The Summer Sale 2021

THE

SUMMER SALE JULY 28-30, 2021

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THE SUMMER SALE July 28-30, 2021 Robert C. Eldred Co., Inc. Headquarters 1483 Route 6A I P.O. Box 796 East Dennis, MA 02641 phone: (508) 385-3116 I fax: (508) 385-7201 MA License #155 Connecticut Office 5 Roosevelt Avenue Mystic, CT 06355 (860) 912-8169

A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 25 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000.

We accept checks, cash, money orders, wire transfers and major credit cards for payment. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address.

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

Auction

Each session begins at 9:30 a.m. Eastern at our East Dennis Headquarters.

Online, phone and absentee bidding available.

Limited in-person bidding available.

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

Important notices

Exhibit

Tuesday, July 27, from 10 a.m. to 5 p.m., and by appointment.

Absentee and Telephone Bidding

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

Online Bidding

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

Prospective bidders must register and be approved prior to bidding.

Covid-19 Notice

Terms

As the situation regarding the virus unfolds, we urge you to visit our website, www.eldreds.com, for the most up-to-date information regarding auction dates, times and bidding options.

Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot.

It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition.

Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is.

All dimensions and weights are approximate.

Per Federal and international regulations, items made with whale bone, ivory or other protected species will not be shipped internationally. Items made with these materials and marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state.

Firearms marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License.

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Staff Directory Antiques & Fine Art Specialists

Production & Administrative Staff

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

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

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

Devyn Henry Administrative Assistant dhenry@eldreds.com

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

Katie Lingoes Shipping klingoes@eldreds.com

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

Rachel Martin Assistant Head of Photography rmartin@eldreds.com

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

Angela R. McParland Executive Assistant amcparland@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Madison Morris Head of Photography mmorris@eldreds.com

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

Kathleen Morse Auction Coordinator kmorse@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

Megan Nichols Shipping Coordinator mnichols@eldreds.com Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com

Jennifer Lacker Mystic Representative Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants

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

Kino Gray and Al Gray Shipping and Inventory Assistants

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Nora Ingram Administrative Assistant ningram@eldreds.com

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eldredsauction

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s I sit outside on my deck writing this letter, breathing in the warm salt-tinged Cape Cod air, it strikes me how many things I took for granted pre-COVID. Whether it was enjoying a fine meal at a restaurant, attending a concert, or even just going shopping, it never seemed like a privilege, or even something to give much thought. Now, after a year-plus of masks, social distancing and staying home, stepping out into public to attend a show, see friends, or perhaps even attend an auction, is a celebratory occasion.

There are also many moments of gratitude for our health, the roof over our heads, and the community that surrounds us.

Perhaps this new-found awareness of our interconnected global community is part of the reason collectors have participated in auctions in record numbers over the last year. While the preCOVID market was strong and stable, the pandemic brought out thousands of new buyers and seemed to reinvigorate existing ones.

Many believe the strong antiques and art market is because people were sitting idly at home, staring at blank walls, and decided to spend their confinement upgrading their decor. While there is some truth to that, I also believe people aren’t taking much for granted anymore, and we have a deeper appreciation for history and art, and for the things that bring us beauty and joy.

In the following pages you’ll see an incredible collection of Provincetown art, fine examples of traditional 18th and 19th Century American furniture and paintings, beautiful carpets, choice examples of 20th Century design, and much, much more.

Truly, something for everyone, whether you are a new collector who emerged from the COVID era, or a seasoned veteran, or a truly refined expert in search of that one elusive treasure. I am always amazed at what our staff is able to uncover as they comb through the estates of New England, and they have really outdone themselves with this year’s offerings.

As always, I am grateful I have the best staff in the business as well as the greatest and most loyal clients I could imagine. I will never take either for granted, and I can’t wait for everyone to convene under our tent for a true summer auction on Cape Cod. See you then.

