000 Provenance: Thomas Colville Fine Art (label verso).

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121


1004

1005

1004. HENRY SUYDAM New York, 1803-1883 Luminous landscape. Signed and dated lower right “H. Suydam 1872”. Oil on canvas, 10.25” x 18.25”. Framed 18” x 26”. 7,000/10,000

122

1005. AMERICAN SCHOOL 19th Century “E. Pluribus Unum”. Unsigned. Oil on canvas, 12” x 50”. Framed 21” x 58”. 7,000/10,000

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1006

1007

1006. GEORGE L. BROWN Massachusetts/New Hampshire, 1814-1889 “View of the Town of Vico, near Naples”. Signed and dated lower left “Geo. L. Brown 1879”. Titled, signed and dated verso. Oil on canvas, 22” x 36”. Framed 35” x 49”. 3,000/5,000

1007. SAMUEL W. GRIGGS Massachusetts, 1827-1898 “View of Cohasset 1869”. Signed and dated lower right “S.W. Griggs 1869”. Titled on frame plaque. Oil on canvas, 13.5” x 23.5”. Framed 23” x 33”. 5,000/7,000

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123


1008. ALBERT FITCH BELLOWS New York/Massachusetts/Belgium, 1829-1883 Maine coastal scene with figures and sailboats. Signed lower left “A.F. Bellows”. Watercolor, 22.75” x 15.25”. Framed 27” x 34.5”. 2,500/3,500 1008

Albert Fitch Bellows was a member of the National Academy of Design and was a founding member of the American Watercolor Society.

1009. OGDEN WOOD New York, 1851-1912 Cattle grazing by a river. Signed lower left “Ogden Wood”. Oil on board, 11” x 15.75”. Framed 15” x 20”. 600/900 Provenance: A Connecticut Estate.

1009

1010. LOUISA ANN GIBSON BRADIS Maine, 1821-1881 Pair of landscapes: “Presumpscot River Near Pride’s Bridge” and a view of farmyards with distant hills. Oils on canvas, 13” x 23.25”. Framed 19.25” x 29.5”. 2,000/3,000

1010, pair

124

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1011. CHARLES WILSON KNAPP Pennsylvania/New York, 1823-1900 Autumnal landscape, possibly Lake George. Signed lower left “C.W. Knapp”. Oil on canvas, 28” x 22”. Framed 32.5” x 26”. 1,500/2,500 Provenance: A Connecticut Estate.

1011

1012. FRANK HENRY SHAPLEIGH New Hampshire, 1842-1906 “Moat Mountain from Jackson Falls, N.H.”. Signed and dated lower right “F.H. Shapleigh 1881”. Titled verso. Oil on canvas, 24” x 14”. Framed 26” x 16”. 2,000/3,000

1012

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125


126

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Alfred Thompson Bricher New York/New Hampshire, 1837-1908 Lot 1013

1013

1013. Sailing off the coast. Signed lower left “AT Bricher” with initials forming a monogram. Oil on canvas, 18” x 30”. Framed 25” x 36.75”. 20,000/30,000

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127


1014

1014. VICTOR DE GRAILLY New York/France, 1804-1889 Hudson River from West Point. Unsigned. A similiar work was sold at Sotheby’s New York, May 19, 2005, Lot #177. Oil on canvas, 21” x 29”. Framed 24.5” x 32”. 5,000/7,000

1015. EDMUND C. COATES New York/England, 1816-1871 Skaters on a pond. Signed and dated lower center “E.C. Coates 63”. Oil on canvas, 26” x 23”. Framed 33” x 29”. 3,000/5,000 Provenance: Private Collection, Florida. Eldred’s, November 21, 1997, Lot #934.

1015

128

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1016

1016. THOMAS WATERMAN WOOD New York/Kentucky, 1823-1903 A young girl holding a straw hat filled with strawberries. Signed and dated lower left “T.W. Wood 1883”. Oil on canvas, 30.25” x 24.75”. Framed 40” x 33”. 5,000/7,000

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129


1017, pair

1017. ATTRIBUTED TO SAMUEL LOVETT WALDO New York/Connecticut, 1783-1861 Portraits of a husband and of his wife. Identified as Cornelius Huyler and his wife Sarah Paradise Huyler of Philadelphia on typewritten labels verso. Oils on canvas, 33” x 27”. Framed 38” x 31”. 2,000/3,000

130

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1018

1018. ATTRIBUTED TO GILBERT STUART Massachusetts/Rhode Island/England, 1755-1828 Portrait of John Chafy, Esq. Unsigned. Sitter identified on frame plaque. Oil on canvas, 30.5” x 25”. Framed 39” x 34”. 3,000/5,000

1019

1019. ATTRIBUTED TO GILBERT STUART Massachusetts/Rhode Island/England, 1755-1828 Portrait of an English gentleman. Unsigned. Oil on canvas, 30” x 25”. Framed 40” x 35”. 2,500/3,500

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131


1020. JOSEPH H. GREENWOOD Massachusetts, 1857-1927 Mountain landscape, possible Mt. Monadnock. Signed and dated lower right “J.H. Greenwood 01”. Oil on canvas, 16” x 26”. Framed 25” x 35”. 1,500/2,500

1020

1021. AMERICAN SCHOOL 19th Century Vessels navigating a river in an expansive mountain landscape. Unsigned. Wonderfully executed folk art-style landscape. Oil on canvas, 26” x 36”. Framed 33” x 42”. 2,000/3,000

1021

1022. WILLIAM HENRY BARTLETT New Hampshire/United Kingdom, 1809-1854 “View from Fort Putnam” (West Point). Unsigned. Oil on canvas, 20” x 24”. Framed 26” x 30”. 3,000/5,000 Exhibited: Pelham Art Center: “Westchester: The Glory of Landscape”, 2008.

1022

132

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1023

1023. AMMI PHILLIPS New York/Connecticut, 1788-1865 Portrait of a child wearing a plaid dress standing next to a dog. Unsigned. Oil on canvas, 37.5” x 28.5”. Framed 46” x 37”. 20,000/30,000

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133


1024. AFTER JOHN GEORGE BROWN United States, Late 19th Century A group of boys playing cards. Signed illegibly lower right. Oil on canvas, 20” x 30”. Framed 27” x 37”. 1,000/1,500

1024

1025. SCHOOL OF SEYMOUR JOSEPH GUY United States, 19th Century A girl in a red hooded cape carrying a woven basket. Unsigned. Oil on canvas, 13” x 10.5”. Framed 16.5” x 14”. 2,000/3,000

1025

1026. JAMES HOLMES United Kingdom, 1777-1860 Memorial with two girls and an infant, all dressed in white, one holding a white lily. Portrait of another young girl on the wall behind them. Signed and dated lower right “Holmes Pt. 1855”. Watercolor on paper, 16.5” x 21.75”. Framed 22” x 27”. 500/1,000

1026

134

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1027, pair

1027. WILLIAM MATTHEW PRIOR Massachusetts/Maine, 1806-1873 Portrait of “Captain” James Chase and a young woman, likely his daughter. Inscribed verso “Captain James Chase age 62 in Aug 1848 by W.M. Prior Jst. 24 1848”. Research confirms James Chase lived on Nantucket and was 62 in 1848. The term “captain” was likely honorary as Chase was a ship’s rigger and later the keeper of Brant Point Light. He lived a long life and while he was in his 90s he was known as Nantucket’s oldest living man. Oils on canvas, 39.5” x 34”. Framed 46” x 41.5”. 8,000/12,000 Provenance: Purchased from the Chase family. Private Collection, New Jersey.

1028. ATTRIBUTED TO JOSEPH WHITING STOCK Massachusetts, 1815-1855 Portrait of a young girl holding a cat while standing on a patterned rug, with a doll in a child’s-size chair to her left and a goldfish bowl to her right. Unsigned. Oil on canvas, 34” x 27”. Framed 38.5” x 31.5”. 1,500/2,000 From a Michigan Collection.

1028

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135


1029

1029. AMERICAN SCHOOL Mid-19th Century Portrait of a child wearing a red gown and holding a crop. Unsigned. Oil on canvas, 25.25” x 20”. Framed 32” x 26.25”. 1,000/1,500 From a Michigan Collection.

136

1030

1030. AMERICAN SCHOOL 19th Century Half-length portrait of a seated woman wearing a lace cap and holding a red book. Unsigned. Oil on canvas, 30” x 25”. Framed 33” x 28”. 400/600

1031

1031. AMERICAN SCHOOL 19th Century Portrait of a young woman. Unsigned. Oil on canvas, 30” x 25”. Framed 34” x 29”. 500/1,000

Provenance: Eldred’s, March 31, 1994, Lot #725.

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1032. AMERICAN SCHOOL 19th Century Brilliant sunset over the wilderness, with figures setting up a campsite in the foreground and a winding river in the distance. Unsigned. Oil on canvas, 26” x 40”. Framed 34” x 48”. 1,500/2,500

1032

1033. AMERICAN SCHOOL Late 19th Century “Scene between Medford and Somerville”. Unsigned. Titled verso. Boston stretcher. Oil on canvas, 11” x 16”. Framed 16” x 21”. 600/900 Provenance: The Estate of Julian Kotekas, Manchester, New Hampshire.

1033

1034. ALBERT BIERSTADT New York/California/Massachusetts/ Kansas/Germany, 1830-1902 Study of a coal mine. Initialed verso “AB”. Oil on paper, 9.25” x 14”. Framed 13” x 18”. 800/1,200

1034

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137


1035. QUEEN ANNE TWO-PART HIGHBOY Connecticut, Circa 1760 In cherry and pine. Full-width drawer hidden in the molded cornice. Upper case with five graduated full-width drawers. Lower case with a single full-width drawer over three side-by-side drawers and cabriole legs ending in pad feet. Drawers with Chippendale brasses. Height 74”. Width 38”. Depth 19.5”. 2,000/4,000

1035

138

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1036

1037

1036. SHERATON TWO-DRAWER STAND Circa 1825 In mahogany veneer. Drawers with bird’s-eye maple fronts and brass pulls. Acanthus-carved legs end in brass-capped feet fitted with casters. Height 30”. Width 22.75”. Depth 17”. 400/600

1037. HENRY GRANT PLUMB New York, 1847-1930 Portrait of a boy eating an orange. Signed lower left “H.G. Plumb”. Oil on canvas, 16” x 12”. Framed 24” x 21”. 1,000/1,500

1039

1038

1038. FEDERAL FOUR-DRAWER CHEST Circa 1810 In mahogany with tiger maple drawer fronts, brass bail handles and a shaped bracket base. Height 37”. Width 38.5”. Depth 18.75”. 1,200/1,500

1039. HEPPLEWHITE CARD TABLE Circa 1790 In mahogany and mahogany veneer with fruitwood string inlay and square tapered legs. Height 29.75”. Width 36”. Depth 17.5”. 300/500

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139


1040

1041

1040. CHIPPENDALE TALL CHEST 1041. CHIPPENDALE TALL CHEST ATTRIBUTED TO THE DUNLAP FAMILY ATTRIBUTED TO THE DUNLAP FAMILY New Hampshire, Circa 1780 New Hampshire, Circa 1780 In maple. Molded top with carved and pressed banding of In maple. Molded top with carved and pressed bandings with elliptical pinwheels alternating with Xs or Is. Case with six elliptical pinwheels alternating with Xs or Is. Case with six graduated full-width drawers. Skirt with central pinwheel graduated full-width drawers. Skirt with central pinwheel drop. Flat bracket feet. Height 63”. Width 39”. Depth 18.5”. drop. Flat bracket feet. Height 63”. Width 39”. Depth 18.5”. 2,500/3,500 2,500/3,500 From a Michigan Collection. From a Michigan Collection.

140

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1042

1042. QUEEN ANNE HIGHBOY ATTRIBUTED TO THE DUNLAP FAMILY New Hampshire, Circa 1760 In maple and curly maple. Upper case with five graduated full-width drawers. Lower case with two full-width drawers, a nicely scrolled skirt and cabriole legs ending in pad feet. Height 74.5”. Width 38.5”. Depth 19”. 4,000/6,000 From a Michigan Collection.

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141


1043. AMERICAN SCHOOL 20th Century Half-length portrait of a seated man. Unsigned. Oil on panel, 14” x 10”. Framed 18.5” x 14.5”. 500/700

1043

1044. QUEEN ANNE LOWBOY Connecticut, Circa 1760 In cherry with deep rich patina. Nicely overhanging molded-edge top with central fylfot and thin banded inlay. Two tiers of three varied side-by-side drawers, all with repetitive banded inlay. Graceful cabriole legs end in pad 1044 feet. Height 32.25”. Width 34.25”. Depth 21.75”. 3,000/5,000 From a Michigan Collection.

1045

142

1045. HEPPLEWHITE PEMBROKE TABLE Hartford, Connecticut Area, Circa 1800 In Cuban mahogany, with single deep drawer at one end of apron and tapered legs. String inlay on drawer front and legs, and cuff inlay at ankles. Height 28.5”. Width 21.25” plus two 13.5” drop leaves. Depth 35.5”. 600/800

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1046

1047

1046. GILTWOOD CONVEX GIRANDOLE MIRROR Early 19th Century Frame with ball spheres and ebonized reeded slip, issuing twin curved candle arms. Surmounted by a carved eagle on a rockery crest. Foliate pendant. Height 32.75”. Width 20”. 1,700/2,100

1047. POSSIBLY MAX SAND New York/Germany, fl. 1900-1920 Boy selling cigars. Signed and dated lower right “M.E. Sand 1885”. Watercolor on paper, 14.5” x 10.25”. Framed 25.25” x 21”. 600/800

1048

1048. RARE HEPPLEWHITE BREAK-FRONT SIDEBOARD ATTRIBUTED TO JOHN DUNLAP New Hampshire, Circa 1800 In cherry. Convex drawers and cabinets flank a long drawer that protrudes over two cupboard doors. String inlay along edge of top and around perimeter of drawers and doors. Legs with unusual multiwood diamond-shaped inlay at tops, indicative of Dunlap’s work, as well as string inlay and cuff banding. Height 42.25”. Width 73”. Depth 30”. 6,000/8,000

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143


1049

1049. QUEEN ANNE FLAT-TOP HIGHBOY Connecticut, Circa 1760 In cherry. Upper case with molded cornice and five graduated full-width drawers. Lower case with a full-width drawer over three varied side-by-side drawers. Nicely shaped skirt with turned drops. Cabriole legs end in pad feet. Retains period, possibly original hardware. Height 75”. Width 40.5”. Depth 20.25”. 2,000/3,000 From a Michigan Collection.

