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the inaugural

NANTUCKE T AUC TION J U LY 13, 2019

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the inaugural

NANTUCKE T AUC TION Saturday, July 13, 2019 at 1 p.m. Eastern The Boys & Girls Club, 61 Sparks Avenue, Nantucket, Massachusetts

A portion of the proceeds to benefit the Nantucket Preservation Trust

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the inaugural

NANTUCKE T AUC TION Robert C. Eldred Co., Inc. Auction 61 Sparks Avenue, Nantucket, MA 02554 Headquarters 1483 Route 6A P.O. Box 796 East Dennis, MA 02641 (508) 385-3116 fax: (508) 385-7201 MA License #155

Saturday, July 13, 2019

Terms

A buyer’s premium will be added to all purchases. The buyer’s premium is 23% 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. 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 are subject to 4% New York sales tax, plus any applicable local sales taxes.

Connecticut Office 5 Roosevelt Avenue Mystic, CT 06355 (860) 912-8169 info@eldreds.com w w w.e ldre ds .com

Important notices

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.

Exhibit Friday, July 12, from 11 a.m. to 5 p.m.

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.

And the sale day beginning at 10 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.

All dimensions and weights are approximate.

This auction will be held simultaneously online at www.invaluable.com and www.eldreds.com.

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.

The buyer’s premium is 28% for purchases bought online via Invaluable or Eldred’s Infinite Bidding. Prospective bidders must register and be approved prior to bidding.

Complimentary on-island delivery will be available Sunday, July 14 on a first-come, first-serve basis. Please speak with a staff member regarding scheduling a delivery.

Online Bidding

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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.

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T

he idea to hold an auction on Nantucket was formulated a few years ago, over numerous conversations with collectors and consignors alike. It was an intriguing concept from the get-go, but it was not until we established a charitable partnership with the Nantucket Preservation Trust that it felt like the timing was right. As a company specializing in antiques and fine art, we feel a responsibility to aid in the preservation of New England’s rich history. While Nantucket’s fine beaches, shops and restaurants draw visitors from across the world, the island’s heritage as a whaling and commercial port is an undeniable part of its spirit. We are pleased to donate 2 percent of this auction’s proceeds to NPT to aid in their efforts to preserve Nantucket’s unique and remarkable history. It is with this history in mind that our appraisers carefully curated the offerings in this, our inaugural Nantucket Auction. Items include wonderful early examples of Nantucket art, like Francis Seth Frost’s “The Beach at ‘Sconscet” and Folger Family wood carvings, to contemporary paintings by Charles Green Shaw, from the collection of the late Charles Carpenter, Jr., who authored Decorative Arts and Crafts of Nantucket. The sale is also a reflection of the types of material Eldred’s handles across the 25 or so specialized auctions we hold each year, including Asian Art, Americana, Decorative Art, Sporting Art and Maritime Art. At the rear of this catalog you’ll find a list of upcoming auctions and a sneak preview of antique scrimshaw that will be sold as part of our Marine Sale on July 25. For those of you unfamiliar with Eldred’s, allow me a brief introduction: We are one of the leading regional antiques and fine arts auction houses in the country, now in our third generation of ownership under the Eldred and Schofield families. Throughout our nearly 75-year history, our strong commitment to personalized, expert service has built us a clientele of collectors, dealers and private buyers from across the United States and around the globe. We look forward to expanding our client base on Nantucket and intend to make this auction an annual event. We are excited to see old friends and make new ones this July 13, so we hope you will join us. Joshua Eldred President

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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

Wendy A. Dunford Assistant Treasurer wendy@eldreds.com Eric Hagen Shipping ehagen@eldreds.com Devyn Henry Administrative Assistant / Condition Reports dhenry@eldreds.com Kristin Kiley Client Services Manager / Shipping kkiley@eldreds.com Jessica Turbide Assisstant Head of Photography Website Administrator / Condition Reports jturbide@eldreds.com

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

Kristyn Mills Head of Photography kmills@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Madison Morris Photography mmorris@eldreds.com

Anne G. Lajoie Head of Asian Arts Condition Reports annie@eldrgeds.com

Kathleen Morse Inventory Manager kmorse@eldreds.com Tanya E. Sargent Administrative Assistant tsargent@eldreds.com

Jennifer Lacker Mystic Representative

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

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

Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com Sarah Eldred Taylor Head of Human Resources sarah@eldreds.com

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Eldred’s is pleased to establish a charitable partnership with the Nantucket Preservation Trust. NPT is a non-profit membership organization dedicated to preserving the island’s unique architectural heritage and timeless sense of place. NPT’s advocacy on behalf of the Nantucket’s historic fabric, streetscapes and buildings is continual and unwavering. NPT performs ongoing outreach and education through publications, Preservation Awards, seasonal Walking Tours and House Tours during events such as NPT’s annual Preservation Symposium and August Fête. NPT’s core programs include House Histories, House Markers, Preservation Easements and the Mary-Helen and Michael Fabacher Scholarship Program.

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Properties From

IYRS School of Technology and Trade A Private Collection, New Jersey The Collection of Morgan Levine A Private Collection, Massachusetts A Nantucket Collection And numerous other estates and collections

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index Auction Information Page 2 Index of Artists Page 8-9 Bidder Information Page 138 Conditions of Sale Page 139 New Bidder Registration Page 140 Absentee Bid Form Page 141

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Index of artists

Adamo, Frank 112 Ahrens, Richard Van Wicklen “Wick� 207 Badger, Solon Francis Montecello 101 Bailey, Roy 236 Barber, Sam 12, 13 Beaulieu, Sandy 114, 115 Belton, Susan Jane 10 Blake, Anthony D. 67 Borrett, Mike 91 Britten, Ken 102 Bruffee Family 90 Budell, Emily Hortense 234 Buttersworth, James Edward 93, 136 Cahoon, Ralph Eugene, Jr. 204, 205 Carr, Samuel S. 24 Chase, Nancy A. 108 Cibula, Joseph 145 Cooper, Ryan 126 Cunha, Manuel 118, 119 Czeczot, Andrzej 209, 210 Davis, William R. 128-131, 212 Dawson, Montague 135 Dodd, Louis 138 Eldred, Lemuel D. 110

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Ellis, Ray Folger, Aaron Folger, James Walter Frost, Francis Seth Garrett, Edmund Henry Gifford, Charles Henry (attr.) Goldsmith, Sybil Guy, Seymour Joseph (school of ) Hare, John Cuthbert Hill, Raymond Holland, Mark Howe, Harry Hambro Howes, Jerome Kane, Michael Kautz, K. Will Kelk, Brian Kenney, Charles "Fran" Kleinman, Max Lane, Richard Layden, Linda Loud, Richard K. Lyons, Robert Macy, Aletha Macy, Aletha (attr.)

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127 14 15 23 196 99 11 232 237 235 92 216 132, 133 71 206 177 2-4 105 66 116 65 107 16 17


Index of artists

Marin, Jorge Marks, Bobby Marks, Bobby and Karen McCaffrey, Lloyd McGurl, Joseph McNarry, Donald Mecray, John Miller, John Ottison, Susan Chase Parent, Yves Petersen, John Erik Christian Phillips, David Prior, William Matthew Rashidi, Salman Ray, Earl S. Reyes, Jose Formoso Rice, Betsey Rickman, Tom Rockwood, Ainsley Roffo, Sergio Salmon, Robert Sayle, Bill and Judy Schlosser, George Sevrens Stevens

178 72 81 64 121-123 61 62, 63, 137 185 73 5, 6 96 85 25, 26 117 19 80 174, 175 184 76 125 94, 95 75 139 74

Sharp, John Oliver Shaw, Charles Green Silva, Francis Augustus Silva, James E. Simbari, Nicola Simpson, Josh Singer, Arthur B. Sprague, Kenneth D. Stark, Robert W. Stewart, John A. Stobart, John Sultan, Donald Keith Sutton, Ruth Haviland Thompson, Benjamin Tomakan, Yasemin Kyrena Voorhees, Clark G., Jr. Walters, Samuel Ward, Ovid Osborn Weaver, Steve White, Alvin A. Wood, Sunny Wyer, Henry S. Wylan, Barbara Wyllie, Harold

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180 182, 183 98 82 179 176 88 109 124 111 151 181 27, 28 217 238, 239 218-221 100 7, 8 89 86, 87 208 31 9 134

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TEN PIECES OF SILVER OWNED BY NANTUCKET RESIDENT MARGARET FAWCETT BARNES Most with various monograms. 1) Silver-mounted vanity mirror. Height 18”. Width 22”. 2) Shiebler dresser bottle with acid-etched maple leaf design. Height 5.5”. 3) Silver overlay perfume atomizer. Height 6.5”. 4-6) Three assorted glass dresser jars with sterling silver covers. 7) Glass spirit lamp with sterling silver cover. 8) Continental silver rococo-style chamber stick. Length 6.5”. 9) Clothes brush with sterling silver handle. 10) English rococo-style vase with weighted base. Height 4.25”. Approx. 9.5 total troy oz. weighable 500/1,000

Margaret Fawcett Barnes (1898-1980) was the daughter of stage and screen actors George and Percy Fawcett. The family lived in New York and summered at their Siasconset cottage, where Margaret married playwright Robert Wilson. The two founded the Straight Wharf Theatre, which operated from 1939 to 1975. After divorcing Wilson, Margaret married Landon Barnes. In addition to numerous plays, Margaret authored the book Sconset Heyday.

All proceeds from the sale of this lot will go to the Nantucket Preservation Trust.

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Charles “Fran” Kenney Massachusetts, 1919-2014 Lots 2-4

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Brant Point Light, Nantucket. Signed lower left “Charles F. Kenney ASMA”. Oil on canvas, 18” x 24”. Framed 22” x 28”. 1,500/2,500

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Colorful spinnakers. Signed lower left “Charles F. Kenney ASMA”. Oil on board, 10” x 24”. Framed 16” x 30”. 1,500/2,500

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“Glouster [sic] Schooner Elizabeth Howard Drops Her Tow”. Signed lower right “Charles F. Kenney ASMA”. Titled verso. Oil on canvas, 14” x 18”. Framed 19” x 23”. 1,000/1,500

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Yves Parent Connecticut/France, b. 1941 Lots 5-6

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“Brant Point, Nantucket. Catboat Evening Sail”. Signed lower left “Y. Parent ASMA”. Titled on label verso. Oil on board, 6” x 8”. Framed 11.5” x 13.5”. 500/1,000

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“Schooner Passing Brant Point, Nantucket”. Signed lower left “Y. Parent ASMA”. Titled on label verso. Oil on board, 6” x 8”. Framed 11.5” x 13.5”. 500/1,000

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Ovid Osborn Ward Martha’s Vineyard/West Virginia, b. 1945 Lots 7-8

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Catboats off Gay Head. Signed lower right “Ovid Osborn Ward”. Acrylic on board, 23” x 35”. Framed 29” x 41”. 3,000/5,000 8.

Wianno Seniors racing off shore. Signed lower right “Ovid Osborn Ward”. Acrylic on board, 22” x 37.75”. Framed 27.75” x 43.5”. 3,000/5,000

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BARBARA WYLAN Massachusetts, Contemporary “Houses on the Hill”. From the “Nantucket Series”. Signed lower left “Wylan”. Titled, signed and dated 1997 verso. Acrylic on canvas, 48” x 42”. Framed 49” x 43”. 1,200/1,800

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SUSAN JANE BELTON Massachusetts/Maine, b. 1951 “Cuttyhunk Surprises”, a three-dimensional composition. Titled, signed “Susan J. Belton” and dated 1988 verso. Label verso marked “Property of The Boston Company, Inc. Art 00778”. Oil on wood, 24” x 30”. Unframed. 400/600

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SYBIL GOLDSMITH Nantucket, 1917-2005 Floral still life. Signed lower right “Sybil Goldsmith”. Oil on canvas, 10” x 8”. Framed 17” x 14.5”. 300/500

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Sam Barber Massachusetts/Italy, b. 1943 Lots 12-13

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“Edward Carey House, Nantucket”. Signed lower left “S. Barber”. Titled, signed and dated 2006 on stretcher verso. Oil on canvas, 26” x 32”. Framed 31” x 38”. 3,000/5,000

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“The Nesbitt Inn, Nanucket”. Signed and dated lower right “S. Barber 85”. Part of the artist’s first Chicago exhibition at the Wally Findlay Galleries, 1985. Includes a copy of the exhibition catalog. Oil on canvas, 24” x 30”. Framed 30” x 36”. 2,000/3,000

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AARON FOLGER Nantucket, 19th Century A wonderful miniature three-wheeled toy pull cart under original paint. Signed in pencil on underside “Aaron Folger Nantucket 1853”. 1,500/2,500

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JAMES WALTER FOLGER Nantucket, 1851-1918 Pair of carved wooden panels depicting “The Old Mill, Nantucket”. 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”. 1,000/2,000