Joshua Eldred President

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Properties From

Artwork from the Estate of Hilary Bamford The India House, New York Private Boston-area Collection Private Collection, Cape Cod, Massachusetts Private Collection, Massachusetts Private Chatham, Massachusetts Collection Private Connecticut Collection A Massachusetts Estate Private Wellesley, Massachusetts Collection A New Hampshire Collection of Paintings Descendants of Artist Frank Anderson The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts

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Index Index of Artists Page 6-7 Session I Lots 1001-1321 Session II Lots 1501-1801 Session III Lots 2001-2182 Bidder Information Page 312 Conditions of Sale Page 313 New Buyer Registration Page 314 Absentee and Phone Bid Form Page 315 Illustrations Page 320

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Index of Artists ABBETT, ROBERT KENNEDY ABBEY, EDWIN AUSTIN AFONCHICOV, NICHOLAS "AFON" ALLEN, COURTNEY CHARLES ALLEN, JUNIUS ANDERSON, FRANK ANDERSON, HAROLD N. APPEL, CHARLES P. AUDUBON, JOHN JAMES AUDUBON, JOHN WOODHOUSE BARD, JOHN AND JAMES BEARD, JAMES HENRY BENEKER, GERRIT ALBERTUS BENSON, FRANK WESTON BERRY, NATHANIEL LEANDER BICKNELL, FRANK ALFRED BLUE, BOB BLUNT, JOHN SAMUEL BLYTHE, DAVID GILMOUR BOSTON, FREDERICK JAMES BOUCHER, WARREN BREWSTER, JR., JOHN (attr.)

BRICHER, ALFRED THOMPSON BROWN, GEORGE LORING BROWN, MANNER OF JOHN GEORGE BROWNE, GEORGE ELMER BRUNEL DE NEUVILLE, ALFRED ARTHUR BRYANT, EVERETT LLOYD BUEHR, KARL ALBERT BURDICK, HORACE ROBBINS (attr.)

BURDICK, HORACE ROBBINS BURNHAM, THOMAS MICKELL BUTLER, COURTLAND BUTTERSWORTH, JAMES E. (after) CAHOON, CHARLES DREW CAHOON, JR., RALPH EUGENE CAHOON, MARTHA FARHAM CALDER, ALEXANDER CAUCHOIS, EUGENE HENRI CHAMPNEY, BENJAMIN CHAMPNEY, JAMES WELLS CHERRY, KATHRYN E. BARD CHIPARUS, DIMITRI HARALAMB CIRINO, ANTONIO CLARK, FREDERICK HATFIELD COALE, GRIFFITH BAILY COHEN, ARTHUR MORRIS COHEN, ARTHUR MORRIS (attr.)

COLLORD, FREDERICK COOK, JR., OTIS PIERCE COREY, BERNARD COURTOIS, GUSTAVE CLAUDE ÉTIENNE COZZENS, FREDERICK SCHILLER CROPSEY, JASPER FRANCIS CRUIKSHANK, WILLIAM CURTIN, THOMAS R. DABO, LEON DANIELS, FRED HAMILTON DAVENPORT, HENRY DAVIS, CHARLES HAROLD

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1128 1106,1546 2014 2015 1728 1514-1516 1100 1667 1113 1112 2145 1290 2047, 2048 1131 1729 2049 1723 1513 1548 1726 2136 1699 1566-1570 1510 1288 2116, 2117 1071 1624 1036 1110 1109 1555 2016 1619 1118,1119, 2112-2113A 2089-2091 2088 1006 1070 1520, 1521 1101, 1102 1732 1003 1747, 1748 2108 1149 2005,2046 2004 2077 1751 1760 1733 2167 1502 1072 1745, 1746 1054 2086 1023 1649