144

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1050. CHIPPENDALE SLANT-LID DESK Circa 1780 In mahogany. Slant lid encloses interior pigeonholes, drawers and a central cupboard door with fruitwood string inlay. Case with four graduated full-width drawers with brass bail handles. Fan-carved drop at skirt. Bracket feet. Height 44”. Width 45”. Depth 23”. 1,000/1,200

1051. SHERATON TWO-DRAWER STAND Circa 1812 In mahogany and mahogany veneer. Turret-corner top on a conforming case. Drawers with tiger maple fronts and turned wooden pulls. Spiral-turned legs end in ball feet. Height 29.5”. Width 19.5”. Depth 17.5”. 300/500

1050

1051

1052. CHIPPENDALE FOUR-DRAWER CHEST America, Circa 1780 In mahogany. Overhanging top with carved molded edge. Four graduated full-width drawers with brass bail handles. Carved columns at corners of case. Ogee bracket feet. Height 36”. Width 37.75”. Depth 19.75”. 1,000/1,500

1053. HEPPLEWHITE CARD TABLE ATTRIBUTED TO MARK PITTMAN Salem, Massachusetts, Circa 1800 In mahogany. Skirt with three satinwood veneer panels. Tapered legs. Height 29”. Width 35.75”. Depth 17.25”. 800/1,200

1052

1053

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145


1054

1055

1054. FEDERAL CAMELBACK SOFA Circa 1800 Mahogany frame with beautifully scrolled arms and eight legs joined by H-stretchers. Tapered molded front legs end in block feet. Back height 37.5”. Seat height 20”. Length 87”. 3,000/4,000

146

1055. ORIENTAL RUG: SULTANABAD DESIGN 8’10” x 11’9” Brick red field with bold blossoms and Shah Abbas rendered in pale and pastel shades of blue, green, tan, yellow, subtle pink and smoky gray. Guard borders and main border in shades of gray. 1,200/1,600

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1056. FEDERAL-STYLE LOLLING CHAIR 20th Century Mahogany frame with satinwood bellflower and pinwheel inlay. Salmon red and white striped upholstery. Back height 44”. Seat height 17”. 400/700

1056

1057. CHIPPENDALE CHEST OF DRAWERS New England, Circa 1780 In tiger maple and maple, with molded-edge top, four graduated full-width drawers and ogee bracket feet. Drawers fitted with oval brass bail pulls. Height 39.25”. Width 40.5”. Depth 21”. 500/700

1057

1058

1058. FALL-FRONT SECRETARY America, Second Quarter of the 19th Century Original grain-painted dark brown and red surfaces. Upper case’s ogee molded cornice with a top that lifts open to an additional storage compartment. Front falls open, revealing a felt-lined writing surface, numerous pigeonholes and two drawers. Lower case with a full-width drawer and octagonal turned legs. Height 55.75”. Width 35.75”. Depth 19.5”. 1,200/1,800

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147


1059

1060

148

1059. ORIENTAL RUG: MAHAL 9’6” x 14’0” Navy blue field is traversed by a variety of stylized blossoms in red, brown, green, light blue and salmon pink. Ivory guard borders. Broad red main border with turtle motif. 1,000/1,500

1061. ORIENTAL RUG: KILIM 5’7” x 9’3” Dark red field with geometric medallions flanking four linked geometric medallions, all rendered in red, blue, tan, brown and ivory. Periwinkle blue spandrels. Broad brown main border with a serpentine red and white vine. 500/800

1060. ORIENTAL RUG: ERSARI BELOUCH 11’5” x 18’7” Five rows of geometric guls rendered in red, pink and navy blue on an abrashed red field. Stylized elements throughout three borders in colors to match the field. 800/1,200

1062. ORIENTAL RUG: DOOR SURROUND 5’0” x 1’10” Dark mauve field contains clustered flower blossoms and three stylized flower branches, all rendered in abrashed dark red, light blue, dark blue, forest green and pale yellow. Narrow red and blue borders. Numerous long tassels in colors to match pile. 200/300

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1063. ORIENTAL RUG: TALISH 3’3” x 7’3” Empty abrashed marine blue field with a yellow spearpoint perimeter. Traditional stylized blossoms throughout red guard borders and ivory main border. Brown exterior border with blue reciprocal spear points. 500/800

1064. ORIENTAL RUG: SOUMAC BAG FACE 1’6” x 2’11” Dark blue field with three red, blue and ivory geometric medallions surrounded by colorful stylized elements, including animals. Ivory border with a colorful repeating stylized blossom. 400/600

1065. ORIENTAL RUG: SERAPI DESIGN RUNNER 2’7” x 23’9” Bright red field with multiple pale yellow, blue, pink and ivory gabled medallions amidst flowering branches and green leaves. Subtle ivory subfield. Navy blue main border. 1,000/1,500

1066. ORIENTAL RUG: BASHIRI 3’0” x 5’7” Dark red field contains a lattice formed from a narrow navy blue vine connecting a variety of stylized blossoms in red, blues, ivory and subtle rust red. Broad blue main border contains a similar theme. 400/600

1067. ORIENTAL RUG: CAUCASIAN 3’10” x 5’0” Several rows of a variety of stylized elements, rendered in red, ivory and faded shades of green and gold, on an abrashed midnight blue field. Ivory, olive green, red, blue and brown borders feature repeated stylized elements. 300/500

1068. ORIENTAL RUG: HAMADAN 4’6” x 7’3” Red and blue central medallion on a navy blue field with a Herati pattern in red, orange, ivory, green, tan and pink throughout. Dark red guard borders. Bright ivory main border. 300/500

1069. ORIENTAL RUG: TURKISH 4’1” x 7’4” Field composed of stripes of boteh rendered in red, blue, ivory, faded gold, salmon pink, green, gold and brown. Brown guard borders. Ivory main border. 250/350

1070. ORIENTAL RUG: KAZAK DESIGN 5’2” x 8’2” Small geometric medallions in blue, green, gold, pink and ivory occupy the center of a burgundy field and are flanked by a bold sunburst medallion in ivory, abrashed dark green and dark red. Multiple borders in dark red, dark blue, ivory, bronze and gray. 400/600

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1065

149


1072

1071

1074 1073

1071. ORIENTAL RUG: SHIRAZ BAG FACE 1’9” x 2’0” Gold field with dark red and light blue medallions and scattered stylized blossoms in red, brown, ivory, pink and gold throughout. Ivory main border. 500/700

1072. ORIENTAL RUG: AFSHAR SADDLEBAG 2’0” x 2’7” Four red, blue and dark camel’s-hair boteh with stylized red, green, blue, peach and ivory elements fill a navy blue field. Ivory and dark red borders. Colorful tassels and chevron fastening loops at open end. 400/600

150

1073. ORIENTAL RUG: AFSHAR BAG FACE 2’3” x 2’5” Navy blue field with a large central red medallion with an ivory center and olive green diamonds. Medallion surrounded by colorful geometric medallions and flower blossoms. Green, red, blue, yellow and ivory borders. 500/700

1074. ORIENTAL RUG: AFSHAR BAG FACE 1’10” x 2’11” Navy blue field with two rows of red, blue, ivory, brown, subtle pink and gold medallions. Ivory main border. 500/700

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1077

1075 1076

1075. ORIENTAL RUG: SENNA KILIM 4’5” x 5’6” Navy blue field with a bright ivory central medallion and pendants containing a colorful Herati pattern. Field is traversed by several rows of boteh in red, pink, tan, ivory, blue and yellow. Delicate floral and barber pole motifs throughout borders. 2,000/3,000

1076. ORIENTAL RUG: KAZAK 5’2” x 7’8” Navy blue field with a pair of geometric medallions with latch hook perimeters, both containing a red double-headed eagle. Several smaller medallions in red, blue and green surround the larger pair. Stylized elements throughout green, blue and red borders. 500/700

1077. ORIENTAL RUG: KAZAK DESIGN 4’1” x 5’9” Dark red field with overlapping ivory, dark red and dark blue geometric medallions. Dark green perimeter features a repeating stylized motif. Dark blue guard borders and an ivory main border. 350/500

1078. ORIENTAL RUG: SAROUK 3’5” x 4’6” Red field with a central ivory medallion and pendants surrounded by a flowering green vine. Ivory and navy blue spandrels. Colorful vines and blossoms throughout midnight blue main border. 250/350

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151


1079

1079. THOMAS CLARKSON OLIVER Massachusetts, 1827-1893 Seascape. Signed and dated lower left “T. Clark Oliver 1876”. Oil on canvas, 12” x 18.25”. Framed 15” x 21.5”. 700/1,000

1080. THOMAS CLARKSON OLIVER Massachusetts, 1827-1893 Stormy seas. Unsigned. Oil on canvas, 16” x 14”. Framed 20.5” x 18.5”. 600/800

1080

1081. EDMUND DARCH LEWIS Pennsylvania, 1835-1910 A rocky coast and distant sailboat. Signed and dated lower right “Edmund D. Lewis ‘92”. Watercolor and gouache on brown paper, 7.625” x 20.375” sight. Framed 17.5” x 31.25”. 700/1,000

1081

1082. ITALIAN SCHOOL 19th Century “Villa Reale”. Unsigned. Titled lower center. Gouache, 15.5” x 20” sight. Framed 19.5” x 24.5”. 500/1,000

1082

152

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George Curtis Massachusetts, 1826-1881 Lots 1083-1084

1083

1084

1083. Two ships at sunset. Signed lower right “Geo. Curtis”. Oil on panel, 10” x 14”. Framed 13.5” x 17.5”. 5,000/7,000

1084. Sailing off the coast. Signed and dated lower right “George Curtis 1878”. Oil on panel, 12” x 20.25”. Framed 19” x 28”. 6,000/8,000

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153


Clement Drew Massachusetts, 1806-1889 Lots 1085-1088

1085

1086

1087

1085. “Mount Desert Rock Light”. Titled, signed and dated verso “By C Drew 1885”. Oil on panel, 9” x 12”. Framed 13” x 16.25”. 1,000/1,500

1086. “Minots Light South East Gale”. Titled, signed and dated verso “Minots Light South East Gale By C. Drew 1885”. Oil on panel, 8.25” x 12”. Framed 13” x 17”. 1,000/1,500

154

1088

1087. “Persian Head East Gloucester”. Titled, dated and signed verso “Persian Head East Gloucester ... Sept 29 1882[?] By C Drew”. Oil on panel, 9” x 12”. Framed 13” x 16”. 400/600

1088. “Night off Boston Light”. Unsigned. Identified on a circa 1930 handwritten label verso “This picture ‘Night off Boston Light’ was painted in 1879 by C. Drew ...”. Oil on canvas, 9” x 12”. Framed 14.5” x 17.75”. 800/1,200

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1089

1090

1089. EDWARD MORAN Pennsylvania/New York, 1829-1901 New York Harbor. Signed lower left “Ed Moran”. Oil on canvas, 14.5” x 18.25”. Framed 25.25” x 29.5”. 10,000/15,000

1090. AMERICAN OR ENGLISH SCHOOL Circa 1860 Ships under sunset skies. Signed illegibly lower right. Oil on canvas, 24” x 34”. Framed 29” x 40”. 2,000/3,000 Provenance: Private Collection, Philadelphia.

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155


1091. D.A. FISHER Maine/California, 1867-1940 Seascape featuring Minots Lighthouse. Signed and dated lower left “DA Fisher ‘95”. Oil on academy board, 9.25” x 12”. Framed 12.25” x 15.25”. 500/1,000

1092. SCHOOL OF THOMAS MORAN 19th/20th Century Sunset over a harbor filled with ships. Unsigned. Watercolor, 8.75” x 14.5”. Framed 14.5” x 20.5”. 600/900 1091

1092

1093

1093. ATTRIBUTED TO VIVIAN FORSYTHE PORTER Massachusetts, 1880-1982 A Native American in a canoe. Unsigned. Oil on canvas, 16” x 21”. Unframed. 500/1,000 Provenance: By descent in the Porter family.

1094. VIVIAN FORSYTHE PORTER Massachusetts, 1880-1982 Collection of seven paintings. Most signed lower left or right “V.F. Porter”. Includes four ship portraits, two views of Native Americans in canoes, and a scene with men in a dory. Housed together in a single frame. Oils on aluminum, the largest 4.5” x 6”. Framed 17.5” x 21”. 800/1,200

1094, seven

156

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1095

1095. ANTHONY D. BLAKE New Zealand, b. 1951 “’Brittania’ off Cowes in 1893”. Signed lower right “A.D. Blake”. Titled verso. Oil on canvas, 24” x 40”. Framed 30” x 45”. 15,000/20,000

1096

1096. RICHARD K. LOUD Massachusetts, b. 1942 “Yacht ‘America’ Entering Marblehead”. Signed lower right “R. Loud”. Titled on gallery label verso. Oil on canvas, 26” x 42”. Framed 36” x 52”. 7,000/9,000

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157


1097. GILBERT TUCKER MARGESON Massachusetts/Nova Scotia, 1852-1949 A ship with a bone in her teeth. Signed lower left “G.T. Margeson”. Watercolor on paper, 28” x 20” sight. Framed 39” x 30”. 600/800

1097

1098. AMERICAN OR ENGLISH SCHOOL Early 20th Century Anchor Line S.S. City of Rome, flying the American flag and sailing next to pilot boat #8. Unsigned. Oil on board, 20” x 13”. Framed 25.5” x 18”. 700/1,000

1098

1099. WILLIAM GIBBONS England, active 1858-1892 Seascape with pilot boat and steamer. Signed and dated lower left “W. Gibbons 1869”. Oil on canvas, 24.5” x 36”. Framed 30” x 42.5”. 800/1,200

1100. WATERCOLOR OF THE “H.M. F. ENDYMION OFF MT. EDGECUMBE” Unsigned. Inscribed and initialed on mat. 6.25” x 10.25”. Framed 11.5” x 15.25”. 500/1,000 1099

158

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1101, above and right

1101. NEW ENGLAND TALL-CASE CLOCK Circa 1800 Roxbury-style case with oval and fan inlay and brass eagle finial. Roman numeral dial with moon phase. Height 93�. 4,000/6,000

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159


1102

1103

1102. FRENCH CARRIAGE CLOCK 19th Century Filigree gilt metal case and handle. Unmarked gilt and silvered metal dial with encircled numbers and an alarm indicator. Eight-day movement. Height 8”. Key present. 800/1,000

1103. RARE FRENCH CARRIAGE CLOCK Circa 1880 Cobalt blue porcelain dial and alarm indicator inset in an engraved brass mat. Eight-day time, strike and alarm movement with quarter-hour strike repeat. Height 8”. Key present. 800/1,000 Provenance: Richard A. Bourne Company, The Rare Clock Collection of Bruce R. McDermott, January 7, 1987, Lot #106.