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ALETHA MACY Nantucket, 1901-1971 Federal-style mirror with reverse-painted glass tablet featuring an Anglo-American naval battle. Inscribed in pencil on upper rabbet “Made by Aletha Macy Sanders” (made during her brief marriage). Inscribed in pencil on reverse “To Thelma from Aletha” and “By Aletha Macy gift to Thelma Coffin”. Height 24.5”. Width 11.5”. 300/500

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ATTRIBUTED TO ALETHA MACY Nantucket, 1901-1971 Carved and painted wooden shelf angel. Unsigned. Found in Macy’s workshop. Height 12”. 200/300

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* WHALE DISPLAY PLAQUE 20th Century Carved whale ivory finback, bowhead and sperm whales mounted to a mahogany plaque. 16” x 17.75”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 400/600

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EARL S. RAY Nantucket, Massachusetts, 1898Bench-made banjo barometer. Signed on central plaque “Earl S. Ray Maker”. Height 41” (exclusive of finial). 400/700

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CASED OCTANT OWNED BY A NANTUCKET RESIDENT Mid-19th Century Ebonized frame with brass fittings and ivory degree scale. Ivory nameplate marked “RMC Nantucket”. Wedge-shaped mahogany case painted “Robert McCleave” on top. According to accompanying research material, McCleave was a Nantucket resident and other items belonging to him are now in the Nantucket Historical Association collection. Case height 4.5”. Length 15”. Width 13.5”. 1,200/1,800

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FAMILY RECORD OF THE GARDNER FAMILY OF NANTUCKET 19th Century Handwritten list of the fourteen children born to Jesse Gardenner [sic] and Betsey Alley, with birth dates from 1802 to 1825. Lists the date of death for eight of the children, some of whom died in early childhood. Record centered on a watercolor and ink architectural background. Inscribed in ink in lower margin “Jesse Gardenner [sic] Married to Betsey Alley November 18 in the year of our Lord 1801 Jesse Gard Died Merch [sic]10 1826”. Inscribed adjacent in a different hand “Betsey Gardner died January 24 - 1863”. Genealogical research based on Nantucket Historical Association Research Library records indicate Jesse Gardner was the son of Sylvanus Gardner and Anna Folger, and Betsey Alley was the daughter of Jacob Alley and Eunice Folger. Copies of the research material are included in the lot. 18.75” x 13.75” sight. Framed 23” x 18”. 2,000/3,000

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WOODEN CHEST MADE ON NANTUCKET Early 19th Century Sailcloth-covered top with painted geometric design. Front and sides with additional geometric designs; front also with “H.S”. Interior completely lined with Nantucket Inquirer newspapers, mostly dated 1822. Height 15.5”. Width 39.5”. Depth 19.5”. 1,500/2,500

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FRANCIS SETH FROST Massachusetts, 1825-1902 “Siasconset Beach - Nantucket”. Unsigned. Inscribed lower left “Siasconset Beach - Nantucket - Painted by Francis S. Frost Presented by his daughter Mrs. H.A. Phinney”. Oil on canvas, 36” x 60”. Framed. 25,000/35,000

Francis Seth Frost, often incorrectly called Francis Shedd Frost, was born in West Cambridge, Massachusetts. His mother was a native of New Hampshire and Frost climbed Mt. Washington in 1853, one of the first tourists to visit Tip Top House at the summit. He also traveled via clipper ship from Boston to California in search of gold in 1849, making him one of the few artists to paint west of the Mississippi before the transcontinental railroad. He is often aligned with White Mountain School artists like Benjamin Champney and Aaron Draper Shattuck, but he also painted views of the Hudson River Valley and the American West, notably traveling to the Rocky Mountains with Alfred Bierstadt in 1859. Frost was a well-regarded painter, a founding member of the Boston Art Club and a regular exhibitor at the Boston Athenaeum until the late 1860s. In his later years he was a proprietor of Frost & Adams, an art supply store that reportedly also served as a gathering place for Boston Art Club artists.

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SAMUEL S. CARR New York, 1837-1908 “By the Seaside, 1881”. Signed and dated lower right “S.S. Carr 81”. Oil on canvas, 15” x 12”. Framed 27” x 24”. 12,000/18,000 Provenance: Christie’s New York, December 1, 1989, Lot #52. Private Collection, New Canaan, Connecticut, 1995. Christie’s New York, December 4, 1997, Lot #9. Mark LaSalle Fine Art, Albany, New York.

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William Matthew Prior Massachusetts/Maine, 1806-1873 Lots 25-26

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Portrait of “Captain” James Chase and 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”. 15,000/25,000 Provenance: Purchased from the Chase family. Private Collection, New Jersey.

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Portrait of a distinguished gentleman. Seated and facing to the right, with a blue curtain over his left shoulder and a window to his right framing a view of mountains and a lake. Unsigned. Authenticated by Jacqueline Oak of the Shelburne Museum, who assembled the first “all Prior” show at the Fenimore Museum. Oil on canvas, 39.5” x 34”. Framed 47” x 41”. 7,000/9,000 26

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Ruth Haviland Sutton Nantucket, 1898-1960 Lots 27-28

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Nantucket harbor scene. Signed lower right “Ruth Haviland Sutton”. Oil on board, 10” x 8”. Framed 16.25” x 14.25”. 1,500/2,000

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“Summer Street, Nantucket”. Signed lower right “Ruth Haviland Sutton”. Mixed media on paper, 10.75” x 11” sight. Framed 20” x 19”. 700/900

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RARE NANTUCKET IMPRINT CONCERNING AN ISLAND BANK ROBBERY Circa 1816 “A Narrative of the Robbery of the Nantucket Bank. Compiled From Original Documents Collected by William Coffin, and Albert Gardner, Esq’s.” (Nantucket, Mass.: Henry Clapp, 1816). Octavo volume in marbled wraps. American Imprints 37286. 1,200/1,800 The bank on Nantucket had not been open long before it was robbed of $20,000 in 1795. The crime incited suspicion amongst locals and fractured the community, the repercussions of which reverberated through the island for decades. (Nathaniel Philbrick, in his book on Nantucket, Away Offshore, discusses this “cultural meltdown” at length.) Joseph Chase, the bank’s president, accused bank officer William Coffin of the crime, but Coffin claimed innocence, left the island and investigated the robbery himself. Coffin discovered an organized group of professional thieves was responsible, one of whom confessed to the crime years later, while an inmate in a New York state prison. In this 1816 pamphlet Coffin and Gardner provide their compelling evidence, but unfortunately it did little to reverse misconceptions or heal old wounds. Although there were banking scandals on the island, there was not another bank robbery until 2011.

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1853 PAMPHLET ON THE CONSTRUCTION OF A LIGHTHOUSE OFF NANTUCKET “Report of the Secretary of War, communicating, In compliance with a resolution of the Senate, a report in relation to the construction of a lighthouse on the New South Shoal off Nantucket” produced for the U.S. Senate by C.M. Conrad, Secretary of War, with much of the report authored by Hartman Bache, an engineer who specialized in lighthouse construction and oversaw the design of many of the earliest lighthouses on the West Coast. Dated April 19, 1852, March 23, 1853 and April 4, 1853. Includes tables, charts, illustrations and folding maps covering the construction of a lighthouse on the dangerous shoals off Nantucket and its benefit to shipping and commerce, particularly the flourishing whaling industry. Approx. 9” x 6” volume housed in contemporary gray boards. 1,000/1,500

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HENRY S. WYER Nantucket, Early 20th Century “Nantucket from Brant Point, 1895”. Photograph on paper, 4.5” x 19.5” sight. Framed 10.5” x 25.5”. 800/1,200

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ELEVEN ANTIQUE PHOTOGRAPHS DEPICTING NANTUCKET Includes views of Sankaty Head, Siasconset, the High School, the Old Mill and beach scenes by Henry S. Wyer, unmarked beach scenes and two cyanotypes of houses. From approx. 4” x 3.5” to 4.5” x 7.5”. See a complete list at www.eldreds.com. 300/500

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“OLD COLONY LINE” BROADSIDE Circa 1884 “Old Colony Line to Cottage City Oak Bluff’s Martha’s Vineyard and Nantucket The Only Direct Route!”. Dated 1884 lower left. Printed by Geo. H. Ellis, Boston. 27.5” x 20.5”. Unframed. 400/600

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34.

RARE SET OF SIX “ELASTIC” SIDE CHAIRS BY SAMUEL GRAGG Boston, Circa 1810 Two branded “S. Gragg Boston Patent”. Professionally repainted by Robert Mussey in mustard yellow, with peacock feathers on central splats and foliate designs on crest rails and seats. Carved hooved front legs. Back heights 34.5”. Seat heights 18”. 4,000/6,000 Provenance: Willis Henry Auction, Marshfield, Massachusetts. Includes copy of auction brochure illustrating the chairs.

Samuel Gragg’s “elastic” chair was a marvel of its time, a truly unique invention of American craftsmanship. Although the sinuous profile is reminiscent of classical English and French furniture of the period, the “elastic” chair backs, seats and front legs were formed from steam-bent continuous strips of wood, a patented technological advance Gragg developed, possibly based on fabrication techniques used by boat builders. In contrast to other chairs of the time, Gragg intended his to be comfortable - the general shape is ergonomic, and the construction method allows it to conform with the body of the sitter then return to its original shape, ergo “elastic”. The avant-garde design far outpaced its time, and it wasn’t until the 20th Century that the same streamlined aesthetic and a similar bent-wood construction would reappear in furniture design. Little is known about Samuel Gragg (1772-1855), though it seems the “elastic” chair was an outlier of creativity in an otherwise long but conventional career as

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a furniture maker. Robert D. Mussey Jr., who repainted these chairs, is a renowned furniture conservationist, restoring pieces for museums, historic homes and private collections. He founded the furniture conservation laboratory at the Society for the Preservation of New England Antiquities in Boston in 1982.

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DIMINUTIVE TIGER MAPLE CUPBOARD 19th Century Paneled doors and sides. Interior with two shelves. Turned feet. Height 31.75”. Width 25”. Depth 11.5”. 2,000/2,500 36.

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ELDRED WHEELER HOPE CHEST Massachusetts, 20th Century In maple with inlaid compass rose and heart decoration on front. Lid attached with iron strap hinges. 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”. Width 38.75”. Depth 19.5”. 1,500/2,500

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37.

TRAVELING APOTHECARY CHEST England, 19th Century In mahogany, with recessed brass handle at top. Two doors open to reveal an interior fitted with compartments and two drawers. Hidden compartment at back of chest accessed through a sliding panel. Contains original bottles, some containing original tincture, as well as documents, scale, etc. Height 11”. Width 9.5”. Depth 7”. 1,500/2,000

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CHINESE FAMILLE ROSE PORCELAIN GARDEN SEAT Late 19th Century Decorated with peonies, vases and scholar’s items. Multiple patterned bands with raised bosses at top and bottom. Height 19”. Diameter of top 11.5”. 600/800

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ORIENTAL RUG: SERAPI DESIGN 11’9” x 14’8” Ivory field contains a variety of bold blossoms and leaves suspended on delicate vines, all rendered in salmon pink, light blue, pale yellow, red, brown and navy blue. Narrow tan and pale yellow guard borders. Broad coral main border features a turtle motif. 1,500/2,500 39

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ORIENTAL RUG: HERIZ 7’10” x 10’9” Dark red field with overlapping red and blue geometric medallions, ivory spandrels and traditional linear vines and blossoms in dark gold, blue, pink, brown and ivory. Blue and gold borders. 900/1,200

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BRONZE WINE BOTTLE HOLDER IN THE FORM OF AN OCTOPUS Contemporary With a faux antique patina. Height 9”. Width 12”. 500/700

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BRASS-BOUND MAHOGANY CAMPAIGN TRUNK England, Mid-19th Century With heavy brass corners and brass bail handles at sides. Molded base. Open interior. Height 32”. Width 49”. Depth 27”. 1,000/2,000

43.

JAPANESE BLUE AND WHITE PORCELAIN UMBRELLA STAND Circa 1910 Hexagonal, with a stylized floral design and raised fret and floral bands. Height 23.5”. 400/500

43

32

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44

44.

47.

45

CHINESE ROSE MEDALLION PORCELAIN CHARGER Circa 1840 With a bird and flower design. Diameter 16.5”. 250/350

45.

46

CHINESE BLUE-ON-CELADON PORCELAIN VASE 19th Century Baluster-form body with relief lion-form handles. Decorated with Buddhist symbols and floral rondels. Height 24”. 350/450

46.

JAPANESE IMARI PORCELAIN CHARGER Circa 1860 Brocade and flying crane border and central decoration of a guardian lion and peonies interrupted by a cartouche depicting a rooster and a sennin emerging from a gourd in a cloud of smoke. Diameter 22”. 500/700

LAP DESK England, Mid-19th Century In rosewood, with extensive mother-of-pearl foliate inlay and inset nickel-plated carrying handles at sides. Slant lid opens to function as a felt-covered writing surface. Lift top conceals an inkwell and pen compartment. Height 7.5”. Width 18”. Depth 13.5”. 500/700

47

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33


48

48.