DAVIS, WILLIAM R. DE GRAILLY, VICTOR DEAN, WALTER LOFTHOUSE DEHAVEN, FRANKLIN DICKINSON, EDWIN WALTER DICKINSON, ROSS EDWARD DIEHL, ARTHUR VIDAL DOLPH, JOHN HENRY DOW, ARTHUR WESLEY (school of ) DUNBAR, HAROLD C. DUNK, WALTER M. DYER, HEZEKIAH ANTHONY EATON, CHARLES WARREN EDDY, ALAN J. EDOUARTE, AUGUSTE AMANT CONSTANT FIDELE EMORY, ELLA ENNEKING, JOHN JOSEPH EVAUL, WILLIAM FARNSWORTH, JERRY FARRER, HENRY FASANELLA, RALPH FISHER, ALVAN FITSCH, EUGENE CAMILLE FOSTER, MYLES BIRKET FROST, ARTHUR BURDETT FUECHSEL, HERMANN FULLER, ARTHUR DAVENPORT GARNERAY, AFTER AMBROISE LOUIS GATES, ROBERT FRANKLIN GAY, EDWARD B. GIFFORD, CHARLES HENRY GRAVES, ABBOTT FULLER GREEN, HAROLD ABBOTT GREENLEAF, JACOB GREENWOOD, JOSEPH H. GRUPPE, EMILE ALBERT HARE, JOHN CUTHBERT HARRINGTON, GEORGE HARRIS, CHARLES GORDON HART, JAMES MCDOUGAL HART, WILLIAM HAWTHORNE, CHARLES WEBSTER HENSCHE, HENRY HEWITT, WILLIAM KEESEY HILL, JOHN HENRY HILL, JOHN WILLIAM (attr.)

HILL, JOHN WILLIAM HIRSCHBERG, CARL HOGAN, RUTH D. HOLMES, GEORGE AUGUSTUS HORTON, WILLIAM SAMUEL HOWARD, RICHARD "RIC" HOWES, JEROME HOWITT, JOHN NEWTON HOWLAND, ALFRED C. (attr.)

HUDNUT, ALEXANDER HULL, GREGORY STEWART HUNTER, FREDERICK LEO HUNTER, ROBERT DOUGLAS ISRAELS, ATTRIBUTED TO JOZEF

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2065-2070 1544 2111 1643 2042 1315 2051-2057 1539, 1540 1749 2099-2102 1105 1035 1557, 1652 2078 1692 1538 1552 2010 2026 2168 1024 1505, 1506 2097-2098 1049 1103, 1104 1062 1129 1038 1013 1553 1564, 1565 1253 2083 1750 1651 1720-1722 2031, 2032 1512 1659 1541 1503 2021-2023 2024 1537 1130 1599 1563 1664 2011 1050 1545 2095, 2096 2165, 2166 1111 1507 1718 1142 1607 2087 1022

Index of Artists JACKSON, LEE JASON, PAMELA KAHN, WOLF KALLEM, HENRY KERN, HERMANN (ARMIN) KNATHS, KARL (OTTO) KNAUTH II, ARNOLD WHITMAN KNOWLES, KENNETH J. KONTI, ISIDORE KUEHNE, MAX LANG, LOUIS (attr.)

LANSIL, WALTER FRANKLIN LAZZELL, BLANCHE (NETTIE) LEAVITT, EDWARD CHALMERS LEVER, HAYLEY LIBERT, GEORG EMIL LINDENMUTH, TOD (RAPHAEL LEROY) LOVERIDGE, CLINTON LOVETT, GAYLE MACMONNIES, FREDERICK W. MACPHERSON, EARL MARTINO, GIOVANNI MATHEWSON, FRANK CONVERS MAYS, MAXWELL MCKAIN, BRUCE MEARS, HENRIETTA DUNN MECRAY, JOHN MILLER, OSCAR MOFFETT, ROSS E. MORAN, SANDY (attr.)

MORAN, SANDY MORGAN, WILLIAM PENN MORRELL, WAYNE BEAM MORVILLER, JOSEPH MOVALLI, CHARLES J. MUMFORD, ELIZABETH MYRER, ANGELE E. NAEGELE, CHARLES FREDERICK NICHOLAS, T.M. NICKERSON, REGINALD NISBET, ROBERT HOGG NORDELL, CARL NORDFELDT, BROR JULIUS OLSSON NORTON, WILLIAM EDWARD NOYES, GEORGE LOFTUS OPPER, JOHN ORDWAY, ALFRED T. ORR, ELLIOT OWEN, ROBERT EMMETT PACKARD, ANNE PACKARD, CYNTHIA PACKARD, LESLIE PAGE, EDWARD A. PARTON, ARTHUR PEALE, MARY JANE (attr.)