1104. TALL-CASE CLOCK ATTRIBUTED TO DANIEL PORTER (1774-1809) Circa 1800-1809 Cherry case with holly and ebony patera and banded inlay on arched pendulum door and base panel. Bonnet with broken arch pediment and three brass finials raised on plinths. Glazed arched dial door flanked by full brass-capped fluted columns. Trunk with fluted columns at corners. Bracket feet. Painted iron face with Roman numeral dial, second sweep, moon phase, and floral decoration at corners. Height 85”. Width 18.5”. Depth 9.5”. 1,500/2,500

160

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1104


1105

1107 1106

1105. JOHN SAWIN LYRE-FORM WALL CLOCK Boston, 19th Century Mahogany and mahogany veneer case with reverse-painted glass throat. Height 38.5”. Width 11.5”. Depth 3.5”. Includes weights and pendulum. 500/700

1106. ELMER STENNES DWARF CLOCK Weymouth, Massachusetts, 20th Century Mahogany case with brass eagle finial. Roman numeral dial with rocking ship movement in lunette. Face signed “Elmer O. Stennes. Weymouth, Mass.” Weight signed “E.O. Stennes Weymouth Mass #8”. Height including finial 51”. Width 12”. Depth 8”. Includes key and pendulum. 700/1,000

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1107. WILLARD’S PATENT BANJO CLOCK Gilt case with acorn finial and sidearms. Reverse-painted throat and door glass; door glass depicts “MacDonough’s Victory”. Height 39.5”. 500/700

161


1108

1109

1109A

162

1110

1108. HERMANN DUDLEY MURPHY Massachusetts, 1867-1945 “Hot Springs & Fumes Azores”. Signed lower right “H. Dudley Murphy”. Titled verso. Oil on board, 10” x 14”. Framed 16.25” x 20.25”. 1,200/1,500

1109A. EDWARD A. PAGE Massachusetts, 1850-1928 Beached vessels, North Shore of Massachusetts. Signed lower right “E. A. Page”. Oil on canvas, 20” x 30”. Framed 24” x 35”. 2,500/3,500

1109. FRANK CONVERS MATHEWSON Rhode Island, 1862-1941 “The Turn in the Road, Matunuck, RI”. Signed lower left “F.C. Mathewson”. Titled verso. Watercolor, 7.5” x 11.5” sight. Framed 15” x 18.5”. 800/1,200

1110. CLARENCE E. BRALEY Massachusetts, 1854-1927 New England landscape, likely New Hampshire. Signed lower right “C. Braley”. Watercolor, 7.5” x 15.75” sight. Framed 15.5” x 23”. 300/500

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1111. ATTRIBUTED TO JOHN DURRIE, JR. Connecticut, 1818-1898 Still life of fruit. Unsigned. Oil on board, 4” x 6.5”. Framed 10” x 12.25”. 1,500/2,500

1111

1112. BRYANT CHAPIN Massachusetts, 1859-1927 Still life of fruit. Signed lower left “Bryant Chapin”. Oil on thick paper, 6.25” x 10.25”. Framed 10” x 14”. 1,500/2,500

1112

1113. FALL RIVER SCHOOL 19th Century Pair of still lifes: One of pears and one of apples. Unsigned. Oils on canvas, 7” x 9”. Framed 11.5” x 13.5”. 800/1,200

1113, pair

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163


Marjorie Conant Bush-Brown Georgia/Massachusetts, 1885-1978 Lots 1114-1117

1114. Portrait of a young man. Signed lower right “Marjorie Conant Bush-Brown”. Oil on canvas, 30” x 25”. Framed 35” x 30”. 2,000/3,000

1115. Self-portrait, depicting the sitter’s feet (probably the artist’s) while a portrait is visible in a mirror. Signed lower right “M.Conant”. Identified in pencil on upper stretcher. Oil on canvas, 24” x 18”. Framed 27” x 21”. 2,000/3,000

1116. Portrait of a woman putting on a glove. Identified on back of frame. Oil on masonite, 24” x 18”. Framed 30” x 23.5”. 3,000/5,000 1114

1115

164

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1116


1117. “Drought on the Cape”. Unsigned. Identified on Vose Gallery label verso. Titled and inscribed verso “Return to M.C. Bush-Brown”. Oil on canvas, 18” x 24”. Framed 25” x 31”. 1,500/2,500 Noted portraitist Marjorie Conant Bush-Brown, born in Boston, studied at the city’s Museum of Fine Arts School under Frank Benson, then later in Paris. She married Harold

1117

Bush-Brown in 1924 and moved to Atlanta, where Harold served as Head of the School of Architecture at the Georgia Tech from 1925 to 1957. Her works have been on exhibit at the Museum of Modern Art in New York and other galleries and museums in major U.S. cities.

1118. AMERICAN SCHOOL Mid-20th Century Portrait of a woman. Unsigned. Possibly by Gertrude “Gay” Youse of Duxbury, Massachusetts. Oil on canvas, 36.5” x 19.5”. Framed 42” x 25”. 500/700 Provenance: The Estate of Gertrude “Gay” Youse.

1118

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165


1119

1121

1120

1119. EASTMAN JOHNSON Massachusetts/Maine/Europe, 1824-1906 Portrait of Emily C. Pullman. Initialed lower left “E.J.”. Sitter identified on label verso. Oil on canvas, 10” x 8”. Framed 13.5” x 11.5”. 800/1,200

1120. ATTRIBUTED TO FRANK DUVENECK Ohio/Germany/Italy, 1848-1919 Portrait of a man with a mustache. Unsigned. Oil on panel, 11.5” x 8.5”. Framed 15” x 12”. 1,500/2,500

1121. EUGENE HIGGINS New York/Connecticut/Kansas/ Missouri, 1874-1958 Study for “The Gamblers”. Signed lower right “Eugene Higgins A.H.C.”. Identified on frame plaque. Pastel, 9.5” x 6.5” sight. Framed 15.5” x 12.5”. 500/1,000 “The Gambler” is in collection of the Metropolitan Museum of Art in New York, George A. Hearn Fund, 1935, accession number 35.33.

166

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Lemuel D. Eldred Massachusetts, 1848-1921 Lots 1122-1123

1122

1123

1122. Fishermen in a dory. Signed lower right “L.D. Eldred”. Oil on canvas, 12” x 16”. Framed 19” x 23”. 2,000/3,000

1123. Whaleship and other vessels off the coast. Signed lower right “L.D. Eldred”. Oil on canvas, 10” x 14”. Framed 19” x 25”. 3,000/5,000

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167


Charles Drew Cahoon Massachusetts, 1861-1951 Lots 1124-1126

1124. Landscape, Chatham, Massachusetts. Signed lower right “C.D. Cahoon”. Oil on canvas, 16” x 20”. Framed 29” x 33.5”. 4,000/6,000

1124

1125. Marsh, Barnstable, Massachusetts. Signed lower right “C.D. Cahoon”. Oil on board, 9.75” x 13.5”. Framed 15.5” x 18.25”. 2,000/3,000

1125

1126. Sunset on the marsh. Signed lower right “C.D. Cahoon”. Oil on canvas, 12” x 24”. Framed 17” x 29”. 3,000/5,000

1126

168

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1127

1128

1127. WILLIAM MICHAEL HARNETT 1128. ATTRIBUTED TO NELLIE STROBRIDGE Pennsylvania/New York, 1848-1892 Massachusetts, 1860-1947 Trompe l’oeil with a five dollar bill. Signed lower right “W.M. Wrapped lemons. Unsigned. Reminiscent of the work of Harnett”. Oil on board, 7.5” x 10”. Framed 12” x 15”. William McCloskey (California, 1859-1941). Oil on canvas, 8,000/12,000 10” x 21”. Framed 17.5” x 29”. 2,000/3,000 Provenance: The Downtown Gallery, New York.

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169


1129. ARTHUR CLIFTON GOODWIN Massachusetts/New York/New Hampshire, 1864-1929 Hillside sunset. Signed lower left “A.C. Goodwin”. Oil on canvas, 25” x 30”. Framed 29.5” x 34.5”. 2,000/3,000

1129

1130. ATTRIBUTED TO ARTHUR CLIFTON GOODWIN Massachusetts/New York/New Hampshire, 1864-1929 Gloucester Harbor. Unsigned. Pastel, 18.5” x 23.5”. Framed 22” x 28”. 500/1,000

1130

1131. AMERICAN SCHOOL Mid-20th Century Faneuil Hall, Boston. Signed and dated lower right “J.R. 56”. Note verso identifies the artist as John Rosenfeld. Oil on board, 15.75” x 23.75”. Unframed. 400/600

1131

1132. MAXWELL MAYS Rhode Island, 1918-2009 A living room scene with fireplace, grand piano and a spotted dog. Signed and dated lower right “Maxwell Mays ‘89”. Given to decorator Florence Clowes. Oil on board, 15.5” x 19.5”. Framed 23” x 27.5”. 1,000/1,500

1132

170

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1133

1133. WILLIAM PAXTON Massachusetts/Maryland, 1869-1941 Portrait of a seated woman. Signed lower right “Paxton”. Oil on canvas, 30.75” x 25.25”. Framed 35.5” x 30.25”. 25,000/35,000

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171


1134

1134. WILLIAM MERRITT CHASE New York/California/Indiana, 1849-1916 Jester resting in a chair. Signed lower right “Wm. M. Chase”. This painting will be recorded in The Pisano/Chase Catalogue Project files of The Kellen Archives, The New School, New York, as FAA.76. The work is closely related to the artist’s 1875 work, “The Court Jester”, part of the Pennsylvania Academy of Fine Arts collection. Includes an Art Research Report by D. Frederick Baker dated April 9, 2018. Oil on panel, 14.25” x 10.25”. Unframed. 20,000/30,000

172

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173


1136

1137

1135. JOHN FRENCH SLOAN New York/New Mexico/New Hampshire, 1871-1951 “Nude in Shadow”. Signed in pencil lower right. Titled in pencil lower center. Inscribed lower left “100 Proofs”. Etching on paper, 7” x 5.75” sight. Framed 15” x 13”. 300/500

1136. JOHN FRENCH SLOAN New York/New Mexico/New Hampshire, 1871-1951 “Blonde Nude”. Signed lower left “John Sloan”. Titled and dated 1928 verso. Oil on board, 22” x 27”. Framed 28” x 33”. 12,000/15,000

1137. WILLIAM SAVAGE COOPER United Kingdom, 19th Century A woman standing by a fence. Signed lower left “Savage Cooper”. Oil on canvas, 36” x 28”. Framed 48” x 39”. 2,500/3,500

Provenance: According to the consignor, this painting was acquired at Sotheby’s in the 1980s. Private Collection, Philadelphia.

174

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1138. ORIENTAL RUG: BIDJAR TRICLINIUM 14’2” x 22’5” Navy blue field and exterior panels with a Herati pattern in blues, red, pink, ivory, tan, faded gold and subtle amethyst. Marine blue and ivory guard borders. Red main border with turtle motif. 4,000/6,000

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175


1139. ORIENTAL RUG: KAZAK DESIGN RUNNER 2’10” x 17’10” Bright red field with a single row of geometric medallions rendered in ivory, pale yellow, navy blue, light green and olive green. Blue guard borders. Ivory main border. 800/1,200

1140. ORIENTAL RUG: CAUCASIAN 3’5” x 4’9” Rich dark blue field with two red geometric medallions, each containing a repeated stylized floral motif in blues, reds, gold and ivory. Burgundy and blue borders. 300/500

1141. ORIENTAL RUG: KILIM 3’4” x 5’8” Several colorful diamond-form medallions are surrounded by stylized red, brown, blue, yellow and ivory blossoms on an abrashed dark blue field. Spandrels with colorful serpentine stripes. Narrow borders in colors to match the field. 300/500

1142. ORIENTAL RUGS: PAIR OF CONJOINED FLATWEAVE SADDLE BAGS STUFFED AS PILLOWS 3’2” x 4’6” Dark blue fields contain diamond-shaped medallions in red, gold, brown, olive green and ivory. Red and bright ivory borders. Edges and corners woven with pile. 300/500

1143. ORIENTAL RUG: AFSHAR SADDLE BAG 2’1” x 2’1” Midnight blue field with an oxblood central medallion with an ivory latch hook perimeter. Dense array of stylized blossoms throughout, rendered in blues, greens, ivory, red and dark gold. Colorful vine meanders throughout ivory border. 200/400

1144. ORIENTAL RUG: AFSHAR BAG FACE 2’4” x 2’5” Bright ivory field with a variety of stylized red, dark green, dark blue and subtle gold elements surrounding red and blue geometric medallions. Multiple red, blue and subtle ivory borders. 300/500

1139 176

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1145

1145. ORIENTAL RUG: CAUCASIAN 5’7” x 8’3” Ivory field with several rows of red, yellow, blue, subtle brown and orange stylized elements. Abrashed red guard borders and abrashed brown main border. 800/1,200

1146

1146. ORIENTAL RUG: CAUCASIAN 3’6” x 8’0” Abrashed red field with five staggered columns of a colorful stylized motif. Abrashed brown guard borders. Ivory main border with wine cup and serrated leaf motif. 700/1,000

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1147

1147. ORIENTAL RUG: BAKHTIARI 4’11” x 8’3” Two columns of green and blue cypress trees and stacked geometric elements are surrounded by a linear yellow vine and numerous colorful stylized blossoms on a navy blue field. Ivory guard borders. Broad red main border. 800/1,200

177


1148. ORIENTAL RUG: SERAPI DESIGN 8’8” x 12’0” Light blue field with a delicate navy blue vine suspending a symmetrical arrangement of blossoms, rendered in pink, dark ivory, pale yellow, pale green, red and subtle brown. Antique ivory-colored borders. 1,200/1,600

1149. ORIENTAL RUG: CAUCASIAN BAG FACE 1’6” x 1’6” Alternating bands of blue and white flatweaves and red pile woven with stylized elements in ivory, blue, red and olive green. Blue border features colorful blossoms. 150/250

1148

1150. ORIENTAL RUG: SERAPI DESIGN 9’0” x 12’0” Dark blue and dark salmon red gabled medallion occupies an ivory field over a red subfield, with traditional meandering vines in pink, green, light blue, subtle brown and gold throughout. Light blue guard borders. Navy blue main border. 1,200/1,800

1151. ORIENTAL RUG: AFSHAR BAG FACE 2’3” x 2’5” Midnight blue field with a red central medallion with an ivory latch hook perimeter. Geometric medallions and stylized blossoms in reds, blues, yellow, ivory and greens throughout. Ivory main border with a meandering vine. 350/550

1150

178

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1152. ORIENTAL RUG: HERIZ 9’3” x 12’2” Ivory and navy blue medallion with a gold outline rests at the center of an abrashed tomato red field above an ivory subfield with pink spandrels. Green vine and bold green, light blue, pink, gold and ivory blossoms and Shah Abbas throughout. Broad red main border. 1,500/2,500

1153. ORIENTAL RUG: AFSHAR BAG FACE 1’8” x 2’3” Navy blue field contains a small geometric medallion with red, ivory and green anchor pendants, with a pair of ivory crescent leaves on both sides. Multiple narrow borders in ivory, red, yellow and blue. Lower rectangular panel with colorful geometric medallions. 250/350

1152

1154. ORIENTAL RUG: NOMADIC WEAVER’S DESIGN 9’10” x 14’0” Field composed of a grid pattern in rust red, gold, amethyst and green. Multiple borders with animal figures and stylized blossoms in colors to match the field. 1,500/2,000

1155. ORIENTAL RUG: AFSHAR BAG FACE 2’0” x 2’3” Rich red central medallion with ivory latch hook perimeter contains a blue and ivory quatrefoil motif. Small red, blue and ivory stylized blossoms throughout. Bright ivory main border. 350/550

1154

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179


1156

1157

1156. ORIENTAL RUG: CAUCASIAN RUNNER 3’8” x 11’3” Navy blue field with a Herati pattern in reds, blues, greens, faded gold, bengal orange, pink and ivory. Floral ivory guard borders. Stylized elements throughout red main border. 400/700

1157. ORIENTAL RUG: SULTANABAD DESIGN 9’0” x 11’6” Light blue field contains a variety of bold blossoms and palmettes suspended on a graceful and delicate vine, rendered in shades of dark red, green, gold, ivory and subtle navy blue. Moss green guard borders. Broad ivory main border. 1,400/1,800

1159. ORIENTAL RUG: PERSIAN DESIGN 8’10” x 11’11” Gold central medallion with satellite and suspended pendants in pink, aqua, gold and dark red. Rich forest green field is traversed by delicate scrolling ivory vines bearing red and gold blossoms. Circular spandrels echo medallion. Multiple ivory, pale gray and midnight blue borders feature elaborate cartouches. 800/1,200

1160. ORIENTAL RUG: BIDJAR 6’0” x 11’9” Empty abrashed red field with a navy blue central medallion containing a pink and blue Herati-like pattern and a gold garrus vine. Suspendend bold light blue pendants. Navy blue spandrels echo medallion. Traditional motifs throughout ivory guard borders and sky blue main border. 1,000/2,000

1158. ORIENTAL RUG: SAROUK 8’1” x 10’6” Traditional floral central element is surrounded by a symmetrical arrangement of flower branches and bouquets, rendered in shades of blue, green, pastel pink, ivory and subtle brown. Blue and ivory borders with elements to match the field. 700/1,000

180

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1158

1159

1160

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181


182

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Charles Herbert Woodbury Maine/Massachusetts, 1864-1940 Lot 1161

1161

1161. “Clearing After a Storm”. Housed in a Guido frame. Oil on canvas, 20” x 30”. Framed 28” x 38”. 20,000/25,000 Exhibited: Doll and Richards, 1901. The Art Institute of Chicago, 1902. MIT Museum: “Earth Sea, & Sky”, 1988. Provenance: Vose Galleries, Boston. McGrath Antiques, Massachusetts. Private Collection, Pennsylvania.