34

CASED EXHIBITION STANDARD MODEL OF THE SCHOONER YACHT AMERICA 1988 By Joseph Seela (United States, 1929-2016). Class “A” model scratch-built in ¼” scale. Hull built up from the solid, the bottom coppered in individual copper plates and the topsides painted black with carved pearwood trailboards. Deck planked in holly and detailed with bowsprit brace, anchor windlass, anchor davit and anchor, pin and fife rails, hexagonal skylight, stove pipe, forward deck hatch, capstan, boat swung out on davits, deckhouse, companionway, circular cockpit, tiller, etc. Rigged as a schooner with standing and running rigging, with an oversize burgee for the New York Yacht Club. Displayed in a glass case with mahogany base and a raised plinth. Height 33”. Length 42.5”. Width 12”. 6,000/8,000

The history of the America is well known. She was designed by George Steers for John Cox Stevens and was the first winner of the America’s Cup, besting the British fleet by more than 18 minutes. This model is based on Seela’s research, plans drawn by Johan F. Andersen, and later plans drafted for a proposed restoration of the schooner prior to her demise at the U.S. Naval Academy shipyard in Annapolis, Maryland.

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49.

BRASS LIBRARY TELESCOPE BY E.G. WOOD OF LONDON 19th Century With trifoot base and exterior sight mount. Engraved “E.G. Wood London”. Height 21.5”. Length 48”. 1,500/2,000

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50.

CASED RUSSIAN CHRONOMETER 20th Century Housed in a brass-bound wooden case, which fits into a larger mahogany box. Cyrillic markings. Box height 10”. Width 12”. Depth 10”. Chronometer crystal diameter 4”. 700/1,000

51.

CASED MODEL OF J.P. MORGAN’S YACHT CORSAIR Contemporary Hull painted green and black. Deck finely detailed with cannons, hatch covers, anchors, binnacles, etc. Displayed in a free-standing glass and mahogany case. Overall height 58.5”. Length 52”. Width 15.5”. 4,000/6,000

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51

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53

54

52

55

52.

36

SHIP’S ENGINE ORDER TELEGRAPH 20th Century Brass dial and other fittings. Brass plaque affixed to base marked for Henschel Corporation, Amesbury, Massachusetts. Electrified so that both sides of dial can be illuminated. Height 48.5”. 1,500/2,000

53.

KELVIN HUGHES YACHT BINNACLE Late 19th Century Brass hood with side lantern. Red and green compensating balls. Brass-bound hardwood base. Retains brass Kelvin Hughes label on base. Height 49”. Width 20.25”. Depth 13”. 1,000/1,500

54.

BRASS SHIP’S 55. SHIP’S BINNACLE ENGINE ORDER Boston, TELEGRAPH Early 20th Century Early 20th Century Brass hood contains Marked on dial glass a gimbaled compass “Kirk-Habicht Co. with marks for Kelvin Balto. MD.” Height 43”. White, Boston. Black Width 10.5”. Depth 15”. compensating balls. 400/700 Carved oak base. Height 55”. 2,000/3,000

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56.

OTTOMAR ANTON Germany, 1885-1976 “Norddeutscher Lloyd Bremen Magnifiques Croisières”. Depicts a sailor holding a flag with the company emblem of an anchor, the Bremen key and a wreath of oak leaves. Poster, 40.5” x 24.75”. Framed. 1,000/1,500 Norddeutscher Lloyd was one of the largest and most successful German shipping companies in history, managing to survive despite the devastation of two world wars. At the end of Word War I, Germany had to hand over most of its merchant fleet to the allies. However, thanks to government compensation for its maritime losses, Norddeutscher Lloyd was able to rebuild much of its fleet by the end of the 1920s. To demonstrate its return to greatness, the Europa and the Bremen were built, winning the Blue Ribbon race for being the fastest ships in the Atlantic. This image was used in a brochure for the company.

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57.

ART DECO TABLE FROM THE TOURIST CLASS LOUNGE OF THE S.S. LIBERTE Circa 1950 Designed by Alavoine. In walnut. Circular top with inset rosecolored panel. Brass-capped tapered fluted legs joined by an X-stretcher. Height 21.5”. Diameter 25”. 600/800

57

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58

58.

JOHN G. ALDEN SHIP BLUEPRINTS Boston, Circa 1934 “Lines Drawing for Auxiliary Centerboard Cruising Yawl”. 22” x 47” sight. Framed 26” x 51”. 450/650

59.

CARVED AND GILDED WOODEN SPREAD-WING EAGLE Second Half of the 19th Century Perched upon a carved wooden base with “4” carved into front. Nicely detailed feather carvings, particularly on body, underside of wings and tail. Retains original iron supports for wings and body. Sizable hole drilled through wing support, body and base, possibly so it could be mounted on a pilothouse. Height 33.5”. Wingspan 63.5”. Approx. depth 30”. 5,000/10,000

59

38

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60

60.

CHELSEA CLOCK CO. WARDROOM CLOCK MADE FOR WILLIAM BOND & SON Boston, Circa 1912 Signed on the movement “Chelsea Clock Co Boston USA”. Numbered 36093 on the movement and back of case. 12” silvered dial with original hands, painted Arabic numerals, a small subsidiary seconds dial above the center, a slow/fast adjustment immediately to the right, and the key wind below the center. Engraved “William Bond & Son Boston” below the “12”. Clock with original Chelsea eight-day time-only movement and was ordered with an upgraded eleven-jewel escapement. Overall diameter 18.5”. Dial diameter 12”. Depth 5.75”. Weight 59 pounds. 18,000/22,000

The Chelsea sales ledgers indicate this clock was sold to Bond on April 13, 1912. At the time, William Bond had a thriving clock shop in Boston, selling their own precision clocks and chronometers as well as high-quality clocks by other manufacturers, including Chelsea. This clock was ordered to be a display sample, representing one of the finest clocks in their inventory and proudly displaying their company name on the engraved dial. See: Chelsea Clock Company The First Hundred Years by Andrew and David Demeter (Demeter Publications, 2014), p. 233. The book states “WARDROOM - First seen in the 1911 catalog, this impressive bronze case with its half-round hinged bezel has concentric steps that widen from the front to the back of the case. … extremely rare in any dial size and only two 12” models were clearly described as having been sold prior to 1914. Discontinued in 1929.”

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39


IYRS School of Technology and Trades (IYRS) is the premier marine trades and modern manufacturing school in the country. Located on an oceanfront campus in Newport, Rhode Island, IYRS students are high school and college graduates, military veterans and career changers who all have one important thing in common: They are learning the art and science of building, restoring and maintaining, working to become the next generation of fine craftspeople and technicians who will preserve our marine heritage and build our collective future. IYRS students come from across the country and the globe for an experiential education in four accredited programs: Boatbuilding & Restoration, Composites Technology, Digital Modeling & Fabrication, and Marine Systems. Student outcomes are exceptional: over 85% of IYRS students are

THE FOLLOWING FOUR LOTS ARE SOLD TO SUPPORT THE ENDOWMENT OF SCHOLARSHIPS AT IYRS SCHOOL OF TECHNOLOGY AND TRADES

employed in their field within six months of graduation. Seventy percent of IYRS students require financial assistance from the school in order to attend. The funds from the sale of the John Mecray paintings and McNarry and McCaffrey miniature ship models will be used to support IYRS and the educational experience of our students. See www.iyrs.edu. 40

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61

61.

EXHIBITION STANDARD MODEL OF THE S.S. GREAT BRITAIN Circa 1965 By Donald McNarry, FSRA (Great Britain, 1921-2010). The model of this historic British ship of 1843, displayed in diorama format and built in 32’=1” scale, is superbly and fully detailed. Hull built up in wood and painted black, with horizontal clinker plating showing the vessel’s iron construction, pierced portholes indicating the location of state rooms and a white faux gunport band. The stem and figurehead are accurately detailed, with a polychrome shield at the bow balanced by a unicorn and lion on either side of the stem. Delicately carved and detailed in relief quarter galleries and windowed transom at the stern. A grand promenade deck is planked in natural wood decking and fitted with numerous details, including a bowsprit When launched in 1843, the Great Britain was by far the largest vessel afloat. brace, anchors, capstans, four companionways, life rails, a She was designed by Isambard Kingdom Brunel (1806-1859) for the Great large single funnel and boiler ventilation hatch, two rows of rectangular skylights, a large circular dome skylight aft, Western Steamship Company’s transatlantic service between Bristol and Victorian mahogany deck furniture, four lifeboats on davits, New York. Her protracted construction time of six years (1839-1845) and one large boat on the forward deck, etc. Rigged with six high cost had left her owners in a difficult financial position, and they were masts with furled sails, and standing and running rigging. forced out of business in 1846. She was the first iron steamer to cross the Displayed within a burled walnut veneer-framed glass case. Atlantic, which she did in 1845 in the time of 14 days. In 1852 she was sold Case height 7.25”. Length 17.5”. Width 7.125”. for salvage and repaired. She carried thousands of immigrants to Australia 30,000/50,000 from 1852 until being converted to all-sail in 1881. Three years later she

Provenance: Parker Gallery, London, 1965. Purchased from the above by S.D. Leidesdorf, New York. Marine Arts Gallery, Salem, Massachusetts, 1972. Purchased from the above by the William H. Combs Collection. Bequeathed to IYRS, 2006.

was retired to the Falkland Islands, where she was used as a warehouse, quarantine ship and coal hulk until she was scuttled and sunk in 1937. In 1970, after lying under water and abandoned for 33 years, she was raised and repaired enough to be towed north through the Atlantic back to the United Kingdom, where she was returned to the Bristol dry-dock. See: Ship Models in Miniature by Donald McNarry (N.Y.: Praeger Publishers, 1975), p. 100-101 (illustrated).

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42

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62, above, previous page and at right

Westward was launched March 31, 1910 as hull number 692 at the Herreshoff Manufacturing Co. in Bristol, Rhode Island. She was arguably one of the most famous and best-known racing schooners in the world.

62.

JOHN MECRAY Rhode Island/Pennsylvania, 1937-2017 Westward vs. Britannia. Signed lower right “John Mecray 1985”. Oil on canvas, 26” x 46”. Framed 31.75” x 51.75”. 80,000/120,000

She was designed by Nathanael Greene Herreshoff, the "Wizard of Bristol", the designer of the America's Cup defenders that turned back all six challenges from 1893 to 1920. Westward was undoubtedly the fastest schooner in the world in 1910, and with Captain Charlie Barr at her helm, she sailed successfully against racing yachts like Britannia, Lulworth and Meteor II. Westward went to England shortly after her launching in 1910. In this painting Mecray depicts the two yachts in a close rounding at a buoy in the Solent with the steam yacht Ianara attending. Westward has all sails set as it took a strong breeze to power a schooner of her size and maintain a lead over a fast cutter such as Britannia.

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63.

JOHN MECRAY Rhode Island/Pennsylvania, 1937-2017 The Chase, Shamrock V. Signed and dated lower left “John Mecray 1999”. Oil on canvas, 26” x 46”. Framed 29.5” x 54.75”. 70,000/100,000

This is the fourth painting of Shamrock V by John Mecray. Here, Mecray depicts Shamrock V sailing downwind in the Solent in her last race before going to America for the 1930 America’s Cup, leading King George V’s Britannia, with the rest of the “The Big Class” yachts in the distance under the cloud of her tremendous spinnaker. Designed and built by Charles Nicholson at the Camper and Nicholson yard in Gosport, Shamrock V was built with mahogany planking over steel frames and fitted with a hollow spruce mast. As a result of rule changes, she

46

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63 was the first British contender for the America’s Cup to carry the Bermuda

defender. Enterprise, skippered by Harold Vanderbilt, bested

rig. Following her launch in April 1930 she showed early promise on the

Shamrock V in four races with convincing victories, and after the

British Regatta circuit, winning 15 of 22 races. She underwent continuous

fourth race, which clinched the cup for Enterprise, Sir Thomas Lipton

improvements, including those to her hull, rudder and rig, before departing

was heard to utter “I can’t win”. Lipton, after endearing himself to

to America for the 15th America’s Cup.

the American public for 31 years and five attempts, would die the following year, never fulfilling his ambition to win the Cup.

Shamrock V would face the best of four New York syndicates, including Weetamoe, Yankee, Whirlwind and Enterprise. Eventually, Harold Vanderbilt’s Enterprise emerged from the competitive round-robins as the chosen

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64.

EXHIBITION STANDARD MODEL OF THE 24-GUN SHIP H.M.S. BOSTON OF 1748 Circa 1984 By Lloyd McCaffery (United States, b. 1949). Modeled in 1/16” scale. Hull is built up in plank-on-frame construction with the starboard side planked and fastened with treenails. The port bottom is unplanked and shows hull framing, while the topsides are planked. Fitted with a black waistband. Bow with a delicately carved lion figurehead and beakhead scrollwork; the quarter badge windows and stern are given the same detailed treatment. The deck is fitted and detailed with anchor arms fitted with catheads, belaying posts, pin and fife rails, stovepipe, belfry with bell, a long boat straddled over an open waist, ladders, capstan, rail guns, several figures on deck, cut and pierced with 24 gunports and cannons, etc. Rigged as a ship with a bowsprit, three masts with cross spars, lateen rigged mizzen and standing and running rigging, per the practices of the period. Displayed within a brass-framed glass case on a pair of wood pedestals that rest on an inset beveled mirror panel on the walnut veneer base. Case height 12.125”. Length 16.25”. Width 7.25”. 30,000/50,000 Provenance: The Maritime Gallery at Mystic Seaport Museum, circa 1980. William H. Combs Collection, New York. Bequeathed to IYRS, 2006.