PETERS, CARL WILLIAM PFEIFFER, HEINRICH HERMAN R. PHELPS, WILLIAM PRESTON (attr.)

PICASSO, PABLO PLAMONDON, PETER

1026 2017 1764 2027-2029 1547 2035-2037 1761 2081, 2082 1005 2041 1294 1561, 1562 2006, 2007 1655 1653, 1727 1663 2009, 2038 1551 2018 1051 1108 1657 1665 2084 2044, 2045 2040 2171 1222 2013 2071 2072-2076 1069 1756, 1757 1554 1759 2085 2025 1650 1752-1754 2143 1666 1717 2008 1556 1658 1107 1517 2059 1224, 1644, 1645 2061, 2062 2064 2063 1731 1504 1201 1715 2039 1509 1007-1009 2002, 2003

POPE, JR., ATTRIBUTED TO ALEXANDER POTTHAST, EDWARD HENRY RANGER, HENRY WARD RETTIG, JOHN ROCKWELL, JOHN H. ROGERS, WENDELL M. RUNGIUS, CARL SALENTIN, HUBERT SCHERREWITZ, JOHANN FREDERIK CORNELIS SEEHOLZER, WERNER SHAW, CHARLES GREEN SHEPPARD, WARREN W. SHUMAKER, PHILIP G. SILVA, FRANCIS AUGUSTUS SMITH, HENRY PEMBER SMITH, JOHN ROWSON SMITH, VERNON B. SNYDER, WILLIAM HENRY SPANGLER, CLAGGETT D. STEICHEN, EDWARD (attr.)

STEVENS, WILLIAM LESTER STIDHAM, MIKE STOKES, STAN STOOPS, HERBERT MORTON STORY, WILLIAM WETMORE STRAIN, DANIEL J. STRONG, AUSTIN SYMONS, GEORGE GARDNER TAKAYAMA, MICHIO TALLANT, RICHARD TCHERNIAWSKY, CHARLES TERELAK, JOHN THOMPSEN, ROY THOMPSON, ALFRED WORDSWORTH TOBIN, ERIC TOMAKAN, YASEMIN KYRENA TRIEFF, SELINA TURNEY, WINTHROP DUTHIE TYLER, WILLIAM RICHARDSON VALENKAMPH, THEODORE VICTOR CARL VAN ELTEN, HENDRIK-DIRK KRUSEMAN VAN NORTWICK, CHESTER VINCENT, HARRY AIKEN VYTLACIL, VACLAV WALL, WILLIAM GUY WARREN, HAROLD B. WAUGH, COULTON WAUGH, FREDERICK JUDD WHORF, JOHN WHORF, NANCY WIGGINS, GUY CARLETON WIGGINS, JOHN CARLETON WILLIAMS, A.R. WILSON, SOL WOODBURY, CHARLES HERBERT WUERMER, CARL YABE, MAKOTO YAKOVLEV, ALEXANDRE EVGENEVICH

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1134 1661 1646, 1647 1716 1025 2103-2106 1138, 1139 1060 2170 1141 1015-1018 2110 1763 1558 1559 1508 2094 1240 1501 1028-1032 1724, 1725 1114 2158 1143 1040 1536 2149 1719 1014 1140 1004 1762 1135 1543 1758 2079, 2080 2060 1713 2109 1311 1560 2058 1714 2115 1549 2050 2012 2107 2001, 2030, 2030A 2092 2043 1648 2169 2034 1730 1662 1019-1021 1001, 1002

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Session I Wednesday, July 28, at 9:30 a.m.