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183


Jacob Greenleaf Massachusetts, 1887-1968 Lots 1162-1165

1162. “Along the Charles”. Signed and dated lower left “J. Greenleaf 38”. Titled on artist label verso. Oil on panel, 14” x 17”. Framed 18.5” x 21.5”. 500/800

1163

1163. “Tuna Wharf Off Bearskin Neck, Rockport”. Signed lower right “J. Greenleaf ”. Titled verso. Oil on artist board, 16” x 20”. Framed 23.5” x 27.5”. 500/800

1164. Riverscape with house and dories. Signed lower right “J. Greenleaf ”. Oil on artist panel, 9” x 12”. Framed 15.5” x 18.5”. 400/600

1164

1165. “Granite Pier, Pigeon Cove”. Signed lower left “J. Greenleaf ”. Titled on artist label verso. Oil on panel, 12” x 16”. Framed 18.5” x 22.5”. 600/900

1165

184

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1166

1167

1166. HARRY LESLIE HOFFMAN Connecticut, 1874-1966 Barn in an autumnal landscape. Unsigned. Estate stamped verso. Oil on canvas board, 24” x 18”. Unframed. 1,000/1,500

1167. HARRY LESLIE HOFFMAN Connecticut, 1874-1966 “The Blue Vase of Marigolds”. Signed lower left “Hoffman”. Title on Lyme Art Association label verso. Oil on canvas, 30” x 32”. Unframed. 1,200/1,500

1168. ERIC RIORDON Canada, 1906-1948 “Sunday Morning, Laurentians”. Signed lower left “Eric Riordon”. Titled verso. Oil on board, 12” x 16”. Framed 17” x 21”. 1,000/1,500

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1168

185


1169

1170

1169. WAYNE BEAM MORRELL Massachusetts/New Jersey, 1923-2013 “Old Schooner in Gloucester, Mass”. Signed lower left “Wayne Morrell”. Titled, dated 1987 and signed verso. Oil on artist panel, 12” x 9”. Framed 18” x 15”. 600/900

1170. JOHN CRIMMINS New York, b. 1963 “NYC in Winter”. Signed lower right “Crimmins”. Titled verso. Oil on board, 20” x 16”. Framed 26” x 22”. 800/1,200

1172

1171. ARTHUR LINGQUIST Massachusetts/Connecticut/Sweden, 1889-1975 “Boston Harbor in Winter”. Signed lower right “A. Lingquist”. Titled on label verso. Oil on board, 12” x 10”. Framed 15.5” x 13.5”. 400/600

1172. MARGARET JORDAN PATTERSON Massachusetts, 1867-1950 Still life of lilies and roses. Signed lower left “M. Patterson”. Color woodcut on paper, 15” x 12.75”. Unframed. 800/1,000

186

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1173. PAUL STRISIK Massachusetts, 1918-1998 “Clearing”, a North Shore street scene, likely Rockport, Massachusetts. Signed lower left “Strisik”. Titled verso. Oil on canvas, 16” x 24”. Framed 23” x 31”. 3,000/5,000 Provenance: Purchased from the artist in the 1960s.

1173

1174. OTIS PIERCE COOK, JR. Massachusetts, 1900-1980 Motif #1 in winter. Signed lower right “Otis Cook”. Oil on canvas board, 12” x 16”. Framed 17” x 20.75”. 1,000/1,500

1174

1175. CHARLES J. MOVALLI Massachusetts/Maine, 1945-2016 Rocky coastal scene. Signed lower left “Movalli”. Oil on canvas, 16” x 20”. Framed 23.5” x 27.5”. 1,500/2,500

1175

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187


1176. BERNARD COREY Massachusetts, 1914-2000 New England farm in winter. Signed lower right “Bernard Corey”. Oil on artist panel, 8” x 10.5”. Framed 13.5” x 16.75”. 500/700

1176

1177. BERNARD COREY Massachusetts, 1914-2000 New England field in winter. Signed lower right “Bernard Corey”. Oil on artist panel, 7.75” x 12”. Framed 9.25” x 13.5”. 400/600

1177

1178

1178. WAYNE BEAM MORRELL Massachusetts/New Jersey, 1923-2013 “Old Garden Beach Rockport, MA”. Signed lower right “Wayne Morrell”. Titled, dated 1984 and signed verso. Oil on panel, 8” x 10”. Framed 11.75” x 13.5”. 500/700

1179. ALSON SKINNER CLARK California/Illinois, 1876-1949 “Old Mill Falls”. Signed and titled verso “Alson Clark Old Mill Falls”. Oil on board, 21” x 25”. Framed 29” x 33”. 1,000/1,500

1179

188

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1180. RICHARD HAYLEY LEVER New York/Massachusetts/England/Australia, 1876-1958 Rocky coast. Unsigned. Oil on canvas, 9.25” x 12.5”. Framed 14.5” x 18”. 5,000/7,000

1180

1181. JAY HALL CONNAWAY Maine/Arizona/Indiana, 1893-1970 “Winter Fantasy”, possibly Monhegan Island. Signed lower right “Connaway”. Titled in pencil verso. Oil on board, 15” x 20”. Framed 17.5” x 22.5”. 2,000/3,000

1181

1182. LESTER A. GILLETTE Kansas/Massachusetts/Ohio, 1855-1940 Harbor, July 1928. Signed lower left “L A Gillette”. Dated in pencil verso. Oil on board, 16.25” x 20.25”. Framed 24.75” x 28.5”. 1,000/1,500

1182

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189


1183. ANTHONY THIEME Massachusetts/California, 1888-1954 Two European street scenes: “Charming Courtyard” and “Enchanting House”. Signed lower right or left “A. Thieme”. Oils on canvas, 13.25” x 10”. Framed 21” x 18”. 3,000/5,000 Provenance: Purchased from the John H. Surovek Gallery, Palm Beach Florida, 2001. Private Collection, Vero Beach, Florida, to the present owner. 1183, pair

1184. CAMILLO ADRIANI Massachusetts, Early 20th Century Fall landscape. Signed lower left “Camillo Adriani”. Oil on board, 8” x 10”. Framed 15.75” x 17.75”. 600/800

1185

1184

1185. CHARLES CURTIS ALLEN Massachusetts/Vermont, 1886-1950 “Snow Mantle”. Signed lower right “Chas Curtis Allen”. Titled on Boston Society of Water Color Painters exhibition label verso. Watercolor on paper, 17.5” x 23.75” sight. Framed 28.5” x 35.25”. 500/700

1186. CARL HAROLD NORDSTROM Massachusetts, 1876-1965 “Autumn on the Ipswich River, Town Landing”. Signed lower right “Carl H. Nordstrom”. Titled on label verso. Oil on board, 14.25” x 17.25”. Framed 20” x 23”. 800/1,200

1186

190

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1187. HORACE P. GILES Massachusetts/California/Mississippi, 1850Marsh scene, likely Newburyport, Massachusetts. Signed lower left “H.P. Giles”. Also signed verso. Housed in a Newcomb-Macklin frame. Oil on board, 12” x 19”. Framed 16.5” x 23.5”. 600/800

1187

1188. DON STONE Maine/New Hampshire, 1929-2015 Beach landscape, possibly Eastern Point, Gloucester, Massachusetts. Signed lower right “Don Stone”. Watercolor on paper, 21” x 28.5” sight. Framed 33” x 41”. 600/800

1188

1189. ROGER WILLIAM CURTIS Massachusetts, 1910-2000 “Gale Winds -- Gloucester Mass”. Signed lower right “Roger Curtis”. Titled verso. Oil on canvas, 20” x 30”. Framed 27” x 37”. 400/700

1189

1190. ROGER WILSON DENNIS Connecticut, 1902-1996 Harbor scene, likely Mystic, Connecticut. Signed and dated lower right “Dennis 83”. Oil on canvas board, 12” x 16”. Framed 15.5” x 19.5”. 800/1,200

1190

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191


1191

1192

1193

1191. SAMUEL MCCREA Connecticut/California/Illinois/France, 1867-1941 Moonlit beach scene. Signed and dated lower right “S. Harkness McCrea 1905”. Oil on canvas, 30” x 36”. Framed 37” x 43”. 1,000/1,500

1192. STEPHEN MANIATTY Massachusetts/Connecticut, 1910-1984 “Gloucester Schooner”. Signed lower right “S.G. Maniatty”. Titled and signed verso. Oil on canvas, 12” x 15.25”. Framed 18.5” x 21.5”. 500/1,000

192

1194

1193. JAMES FLOYD CLYMER Massachusetts, 1893-1982 “Eider Ducks at Bonne Bay”. Signed lower right “Clymer”. Titled on label verso for the Jameson Estate Collection LLC. Watercolor on paper, 15” x 20”. Framed 24” x 29”. 600/800

1194. MARY MINTZ KOFFLER New York/New Jersey, 1906-1985 “Central Park”. Signed lower left “Mary Mintz Koffler”. Titled on label verso for “Art-O-Rama ‘67”. Oil on board, 12” x 18”. Framed 18” x 24”. 500/800

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1195

1196

1197

1198

1195. FREDERICK SANDS BRUNNER Pennsylvania, 1886-1954 Portrait of Josph C. Lincoln. Dedicated “To Joseph C. Lincoln from F. Sands Brunner 12/23/26”. Cards affixed to the reverse inscribed “To Harry Tyson from his friend Joseph C. Lincoln December 25, 1926”, and “To Dr. Tyson of Bar Harbor & Philadelphia”. Pencil sketch on paper, 10” x 17”. Framed 17” x 14”. 400/600

1196. CALEB STONE Massachusetts, b. 1962 Autumnal New England street scene with church. Signed lower right “Caleb Stone”. Oil on board, 20” x 26”. Framed 26” x 32”. 900/1,200

1197. CHARLES J. MOVALLI Massachusetts/Maine, 1945-2016 “House on the Coast”. Signed lower left “C. Movalli”. Titled and signed verso. Oil on board, 8” x 10”. Framed 12.5” x 14.5”. 800/1,000

1198. ERNEST ALBERT New York/Connecticut, 1857-1946 “Autumn In The Berkshires”. Signed lower right “Ernest Albert A.N.A.”. Oil on canvas, relined, 16” x 20”. Framed 19.5” x 23.25”. 2,200/2,600

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193


1200

1201

1199

1199. QUEEN ANNE TILT-TOP CANDLESTAND ATTRIBUTED TO JOSEPH SHORT North Shore of Massachusetts, Circa 1800 In mahogany, with oval top, turned pedestal and cabriole legs ending in pad feet. Height 31.5”. Top 25.25” x 16”. 600/850

194

1200. FINE GILT GIRANDOLE MIRROR Circa 1790 Two seahorses flank a dragonfish final. Frame issues issuing two curved candle arms. Height 34”. 1,000/1,500

1201. CHIPPENDALE SERPENTINE-FRONT BUREAU Boston, Circa 1760-1780 In Santo Domingo mahogany under what is possibly the original finish. Molded-edge top. Four graduated full-width drawers with cock-bead moldings. Shaped bracket base. Height 31”. Width 37”. Depth 20”. 2,500/3,250

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1204

1202 1203

1202. QUEEN ANNE BIRDCAGE TILT-TOP TABLE Early 19th Century In mahogany. Top with bead-molded rim. Turned pedestal raised on three cabriole legs ending in slipper feet. Height 29.5”. Top 24” x 24”. 500/700

1203. QUEEN ANNE TILT-TOP CANDLESTAND North Shore of Massachusetts, Circa 1790 In mahogany. Serpentine top set on an urn-carved pedestal raised on three cabriole legs ending in pad feet. Height 28”. Top 16” x 16”. 600/850

1204. QUEEN ANNE SLANT-LID DESK New Hampshire, Late 18th Century In maple. Slant lid encloses a fitted interior comprised of drawers, valanced pigeonholes and a central shell-carved compartment. Case with four graduated full-width drawers and bandy legs ending in padded slipper feet. Height 42.75”. Width 36”. Depth 20”. 1,700/2,100 Provenance: John Butler Smith Estate, New Castle, New Hampshire.

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195


1205. QUEEN ANNE TWO-PART HIGHBOY Connecticut, Circa 1760 In strongly figured tiger maple. Upper case with two half drawers over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, and cabriole legs ending in pad feet. Height 70”. Width 37”. Depth 20”. 3,000/4,000

1205

1206. QUEEN ANNE CHEST-ON-CHEST Connecticut, Circa 1760 In maple. Upper case with shaped cornice and three sideby-side drawers over four graduated full-width drawers. Lower case with three full-width drawers, the bottom drawer simulating three side-by-side drawers with central fan carving. Scroll-carved skirt. Cabriole legs end in pad feet. Height 74.75”. Width 38.5”. Depth 20.5”. 2,000/3,000 1206

196

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1207

1208

1207. CHIPPENDALE CHEST OF DRAWERS Pennsylvania, Circa 1780 In mahogany, with molded top, fluted quarter columns, four graduated full-width drawers, and an ogee bracket base. Height 34”. Width 40”. Depth 22”. 1,000/2,000

1208. TILT-TOP SPIDER-LEG CANDLESTAND New England, Circa 1800 In cherry, with oval top and turned pedestal. Height 27”. Length of top 22”. 300/400

1210

1209

1209. HOPE R. ANGIER Camden, Maine, Contemporary “Yacht America” fireboard. Signed lower right “Angier”. Hand-painted on canvas stretched over wood, 20.5” x 28.5”. Framed 24” x 32.25”. 350/450

1210. INLAID MAHOGANY SECRETARY Circa 1900 Upper section with two mother-of-pearl inlaid doors concealing a compartmented interior. Lower section with a slant lid concealing interior drawers, with three full-width drawers below. Lid supports carved with eagle’s heads. Height 51”. Width 40”. Depth 22”. 1,000/1,500

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197


1211. QUEEN ANNE DROP-LEAF TABLE Circa 1770 In strong tiger maple, with cabriole legs ending in pad feet. Height 27.5”. Length 47”. 900/1,200

1211

1212. PAIR OF QUEEN ANNE SIDE CHAIRS Philadelphia, Circa 1760 In mahogany. Shell-carved crest and skirt. Cabriole legs with shell-carved knees and trifid feet. 1,000/2,000

1212, pair

1213

1213. HEPPLEWHITE DEMILUNE CARD TABLE Massachusetts, Circa 1790 In cherry and cherry veneer. Edge of top with alternating concave molding. Tapered legs. Height 30”. Width 35”. Depth 17.75”. 500/700 From a Michigan Collection.