The H.M.S. Boston was an American-built British frigate built in Boston in 1748 and broken up in 1752.

48

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64

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65

66

65.

50

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”. 8,000/12,000

66.

RICHARD LANE United States, Contemporary Yachting scene. Signed lower left “Richard Lane”. Oil on canvas, 24” x 30”. Framed 28” x 35”. 3,000/5,000

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67

67.

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

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68

69

70

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68.

CARVED AND PAINTED WOODEN SWIMMING MERMAID PLAQUE Vermont, Contemporary Length 26.5”. 300/500

69.

PAINTED WOODEN SIGN “NANTUCKET” Early 20th Century Black block lettering on a white ground. Length 33”. 150/250

70.

METAL FISH SILHOUETTE WEATHER VANE Late 19th/Early 20th Century On contemporary stand. Height 24”. Fish length 24”. 500/800

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71.

EXCEPTIONAL NANTUCKET BASKET SEWING TABLE BY MICHAEL KANE Nantucket, Contemporary Two-tier table featuring a removable sewing basket on the upper tier, intended for needlepoint or sewing projects, and a smaller version on the lower tier. The larger basket’s mahogany plaque abundantly adorned with shells carved from various colors and types of wood. Smaller basket with a scrimshaw plaque engraved by Dorothy Grant O’Hara. 20,000/30,000 Exhibited: Nantucket Lightship Basket Museum: “Lightship Baskets for Nantucket Occasions and Special Uses”, 2004.

71

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72

54

72.

QUEEN ANNE-STYLE TILT-TOP STAND WITH NANTUCKET BASKET TOP BY BOBBY MARKS Osterville, Massachusetts, Contemporary Curly cherry and cherry base. Signed “Made by B. Marks”. Height 28.5”. Diameter of top 18.5”. 3,000/5,000

73.

NANTUCKET BASKET BY SUSAN CHASE OTTISON Nantucket, Dated 1987 Swing handle. Maple base. Signed on underside of base “Susan Chase Ottison 1987 Nantucket Island”. Height exclusive of handle 5.5”. Diameter 7.75”. 400/600

74.

NANTUCKET BASKET BY SEVRENS STEVENS Contemeporary Swing handle. Penny inset into center of rosewood base. Signed on base “Sevrens Nantucket”. Height exclusive of handle 5”. Diameter 8”. 400/600

75.

NANTUCKET BASKET BY BILL AND JUDY SAYLE Nantucket, Dated 1979 Swing handle. Cherry base. Signed and dated “W & J Sayle 1979”. Height exclusive of handle 6”. Diameter 8.25”. 400/600

76.

NANTUCKET BREAD BASKET BY AINSLEY ROCKWOOD Cape Cod, 1915-2014 Fixed heart-shaped handles. Cherry base. Signed on base “ADR”. Height exclusive of handles 4”. Diameter 8.5”. 400/600

77.

NANTUCKET BASKET 19th Century Swing handle. Turned base. Deep, rich patina. Unsigned. Height exclusive of handle 6”. Diameter 9”. 500/700

78.

NANTUCKET BASKET 19th Century Swing handle. Turned base. Deep patina. Unsigned. Height exclusive of handle 8”. Diameter 11.5”. 800/1,200

79.

NANTUCKET FRIENDSHIP BASKET PURSE BY WHALERS CRAFTS Dated 1964 Oval basket with attached lid and swing handle. Lid’s oval walnut plaque topped with a carved ivory sperm whale. Ivory closure pin, buttons and knobs. Signed and dated and marked with a whale on the button on the inside of lid. Height 8”. Length 10”. 800/1,000

80.

NANTUCKET FRIENDSHIP BASKET PURSE BY JOSE FORMOSO REYES Nantucket, 1902-1980 Oval form with attached lid and swing handle. Lid with oval walnut plaque. Incised inscription on base “Made in Nantucket Jose Formoso Reyes” surrounding an image of the island. Height 7”. Length 9”. 1,000/2,000

81.

NANTUCKET FRIENDSHIP BASKET PURSE BY BOBBY AND KAREN MARKS Osterville, Massachusetts, Late 20th Century Oval basket with attached lid and swing handle. Lid’s oval plaque toped with carved scallop shells. Signed on underside of base “made by B. & K. Marks 289”. Height 6”. Length 10.5”. 500/800

82.

NANTUCKET TURNINGS BOWL BY JAMES E. SILVA Contemporary In the “Cherry Twill” design, a fusion of Nantucket basketry and wood turning. Button on base marked “Nantucket Turnings”. Signed on base “James E. Silva”. Height 2”. Diameter 6”. 200/300

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73

74

75

78

76

79

77

80 81

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83.

CAST IRON PLAQUE DEPICTING BRITANNIA England, Late 19th Century Relief cast with a figure of Britannia kneeling before an anchor. Globe at top of plaque. Painted white. Height 29”. Width 34.5”. Depth 3”. 500/1,000

83

84.

DECORATIVE CAST IRON OVAL PLAQUE England, 19th Century Depicts a woman’s face surrounded by an elliptical sunburst and a foliate design. 16” x 26.75”. 400/600 85.

DAVID PHILLIPS Massachusetts, b. 1950 Patinated bronze garden sculpture/fountain formed as a grouping of four frogs on conjoined lily pads. Water spout at the center, in the largest frog’s mouth. Raised on four legs. Varying green patina. Height 10”. Length 39”. Width 23”. 400/600

85

56

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Alvin A. White Sandwich, Massachusetts, 1915-2006 Lots 86-87

86 87

86.

14KT YELLOW GOLD AND IVORY BROOCH BY ALVIN A. WHITE Oval ivory medallion engraved with an Asian-style motif of a flower vase and censer. Gold surround with bird and flower design. Length 2.75”. Approx. 12.0 dwt. 500/600

87.

* WHALE’S TOOTH CARVED IN THE FORM OF A RIGHT WHALE BY ALVIN WHITE Mounted on a custom stand. Height 4.5”. Length 6”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 1,000/1,500

Alvin “Al” White, who worked for decades as the master engraver for Colt, has an international reputation for his firearms engravings. He was also a noted gunsmith, scrimshander, sculptor and jewelry maker. He grew up in Attleboro, Massachusetts, and joined the Army Air Corps in 1942, serving in Africa and the Pacific. He began engraving firearms in the 1920s, and throughout his distinguished career he received commissions for presentation weapons for John F. Kennedy, Ronald Reagan, and other officials and celebrities.

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88.

ARTHUR B. SINGER New York, 1917-1990 “Curlews and Godwits”. Signed lower right “A. Singer”. Titled on frame plaque. Oil on canvas, 24” x 16”. Framed 31” x 23”. 3,000/5,000 Provenance: The Russell B. Aitken Collection. Private Collection, Cape Cod, Massachusetts.

88

89.

LIFE-SIZE DECORATIVE CARVED SAW-WHET OWL BY STEVE WEAVER Forestdale, Massachusetts, 20th Century Perched in an upright tree branch mounted to a circular wooden base embellished with carved feathers and grasses. Signed on underside of base “Steve A Weaver So Sandwich MA October 1994”. Height 12”. 2,000/3,000 Steven A. Weaver has been carving for more than three decades.

89

During this time, he has won top awards throughout the nation and was selected by the governor of Massachusetts to carve the state bird -- the black-capped chickadee -- for an imporant exhibition at the Ward Foundation Museum. He has also exhibited at the Duxbury Art Complex Museum, the Cahoon Museum of American Art and at the Thornton Burgess Society. Weaver is also a professional restorer of early decoys, including examples by master carvers Elmer Crowell and Joe Lincoln. Weaver is often invited to give lectures, demonstrations and workshops throughout the state and New England.

58

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90, pair

90.

PAIR OF GRACEFULLY CARVED LIFE-SIZE SWANS BY THE BRUFFEE FAMILY Massachusetts, Contemporary Both with carved eyes and antiqued finish. One carved “BBB” on underside and the other carved “B”. Lengths 48.5” and 49”. 5,000/7,000 Byron Bruffee, Sr. began creating one swan just nine months before his passing. His two sons helped him finish it and carved a second swan to match.

91.

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

92.

FIVE DECORATIVE CARVED SANDPIPERS BY MARK HOLLAND Brewster, Massachusetts/Oregon, Circa 1981 Mounted together on a driftwood base. Sandpipers with glass eyes and carved feather details. Signed and dated on underside of base “Mark Holland 1981”. Overall length 24”. 2,500/3,500

91

92

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59


The yachts Cornelia and Magic, as identified by their private signals, met several times during the 1874 yachting season. Cornelia, on a starboard tack on the right, was built in 1873 by J. McGarrick, with an overall length of 65’8”. She was owned by Dr. J.H. Vondy, a former commodore of the Jersey City Yacht Club and a member of the New York Yacht Club. Magic, to the left and on a port tack, was built in 1857 and was the winner of the 1870 America’s Cup. She was owned by William T. Garner of the Brooklyn Yacht Club, who was soon to be Vice Commodore of the New York Yacht Club. Both yachts were smaller, centerboard schooners and this was the last year their respective owners campaigned them. They were entered in the New York Yacht Club Regatta on June 12, The Ladies’ Regatta of the New York Yacht Club on June 26 and the Annual Regatta of the Brooklyn Yacht Club on July 15. The descriptions of these regattas in newspaper accounts gives little insight into the competition between these two yachts, but buoy 8½, recognizable in many of Buttersworth’s works, makes for a dramatic point of reference. As best can be told, the race that most closely resembles the painting is the New York Yacht Club Regatta where Magic won her class with Cornelia in third. During the course of the race, from the lightship to Southwest Spit, the breeze was blowing fresh, with Magic leading by some distance. In the end Magic won over Cornelia in all of these contests.

60

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James Edward Buttersworth New Jersey/New York/United Kingdom, 1817-1884 Lot 93

93

93.

Cornelia and Magic rounding buoy 8½. Signed lower right. Oil on canvas, 22.25” x 34.13”. Framed. 250,000/350,000

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61


Robert Salmon Massachusetts/United Kingdom, 1775-1848 Lots 94-95

94

94.

62

The Harbor, Maryport at Cumbria. Marked with Robert Salmon’s reference number 482. Oil on panel, 16.5” x 25.5”. Framed 20.75” x 30.5”. 25,000/35,000

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Robert Salmon Massachusetts/United Kingdom, 1775-1848 Lots 94-95

95

95.

“Loch Lomond”. Signed and titled verso “RS Loch Lomond”. Oil on board, 7.75” x 9.75”. Framed 16” x 18”. 20,000/30,000 Provenance: Kennedy Galleries, New York. Skinner Inc., November 21, 2003, Lot #209. Private Collection, Massachusetts.

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63


96.

JOHN ERIK CHRISTIAN PETERSEN Massachusetts/Denmark, 1839-1874 A Dutch merchant brig outward bound. Oil on canvas, 14” x 20”. Framed 24” x 30”. 4,000/6,000

97.

AMERICAN OR FRENCH SCHOOL Mid-19th Century Portrait of a captain holding a spyglass, with a lighthouse and vessels in the background. Signed and dated center right “V. Poriet f. 1855”. Oil on canvas, 30” x 24”. Framed 35” x 29”. 1,500/2,500

96

97

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98

98.

FRANCIS AUGUSTUS SILVA New York, 1835-1886 “The Old Wreck”. Signed lower left “Silva”.Oil on canvas, 8” x 15”. Framed 19” x 27”. 12,000/18,000 Exhibited: St. Botolph Club, Boston: “Romance of the Sea”, April 10-June 7, 2002. Provenance: Alexander Galleries, New York. The Collection of Morgan Levine.

99.

ATTRIBUTED TO CHARLES HENRY GIFFORD Massachusetts, 1839-1904 Figures in a small sailing vessel off a coast. Unsigned. Oil on board, 5” x 6.5” sight. Framed 12” x 14”. 2,000/3,000

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99

65


Samuel Walters United Kingdom, 1811-1882 Lot 100

100

100.

The S.S. Frankfield. Initialed and dated lower right “S.W. 1861”. Oil on canvas, 28” x 42”. Framed 35” x 49”. 12,000/18,000 Exhibited: The St. Botolph Club, Boston: “Romance of the Sea”, April 10-June 7, 2002. Provenance: The Collection of Morgan Levine.

66

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67


101

101.

SOLON FRANCIS MONTECELLO BADGER Massachusetts, 1873-1919 The schooner George H. Ames. Signed and dated lower left “S.F.M. Badger ‘99”. Oil on canvas, 22” x 36”. Framed 31” x 45”. 5,000/7,000 Provenance: The Collection of Morgan Levine.