Lots 1001-1321 Contemporary & European Art and Design Lots 1001-1078 Clocks Lots 1079-1082 Weapons Lots 1083-1099 Sporting Art Lots 1114-1139 Ethnographic Art Lots 1144-1155 Chinese Export Lots 1156-1186, 1256-1286 Also Illustration Art, Western Art, Furniture, Paintings, Americana, Folk Art and More

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1001

1001. ALEXANDRE EVGENEVICH YAKOVLEV Massachusetts/Russian Federation, 1887-1938 Portrait of a seated Chinese man, 1918. Chinese calligraphy upper right. Artist stamped and signed lower right “A. Iacovleff, Peurn, 1918.” Sanguine on paper, 40” x 38” sight. Framed 44” x 41”.

15,000/25,000 Provenance: Purchased from the artist’s sister, Alexandra Jacovleff (Yakovleva) in Paris, 1978.

Private Boston-area Collection.

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1002

1002. ALEXANDRE EVGENEVICH YAKOVLEV Massachusetts/Russian Federation, 1887-1938 Between 1924 and 1925, Alexandre Yakovlev took part in an African Profile portrait of an African tribal chief, 1925. Unsigned. expedition sponsored by Andre Citroen, referred to as the “Black Cruise”, Similar to a portrait sold at Sotheby’s, London, New Bond or “Croisière Noire”. His depictions of the people, the landscape and the Street, June 30, 2014, Lot #184, and June 6, 2017, Lot #85. culture were a big success, and as a result, Yakovlev was awarded the Charcoal and pastel on paper, 29” x 21.5”. Unframed.

Legion of Honor by the French government in 1926.

10,000/15,000 Provenance: Purchased from the artist’s sister, Alexandra Yakovleva (1889-1979) in Paris, 1978.

Private Boston-area Collection.

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1003. DIMITRI HARALAMB CHIPARUS Romania/France, 1886-1947 “Egyptian Dancer”. Marble base and bronze plaque both signed “D.H. Chiparus”. Marble base also signed for retailer “Etling Paris”. Patinated bronze on a marble base inset with bronze plaque, total height 29.25”.

4,000/6,000

1003

1004. CHARLES TCHERNIAWSKY Russian Federation/America, 1900-1976 “Vue du Port de Brest”. Signed, titled and dated lower left “C. Tcherniawsky Brest 1926”. Watercolor on paper, 17” x 24”. Framed 22” x 29”.

2,000/4,000 Provenance: Purchased in Paris, 2001.

Private Collection, Cape Cod, Massachusetts.

1004

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1005. ISIDORE KONTI New York/Austria/Italy, 1862-1938 “Pushing Men: A Pair of Bookends”. Tops of bases copyrighted and signed “I. Konti”.

Sides of bases stamped “Gorham. Co. Founders Q471 48”. Bronzes, heights 6.25”.

2,500/3,500

1005

1006. ALEXANDER CALDER Connecticut/New York/France, 1898-1976 Portrait of Mae Bossi. Signed in pencil lower right “Calder”. Inscribed in ink lower center, possibly in another hand, “M. Bossi Chez Boudin May 1927”. Pencil on paper, 8.75” x 5.75” sight. Framed 13.75” x 10”.

3,000/5,000 Provenance: By descent in the Bossi family. Mae Bossi was an acquaintance of Calder’s in Paris.

1006

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Pablo Picasso Spain/France, 1881-1973 Lots 1007-1009

1007

1008

1007. Terre de faïence platter “Hibou Mat”, conceived in 1955.

Underside with impressed “Madoura Plein Feu” and “Edition Picasso” marks and numbered 72/100.

Length 14.75”.

12,000/18,000 Provenance: Private Boston-area Collection.

1009

1008. Terre de faïence vase “Chouetton”, 1009. Terre de faïence pitcher “Pitcher conceived 1952.

Yan”, conceived in 1952.

Underside with impressed “Madoura Underside signed “Edition Picasso” Plein Feu” and “Edition Picasso” and numbered 16/100. Height 10”. marks and numbered 30/100.

3,000/5,000 Height 9.5”.

3,000/5,000 Provenance: Provenance: Private Boston-area Collection.

Private Boston-area Collection.