198

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1214

1215

1214. PENNSYLVANIA CHIPPENDALE TALL CHEST 18th Century In walnut. Three side-by-side drawers over two half drawers over four graduated full-width drawers. Ogee bracket feet. Height 58”. Width 40.5”. Depth 23”. 700/1,000

1215. PENNSYLVANIA CHIPPENDALE TALL CHEST Circa 1780 In mahogany with shaped cornice, three side-by-side drawers over two half drawers over five graduated full-width drawers, and a shaped flat bracket base. Drawers with brass bail pulls. Height 66.75”. Width 40”. Depth 22.5”. 1,500/2,500

1216. QUEEN ANNE COURTING MIRROR 18th Century Rectangular crested frame with reverse-painted borders. Includes original carrying case. Height 17.25”. Width 12”. 300/500

1217. QUEEN ANNE DROP-LEAF TABLE 18th Century In Cuban mahogany. Height 28”. Length 15.5” plus two 14.5” drop leaves. Width 44.5”. 500/1,000

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199


1218

1218. QUEEN ANNE HANDKERCHIEF DROP-LEAF CARD TABLE Circa 1760 Square top with triangular drop leaf. Tapered legs end in pad feet. Height 27.5”. Top open 42” x 40.5”. 300/500 1219

1219. HEPPLEWHITE PEMBROKE TABLE Probably Coastal Carolina, Circa 1800 In mahogany. Single drawer at one end of apron. Tapered legs with string and bellflower inlay down the lengths. Height 28.5”. Width 21.5” plus 10.75” drop leaves. Depth 33”. 2,500/3,500

1220. SET OF EIGHT CENTENNIAL CHIPPENDALE-STYLE CHAIRS Late 19th Century With claw & ball feet. Back heights 40.5”. Seat heights 17.5”. 500/1,000

1220, eight

200

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1221

1222

1223

1221. JOHN JOSEPH ENNEKING Massachusetts/New York/Maine/Ohio, 1841-1916 “Solitude”. Signed lower right “Enneking”. Oil on board, 10” x 14”. Framed. 1,800/2,200

1224

1223. FRANK VINCENT DUMOND New York/California, 1865-1951 “October”, depicting trees in early autumn. Signed lower left “F.V. DuMond”. Oil on board, 11.5” x 15.5”. Framed 14” x 18”. 1,000/1,500

Exhibited: Vose Galleries, October 20-December 20, 1975. Published: Vose Galleries, Exhibition and Sale of John J. Enneking, 1975, plate #47. 1224. GEORGE GARDNER SYMONS New York/California/Massachusetts/Illinois/New Jersey, Provenance: 1863-1930 Vose Galleries, Boston. California landscape. Signed lower left “Gardner Symons”. Private Collection, Massachusetts. Oil on board, 12” x 16”. Framed 16” x 19”. 600/800 Private Collection, Cape Cod, Massachusetts. 1222. ABBOTT FULLER GRAVES Massachusetts/Maine, 1859-1936 Before the King. Signed lower right “Abbott Graves”. Oil on canvas, 13” x 16.25”. Framed 21.25” x 24.25”. 800/1,200

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201


1225. KELLY CARMODY Massachusetts, Contemporary “Stonington Morning July 2016”. Signed lower right “Carmody”. Titled and dated verso. Oil on panel, 11” x 14”. Framed 14.5” x 17.5”. 1,500/2,000 1225

1226. WARREN W. SHEPPARD New Jersey, 1858-1937 Portrait of a lady. Signed lower right “Warren Sheppard Venice 85”. Oil on panel, 9.5” x 7.5”. Framed 17.5” x 15.5”. 800/1,200

1227

1227. JOSEPH CONOVER CLAGHORN Washington, D.C./Maryland/Pennsylvania, 1869-1947 Autumnal landscape with stream. Signed lower left “J.C. Claghorn”. Oil on canvas, 30” x 36”. Framed 38” x 46”. 2,000/3,000

1228. ATTRIBUTED TO FRANCIS WILLIAM EDMONDS New York, 1806-1863 Interior scene with a cobbler. Unsigned. Offered at Christie’s East, January 19, 2000, Lot #10 as a Francis William Edmonds. Oil on canvas laid down on masonite, 10.25” x 13.75”. Framed. 1,000/1,500

1228

202

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1229

1230

1229. ERIC SLOANE New York/Connecticut, 1905-1985 Covered bridge. Signed verso “By Eric Sloane”. Note affixed to reverse with typed inscription “... Presented to Adlin Meyer on June 1964 by the artist, through the courtesy of Carl Christensen ... frame made by Adlin Meyer from boards of an old covered bridge from Vermont”. Oil on board, 14” x 24”. Framed 19” x 29”. 3,000/5,000

1231. COLLECTION OF ERIC SLOANE BOOKS 1) Book For Spacious Skies by Eric Sloane. Marker drawing of a covered bridge on inside cover signed Eric Sloane 1976. 2) Book Recollections in Black and White by Eric Sloane. Signed in pen on cover “To the Sherwin Library Eric Sloane 1980”. 3) Book Skies by Eric Sloane. Signed in marker on cover “Eric Sloane”. 300/400

1230. ERIC SLOANE New York/Connecticut, 1905-1985 Fall scene of a hilly New England village. Signed lower left “Eric Sloane NA”. Oil on masonite, 21” x 21”. Framed 28.5” x 28.5”. 2,500/3,500 Provenance: Purchased directly from the artist by the family of the consignor.

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203


1232. WALT (WALTER) FRANCIS KUHN New York/California, 1877-1948 Still life of fruit and eggplant. Signed lower right “Walt Kuhn”. Oil on canvas, 16” x 20”. Framed 22.5” x 27”. 600/800

1232

1233. ROBERT SHAW WESSON Vermont/Massachusetts, 1902-1967 Two landscapes: 1) Figures in a mountain landscape. Signed lower left “Robert Wesson”. 2) Red farmhouse and barn in a landscape. Unsigned. Oils on canvas board, 18” x 24”. Framed 27” x 33”. 800/1,000

1234

1234. AMERICAN SCHOOL Late 19th/Early 20th Century “An American Home”. Depicts a bird’s-eye view of an idyllic town along a river. Titled in banner at upper margin. Oil on canvas, 18” x 24”. Framed 23” x 29”. 800/1,200

1235. JERVIS MCENTEE New York, 1828-1891 Cabin on the lake. Signed lower left with artist’s monogram. Oil on canvas, 12” x 16”. Framed 19” x 23”. 2,500/3,500

1235

204

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1236. LEROY IRELAND New York/Pennsylvania, 1889-1970 “Pottery and Roman Vase”. Signed lower right “LeRoy Ireland”. A handwritten note verso provides the title and notes the painting was exhibited at the Art Institute of Chicago. Housed in a period Arts and Crafts frame. Oil on canvas, 24” x 20”. Framed 33” x 28.5”. 800/1,200

1237. CARL RUDOLPH KRAFFT Illinois/Pennsylvania/Ohio, 1884-1938 “Blue and Gold, Ozarks, 1932”. Signed lower right “Carl R. Krafft”. Titled on label verso. Housed in a period frame. Oil on board, 20” x 16”. Framed 28” x 24”. 1,500/2,000 Provenance: Gifted by the artist to the consignor’s great-grandmother.

1238. LAURA COOMBS HILLS Massachusetts, 1859-1952 “Patricia, A London Doll”. Signed upper right “Laura Hills”. Titled on label verso for Doll & Richards, Inc., Boston. A note attached to the reverse signed by the artist explains the origins of the doll. Pastel, 28” x 23” sight. Framed 32” x 26”. 2,000/3,000

1236

LeRoy Ireland was a noted artist, dealer and scholar. He was an early expert on the works of George Inness and wrote the 1965 catalog raisonné, “The Works of George Inness: An Illustrated Catalogue Raisonné” (Austin: University of Texas Press, 1965.)

1237

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1238

205


1239

1239. WILLIAM PARSONS WINCHESTER DANA Massachusetts/New York/Rhode Island/France/England, 1833-1927 Apple blossoms by a bridge. Signed and dated lower right “W. Dana 1900”. Pastel, 13” x 10.75” sight. Framed 24.5” x 21.5”. 400/600

1240

1240. IVAN GREGOREWITCH OLINSKY New York, 1878-1962 “Fond Recollections”. Signed upper left “Ivan Olinsky”. Titled on frame plaque. Oil on canvas, 30” x 25”. Framed 39.5” x 33.5”. 2,000/3,000

1241

1241. LOUIS KRONBERG New York/Florida/Massachusetts/ France, 1872-1965 Ballet dancer in green. Signed and inscribed verso “No. 10.21 Louis Kronberg” and twice “Pastel with Care Avec Soine”. Pastel and chalk on rough paper, 24.5” x 18.5” sight. Framed 31.75” x 25.5”. 800/1,200

1242. AMERICAN SCHOOL Late 19th Century Seascape. Unsigned. Oil on canvas, 10” x 24”. Framed 14” x 28”. 300/500

206

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1243. GEORGE LOFTUS NOYES Massachusetts/New Hampshire, 1864-1954 Tabletop still life with peaches, grapes and pears. Signed lower left “G.L. Noyes”. Oil on canvas, 18” x 24”. Framed 27” x 31”. 1,500/2,500

1243

1244. AMERICAN SCHOOL Early 20th Century “Cambridge Bridge - Boston 1857”. Unsigned. Titled on mat. Label verso marked “Museum of Fine Arts Boston, Massachusetts Special Loan Exhibition of Boston, 1630-1872 ...”. Watercolor, 11.5” x 19”. Framed 18.5” x 25.5”. 800/1,200

1244

1245. CHARLES REID Massachusetts/New York, 1937-2019 “Mitch’s Lobster”. Signed lower right “Charles Reid”. Titled on gallery label verso. Oil on board, 18” x 22”. Framed 21.5” x 25.25”. 500/1,000

1245

1246. ROSALIE NADEAU Cape Cod, Contemporary “Sweet and Sour”. Signed lower right “Nadeau”. Titled verso. Oil on board, 12” x 10”. Framed 20” x 17.5”. 400/600

1246

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207


1247

1249, two

1247. CHIPPENDALE SERPENTINE-FRONT BUREAU Essex, Massachusetts, Circa 1780 In mahogany. Top with nice overhang. Four full-width graduated drawers with original hardware. Four claw & ball feet. Height 33”. Width 39.5”. Depth 20.75”. 2,500/3,500

1249. STEVE KLEIN United States, Contemporary Two works: “First Snow” and “Summer Picnic”. Both signed lower right “Steve Klein”. Titled verso. Oils on canvas and masonite, 20” x 26”. Framed 24” x 30”. 500/1,000

1248. CHIPPENDALE DROP-LEAF TABLE Massachusetts, Circa 1780 In mahogany, with cut-corner leaves and cabriole legs ending in claw & ball feet. Height 27.75”. Length 17.25” plus two 14.25” drop leaves. Width 45”. 500/800

208

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1250. NEAR-PAIR OF CHIPPENDALE MIRRORS Philadelphia, Circa 1790 In mahogany and mahogany veneer. Beautifully scrolled crests and ears, with central oval inlaid panels, one depicting an urn and the other an eagle with shield. Both mirrors retain original label for cabinetmaker John Elliott. Heights 15.5”. Widths 25.5”. 800/1,200

1250, two

1251. JAMES HARRINGTON New England, 1929-2016 Ferry boat scene. Signed lower left “Jas Harrington”. Oil on canvas, 9” x 12”. Framed 18.75” x 21.75”. 600/800

1251

1252

1252. QUEEN ANNE CANDLESTAND Massachusetts, 18th Century In mahogany. Top with applied molded edge. Unusual single drawer under top. Turned urn-form pedestal raised on cabriole legs ending in snake feet. Height 27.25”. Top 14.25” x 15.5”. 1,200/1,800

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209


1253. CHIPPENDALE BONNET-TOP CHEST-ON-CHEST Connecticut River Valley, Northampton, Massachusetts Area, Circa 1780 In cherry. Bonnet top with three twisted-cone and urn-form finials centering a broken arch pediment terminating in relief-carved pinwheel rosettes. Upper case with three side-by-side drawers, the central with fan carving, over four slightly graduated full-width drawers. Lower case with four graduated full-width drawers and bold flat bracket feet. Height 89”. Width 40.5”. Depth 20”. 6,000/8,000

1253

210

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1254. RARE HEPPLEWHITE DEMILUNE SIDEBOARD ATTRIBUTED TO JOHN SEYMOUR Boston, Circa 1800 In mahogany, with select grain mahogany veneer used on all facings and with string inlay throughout. Top made from a single piece of mahogany. Case with a central drawer over an open arched compartment, flanked on both sides by a bottle drawer and a cupboard door. Unusual wedge-shaped construction of the central drawer and cupboard; drawer runs on a guide. Tapered legs with cuffed banding at ankles. Height 38.75”. Width 72”. Depth 30”. 16,000/18,000

1254

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211


1255. FEDERAL OCTAGONAL SEWING STAND Coastal Carolina, Circa 1800 In multi-wood veneer. Lift top encloses a compartmented interior. Delicate tapered legs slightly arch at feet and are joined with a ring-turned cross stretcher. Height 28.75”. Width 19.75”. Depth 14.75”. 2,000/3,000

1255

1256. HEPPLEWHITE CARD TABLE ATTRIBUTED TO THE SEYMOUR FAMILY Boston, Circa 1800 In mahogany. Serpentine top. Conforming skirt inset with a satinwood oval panel at center and rectangular panels at tops of front legs. String inlay on edge of top, at skirt, and down the length of the tapered legs. Height 29”. Width 36”. Depth 17.75”. 2,000/3,000

1257. SHERATON SOFA ATTRIBUTED TO THOMAS SEYMOUR Boston, Circa 1805 In mahogany. Curved arms with reeded urnform supports. Eight legs; front legs are tapered and reeded. New floral damask upholstery. Back height 36”. Seat height 19.5”. Length 78”. 2,000/3,000