68

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102

The U.S.S. Constitution’s dominance over her opponents in battle is legendary, and the battle against the H.M.S. Java was no different. The Constitution’s accuracy of fire and the greater weight of her broadside put the smaller Java at a disadvantage. Within one hour, after several close encounters involving the rigging of each ship getting entangled, Java’s masts collapsed. During this encounter a sharpshooter aloft in Constitution mortally wounded Java’s Captain Lambert. Captain Bainbridge used this opportunity to distance Constitution so as to make repairs, however, Java could not clear her fallen masts and rigging and when Constitution returned and took a raking position, Java could not defend herself. This left Lieutenant Chads no choice but to surrender Java. In the battle, Java suffered 22 men killed, including Lambert, and 102 wounded. Constitution lost nine men initially and 57 wounded, including Bainbridge. On New Year’s Day 1813, two days after the engagement, Bainbridge gave the order to set Java ablaze and she subsequently blew up.

102.

EXHIBITION STANDARD DIORAMA OF THE ACTION BETWEEN THE U.S.S. CONSTITUTION AND THE H.M.S. JAVA, DECEMBER 29, 1812 Circa 1975 By Ken Britten (Great Britain, 1928-2013). Each model finely detailed, with built-up hulls, standing and running rigging, sails, flags, numerous figures on deck and in the rigging, etc. Set in a modeled sea with debris and swell authentically depicted. Case height 17.75”. Length 28”. Width 15”. 6,000/8,000 Provenance: Parker Gallery, London. William Blair Ltd, Bethesda, Maryland, 1980. Purchased from the above by Richard H. Strauss, DDS, and thence by descent to the current owner.

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69


103

103.

NAPOLEONIC PRISONER-OF-WAR BONE MODEL OF THE 100-GUN SHIP-OF-THE-LINE H.M.S. PRINCE France/England, Circa 1800 Hull built up from the solid and planked in bone, with an inset baleen waistband and applied baleen bands between the gunports. Gunports with red-painted lids and blackened brass cannons. Detailed with chain plates and dead-eyes, a carved bone figurehead, carved and pierced stern and quarter galleries, metal anchors, head rails, bone veneer decks, capstan, pin and fife rails, belfry, stovepipes, well deck with railings and ship’s boat mounted across the opening, hatch gratings, guns on carriages, ladders, taff rail, etc. Numerous delicately carved elements on the hull, stem, railings and other areas of the ship. Rigged with masts, yards, standing and running rigging with bone blocks, spars, stun’sail booms, flags, etc. Displayed on a pair of bone cradles on a marquetry board within a glass case with mahogany base. Case height 11.75”. Length 14.5”. Width 6”. 10,000/15,000 Provenance: Parker Gallery, London. William Blair Ltd., Bethesda, Maryland, 1977. Purchased from the above by Richard H. Strauss, DDS, and thence by descent to the current owners.

70

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104

104.

NAPOLEONIC PRISONER-OF-WAR MODEL OF A BRITISH 80-GUN SHIP-OF-THE-LINE Hull built up from the solid and planked in bone, with an inset baleen waistband and applied baleen bands between the gunports. Detailed with blackened brass cannons, chain plates and dead-eyes, carved bone figurehead, carved and pierced stern and quarter galleries, metal anchors, head rails, bone veneer planked decks, water barrels, capstan, pin and fife rails, belfry, stovepipes, well deck with railings and ship’s boat mounted across the opening, hatch gratings, guns on carriages, ladders, taff rail, etc. Numerous delicately carved elements on the hull, stem, railings and other areas of the ship. Rigged with masts, yards, standing and running rigging with bone blocks, spars, wood stun’sail booms, etc. Displayed on a pair of mahogany cradles in a glass and mahogany case with an inlaid star pattern on base. Central bone support leads the gun pulls out the bottom of the case and to pulls on either side (not tested). Case height 14.25”. Length 20”. Width 8”. 12,000/18,000 Provenance: William Blair Ltd., Bethesda, Maryland, 1977. Purchased from the above by Richard H. Strauss, DDS, and thence by descent to the current owners.

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71


105

105.

CASED MODEL OF A WHALEBOAT 20th Century By Max Kleinman (United States, 20th Century). Displayed on davits. Complete with oars and implements. Case height 12.5”. Length 21.5”. Width 11.5”. 1,000/1,500

106

106.

* ENGRAVED WHALE’S TOOTH WITH SCENE OF MAIN STREET, NANTUCKET 20th Century Finely engraved scene looking down Main Street toward Nantucket Harbor, with buildings, trees, a horse-drawn buggy and a dog. Titled below scene “Nantucket, Main Street”. Sun-like design at tip of tooth. Length 8.25”. 1,000/1,500

107.

* POLYCHROME ENGRAVED WHALE’S TOOTH BY ROBERT LYONS Dated 1982 Oval cartouche contains a full-length portrait of a sailor on the deck of a ship, resting his hand on a cannon. Cartouche with patriotic surround of an eagle clutching a brace of arrows, a garland of stars, draped American flags and two anchors. Signed and dated in image on cannon “Lyons 82”. Length 6.5”. 700/1,000

107

72

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IMPORTANT NOTICE Per Federal Regulation, items marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state.

108

108.

* RELIEF-CARVED WHALE’S TOOTH BY NANCY A. CHASE Nantucket, Dated 1965 Purportedly carved by Chase especially for noted whaling collector Barbara Johnson. Depicts a whaling scene with whaleship and a whaleboat attacking a surfaced sperm whale. Carved signature on reverse “Nancy A. Chase 1965 Nantucket, Mass.” Length 4.25”. 300/500 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, 109 December 16-17, 1983, Lot #636. Retains Barbara Johnson Collection and Sotheby’s labels.

109.

* RELIEF-CARVED WHALE’S TOOTH BY KENNETH D. SPRAGUE 20th Century Depicts a whale entangled with a kraken against a mottled ground. Engraved eyes. Engraved signature lower right “K D Sprague”. Length 7.5”. 500/1,000

110.

LEMUEL D. ELDRED Massachusetts, 1848-1921 Whaler at sea. Signed lower right “L.D. Eldred”. Oil on canvas, 10” x 14”. Framed 13.5” x 17.5”. 1,200/1,800 Provenance: The Collection of Morgan Levine.

110

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73


111.

JOHN A. STEWART United Kingdom, b. 1941 Towing a whaler, Nantucket Harbor. Signed lower right “J. Stewart”. Watercolor and gouache on board. Framed. 300/500

111

112.

FRANK ADAMO Pocasset, Massachusetts, 20th Century “Atlantic Whales”. A group of five carved wooden whales, including a right, fin, blue, humpback and sperm, mounted together on a driftwood base. Overall height 7.5”. Length of largest whale 11.5”. 1,400/1,800

112

74

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113.

* PROFUSELY ENGRAVED WHALE’S TOOTH 20th Century Obverse depicts a sun rising over a spread-wing eagle grasping an “E. Pluribus Unum” banner in its beak and olive branches in its talon. The eagle is perched above an American shield centering draped American flags, crossed cannons and a pyramid of cannonballs. Reverse depicts a fly alighting on a flower blossom, a ship sailing in stormy seas past a lighthouse, and a man chopping down trees around a log cabin. Length 7.25”. 800/1,200

114.

* ENGRAVED WHALE’S TOOTH BY SANDY BEAULIEU Nantucket, Contemporary Depicts portraits of a sailor and a mermaid within a border that simulates a folding picture frame. The sailor is standing on a dock while his American-flagged warship is at anchor in the harbor. The mermaid stands onshore, holding a parasol in one hand and a Nantucket basket in the other. Above her hovers a hot air balloon. Pink flower blossoms cover the remainder of the tooth. Vibrantly colored and incredibly detailed. Signed lower right “Sandy Beaulieu”. Length 7.5”. Includes custom wood stand. 5,000/8,000

115.

113, obverse and reverse

* ENGRAVED WHALE’S TOOTH BY SANDY BEAULIEU Nantucket, Contemporary Depicts an array of vividly colored shells and flowers. Signed lower right “Sandy Beaulieu”. Length 8”. Includes custom wood stand. 4,000/6,000

Sandy Beaulieu began scrimshanding at

114

age 14, while working in a gift shop. She is currently the in-house artist for D.E.L.S. Nantuckets and is considered one of New England’s top contemporary scrimshaw artists.

115

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75


IMPORTANT NOTICE Per Federal Regulation, items marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state.

116

117

116.

* ENGRAVED WHALE’S TOOTH BY LINDA LAYDEN Maine, Contemporary Depicts an active and brightly colored coastal scene with hot air balloons, a mermaid sunbathing outside a cottage, a mermaid riding atop a gypsy wagon, a train crossing a bridge, sailing vessels, and a lighthouse and other buildings. Signed lower left “L Layden”. Length 7.5”. Includes custom wood stand. 5,000/8,000

117.

* ENGRAVED WHALE’S TOOTH BY SALMAN RASHIDI New England, Contemporary Depicts a mermaid swimming underwater in a tropical ocean. Signed lower center “Rashidi”. Length 7.75”. Includes custom wood stand. 4,000/6,000

Salman Rashidi first saw scrimshaw while on vacation in Hawaii in 1980. Although he had been studying electrical engineering at the University of Idaho, he changed his career path to focus on art and scrimshaw. He has received numerous awards for his work and created the Associated Press Lifetime Achievement Award presented to Walter Cronkite.

76

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118 119

118.

* POLYCHROME ENGRAVED WHALE’S TOOTH BY MANUEL CUNHA 20th Century Titled “Nomination of Washington As Commander-InChief of the Continental Army”. Depicts an interior scene with one man speaking before a large group of seated gentlemen. Heavily inked and vibrantly colored. Length 8”. 800/1,200 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, November 15, 1989, Lot #21.

* POLYCHROME ENGRAVED WHALE’S TOOTH BY MANUEL CUNHA 20th Century Titled “Jones Invested with the Order of Military Merit”. Depicts an elaborate interior with men seated around a dining table laden with food and drink, probably a celebratory banquet after Navy commander John Paul Jones was awarded the Order of Military Merit by the King of France in 1787. Heavily inked and vibrantly colored. Length 7.75”. 700/1,000 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, November 15, 1989, Lot #22.

120. 120

119.

* ENGRAVED WALRUS TUSK PIE CRIMPER Contemporary Handle in the form of a snake coiled around knifeform wheel supports and an arm and fist clenching a dagger. Two elaborately carved wheels with pierced decoration. Length 5.5”. Includes custom wood stand. 1,200/1,800

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77


Joseph McGurl Massachusetts, b. 1958 Lots 121-123

121

121.

“Plein Air, View From Vineyard Haven”. Signed lower left “J. McGurl”. Signed, titled and dated 2014 verso. Oil on board, 5” x 7”. Framed 12” x 14”. 1,000/2,000

122.

“Moon Island”. Signed verso “Joseph McGurl”. Titled on gallery label verso. Oil on canvas, 24” x 30”. Framed 33” x 39”. 12,000/18,000

122

78

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Joseph McGurl Massachusetts, b. 1958 Lots 121-123

123

123.

Sand Beach, Mount Desert Island, Maine. Signed lower left “Joseph McGurl”. Also signed, inscribed “#47” and dated “1994/1995” verso. Housed in a Guido frame. Oil on board, 20” x 36”. Framed 26” x 42.5”. 12,000/18,000 Provenance: Tree’s Place Gallery, Orleans, Massachusetts. Private Collection, Massachusetts.

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79


124

124.

ROBERT W. STARK, JR. Massachusetts, 1933-2014 Luminist view of an egret perched in a Nantucket marsh. Signed lower left “R. Stark”. Label verso for David O. Cowles/Framer, Old North Wharf, Nantucket. Oil on masonite, 6” x 10”. Framed 7.25” x 11.25”. 2,000/3,000

125

125.

80

SERGIO ROFFO Massachusetts/Italy, b. 1953 “Morning Inspiration”. Signed lower right “Sergio Roffo”. Titled on label verso. Oil on board, 9” x 14”. Framed 18” x 23”. 1,800/2,200

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126

126.

RYAN COOPER Massachusetts/California, b. 1945 “Nantucket Cats”. Signed and dated lower right “R. Cooper 17”. Titled verso. Mystic Seaport Exhibition label also on reverse. Oil on canvas, 15” x 27”. Framed 19.5” x 31.5”. 2,000/3,000

127

127.

RAY ELLIS South Carolina/Massachusetts, 1921-2013 “Vineyard Dunes”. Signed lower right “R. Ellis ‘86”. Titled on label verso. Watercolor on paper, 11.5” x 16.25”. Framed 22” x 26”. 3,000/5,000 Purchased directly from the Ray Ellis Gallery, Savannah, Georgia, in 1997. Private Collection, Connecticut and Cape Cod, Massachusetts.

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81


William R. Davis Massachusetts, b. 1952 Lots 128-131

128

128.