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1010, four

1010. FOUR EAMES ALUMINUM GROUP FOR HERMAN MILLER BLACK LEATHER ARMCHAIRS 20th Century Herman Miller mark on underside. Back heights 30”. Seat heights 18”.

1,500/2,000 Provenance: Private Boston-area Collection.

1011. PAUL T. FRANKL FOR JOHNSON FURNITURE CO. LACQUERED CORK AND MAHOGANY CLOUD TABLE Grand Rapids, Michigan, Circa 1950 Model 5005. Includes original Johnson Furniture Company brochure and Gimbels, New York receipt.

6,000/9,000

1011

1012. PAIR OF WARREN PLATNER FOR KNOLL LOUNGE CHAIRS 1980 Rivington space-dyed yarn upholstery and steel rods with metallic bronze finish. Labeled and dated June 19, 1980. Back heights 30.5”.

Seat heights 19.5”.

800/1,200

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1012, pair

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1013

1013. ROBERT FRANKLIN GATES Washington, D.C./Virginia, 1906-1982 “Flying Dutchman”. Signed and dated lower left “R. Gates 61”. Marked “Jean Marc Gallery” in pen verso. Titled on a 1961 Maryland Regional Exhibition label on stretcher. Housed in a Guido frame. Oil on canvas, 40” x 60”. Framed.

4,000/6,000 Provenance: Private Collection, Cape Cod, Massachusetts.

1014. MICHIO TAKAYAMA New Mexico/California/Japan, 1903-1994 “Cosmos”. Signed lower left “M. Takayama”. Titled and signed on stretcher. Oil on linen, 24” x 20”.

Framed 33” x 29”.

3,000/5,000 Provenance: Michael McCormick Gallery, Taos, New Mexico.

David Richard Gallery, New York.

Private Collection, Cape Cod, Massachusetts.

1014

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Charles Green Shaw New York, 1892-1974 Lots 1015-1018

1015. “Out of Space 1962”.

Signed lower right “Shaw”. Titled and dated verso. Oil oil canvas, 40” x 30”. Unframed.

6,000/8,000 Provenance: Bertha Schaefer Gallery, New York (label verso).

The estate of the artist to Charles H. Carpenter.

1015

1016. “Cyclops 1965”.

Signed and dated verso “Charles Shaw 1965”.

Oil and collage on canvas board, 16” x 12”.

Framed 28” x 24”.

2,500/3,500 Provenance: The estate of the artist to Charles H. Carpenter.

1016

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Charles Green Shaw New York, 1892-1974 Lots 1015-1018

1017. “Sunset 1943”.

Signed and dated verso “Charles G. Shaw 1943”.

Titled on label verso. Oil on board, 20.5” x 24”.

Unframed. 5,000/7,000 Provenance: The estate of the artist to Charles H. Carpenter, Jr., author of Decorative Arts and Crafts of Nantucket, and then by descent in the Carpenter family.

1018. Untitled.

Signed lower left “Shaw”. Also signed verso “Charles Shaw”. Oil on canvas, 24” x 36”.

Framed 24.5” x 36.5”.

5,000/7,000

1017

Provenance: The estate of the artist to Charles Carpenter.

1018

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1019

1019. MAKOTO YABE Japan/Boston, 1947-2005 Stoneware charger with blue, orange and turquoise glaze.

Signed on base. Diameter 16”.

800/1,000

1020

1021

1020. MAKOTO YABE Japan/Boston, 1947-2005 Angular stoneware bowl with tricolor abstract banded glaze on a bisque ground. Signed on base. Height 4”. Length 13”.

700/900

1021. MAKOTO YABE Japan/Boston, 1947-2005 Stoneware jar with Mishima pattern under a white wood ash glaze. Signed on base. Height 9.5”.

700/900

1022. ATTRIBUTED TO JOZEF ISRAELS The Netherlands, 1824-1911 Family at the beach. Signed lower left. Oil on panel, 4” x 5.5”. Framed 8” x 9.5”.

500/1,000 1022

1023. HENRY DAVENPORT Massachusetts, 1882-1965 “Nude Bather, Long Island”. Signed and dated “Henry Davenport ‘37”. Titled on label verso. Oil on masonite, 23” x 34”. Framed 30” x 41”.