1257

212

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1256


1258. WILLIAM AND MARY TWO-PART HIGHBOY Massachusetts, Early 18th Century In pine and tiger maple, with an old rich finish. Upper case with two half drawers over three full-width drawers. Lower case with three varied side-by-side drawers and eight trumpet-form legs joined by a shaped stretcher and ending in ball feet. Height 62.75”. Width 40.5”. Depth 22”. 6,000/8,000

1258

1259. DIMINUTIVE HEPPLEWHITE SECRETARY Circa 1810 In mahogany and mahogany veneer with satinwood inlay. Upper section with brass finials and arched glazed doors that enclose two interior shelves. Lower section with a drop-down writing surface, three graduated full-width drawers, and a shaped bracket base on French splayed feet. Height 75”. Width 34.5”. Depth 18”. 1,000/1,500

1259

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213


1260

1261

1260. HEPPLEWHITE BOWFRONT CHEST America, Early 19th Century In cherry. Four graduated full-width drawers with strongly figured tiger maple fronts surrounded by mahogany banding. Shaped apron. French splayed bracket feet. Height 39.5”. Width 40.75”. Depth 23.25”. 1,000/1,500

214

1261. SHERATON-STYLE UPHOLSTERED LOLLING CHAIR 20th Century Mahogany frame with satinwood inlaid panels on carved tapered legs. Ivory floral upholstery. Back height 43.5”. Seat height 17”. 300/500

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1262. HEPPLEWHITE PEMBROKE TABLE Circa 1790 In mahogany and mahogany veneer with fruitwood string inlay. Apron with one faux drawer at one side and a working drawer at the other, both fitted with brass bail pulls. Square tapered legs. Height 28”. Width 19.25” plus two 10.25” drop leaves. Depth 32”. 700/1,000

1263. CHIPPENDALE TILT-TOP TEA TABLE ATTRIBUTED TO BENJAMIN FROTHINGHAM Boston, Circa 1780 In Cuban mahogany. Circular top set on a bold tapered pedestal. Three cabriole legs end in elongated claw & ball feet, indicative of Frothingham’s hand. Height 28”. Diameter 29.75”. 800/1,200 1262

1264. QUEEN ANNE TILT-TOP CANDLESTAND Hartford, Connecticut Area, Second Half of the 18th Century In mahogany, with circular top, vasiform pedestal, and three cabriole legs ending in snake feet. Height 29”. Diameter 19.25”. 600/800

1263

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1264

215


1265

1266

1265. FEDERAL TWO-PART SECRETARY Circa 1810 In mahogany and mahogany veneer. Upper case’s molded cornice with full-width secret drawer. Three doors open to reveal a fitted interior. Lower case with four graduated drawers and a shaped bracket base. Drawers fitted with circular brass pulls. Height 53”. Width 42.25”. Depth 19.5”. 400/600

1266. FEDERAL GILTWOOD CONVEX MIRROR Circa 1800 Surmounted by a pediment supporting a spread-wing eagle suspending an unusually small ball drop. Height 29.5”. Width 18”. 850/1,000

1267. ORIENTAL RUG: NAIN 6’0” x 9’0” Central navy blue, pale celadon and honey-colored medallion on an ivory field, surrounded by blossoming vine in blues, greens, subtle dark red and brown with bright white highlights. Ivory, light blue and honey-colored borders. 1,000/1,500

216

1267

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1269

1268 1270

1268. TILT-TOP CANDLESTAND ATTRIBUTED TO JOSEPH SHORT Boston, Last Half of the 18th Century Grain-painted hardwood. Oval top set on a vasiform pedestal raised on three cabriole legs ending in snake feet. Height 27.5”. Top 24” x 15”. 800/1,200

1269. SHERATON STAND Coastal Massachusetts, Early 19th Century In mahogany. Rectangular overhanging top with porringer corners. Two drawers over a yarn bag, flanked by turned and leafcarved pilasters that terminate in delicate tapered, turned and reeded legs. Drawers with original brass drop pulls. Height 27”. Width 18”. Depth 14”. 600/900

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1270. CUSTOM-MADE TIGER MAPLE TWO-DRAWER END TABLE Two half drawers with oval brass pulls. Shaped skirt. Turned legs joined with stretcher and end in ball feet. Strong tigering. Height 30.75”. Width 28.25”. Depth 16”. 500/800

1271. HEPPLEWHITE ONE-DRAWER STAND Early 19th Century In cherry, with square tapered legs. Drawer with circular brass pull. Height 28.5”. Width 17.75”. Depth 20”. 200/300

217


1272. ORIENTAL RUG: SERAPI DESIGN 5’1” x 8’0” Dark red and dark blue medallion and dark blue pendants are centered on a light blue field above a red subfield with blue spandrels. Traditional elements in peach, subtle gold, teal green, dark red and ivory throughout. Gold and blue borders. 800/1,200

1272

1273. SHERATON BOWFRONT BUREAU Circa 1820 In mahogany and mahogany veneer. Deck top with two glove drawers and turret corners. Case with four fullwidth drawers flanked by rope-turned columns terminating in ball feet. Drawers fitted with brass bail pulls. Height 49”. Width 46”. Depth 23.5”. 400/600 1273

218

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1274. HEPPLEWHITE DEMILUNE CARD TABLE Coastal Massachusetts, Late 18th Century In mahogany, with old, possibly original, finish. Overhanging top with string inlay. Conforming apron with banded inlay. Square tapered legs with oval inlay at tops and string and cuff inlay at ankles. Original secret drawer at rear. Height 28.75”. Width 36”. Depth 17.75”. 800/1,200

1274

1275. CHIPPENDALE BUTLER’S SECRETARY Circa 1780 In tiger maple. Top drawer, simulating two fullwidth drawers, drops down to serve as a writing surface and conceals an interior fitted with nine drawers and six letter slots. Three graduated full-width drawers below. Shaped bracket base. Height 43”. Width 41”. Depth 20.5”. 1,000/1,500

1276. No Lot.

1275

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219


1277. ORIENTAL RUG: HERIZ DESIGN 8’8” x 12’0” Light blue and ivory gabled central medallion suspends red and pale green pendants on a rich red field above an aqua subfield with ivory and dark blue spandrels. Gold and rich red borders. 1,400/1,800

1278. ORIENTAL RUG: MAHAL 8’7” x 12’2” Abrashed blue-gray field with a traditional array of bold blossoms and leaves in rust red, dark blue, green, tan, faded gold and pink. Red floral guard borders. Stylized blossoms throughout an ivory main border. 1,500/2,500

1277

1279. ORIENTAL RUG: BIDJAR 4’10” x 7’3” Meandering and scrolling vines bear red, blue, green, pink, yellow and ivory blossoms and leaves throughout the center of a midnight blue field. Red and ivory borders. 500/800

1280. ORIENTAL RUG: HERIZ 8’2” x 11’8” Red and blue gabled medallion suspends red and blue pendants on an abrashed rust red field with ivory spandrels. Traditional blossoms, leaves and vines in pinks, blues, ivory and subtle olive green throughout. Light green and dark blue borders. 800/1,200

1281. ORIENTAL RUG: FERAGHAN SAROUK 8’10” x 11’8” Central ivory and midnight blue medallion suspends blue pendants on a red field covered with a scrolling ivory vine bearing red, green, blue and subtle brass-colored leaves and blossoms. Ivory subfield with red spandrels. Light blue, ivory and midnight blue floral borders. 1,500/2,500

1282. ORIENTAL RUG: MAHAL 7’10” x 11’1” Traditionally arranged columns of blossoms and flowering branches rendered in blues, tan, brown, ivory and faded gold on an abrashed light red field. Pale moss green and marine blue borders. 800/1,200 1278

220

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1280

1281

1282

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221


1283

1285

1283. ORIENTAL RUG: KAZAK 4’9” x 7’2” Red field with a pair of bold blue and green geometric medallions containing red stylized elements. Red and blue borders with blue and green meandering vines throughout. 2,000/3,000

1284. ORIENTAL RUG: KAZAK 5’1” x 7’1” Red and white cloud bands surround a central yellow rectangle inside a dark brown medallion. Red field and brown subfield with stylized elements throughout in colors to match the medallion. Black, gray and ivory borders. 400/600

1284

222

1285. ORIENTAL RUG: KAZAK 4’7” x 7’4” Abrashed red, blue, green, ivory and faded yellow geometric medallions with latch hook perimeters are arranged in diagonal rows across a marine blue field. Yellow, ivory, green, brown and dark salmon red borders contain stylized elements. 1,000/1,500

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1286

1286. ORIENTAL RUG: CAUCASIAN RUNNER 3’1” x 12’3” Navy blue field with several rust red, dark teal green, gold and ivory geometric medallions surrounded by a variety of small stylized blossoms. Ivory guard borders and brown main border. 800/1,200

1287. ORIENTAL RUG: PERSIAN TRIBAL 3’7” x 6’7” Tomato red field contains figures of dromedary camels and their human counterparts, rendered in ivory, dark blue, pale yellow and dark teal green. Potted plants at either end of field. Pale yellow floral main border. 400/700

1288. ORIENTAL RUG: AFGHANI FLATWEAVE 6’9” x 9’9” Several columns of red, white and dark blue repeating geometric elements traverse the length of a wine red field. Narrow borders in colors to match the field. Broad flatweave panels at each end. 300/500

1289. ORIENTAL RUG: HAMADAN 3’9” x 6’4” Navy blue field with a Herati pattern in dark green, dark pink, light blue, ivory and subtle yellow. Blue and red borders. 250/350

1290. ORIENTAL RUG: MAFRASH 3’5” x 1’7” x 1’2” Front panel woven with ivory, red, blue and green geometric medallions on a navy blue field. Serrated leaves and stylized flowering vines throughout blue and ivory borders. 500/1,000

1291. ORIENTAL RUG: TURKISH 3’8” x 4’5” Brown central medallion with satellite blue blossoms on a dark orange field above a brown subfield. Tan and gold spandrels. Orange and celadon green borders. 150/200

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223


1292. ORIENTAL RUG: BAKHTIARI 7’1” x 9’9” Gridwork garden design with each panel displaying a traditional motif, including a variety of blossoming branches, palmettes and prayer mihrabs. 600/900

1292

1293. ORIENTAL RUG: PERSIAN DESIGN 7’9” x 9’6” Antique ivory field with an aqua and dark red medallion at center, bold dark red, aqua, ivory and light blue boteh at each corner, and delicate colorful flowering vines throughout. Light blue guard borders. Dark red main border. 1,000/1,500

1293

1294. ORIENTAL RUG: SULTANABAD DESIGN 7’8” x 9’8” Light blue field contains delicate leaves and nine bold stylized blossoms in red, ivory, salmon red, gold, blue, green and rich amethyst. Ivory guard borders and red main border. 1,200/1,600

1294

224

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Paul Schulenburg Massachusetts, b. 1955 Lots 1295-1297

1296

1295

1295. “Harbor Watch”. Signed lower right. Titled verso. Oil on canvas, 32” x 24”. Framed 33.25” x 25.25”. 1,500/2,500

1296. Boy fishing. Signed lower right. Oil on canvas, 24” x 30”. Framed 25” x 31”. 1,500/2,500

1297. Sea wall sunbather. Signed lower left. Oil on board, 17” x 25.5”. Framed 20” x 28.25”. 600/800

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225


Jerome Howes New York/Massachusetts/Vermont, b. 1955 Lots 1298-1300

1298. Nantucket wharf scene featuring mermaids, sailors, the Rainbow Fleet, hot air balloons and Brant Point in the distance. Signed lower right “Jerome Howes”. Oil on masonite, 18” x 24”. Framed 22.5” x 28.5”. 2,000/3,000

1299. Still life of a wineglass, purple grapes and other fruit on a marble-top table. Signed lower right “Jerome Howes”. Oil on masonite, 9” x 12”. Framed 11.75” x 14.75”. 500/650

1300. Samuel Colt-inspired trompe l’oeil of a barn door. Signed lower right “Jerome Howes”. Oil on board, 24” x 18”. Framed 29” x 23”. 600/800

1298

1299

1300

226

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1301. VERN BROE Maine/Illinois, 1930-2011 Yachting off the coast. Signed lower right “Vern Broe”. Oil on board, 12” x 16”. Framed 15” x 19”. 1,000/1,500

1301

1302. VERN BROE Maine/Illinois, 1930-2011 Sailing on a catboat. Signed lower right “Vern Broe”. Oil on board, 16” x 20”. Framed 20” x 24”. 2,000/3,000

1302

1303. YASEMIN KYRENA TOMAKAN Connecticut/Massachusetts/Turkey, b. 1958 “Fishing Boats, Dockside, Nantucket”. Signed lower right “Tomakan”. Titled on label verso. Oil on canvas, 16” x 24”. Framed 19” x 27”. 1,100/1,300

1303

1304. YASEMIN KYRENA TOMAKAN Connecticut/Massachusetts/Turkey, b. 1958 “Late Afternoon Glimer [sic], Nantucket”. Signed lower right “Tomakan”. Titled on label verso. Oil on canvas, 16” x 22”. Framed 19” x 25”. 1,100/1,300

1304

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227


1305

1306

1305. ROBERT ROARK Massachusetts/New York, b. 1944 Scorton Creek. Signed lower left “Robert Roark”. Oil on canvas, 18” x 23”. Framed 24” x 30”. 2,000/3,000

1306. ROBERT ROARK Massachusetts/New York, b. 1944 Annisquam Light. Signed lower left “Robert Roark”. Oil on canvas, 26” x 34”. Framed 33” x 39.5”. 3,000/5,000

1307

228

1307. JOSEPH MCGURL Massachusetts, b. 1958 “Evening in Vineyard Sound”. Signed lower right. Oil on board, 12” x 16”. Framed. 5,000/7,000

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1308. ANDRZEJ CZECZOT Poland, 1933-2012 Fantastical scene with a bed-form flying car. Signed lower right “Czeczot”. Watercolor on paper, 20.75” x 28” sight. Framed 29” x 35”. 700/1,000 Andrzej Czeczot was a well-known illustrator and film maker. His illustrations have appeared in the New York Times, the New Yorker and the Wall Street Journal.

1308

1309. PETER HAGEN New Mexico/Colorado, b. 1944 “Breaking Weather Along the Shore”. Signed lower left “Peter Hagen”. Signed and titled verso. Oil on canvas, 18” x 24”. Framed 27” x 33”. 1,000/1,500

1309

1310. ARNOLD DESMARAIS Massachusetts, b. 1952 “Fall Light”. Signed lower right “Arnold”. Titled on the artist’s gallery label verso. Oil on board, 10” x 16”. Framed 17” x 23”. 700/900

1310

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229


William R. Davis Massachusetts, b. 1952 Lots 1311-1317

1311. “Late Day off Owl’s Head Light”. Signed lower right “William R. Davis”. Signed, titled and dated 2002 verso. Oil on canvas, 20” x 30”. Framed 26” x 36”. 8,000/12,000

1312. “View from Carmel to the Hills”. Signed lower left “William R. Davis”. Titled and dated May 1999 verso. Oil on panel, 8” x 12”. Framed 14” x 18”. 1,000/1,500

1313. “February Waterlilly [sic], McKee Garden, Vero Beach, FL”. Signed lower left “William R. Davis”. Titled verso. Oil on panel, 12” x 16”. Framed 18” x 22”. 2,500/3,500

1311

Provenance: Meghan Candler Gallery, Vero Beach, Florida (label verso).