82

“Island Steamboat ‘Nantucket’”. Signed lower right “William R. Davis”. Also titled and signed verso. Oil on canvas, 30” x 50”. Framed. 30,000/50,000

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William R. Davis Massachusetts, b. 1952 Lots 128-131

129.

“A Good Day Fishing”. Signed lower right “William R. Davis”. Titled verso. Oil on panel, 16” x 24”. Framed 22” x 30”. 8,000/12,000 Exhibited: Cape Cod Museum of Art: “William R. Davis: Personal Reflections: A Retrospective Collection”, July 3-August 3, 2014.

129

130.

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

130

131.

“Three Masted Schooner at Sunset”. Signed lower left “W. Davis”. Signed, titled and dated 2007 verso. Oil on panel, 6” x 8”. Framed 9.5” x 11.5”. 1,500/2,500

131

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83


Jerome Howes New York/Massachusetts/Vermont, b. 1955 Lots 132-133

132.

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

133.

The tug Drusilla M. Cox. Signed lower right “Jerome Howes”. Oil on board, 20” x 30”. Framed 27” x 37”. 1,000/1,500

132

133

84

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Harold Wyllie Great Britain, 1880-1973 Lot 134

134

The 1930 America’s Cup was the first to be held off Newport, Rhode Island, and was the first to be raced in J-Class yachts. Sir Thomas Lipton offered his fifth and final challenge on behalf of the Royal Ulster Yacht Club with

134.

Shamrock V, built by Camper Nicholson. The defender Enterprise was built by Nathaniel Herreshoff, with the first duraluminum mast, which was significantly lighter than Shamrock V’s wooden mast. Shamrock V had an outstanding racing season during the summer of 1930, winning fifteen races and coming in second in four more, and she crossed the Atlantic with a great deal of expectation. The races began in hazy conditions off Newport and Enterprise, skippered by Harold Vanderbilt, won the first two races easily, but in the third race Shamrock V was leading until she lost her main

The 1930 America’s Cup off Newport - Shamrock V and Enterprise. Circa 1930. Signed lower left. Oil on canvas, 28” x 36”. Framed 34” x 42.25”. 8,000/12,000 Provenance: Ulster Museum, National Museums of Northern Ireland, Ulster, Ireland. N.R. Omell Gallery, London. The current owner.

halyard and had to be towed back to port. In the fourth race Enterprise won by nearly six minutes and retained the America’s Cup.

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85


86

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Montague Dawson Great Britain, 1890-1973 Lot 135

135

135.

The Night Ferry. Signed lower left “Montague Dawson”. Oil on canvas, 30” x 50”. Framed. 40,000/60,000 Provenance: Frost & Reed, London, stock #46055. Acquired from the above in 1972 by E.A. Cole, United Kingdom, thence by descent. Bonhams, Sale 23271, Lot #103.

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87


136

136.

88

JAMES EDWARD BUTTERSWORTH New Jersey/New York/United Kingdom, 1817-1894 A U.S. frigate off of Sicily. Signed lower right “J.E. Buttersworth”. Oil on board, 8” x 10”. Framed 15” x 17”. 12,000/15,000

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137

137.

JOHN MECRAY Rhode Island/Pennsylvania, 1936-2017 The U.S.S. Constitution under full sail. Signed and dated lower right “John Mecray ‘74”. Oil on canvas, 26” x 34”. Framed 29.75” x 38.5”. 20,000/30,000 Provenance: Kennedy Galleries, New York, 1976. Commodore William Stone Luckett II of the Larchmont Yacht Club, and thence by descent to the current owners.

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89


138

139

90

138.

LOUIS DODD United Kingdom, 1943-2006 A naval engagment between American and English ships. Signed lower right “Louis Dodd”. Oil on panel, 15.5” x 19.5”. Framed 21.5” x 26”. 3,000/5,000

139.

GEORGE SCHLOSSER Connecticut, active Late 20th Century “Nantucket Steamer” (after Antonio Jacobsen, 1887). Initialed lower right “GFS 1982”. Titled verso. Oil on canvas, 2” x 3.5”. Framed 2.25” x 3.75”. 800/1,200 George Schlosser is known for dollhouse versions of museum masterpieces.

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140

141

142

143

140.

141.

BUILDER’S PRESENTATION HALF HULL MODEL OF THE SCHOONER YACHT MARGUERITE OF THE LARCHMONT YACHT CLUB Circa 1888 Attributed to George Lawley & Sons, South Boston. The schooner yacht Marguerite was designed by Edward Burgess of Boston for J. Ross Collins. Backboard 12.5” x 60”. 4,000/6,000

ALDEN MOUNTED HALF HULL MODEL OF A COAST GUARD CUTTER First Half of the 20th Century With five lifts. Hull with extensive builder’s markings. Backboard 10” x 55”. 1,500/2,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 15, 2008, Lot #1522.

142.

MOUNTED BUILDER’S HALF HULL MODEL OF A POWER VESSEL Early 20th Century Model with five lifts and mounted skeg. Oak backboard 9” x 41.75”. 1,000/1,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 15, 2008, Lot #1529.

143.

MOUNTED BUILDER’S HALF HULL MODEL OF A SLOOP Early 20th Century Model with five lifts, keel, rudder and cabin. Hull painted white with deep green bottom. Cabin under a natural finish with white portholes. Backboard 8” x 26.5”. 800/1,200

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91


144.

CASED MODEL OF THE LIGHTSHIP NANTUCKET Contemporary Deck detailed with houses, life rafts, etc. Case height 24”. Length 31”. Width 10.5”. 2,500/3,500

144

145.

JOSEPH CIBULA Connecticut, b. 1946 “Nantucket”. Signed verso “Cibula”. Titled on label verso. Oil on board, 44” x 48”. Framed 46” x 50”. 4,000/6,000 Provenance: New Orleans Auction Galleries, December 8, 2013, Lot #1601. From a Nantucket Collection.

145

92

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146.

HALF SHIP’S WHEEL Late 19th Century Intended as a decorative wall hanging. Painted “Nantucket”. Hardwood wheel with ebonized finish. Height 32.25”. Width 61”. 500/1,000

146

147.

CASED MODEL OF A CATBOAT Contemporary Hull painted white and red. Case height 38”. Length 31”. Width 13.25”. 1,600/2,000

147

148.

WOODEN SHIP’S WHEEL Late 19th Century Painted “Martha’s Vineyard”. Brass hub. Overall diameter 56.5”. 1,000/1,500

148

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93


149.

HAWAIIAN LADY REPLICA FIGUREHEAD United Kingdom, Circa 1950 Carved for British antiques dealer G.T. Ratcliff Limited. Three-quarter figure of a woman with long black hair, red floral lei and a grass skirt. Foliate-carved base. Height 60”. Width 20”. Depth 17”. 4,000/6,000

150.

PAIR OF BRASS-BOUND OAK PEAT BUCKETS England, Late 19th Century Attached swing handles. Heights 25.5”. Diameters 15”. 400/600

151.

JOHN STOBART England/Massachusetts/Florida, b. 1929 “Sailing Day, Nantucket, in 1841”. Numbered 681/750. Signed in pencil lower right margin. Colored lithograph, 22.5” x 33.5” sight. Framed 30.5” x 41.75”. 500/1,000

152.

FAUX TORTOISE SHELL TEA CADDY England, 19th Century Interior with lidded compartments. Brass escutcheon, ring handles and ball feet. Height 5.25”. Width 8”. Depth 4.75”. 300/400

149

94

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153

154

155

156

153.

FINE SHELL TEA CADDY 19th Century Hexagonal, with rounded and shaped top and four claw feet. Mother-of-pearl button and escutcheon. Key present. Silvered lining. Height 5.5”. Width 6.5”. 500/700

155.

INLAID TEA CADDY England, 19th Century In mahogany veneer with fruitwood inlay along edges and inlaid conch shell design on top and front. Compartmented interior. Height 4.75”. Width 7.5”. Depth 4.5”. 350/450

154.

FINE SHELL TEA CADDY 19th Century Sarcophagus form with rounded top. Ivory escutcheon and ball feet. Silvered interior. Interior’s lidded compartments with ivory finials. Key present. Height 7”. Width 7.5”. Depth 4”. 500/700

156.

TRAVELING APOTHECARY CASE America, Early 20th Century In mahogany and mahogany veneer, with brass bail handle at top. Interior fitted with fifteen compartments. Contains eight glass bottles. Label with marks for Thomas H. Baxter, case maker. Height 7.5”. Width 8.75”. Depth 5”. 400/600

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95


157

158

160, pair

159

96

157.

CHINESE EXPORT ARMORIAL PORCELAIN BOWL 19th Century Alternating shields with gilt monograms and floral sprays on a white ground. Blue brocade and spear-head border at rim. Similar border at foot. Height 4”. Diameter 10”. Includes wooden stand. 500/700

159.

CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN CIDER JUG Last Half of the 19th Century Lid with foo dog finial. Jug with entwined handle. Height 7.5”. 400/600

158.

CHINESE EXPORT FAMILLE ROSE PORCELAIN BOWL 19th Century Exterior with floral cartouches within blue floral borders interspersed with floral sprays. Interior with blue brocade rim and a central floral spray medallion surrounded by blue spear border. Traces of gilt clobbering. Height 4”. Diameter 9”. 400/600

160.

PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN VASES 19th Century With figural, bird and floral decoration. Heights 10”. 600/800

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161, pair

161.

162.

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

PAIR OF CHINESE POLYCHROME PORCELAIN JARDINIÈRES Early 20th Century Decorated with figural and floral cartouches on a faux bois ground. Floral border at rims. Heights 12”. Diameters 14.5”. 500/700

162, pair

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97


98

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163, six

163.

FINE SET OF SIX CHINESE EXPORT ARCHITECTURAL WATERCOLORS Last Half of the 18th Century Each depict various views of ancestral temple rooms of contemplation, looking out toward courtyards and gardens. A similar set is in the collection of the Peabody Essex Museum, Salem, Massachusetts. 15” x 19” sight. Framed 23” x 27”. 15,000/25,000 Provenance: Purchased at Mallett & Sons, Bond Street, London.

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99


164.

CHINESE ROSE MEDALLION PORCELAIN HEXAGONAL GARDEN SEAT Mid-19th Century With figural, bird and flower decoration. Height 18.5”. 1,500/2,000

165.

CHINESE ROSE MEDALLION PORCELAIN HEXAGONAL GARDEN SEAT Mid-19th Century With figural, bird and flower decoration. Height 18.25”. 1,500/2,000

164

165

166

166.

BRASS-BOUND LEATHER-COVERED CAMPHORWOOD TRUNK 19th Century Brass plaque on lid engraved “Henry G Gray”. Brass ring handles at sides of trunk. Height 16”. Width 36.5”. Depth 18.5”. 400/600

167. 167

100

ORIENTAL RUG: PERSIAN 5’3” x 9’7” Red and tan central medallion. Red geometric spandrels with bird and blossom motifs in shades of tan, blue, subtle pink and ivory. Dark tan field covered in a red, blue and ivory lattice. Red and blue borders. 400/600

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168.

ORIENTAL RUG: FERAGHAN SAROUK 4’4” x 6’6” Faded and abrashed red field with overlapping ivory and navy blue medallions and ivory spandrels. Traditional flowering vines in green, gold and pink throughout. Midnight blue main border. 1,000/1,500

168

169, pair

169.

PAIR OF CHINESE CLOISONNÉ ENAMEL CRANES Early 20th Century On wooden bases. Overall heights 29.5”. 1,500/2,000

170.

CHINESE CLOISONNÉ ENAMEL VASE 19th Century Tapered cylinder, with butterfly and flower design on a blue fretwork ground. Height 18”. 1,200/1,800

170

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101


171

171.

JAY STRONGWATER ASSEMBLED VANITY SET Rhode Island, 20th Century Seven pieces with enameled mounts embellished with colorful Swarovski crystals. Includes a beveled mirror tray with flowers and butterflies, a hand mirror with bird-form handle, a desk clock with a salamander and butterfly, a small picture frame made for Neiman Marcus, a small amethyst glass vase with a foliate vine about the neck, a ribbed glass dresser bottle with floriform stopper (bottle damaged), and a small yellow glass perfume bottle with a pansy-form stopper. Tray length 16”. Hand mirror length 10”. Clock height 5”. 800/1,200

172.

GOLD-MOUNTED ROCK CRYSTAL AND AMETHYST SCULPTURE OF AN OWL Contemporary Perched on an amethyst geode. Height 10.25”. 800/1,200

173.

GÜBELIN 8-DAY DESK CLOCK Switzerland, Early 20th Century Made for Elizebeth H. Pusey, Inc., New York. Green and silver enamel face. Onyx base. Height 4.25”. Width 4.25”. 500/600

172

Elizebeth H. Pusey, Inc., located at 16 East 48th Street on the Upper East Side, was known for selling quality gift items.

173

102

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Betsey Rice Rhode Island, Contemporary Lots 174-175

174.

Cowrie shell. Signed inside fold “Betsey Rice”. Three-dimensional ceramic sculpture, height 10”. Length 17”. Depth 10”. 1,000/1,200

174

175

175.

Sea horse. Signed and dated 2012 verso. Two-dimensional ceramic sculpture, length 31”. Width 22”. Depth 4”. 1,200/1,500

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103


176.

OVERSIZE JOSH SIMPSON GLASS INHABITED MEGAPLANET Massachusetts, Contemporary Signed and dated “1.6.2000” on flattened base. Diameter 7”. Includes a lighted base. 1,500/2,000

176

177

177.

178.

THREE BRIAN KELK BLOWN GLASS TROPICAL FISH IN BAGS 2004 Each bag containing a different brightly colored fish. Signed and dated on undersides. Heights 9.5”. 300/500

JORGE MARIN Mexico, b. 1963 Winged and masked man. Signed in a circle on left hip “Jorge Marin”. Bronze, height 31”. Width 14.5”. Depth 9.5”. 800/1,200 178

104

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179

179.

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

180.

JOHN OLIVER SHARP New York/Pennsylvania, 1911-1966 Trompe l’oeil of shells, buoy and a map of Nantucket on a fence. Signed lower right “J. Sharp”. Oil on masonite, 30” x 24”. Framed 35.5” x 29.5”. 1,200/1,800

180

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105


181, seven

181.

106

DONALD KEITH SULTAN New York/North Carolina, b. 1951 Seven aquatints from the “Water Under the Bridge” series. From a portfolio. Each signed, numbered 29/45 and dated March 22, 1979. Titled and dated on labels verso for the Barbara Krakow Gallery, Newbury Street, Boston. 18” x 18”. Framed 20” x 20”. 2,000/3,000

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Charles Green Shaw New York, 1892-1974 Lots 182-183

182.

“Space Barrier 1960”. Signed lower right “Shaw”. Signed and titled verso. Oil on canvas, 50” x 34”. Framed 52” x 36”. 4,000/6,000

182

183.

“River Sunset 1957”. Signed lower left “Shaw”. Signed and titled verso. Oil on canvas, 30” x 40”. Framed 31” x 41”. 2,500/3,500

183

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107


184 185

108

184.

TOM RICKMAN United Kingdom, b. 1960 “August Moon”. Signed and titled verso “August Moon T. Rickman”. Acrylic on canvas, 28” x 18”. Framed 34” x 24”. 1,000/1,500

185.

JOHN MILLER United Kingdom, 1931-2002 “Bay Sunrise”. Signed and titled verso “Bay Sunrise by John Miller”. Oil on canvas, 40” x 38”. Framed 48” x 46”. 10,000/15,000

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186.

186

PAIR OF SEAMAN SCHEPPS TURBO SHELL, JADE AND 18KT GOLD EAR CLIPS Fully marked. Lengths 1.25”. Includes original box. 1,000/2,000

187

187.

VINTAGE CARTIER GOLD AND DIAMOND DOME RING 1940s-50s Forty-eight graduated brilliant-cut diamonds in an overlapping foliate design. Textured shank. Numbered 37416. Size 5¼. 3,000/5,000

188.

CARTIER TANK LOUIS 18KT YELLOW GOLD WOMAN’S WRISTWATCH Ref. W1529856. Serial number 52841UX. Quartz movement. Silver-grained dial with Roman numerals and blued steel hands. Mineral crystal. Beaded crown with a sapphire cabochon. Brown alligator strap with 18KT yellow gold ardillon buckle. Case 29.5 mm x 22 mm. 1,500/2,500

188

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109


189.

PIAGET 14KT WHITE GOLD AND DIAMOND TRADITIONAL LADY’S WRIST WATCH Circa 2005 Serial number 921485-02. Dial with diamond hour markers. Case set with 36 brilliant-cut diamonds. Tapered bracelet. Quartz movement. Case diameter 24mm. Includes original case, box, warranty, certificate of authenticity and manual. 8,000/12,000

190.

WALTHAM 14KT GOLD HUNTER POCKET WATCH Seventeen-jewel movement numbered 15203550. Case numbered 6356574. Dial with Arabic numerals and subsidiary seconds dial. Elaborately engraved case. Case diameter 53mm. 2,500/3,500

189

191.

WALTHAM 14KT GOLD HUNTER POCKET WATCH Fifteen-jewel movement numbered 28207. Case numbered 4716353. Dial with Arabic numerals and subsidiary seconds dial. Elaborately engraved case. Case diameter 53mm. 1,200/1,800

190

191

110

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192

192.

193.

193

LOUIS VUITTON STEAMER TRUNK Early 1900s Exterior with allover LV monogram, beechwood slats, brass locks and hardware, and original casters. One side with red “M” in a circle monogram and “Buffalo N.Y.”. Interior fitted with two lift-out linen trays with straps, the top tray also with a covered ditty box. Original label inside cover marked “Louis Vuitton Paris 70 Champs Elysees 149 New Bond St. London” and with a faint serial number, possibly 70108. Numbered 065011 on lockplate. Key present. Height 18.5”. Width 31.5”. Depth 18”. 3,000/4,000

LOUIS VUITTON CUBE-STYLE STEAMER TRUNK Early 1900s Exterior with allover LV monogram, beechwood slats on top, bail carrying handles at sides, and brass hardware. Cover with steamship and Grand Hotel Miramar labels. Side with two additional labels and monogram “K.C.S. USA”. Interior with lift-out tray with cotton strapping over a removable cage. Inside cover stamped 188761 next to label marked “1 Rue Scribe Paris Louis Vuitton” and with Nice and London addresses. Branded on both wood strappings on base. Height 21”. Width 24”. Depth 18”. 2,000/3,000

194.

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 Provenance: The Helen Pond and Herbert Senn Collection.

195.

LOUIS VUITTON “BISTEN” HARD-SIDED SUITCASE Second Half of the 20th Century Exterior with allover LV monogram, leather handle, and brass hardware and locks. Interior with linen straps. Label on interior numbered 878643 and marked “Louis Vuitton Ave. Marceau 78 Bis Paris Nice. 2 Ave de Suede”. Lockplate numbered 124572. Height 15”. Width 20”. Depth 5.75”. Includes luggage tag. 800/1,200

194

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195

111


196, three

196.

112

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. 1,800/2,500

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.

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197.

BUCCELLATI STERLING SILVER FISH-FORM CENTERPIECE Italy, 20th Century Formed as a box, with a lift-off cover. Signed on fin “Buccellati Italy Sterling”. Length 13”. Approx. 32.2 troy oz. 2,000/3,000

198.

VICTORIAN SILVER PLATED AND ETCHED GLASS CENTERPIECE England, Second Half of the 19th Century Balustroid clear glass vase with floriform rim and etched decoration of fish and aquatic vegetation. Vase set within coral branches resting on three nautilus-form feet. Base with British registry mark; glass unmarked. Height 10.25”. 500/800

199.

197

CHIPPENDALE BLOCK-FRONT BUREAU Boston Area, Circa 1780 In mahogany. Retains period, possibly original, hardware. Beautiful molded-edge top over four graduated full-width drawers and flat bracket feet. Height 32.75”. Width 40.25”. Depth 21.5”. 8,000/12,000

199

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113


200

200.

114

ELDRED WHEELER DUNLAP CHEST ON FRAME 20th Century In tiger maple. Six full-width drawers; both top and bottom drawers simulate three side-by-side drawers with central fan carvings. Frame with repetitive serrated molding, scrolled and fan-carved skirt, and cabriole legs ending in pad feet. Drawers with brass bail handles. Retains original paper label. Height 57.75”. Width 40”. Depth 20”. 5,000/7,000

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201

202

201.

ORIENTAL RUG: BIDJAR 3’10” x 5’6” Bright red field with ivory central medallion, dark blue subfield, and an uninterrupted Herati pattern in light blue, dark blue, red and tan throughout. Ivory, tan and red borders. 400/600

202.

ORIENTAL RUG: KAZAK DESIGN 4’10” x 6’9” Light blue field with neatly spaced animal figures and a traditional arrangement of red, ivory, blue and tan geometric medallions. Ivory and green guard borders. Red main border. Unusual feature of a blue bead woven into the fringe to protect the owner from “evil eye”. 500/700

203.

ORIENTAL RUG: GABBEH 3’10” x 6’5” Central dark blue rectangle occupies a red field surrounded by a broad blue border. Superimposed border of tiny crosses rendered in red, blue, green and yellow. 350/550

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115


204

204.

RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 “Nantucket - The Ladies of The Village Improvement Society”. Signed lower right “R. Cahoon Pinxt”. Oil on masonite, 23” x 30”. Framed 27” x 34”. 60,000/90,000 This painting was purchased at the Cahoon’s second-ever show at Nantucket’s Lobster Pot Gallery in the summer of 1960. Exhibited: The Cahoon Museum of American Art: “Chasing the Mermaids”, July 27-September 19, 2010.

116

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117


205

205.

RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 A mermaid feeding the chickens while two other mermaids carry bountiful baskets of vegetables. Three hot air balloons fill the sky. Signed lower right “R. Cahoon”. Oil on masonite, 20” x 24”. Framed 25” x 29”. 25,000/35,000 Provenance: Private Collection, California. Eldred’s, August 2, 2002, Lot #984. Private Collection, Massachusetts.

118

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206

206.

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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119


207

207.

RICHARD VAN WICKLEN “WICK” AHRENS Vermont, 1944-2016 Carved and painted wooden right whale plaque. Signed and dated on underside of tail “Wick Ahrens 95”. Length 33.5”. 800/1,200

208.

SUNNY WOOD Nantucket, Contemporary Large “salvaged wood” sperm whale. Signed verso “Sunny B. Wood 2015”. Length 67”. 3,000/5,000 From a Nantucket Collection.

208

120

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Andrzej Czeczot Poland, 1933-2012 Lots 209-2012

209.

A “New York” hot air balloon. Signed and dated lower right “Czeczot 91”. Watercolor on paper, 20.75” x 28” sight. Framed 29” x 35”. 800/1,200

209

210.

A pike-form zeppelin. Signed and dated lower right “Czeczot 91”. Watercolor on paper, 20.75” x 27.25” sight. Framed 29” x 35”. 800/1,200

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.

210

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121


211

211.

AMERICAN SCHOOL 20th Century “Auto Race: Chicago to Evanston, Illinois 1917”. Unsigned. Titled on frame plaque. Oil on canvas, 30” x 40”. Framed 36” x 46”. 4,000/6,000

212.

WILLIAM R. DAVIS Massachusetts, b. 1952 “Take One”. Signed lower right “W. Davis”. Inspired by “Free Sample, Take One” by De Scott Evans (American, 1847–1898). Oil on canvas, 10” x 8”. Framed 15” x 13”. 4,000/6,000

212

122

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213

213.

CARVED AND GILT HARLEY-DAVIDSON MOTORCYCLES SIGN IN THE FORM OF AN AMERICAN EAGLE America, Mid- to Late 20th Century Carved “Harley-Davidson Motor Cycles An American Legend”. Height 19”. Length 39.5”. 2,000/3,000

214.

CARVED CANE Late 19th/Early 20th Century Possibly lignum vitae. Handle carved in the form of a mermaid and adorned with rhinestones. Simple turned shaft. Length 36.5”. 300/500

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123


215.

AMERICAN SCHOOL 19th Century Nantucket marsh scene. Signed lower right “RWS Sep3 88”. Oil on canvas, 16” x 24”. Framed 22.5” x 29.75”. 800/1,200

215

216.

HARRY HAMBRO HOWE Massachusetts, 1886-1968 “Nantucket”. A three-dimensional work with protruding sea and sailboat and a lighthouse in the distance. Signed lower right “H.H. Howe”. Titled lower left. Oil on board, 18” x 36”. Framed 20” x 38”. 500/1,000

216

217.

OVAL BALEEN DITTY BOX Circa 1830 Made by Benjamin Thompson (Stonington, Connecticut, d. 1908). Baleen sides pinned and stitched together and engraved with foliate and geometric patterns. Wooden base. 2,500/3,500 Provenance: Bill Spicer Auctions, May 2011. Purchased by the current owner.

217

124

See: Similar example illustrated in A Treasury of American Scrimshaw by Michael McManus, p. 86.

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Clark G. Voorhees, Jr. Connecticut/Vermont, 1911-1980 Lots 218-221

218

219

220

221

218.

Carved and painted wooden narwhal. Impressed on reverse “CV” and “C. Voorhees”. Length 22.5”. 1,500/2,500

220.

Carved and painted wooden humpback whale. Impressed on reverse “CV” and “C. Voorhees”. Length 18.5”. 1,200/1,500

219.

Carved and painted wooden sperm whale. Impressed on reverse “CV” and “C. Voorhees”. Length 17.5”. 1,200/1,800

221.

Carved and painted wooden right whale. Impressed on reverse “CV” and “C. Voorhees”. Length 17.75”. 1,200/1,500

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125


222.