1314. “Mountain Sunrise”. Signed lower right “W. Davis”. Signed, titled and dated 2002 verso. Oil on panel, 6” x 8”. Framed 12” x 14”. 1,000/2,000

1312

230

1313

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1314


William R. Davis Massachusetts, b. 1952 Lots 1311-1317

1315. “Good Day Fishing”. Signed lower right “William R. Davis”. Titled verso. Oil on panel, 16” x 24”. Framed 22” x 30”. 7,000/9,000 Exhibited: Cape Cod Museum of Art: “William R. Davis: Personal Reflections: A Retrospective Collection”, July 3-August 3, 2014.

1315

1316. Sailing off the coast. Signed lower right “William R. Davis”. Oil on board, 10” x 16”. Framed 16” x 22”. 5,000/7,000

1316

1317. “Sunset Sail”. Signed lower left “W. Davis”. Signed and titled verso, and on label for Collins Galleries, Orleans, Massachusetts. Oil on panel, 4.5” x 7.25”. Framed 8.25” x 11”. 2,000/3,000

1317

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231


1318. ELIZABETH MUMFORD Cape Cod, Contemporary “Why Does the Milkman Drive a White Horse?”. Depicts a horse-drawn milk wagon on a seaside path full of activity. Signed lower right “Elizabeth Mumford”. Label verso for Tree’s Place Gallery, Orleans, Massachusetts. Oil on panel, 18” x 30”. Framed 23.5” x 33”. 1,500/2,500

1318

1319. CHARLES MALZENSKI Connecticut, Contemporary “Connecticut River Valley -- Northfield, Massachusetts, 2001”. Signed lower left “Malzenski”. Signed, titled and dated verso. Oil on board, 6.5” x 18”. Framed 10” x 22”. 700/1,000 1319

1320. EDWARD HERGELROTH Pennsylvania/Maine, 20th Century Sea water surface. Signed lower right “EHH”. Label on stretcher for Powers Gallery, Acton, Massachusetts. Oil on canvas, 36.5” x 48”. Framed 38.5” x 50.5”. 600/800

1320

232

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1321

1322

1323

1324

1321. STEVE ALLRICH Massachusetts, b. 1954 “All the Way Home”. Signed lower left “Allrich”. Titled and signed on reverse of frame. Oil on board, 12” x 12”. Framed 18” x 18”. 700/900

1323. MARIELUISE HUTCHINSON Massachusetts, b. 1947 “Wyeth Country”. Signed lower right “Marieluise”. Dated 2003 on Cummaquid Fine Arts label verso. Oil on board, 9” x 12”. Framed 18” x 21”. 800/1,000

1322. JOSEPH MCGURL Massachusetts, b. 1958 “Peaceful Cove”. Signed lower right “Joseph McGurl”. Signed and marked “#10” on stretcher. Oil on canvas, 20.5” x 36”. Framed 27.5” x 43”. 4,000/6,000

1324. DAN BROWN Contemporary Apple basket. Unsigned but inscribed verso “Apple Basket - D. Brown 11/00”. Illustrated on Dan Brown Studios website in the archives. Housed in a gilt frame. Oil on canvas, 19.5” x 17”. Framed 25” x 23”. 2,500/3,500

Provenance: Purchased at Tree’s Place Gallery, Orleans, Massachusetts, 1994.

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233


1325

1326

1327

1325. CHET JONES Massachusetts, b. 1957 “Fish Shack, Storm”, 2002. Signed lower left. Signed, titled and dated verso. Oil on canvas, 18” x 18”. Framed 19.25” x 19.25”. 800/1,200

1326. ERIC AHO Massachusetts, b. 1966 “Long Point Light IV”, 1996. Paint incised with artist signature and date upper center. Titled on label affixed verso. Oil on canvas, 16” x 24”. Framed 18.75” x 27”. 1,000/2,000

1327. ROB BROOKS Cape Cod, b. 1962 “In the Roads”, circa 2002. Signed upper left. Titled and dated on labels affixed verso. Oil on canvas, 15” x 30”. Framed 17” x 31.75”. 400/600

234

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Loretta Feeney Massachusetts, b. 1961 Lots 1328-1330

1328. Harbor scene. Signed and dated lower left “Feeney ‘07”. Oil on canvas, 24” x 30”. Framed 28” x 34”. 3,000/4,000

1329. House at twilight. Signed and dated lower right “Feeney ‘07”. Oil on canvas, 22” x 28”. Framed 24” x 30”. 800/1,000

1330. Victoria Station. Signed lower left “Feeney”. Dated 1988 verso. Oil on canvas, 16” x 20”. Framed 21” x 25”. 800/1,000

1329

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1328

1330

235


1331

1331. WARREN CHAIR WORKS HARVEST TABLE Warren, Rhode Island, 20th Century Tiger maple top. Black-painted stretcher base with turned legs ending in ball feet. Appears unmarked. Height 30”. Length 54.5” plus two 12” leaves. Width 36”. 1,000/1,500

1332. ELDRED WHEELER PENCIL-POST BED Massachusetts, 20th Century In tiger maple. Back of headboard stamped “Eldred Wheeler”. Retains original paper label. Width between bolt holes 56”. Includes rails. 600/900

236

1333. NEAR-PAIR OF ELDRED WHEELER QUEEN ANNE-STYLE END TABLES Massachusetts, 20th Century Rectangular tiger maple tops with molded edges. Ebonized aprons and legs. Both branded and with paper labels. Heights 25.25”. Widths 24.75” and 26.25”. 500/700

1334. PAIR OF ELDRED WHEELER TIGER MAPLE TWIN BEDS Massachusetts, Contemporary Heights 48”. Widths 44”. Widths between bolt holes 42”. 800/1,200

1335. ELDRED WHEELER KING-SIZE PENCIL-POST BED Massachusetts, Contemporary In cherry. Posts with acorn finials. Eldred Wheeler brand on back of headboard. Also retains original Eldred Wheeler paper label. Post heights 84.5”. Headboard width 77.5”. Includes, bolts, rails and all other components necessary for assembly, but does not include canopy. 1,000/1,500

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1336. ELDRED WHEELER NANTUCKET BLANKET CHEST Massachusetts, 20th Century In maple. Lid attached with iron hinges. Front with inlaid hearts and compass roses. Two side-by-side drawers below blanket compartment fitted with brass pulls. Shaped bracket base. Original Eldred Wheeler paper label in left drawer. Height 25.75”. Width 38.5”. Depth 19.5”. 2,000/3,000

1336

1337. PAIR OF ELDRED WHEELER ONE-DRAWER STANDS Massachusetts, Contemporary In cherry, with circular brass pulls and square tapered legs. Retain original Eldred Wheeler paper labels. Heights 27.5”. Widths 18.75”. Depths 17.5”. 600/900

1337, pair

1338. ELDRED WHEELER SERPENTINE-FRONT CHEST OF DRAWERS Massachusetts, 20th Century In tiger maple, with four graduated drawers and an ogee bracket base. Drawers with brass bail handles. Original Eldred Wheeler paper label on inside of top drawer. Height 34”. Width 38”. Depth 20.25”. 1,400/1,800

1338

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237


1339

1340

1339. ELDRED WHEELER DUNLAP-STYLE CHEST ON FRAME Massachusetts, Contemporary In tiger maple. Shaped cornice over six graduated drawers with brass bail handles. Ornately scroll-carved frame with cabriole legs ending in duck feet. Branded inside top drawer “SPNEA” (Society for the Preservation of New England Antiquities, now known as Historic New England). Height 57.5”. Width 40”. Depth 20”. 2,000/2,500

238

1340. ELDRED WHEELER BONNET-TOP SECRETARY Massachusetts, 20th Century In tiger maple. Upper case with broken arch bonnet with turned finials and carved pinwheels, above two arched paneled doors above two candle slides. Interior with concave shell carvings above pigeonholes, two adjustable shelves and three side-by-side drawers. Lower case with slant lid over four graduated drawers. Slant lid encloses a well-appointed stepped interior fitted with pigeonholes, letter slots and assorted drawers. Central stack of drawers conceals a secret removable two-drawer compartment. Some elements with pinwheel or shell carvings. Original Eldred Wheeler paper label in interior of lower case’s top drawer. Height 88”. Width 38”. Depth 22”. 5,000/7,000

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1341

1341. CUSTOM-MADE QUEEN ANNE-STYLE TIGER MAPLE TAVERN TABLE Wilbraham, Massachusetts, 20th Century With oval top and tapered legs ending in pad feet. Stamped on underside “Mark T. Emirzian Master Craftsman Wilbraham, MA”. Height 25”. Top 28” x 20”. 350/450

1342

1342. ELDRED WHEELER MEDIA CABINET Massachusetts, Contemporary In tiger maple, with shaped cornice, two paneled drawers, two half drawers and an ogee bracket base. Interior with two adjustable shelves. Brass door and drawer hardware. Eldred Wheeler brand on interior. Height 66”. Width 42.25”. Depth 25.75”. 1,800/2,200

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239


1343. ELDRED WHEELER SHERATON-STYLE BED Massachusetts, 20th Century In cherry. Eldred Wheeler brand and paper label on back of headboard. 500/1,000

1343

1344. ELDRED WHEELER PENCIL-POST BED Massachusetts, 20th Century In cherry. Eldred Wheeler brand and paper label on back of headboard. 500/1,000

1344

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Anne Packard Massachusetts/New Jersey, b. 1933 Lots 1345-1347

1345. Coast of Truro, Massachusetts. Signed and dated lower left “A. Packard ‘99”. Oil on canvas, 11” x 14”. Framed 16” x 19”. 3,000/4,000

1346. Coastal landscape. Signed lower left “A. Packard”. Oil on board, 5.5” x 7”. Framed 7.25” x 9”. 1,500/2,500

1345

1347. Trees on a hillside. Signed lower right “A. Packard ‘96”. Housed in a Guido frame. Oil on canvas, 16” x 14”. Framed 20” x 17.25”. 2,500/3,500

1346 1347

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241


1348. ROBERT W. STARK JR. Massachusetts, 1933-2014 “Green Dory”. Signed lower right. Identified and titled on label verso. Label for Wynne/Falconer Gallery, Chatham, Massachusetts also on the reverse. Oil on masonite, 9.5” x 12.5”. Framed 13” x 16”. 6,000/8,000

1348

1349. ROBERT CARDINAL Massachusetts/New York/Canada, b. 1936 Vermont barns. Signed lower right “Cardinal”. Housed in a Summit frame. Oil on canvas, 12” x 16”. Framed 20” x 23”. 2,500/3,500

1349

1350. DAVID FAUST United States, Contemporary “The Islander Entering Vineyard Haven at Night”, 2002. Titled, signed and dated verso. Oil on canvas, 24” x 38”. Framed 25.5” x 39.5”. 300/500

1350

242

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1351. ARTHUR BJORN EGELI California/Maryland, b. 1964 “Sunset Over Beach Forest”. Signed and dated lower right “Arthur Egeili ‘88”. Titled, signed and dated verso. Oil on board, 12” x 24”. Framed 18” x 30”. 800/1,000

1351

1352. LOIS GRIFFEL Massachusetts/New York, Contemporary “Autumn Sonata”. Signed lower right “Griffel”. Titled and signed verso. Oil on panel, 18” x 24”. Framed 23” x 28”. 3,000/4,000

1352

1353. FRANK MILBY Massachusetts, b. 1933 East End, Provincetown, Massachusetts. Signed lower left “Milby”. Oil on canvas, 24” x 36”. Framed 25” x 37”. 1,500/2,000

1353

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1355

1354

1354. MICHAEL ROBERT DEL VISCO Provincetown, Contemporary “Summer Cottages”, 2013. Signed lower right. Titled, inscribed and dated verso. Oil on panel, 48.25” x 36”. Framed 50” x 38”. 500/700

1355. JANE ECCLES Massachusetts, Contemporary Still life of tulips and fruit. Signed lower right “Eccles”. Pastel on paper, 24” x 18”. Framed 32” x 25”. 800/1,000

1356. JOHNATHAN KENDALL Massachusetts, d. 2004 Two saints: “King David, the Psalmist, holding his harp and standing by the city of Bethlehem his hometown ...” and “St. Blais, Roman Martyr and Bishop. He was famous for removing things lodged in the throat on both man and beast ...”. Both dated 1995 and inscribed in the artist’s hand verso “... created by termites, at the termite workshop, at Tuscon, Arizona”. Carved and painted wood panels, heights 48”. 500/700

1356, two

Johnathan Kendall was an itinerant woodcarver, originally from Boston, who is best known for the doors he carved in 1976 for Lady of Lourdes Catholic Church, now Wellfleet Preservation Hall, in Wellfleet, Massachusetts. His work can also be seen at the La Fonda Hotel in the historic plaza of Santa Fe, New Mexico.

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1357. FEROL SIBLEY WARTHEN Ohio/New York/Washington, D.C./Maryland/ South Dakota, 1890-1986 “Lighthouse - 5”. Titled lower left and signed lower right “Ferol Sibley Warthen”. Monogrammed in lower left of block. Titled on label verso for the Society of Washington Printmakers Twenty-first Exhibition, 1957. Color woodcut on paper, 12” x 13.5” sight. Framed 16” x 17.5”. 1,500/2,000 Ferol Sibley Warthen was a member of the Provincetown Printers and studied under Blanche Lazzell.

1357

1358. SALVATORE DEL DEO Massachusetts, 1928-2016 “Daffodils, 2001”. Signed and dated lower right “S. Del Deo 2001”. Titled and dated verso. Oil on canvas, 10” x 12”. Framed 13.5” x 15.5”. 1,000/1,500

1358

1359. ROSS E. MOFFETT Massachusetts/California/Iowa, 1888-1971 Truro hills. No signature or title noted. Monotype on paper, 12” x 16”. Framed 19” x 23”. 800/1,000

1359

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1360. MICHAEL MCGUIRE Massachusetts, b. 1953 “Isla Friends”. Signed and titled verso. Oil on canvas, 14.25” x 14.25”. Framed 19” x 19”. 400/600

1361. ALBERT H. EDEL Massachusetts/France, 1894-1970 Two etchings: “Sunset in the Harbor” and “Fisherman’s Home”. Both signed in pencil lower right and titled lower left. Etchings on paper, the largest 5.5” x 7.25” sight. Framed 9.5” x 11.5”. 300/500

1362. KERR EBY Connecticut/Canada/Japan, 1889-1946 Two etchings: “Clamdiggers” and “The Cow Shed”. Etchings on paper, the largest sheet size 12” x 17.5”. Unframed. 300/500 1360

1362, two

1361, two

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1363. JOHN CUTHBERT HARE Massachusetts/Florida, 1908-1978 “Highland Light - Cape Cod”. Signed lower right “John Hare”. Titled on mat. Label verso for Marshall Field & Company. Watercolor on paper, 7” x 8” sight. Framed 16” x 17”. 400/600

1363

1364. BETTY LANE Washington, D.C./Canada/Massachusetts/ Mexico, 1907-1996 “Dawn in a Dark Place”. Titled and signed on stretcher. Oil on board, 24” x 20”. Framed 27” x 23”. 400/600 Provenance: Private Collection Cape Cod, Massachusetts, through artist’s family.