UNIQUE SET OF WHALE IVORY AND WOOD CANES America, Circa 1870 L-shaped whale ivory handles with ebony spacers and brass finials. Two with agobeam shafts and two with mahogany shafts. Found on Nantucket, made by a whaleman for different members of his family, the identifying mark for each being the number and placement of the spacers. Mounted together on a metal stand. Lengths from 35” to 35.25”. 3,000/5,000 Illustrated in Susan’s Teeth and Much About Scrimshaw by Everett U. Crosby.

See: The Barbara Johnson Whaling Collection, Sotheby’s New York, April 29-30, 1983.

223.

SAILOR-MADE WALKING STICK WITH NARWHAL TUSK SHAFT 19th Century L-shaped handle in the form of a foot. Double bands of baleen at neck and throat. Length 33.25”. 2,500/3,500 Provenance: Michael C. German, London, 1983. Purchased by the current owner.

224.

CRUTCH-HANDLED WALKING STICK INSCRIBED “ELLA” Circa 1847 Whale ivory handle with baleen end cap. Tapered bone shaft with baleen rings. Engraved at throat “Ella” and “1847”. Length 31.25”. 1,200/1,800 Provenance: Michael C. German, London, 1984. Purchased by the current owner.

225.

NAUGHTY NELLIE WHALEBONE CANE America, 19th Century Handle carved in the form of a woman’s leg. Bone shaft inlaid with six double bands of baleen. Length 33”. 2,500/3,500 Provenance: Paul Madden, Nantucket, Massachusetts, 1986, to the current owner.

226.

CROOK-HANDLED BONE CANE Circa 1850 Handle made of bone and baleen disks. Whale ivory neck. Tapered bone shaft. Length 35”. 1,200/1,800 Provenance: Qui Pro Quo, Paris. Purchased by the current owner.

222, four

126

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223

224

225

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

127


230

229

228

227

128

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227.

WHALE IVORY AND EBONY WALKING STICK 19th Century Whale ivory knob handle with baleen disks and mother-of-pearl diamond and dot inlay. Tapered ebony shaft. Length 36.75”. 3,000/5,000 Provenance: Paul Madden, Nantucket, Massachusetts. Purchased by the current owner.

228.

SAILOR-MADE WALKING STICK WITH BALEEN SHAFT 19th Century Turned knob head. Shaft made from alternating disks and tubes of baleen. Length 37”. 1,200/1,800 Provenance: Frank Sylvia, Nantucket, Massachusetts, 1980. Purchased by the current owner.

229. WHALEBONE CANE WITH CLENCHED FIST HANDLE 19th Century Whale ivory handle. Collar with double baleen bands. Length 33.5”. 1,500/2,500 Provenance: Nina Hellman, Nantucket, Massachusetts, 1983. Purchased by the current owner.

230.

CANE WITH CLENCHED FIST HANDLE 19th Century Clenched fist with incised cuff. Baleen collar above five bands of alternating baleen and whalebone rectangles arranged in a checkered pattern. Tapered mahogany shaft. Length 34”. 1,000/1,500

231.

BONE CANE WITH DOMED HANDLE AND TWIST SHAFT America, 19th Century Handle inlaid with baleen points and dots. Baleen collar. Dragoon carved neck. Length 31.25”. 2,000/3,000

231

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129


232.

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

233.

232

ELDRED WHEELER COUNTRY-STYLE HEPPLEWHITE SERVER Massachusetts, Late 20th Century In strong tiger maple. Three drawers with brass bail pulls. Square tapered legs. Eldred Wheeler paper label affixed to underside of the center drawer. Height 36.5”. Width 66.75”. Depth 20.25”. 2,000/2,500

233

130

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234.

EMILY HORTENSE BUDELL New Jersey/Pennsylvania/France, 1884-1981 Sailboats, Nantucket Harbor. Signed lower right “H. Budell”. Oil on canvas board, 8.25” x 10.25”. Framed 15” x 17”. 700/900

235.

RAYMOND HILL Washington/California/Massachusetts, 1891-1980 Windmill, Nantucket, Massachusetts. Signed lower right “Raymond Hill”. Oil on canvas, 10” x 11.5”. Framed 15” x 16”. 2,000/3,000

234

236 235

236.

ROY BAILEY United States, 1933-2002 Beached dory. Signed lower right “Bailey”. Mixed media on paper, 8” x 13” sight. Framed 12” x 16”. 800/1,000

237.

JOHN CUTHBERT HARE Massachusetts/Florida, 1908-1978 “Summer Moonlight - Nantucket”. Signed lower right “John Hare”. Titled verso. Oil on canvas, 20” x 20”. Framed 27” x 27”. 1,500/2,500

237

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131


238

238.

YASEMIN KYRENA TOMAKAN United States/Turkey, Contemporary “Jared Coffin House, Nantucket”. Signed lower right “Tomakan”. Titled on tag verso. Oil on canvas, 16” x 20”. Framed 20.5” x 24.5”. 1,000/1,500

239

239.

YASEMIN KYRENA TOMAKAN United States/Turkey, Contemporary “Along Main Street, Nantucket”. Signed lower right “Tomakan”. Titled on tag verso. Oil on canvas, 16” x 20”. Framed 20.5” x 24.5”. 1,000/1,500

240

240.

132

ELDRED WHEELER CHIPPENDALE-STYLE FOUR DRAWER CHEST Massachusetts, Contemporary In tiger maple. Drawers with brass bail handles. Shaped bracket base. Original Eldred Wheeler paper label in top drawer. Height 33.5”. Width 35”. Depth 18.5”. 1,400/1,800

241

241.

ELDRED WHEELER CHIPPENDALE-STYLE FILING CABINET Massachusetts, Contemporary In tiger maple. Two full-width drawers simulate four. Shaped bracket base. Original Eldred Wheeler paper label in top drawer. Height 33.5”. Width 35”. Depth 18.5”. 1,400/1,800

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242

242.

SWORDFISH SWORD COMMEMORATING THE SPANISH-AMERICAN WAR Central vignette depicting the U.S.S. Olympia is flanked by a vignette of battledamaged ships and a portrait of Admiral Dewey surrounded by American flags. Image of a swordfish on reverse. Length 41”. 500/1,000

243

243.

HALF HULL MODEL OF THE STEAM SIDEWHEELER NEWTON ON A DECORATIVE BACKBOARD Late 19th Century Carved and painted model with some rigging. Backboard with painted seascape including numerous ships, a lighthouse and a spit of land. Backboard 11.75” x 23.5”. 500/1,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 21-22, 2010, Lot #42.

244

244.

EXTENSIVELY CARVED HARDWOOD TILLER Late 19th/Early 20th Century Carved with a pentahedron, sailor’s knot, crosshatch, foliate design and “Lorelei”. Length 56.25”. 1,000/1,500

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133


245

245.

CARVED WOODEN EAGLE PLAQUE RESEMBLING A SHIP’S STERNBOARD 20th Century Eagle flanked by flags and grasping a blue ribbon in its beak and clutching a snake and foliate garlands in its talons. Well-carved with detailed feathers. Height 22.5”. Length 82”. 2,000/3,000

246.

NICKEL-PLATED SHIP’S PORTHOLE COVER MOUNTED AS A HIGH-TOP TABLE Mid- to Late 20th Century Height 44.5”. Diameter 24”. 750/1,000

247.

246

134

NICKEL-PLATED SHIP’S PORTHOLE COVER MOUNTED AS AN END TABLE Mid-20th Century Height 29”. Diameter 26”. 600/900

247

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248

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.

248.

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

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135


249.

ELDRIDGE’S NAUTICAL CHART OF VINEYARD SOUND TO CHATHAM 1898 “Geo. W. Eldridge’s Chart C Vineyard Sound Lt Ship to Chatham”. Stamped 1898. Depicts the Elizabeth Islands, Martha’s Vineyard, Nantucket and Chatham, with water depths and details of Nantucket Sound and Vineyard Sound, and red lines indicating lighthouses. Good unrestored condition, backed with linen. Shows some signs of age, including minor wrinkles and stains, consistent with its use as a working chart used by sailors. Approx. 29” x 49”. 1,500/2,000

249

251

250

250.

136

RARE CHART OF NANTUCKET HARBOR 1894 Made by the U.S.C. & G.S. (U.S. Coast and Geodetic Survey). Dated 1876; updated in 1889 and 1894. Approx. 24.5” x 29”. 1,500/2,000

251.

ELDRIDGE’S CHART OF VINEYARD SOUND AND NANTUCKET SHOALS Boston, 19th Century Published by Baxter and Son, Boston, 1870. 41” x 62” sight. Framed 43.5” x 64.5”. 2,000/3,000

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252.

252

253.

PAINTED SEA CHEST 20th Century Painted dark green and decorated with a clipper ship on lid and an American flag and anchor design on front. Rope handles at sides. Height 23”. Width 33”. Depth 17.75”. 300/500

CAST IRON JACK TAR UMBRELLA STAND Late 19th Century Jack Tar holds a loop of rope and stands on a pedestal above cannons and crossed anchors. Under original paint. Height 28”. Width 18”. Depth 8”. 1,800/2,500 Provenance: Valdemar F. Jacobsen Antiques, Huntington, New York, April 6, 1968. Includes original sales receipt.

254.

254

253

EIGHT-SPOKE MAHOGANY SHIP’S WHEEL 20th Century Brass plaque marked “American Engineering Company Philadelphia Pennsylvania”. Diameter 60”. 1,200/1,600

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137


255

138

255.

CHINESE ROSE MEDALLION PORCELAIN VASE Circa 1840 In rouleau form. Decorated with figural, bird and flower cartouches on a gold butterfly and vine ground. Height 17.75”. 1,000/2,000

256.

CHINESE ROSE MEDALLION PORCELAIN BOTTLE VASE Circa 1840 In ovoid form. Domed cover with ball finial. Decorated with figural and bird and flower panels. Height 15.25”. 800/1,000

256

257.

CHINESE ROSE MANDARIN PORCELAIN HOT WATER SERVING DISH Early 19th Century Depicts two maidens restraining a warrior as he attempts to attack a nobleman. Length 10.75”. 300/400

258.

CHINESE BLUE AND WHITE PORCELAIN COVERED HOT WATER SERVING DISH Circa 1800 Domed cover with pinecone finial. Decorated in a Fitzhugh pattern. Length 14.5”. 600/800

259.

CHINESE GREEN JADEITE VASE Circa 1900 Squared baluster form body with lion’s-head and loose ring handles. Cover with dragon finial and lion’s-head and loose ring handles. Body carved with passionflowers and lappets Height 16.25”. 800/1,200

260.

CHINESE FAMILLE NOIRE PORCELAIN VASE 19th Century Mounted as a table lamp. Squared baluster form body with dragon handles. Decorated with a continuous scene of ladies boating on a river through mountains. Height 17”. 700/900

261.

CHINESE FAMILLE ROSE PORCELAIN VASE Mid-19th Century Mounted as a table lamp. In temple jar form with lion’s head and mock ring handles. Decorated with figural, bird and flower cartouches on a pink ground interrupted by gold butterfly and vine borders. Height 14”. 500/700

259

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262.

EXCEPTIONAL CHINESE JADEITE CHAIN VASE Circa 1900 In temple jar form. Domed cover with relief-carved bird and grapevines. Body with full relief grapes and grapevines. Vase suspended from a bird- and leafcarved yoke on a 34-link chain. Carved wooden stand in a grapevine motif. Length of vase suspended 13.75�. Overall height 18�. 8,000/10,000

262

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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 23% 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 28% 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: $2,500 $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

Please adhere to the above bidding increments. Eldred’s reserves the right to adjust absentee bids to the nearest increment below the bid.

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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.

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

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

Phone:

Company:

Alternate Phone:

Address:

Email:

City:

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

MA Resale #: State:

ZIP:

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

Auction House Phone:

Contact:

Account #:

auction house:

Auction House Phone:

Contact:

Account #:

auction house:

Auction House Phone:

Contact:

Account #:

signature (required):

Date:

Bids will not be accepted without your signature on this form. By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc.

Please send form and deposit to The RobeRT C. eldRed Co., InC. P.O. Box 796, East Dennis MA 02641

www.eldreds.com info@eldreds.com Phone: 508-385-3116 Fax: 508-385-7201 PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 142

see photos of allinfo@eldreds.com lots and view condition reports at www.eldreds.com www.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:

No:

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

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 23% 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 certain exemptions are met. All sales 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: 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:

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.

23% 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:

PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 see photos ofinfo@eldreds.com all lots and view condition reports www.eldreds.com www.eldreds.com Phone:at508-385-3116

Fax: 508-385-7201

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U P CO M I N G AU C T I O N S JULY 25

The Marine Sale

JULY 31, AUGUST 1-2 Americana

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AUGUST 7

Contemporary Art

AUGUST 20-24

Asian Art Week

SEPTEMBER 21

Antiques & Accessories

OCTOBER 19

Fine & Decorative Art

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The Marine Sale July 25, 2019 I C ape C od featuring the collections of Paul Vardeman and Sam McDowell

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

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Illustrations Front Cover Lot 179 Rear Cover Lot 249 Page 3 Lot 235 Page 5 Lot 28 Page 7 Lot 65 Index of Artists Lot 124 This Page Lot 185

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