1364

1365. B. NICOLE KLASSEN California, Contemporary “Waiting for the Hatch”. Signed lower left “B. Nicole Klassen 1993”. Signed and titled on stretcher. Oil on canavs, 18” x 24”. Framed 24” x 29”. 1,500/2,500

1365

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1366. NELSON COON New York/Massachusetts, 1895-1988 “Lagoon and Oak Bluffs Causeway, Vineyard Haven 1944”. Signed lower left. Dated lower right. Titled verso. Oil on canvas board, 12” x 16”. Framed 16” x 20”. 1,000/1,500

1366

1367. HAROLD C. DUNBAR Massachusetts, 1882-1953 “Stage Harbor, Chatham October Morning 1947”. Signed and dated lower right “Harold Dunbar 1947”. Titled verso. Oil on board, 24” x 34”. Framed 27.25” x 37.25”. 600/900

A World War I veteran, Nelson Coon worked as a

1368. E. JOSEPH FONTAINE Massachusetts/Rhode Island/Italy, 1929-2004 Boston Common and Park Street Church. Signed lower right “Fontaine”. Oil on canvas, 14.25” x 19.5”. Framed 17.25” x 23”. 800/1,200

groundskeeper, and later as a librarian and museum curator, at the Perkins School for the Blind. He published twelve books and numerous articles on a variety of subjects, including horticulture. In the 1950s Coon and his wife retired to Martha’s Vineyard, where he was an active member of the Dukes County Historical Society, serving as the Society’s president from 1964 to 1967. Coon was also a member of the Massachusetts Horticultural Society, the American Horticultural Society, and the Garden Writers Association of America.

1367

1368

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1369

1370

1369. VERNON B. SMITH Massachusetts, 1894-1969 Figure in front of a house, Cape Cod, Massachusetts. Signed lower right “Vernon Smith”. Remnants of artist’s label verso inscribed “Good... 607.” Also inscribed in pencil verso “Vernon Smith Cape Cod, Mass. Painted March 1928”. Housed in a frame hand-carved by the artist. Oil on board, 24” x 30”. Framed 29” x 35”. 4,000/6,000

1370. CALEB ARNOLD SLADE Massachusetts, 1882-1961 Venetian canal. Signed lower left “C.A. Slade”. Oil on board, 14” x 17”. Framed 22” x 26”. 2,000/3,000

Provenance: Private Collection, Cape Cod, Massachusetts.

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Arthur Vidal Diehl Massachusetts/New York/England, 1870-1929 Lots 1371-1375

1371

1371. “Mexican Courtyard”. Signed lower left “Arthur V. Diehl”. Titled faintly in pencil verso. Oil on board, 8” x 10”. Framed 11.5” x 13.5”. 800/1,200

250

1372. Boathouse, Provincetown, Massachusetts. Signed lower left “Arthur V. Diehl”. Oil on board, 6” x 3.75”. Framed 7” x 4.75”. 500/700

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1372


Arthur Vidal Diehl Massachusetts/New York/England, 1870-1929 Lots 1371-1375

1373. Dune scene, Cape Cod, Massachusetts. Signed lower left “Arthur V. Diehl”. Oil on panel, 5.5” x 11.5”. Framed 9.25” x 16.25”. 600/900

1374. Boats anchored under moonlight. Signed lower right “A.V. Diehl”. Oil on canvas, 12” x 20”. Framed. 1,800/2,200 Provenance: Private Collection, Cape Cod, Massachusetts. 1373

1375. Dutch landscape with windmill. Signed lower right “Arthur V. Diehl”. Oil on canvas, 8” x 6”. Framed 13.75” x 11.75”. 600/900

1375 1374

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Martha Farham Cahoon Cape Cod, 1905-1999 Lots 1376-1378

1376. Idyllic country scene with fishermen and boating. Signed and dated lower right “Martha Cahoon 65”. Oil on masonite, 18” x 21”. Framed 22” x 25”. 2,000/3,000

1377. “Shells and Anchor”. Signed lower right “Martha Cahoon”. Titled on label verso. Oil on masonite, 16.5” x 25”. Framed 20” x 29”. 2,000/3,000 Provenance: Vose Galleries, Boston.

1376

1378. Seashells on the beach. Signed and dated lower right “Martha Cahoon 65”. Oil on masonite, 11” x 14”. Framed 14” x 17”. 1,000/1,500

1377

252

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1378


Ralph E. Cahoon, Jr. Cape Cod, 1910-1982 Lots 1379-1382

1379. Pair of painted wooden eggs. Both depict two sailors, all holding French pennants, in hot air balloons over a primitive country landscape. Both signed and dated “R. Cahoon 1978”. Include differing carved wooden Chinese-style stands. Heights 5”. 2,500/3,500 The consignor is a friend of Franz Cahoon, Ralph’s son. To Franz’s knowledge, these are the only two eggs his father ever painted.

1380. Ditty box with painted lid titled “The Bowhead Whale”. Depicts a mermaid and a sailor, both holding bouquets of flowers, riding in a hot air balloon atop an applied Artek simulated whale ivory whale. Other hot air balloons, all flying American flags, in the distance. Signed lower right “R. Cahoon”. Inscribed on interior of lid “The Bowhead Whale Painted by R. Cahoon”. Sides of lid and box made from Artek simulated whalebone, with scrimshaw-style decoration of foliate garlands, geometric borders and vignettes of a ship, a large building and a patriotic assemblage. Marked “PMS Artek”. Wooden base. Height inclusive of applied whale 4”. Length 8”. Width 6”. 3,000/5,000

1379, pair

1380

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Ralph E. Cahoon, Jr. Cape Cod, 1910-1982 Lots 1379-1382

1381

1381. A woman walking a poodle while mermaids and sailors relax on a seaside bench. Signed lower right “R. Cahoon”. Oil on masonite, 16.25” x 20”. Framed 21.5” x 25”. 15,000/20,000

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Ralph E. Cahoon, Jr. Cape Cod, 1910-1982 Lots 1379-1382

1382

1382. A fisherman lands a mermaid. Unsigned. Rare early work by Cahoon. Oil on board, 10” x 13”. Framed 11.5” x 14.5”. 9,000/12,000

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BIDDER INFORMATION ADVICE TO BIDDERS 1. Carefully read the Conditions of Sale. 2. Pre-sale estimates are provided by the auctioneers for the convenience of our customers. They are not meant to be taken as a guide to the value of an item, but as a guide to its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision. 3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form. 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 20% 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 through Eldred’s Live! at www.eldreds.com, powered by Invaluable.com, 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.

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

BIDDING INCREMENTS $0-$49: $5 $50-$199: $10 $200-$499: $25 $500-$999: $50 $1,000-$2,999: $100 $3,000-$4,999: $250 $5,000-$9,999: $500 $10,000-$29,999: $1,000 $30,000-$49,999: $2,000 $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion Please adhere to the above bidding increments. Eldred’s reserves the right to adjust absentee bids to the nearest increment below the bid.

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CONDITIONS OF SALE 1. CORRECTNESS OF DESCRIPTION: Robert C. Eldred Co., Inc. (hereinafter referred to as Eldred’s) has exercised reasonable care to catalog and describe correctly the property to be sold, but neither Eldred’s nor its consignors warrant the correctness of description, attribution, authenticity, or condition of said property. No statements shall be deemed such a warranty or representation or an assumption of liability with respect thereto, but are to be construed as opinions only. Bidders are encouraged to personally examine all property to be sold prior to the beginning of the auction. 2. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered. 3. Eldred’s reserves the right to withdraw any property before the sale. 4. DETERMINATION OF HIGHEST BIDDER: The highest bidder accepted by the auctioneer shall be the buyer. In the event of any dispute between bidders, the auctioneer may determine who is the successful bidder or the auctioneer may re-offer the article in dispute and his decision shall be final. 5. REJECTION OF BIDS: The auctioneer reserves the right to reject any nominal raise or any bid or raise which, in his opinion, is not commensurate with the value of the article being offered. At his discretion, he may also reject any nominal raise or any bid that he may determine as having a detrimental effect on the item in question or the sale as a whole. Eldred’s may refuse to issue bidding privileges to any person not in good credit standing with Eldred’s, or to any person who is deemed by Eldred’s in its sole discretion, to be disruptive of or harmful to established auction practices, either before or after the acceptance of bids or the fall of the hammer. 6. TITLE: Except as herein otherwise provided, title will pass to the highest bidder as determined by the auctioneer, and the property is thereafter at the purchaser’s sole risk and responsibility. 7. PAYMENT: On title passing to the highest bidder acknowledged by the auctioneer, and subject to all the conditions set forth herein, such bidder will thereupon pay the full purchase price. Payment in full is due at the time of sale. Any bills not paid in full within 25 days of the date of the sale will accrue interest at a rate of 1.5% per month. In addition, the purchaser may be subject to one or more of the following actions: a) Any and all legal remedies available to Eldred’s and its consignors by law including without limitation the right to hold the purchaser liable for the total purchase price; b) Immediate cancellation of the sale, with Eldred’s retaining as liquidated damages all payments made by the purchaser; c) Resale of the property at public auction, wherein the original purchaser shall be liable for any deficiency, costs, and Eldred’s commission on both sales. At Eldred’s option, payment will not be deemed to have been made in full until Eldred’s has collected funds represented by checks, or in the case of bank or cashier’s checks, their authenticity has been confirmed. A buyer’s premium will be added to the hammer price to be paid by the buyer as part of the purchase price. 8. ORDER BIDS: Subject to these Conditions of Sale and to such terms and conditions as it may prescribe, but at no charge to the customer, Eldred’s will undertake to execute all order bids submitted to it by a customer who has established credit with said company. Requests for such bidding must be given in writing with such clearness as to leave no room for misunderstanding as to the amount to be bid and must state the catalog number and the name or title of the article to be bid on. Telephone bids must be confirmed in writing or by cable. All bids are kept in strict confidence. In the event of identical bids, the earliest received by Eldred’s will take precedence. Eldred’s shall not be held responsible for errors or failure to execute bids. A deposit of 10% of the total amount bid is required. TELEPHONE BIDS: While the sale is in progress, bidding by telephone may be allowed by the auctioneer at his discretion. A deposit of 10% of the anticipated top bid is required. Eldred’s shall not be held

responsible for any failure to properly execute such a bid whether it be due to equipment failure, loss of connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder. 9. CONDITION: If for any cause whatsoever any article sold cannot be delivered, or cannot be delivered in as good condition as the same may have been at the time of sale, due to a failure or damage on the company’s part, the sale will be cancelled, and any amount that may have been paid on account of the sale will be returned to the purchaser. EXCEPTION: Eldred’s will not be held responsible for damage to picture frames or lampshades. 10. SALES TAX: All purchases are subject to the Massachusetts sales tax (currently 6.25%) unless the purchaser: A) possesses a Massachusetts sales tax exemption or resale number and registers that number with the company, B) is an out-of-state vendor who meets all the requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89-10 and registers with the company prior to each purchase, or C) has purchases shipped out of state (with the exception of Connecticut and New York) directly from Eldred’s by a bona fide shipping agent. Connecticut residents picking items up in our Mystic branch or having purchases shipped to their Connecticut address are responsible for CT state sales tax (currently 6.35%). New York residents having purchases shipped to their New York address are responsible for NY state sales tax (currently 4.0%). Due to the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair, residents of other states may be required to pay their state sales tax on purchases as we meet each state’s nexus requirements. Dealers, museums, etc. can apply for a Massachusetts number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, MA 02204. 11. RESERVES: Unless advertised as an “Unreserved Auction”, all sales may have items subject to reserve (an agreed upon price between the auctioneer and the consignor, below which the article will not be sold). 12. COLLECTION OF PURCHASES: Delivery or shipping arrangements must be made within seven (7) days from the close of the auction for all purchases. All items must be removed from Eldred’s facilities within fourteen (14) days of the end of the auction. All items remaining after fourteen days may be subject to a $5/per item/perday storage fee. No items will be released unless storage fees are paid in full. Items remaining over thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees. 13. PACKING: Purchasers are advised that packing and/or handling by Eldred’s employees is undertaken solely as a courtesy for the convenience of customers. In the case of fragile articles, it will be undertaken at the sole discretion of the company. Handling and packing by Eldred’s is at the risk of the purchaser. SHIPPING: When requested, Eldred’s may arrange shipment of paid purchases. Eldred’s will not be responsible for damage or loss once the item has been received by the shipper. In the case of fragile articles, shipping will be undertaken at the sole discretion of the shipper. Please refer to our Advice to Bidders for details. 14. These Conditions of Sale cannot be altered except in writing by Eldred’s or by public announcement by the auctioneer at the time of the sale. 15. Bidding on any article(s) indicates acceptance of the terms set forth above. 16. These Conditions of Sale and any suits arising thereunder shall be construed and governed by the laws of Massachusetts.

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Revised 4/4/19

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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.

Please send form and deposit to The RobeRT C. eldRed Co., InC. P.O. Box 796, East Dennis MA 02641 www.eldreds.com

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info@eldreds.com

Phone: 508-385-3116

Fax: 508-385-7201

PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 see photos of all lots and view condition reports at www.eldreds.com www.eldreds.com info@eldreds.com Phone: 508-385-3116

Fax: 508-385-7201


ABSENTEE BID FORM 1.

Please clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow the bidding increments outlined in this catalog. Carefully check your bid form. Although we attempt to confirm the description against the lot number, bids are posted by lot number.

2.

All bids should be received prior to the day of the sale. Submitting your bids in a timely manner avoids the chance of a posting error. In the event of identical bids, the earliest received by Eldred’s will take precedence. All bids are kept in strict confidence.

3.

On the day of the auction, a member of our staff will act as your agent and bid for you, attempting to obtain the lot(s) for you for the lowest possible amount. If you have indicated the highest amount you are willing to pay, you should not be disappointed if you lose an item. Many times you will actually buy it for less than your bid.

Are you a new bidder with Eldred’s?

Yes:

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 of your deposit will be returned promptly to you.

5.

A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. All invoices must be paid in full within seven (7) business days of the close of the auction. All sales subject to sales tax unless the item is shipped outside of Massachusetts or Connecticut by a licensed carrier, or if we have a copy of your valid re-sale certificate on file. All sales are subject to the Conditions of Sale printed in this catalog.

6.

The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.

SALE TITLE:

No:

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

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.

Date: SHIPPING

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

No:

Ship to address above:

or Ship to:

20% buyer’s premium will be added to the hammer price. See Item 5 above.

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

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info@eldreds.com

Phone: 508-385-3116

Fax: 508-385-7201

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260

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C O M I N G J U LY 2 0 2 0 an important collection of marine art

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Illustrations Cover Lots 55; 517, 1035, 568, 1161, 1003 Page 3 Lot 1168 Page 4 Lot 823 Page 5 Lot 826 Artist Index Lot 1125 Page 8 Lot 589 Page 117 Lot 1349 This Page Lot 524

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Profile for Eldred's Auction

Eldred's 2019 Fall Sale Catalog  

Eldred's 2019 Fall Sale Catalog