1,000/1,500 Upon graduating from Harvard in 1904, Henry Davenport moved to Paris and studied architecture at the Ecole des Beaux-Arts before moving on to painting courses at the Julian Academy. He returned to Boston and continued his studies in Provincetown under Charles W. Hawthorne and George Elmer Browne.

1023

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1024. RALPH FASANELLA New York, 1914-1997 “The Gas Station, 1949” (The Bronx, New York).

Signed and dated lower right “R. Fasanella 1949”.

Oil on canvas, 30” x 40”. Farmed 38” x 48”.

5,000/7,000

1024

1025. JOHN H. ROCKWELL California, 1902-1974 “San Pedro Harbor”. Signed lower right “J.H. Rockwell”. Titled verso. Oil on canvas, 16” x 20”.

Framed 25” x 29”.

1,500/2,500 Provenance: Stewart Galleries, Palm Springs, California.

Private Collection, Cape Cod, Massachusetts.

1025

1026. LEE JACKSON New York, 1909-2002 “The Bathgate Market, Bronx”. Signed lower right “L. Jackson”. Signed and titled verso. Oil on board, 35” x 48”. Framed 44.5” x 58”.

5,000/7,000

1026

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Photographs of the Meyer Family Lots 1027-1032

Eugene I. Meyer (1875-1959) was a financier and owner of the Washington Post. His wife Agnes Ernst Meyer (1887-1970) was an American journalist, philanthropist, civil rights activist and art patron, who throughout her life engaged with intellectuals, artists and writers from around the world. Together they had five children. The oldest daughter, Florence Meyer (1911–1962), was a photographer and married to actor Oskar Homolka. Elizabeth Meyer Lorentz (1913–2001) was an author and married to Pare Lorentz.

Eugene “Bill” Meyer III (1915–1982) was a physician and medical professor. Katharine Graham (1917–2001) was the publisher of the Washington Post. Ruth Meyer (1921–2007) married William A. Epstein.

1027, two

1028

1027. PAIR OF PHOTOGRAPHS SHOWING GEORGE WILLIAM RUSSELL, CARL SANDBURG, EDWARD STEICHEN AND JOHN MARIN 1) “A.E. & Sandburg at our home in Mass. Ave ...” by Harris V. Ewing. Shows poet Carl Sandburg and “A.E.”, the Irish writer George William Russell, at the home of Eugene Meyer, circa 1925. Inscribed along lower margin. 10.5” x 8” sight.

Matted 16” x 13.5”.

2) Shows Edward Steichen (1879-1973) and John Marin (1870-1973). Inscribed with a quote from Steichen, “Matisse understood women”. 8” x 9.5” sight. Framed 12.5” x 11.5”.

All the artists were friends of the Meyer family.

600/800

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1028. ATTRIBUTED TO EDWARD STEICHEN New York/Connecticut/France, 1879-1973 Photograph of Eugene I. Meyer on horseback. Steichen was a family friend and regular guest at the Meyer home in Washington, and he took numerous photos of the family.

7.5” x 9.25”.

400/600

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1029. PAIR OF FORMAL PORTRAITS OF EUGENE I. MEYER AND HIS WIFE AGNES ERNST MEYER Circa 1930 Portrait of Eugene Meyer by Edward Steichen (New York/Connecticut/France, 1879-1973). Portrait of Agnest by Harris & Ewing Studios, Washington, D.C., 1905-1945. Platinum bromide prints, both 14” x 11”.

600/800

1029, pair

1030. COLLECTION OF FIVE PHOTOGRAPHIC IMAGES BY EDWARD STEICHEN AND OTHERS, SHOWING AGNES E. MEYER 1) Ready for a fancy dress ball. 9.25” x 7.5”.

2) Agnes with her son Eugene Meyer III by Aline Meyer Libman. Signed “A.M.L. 1918”. 6.5” x 4.5”.

3) Artful portrait. Attributed to Edward Steichen (New York/Connecticut/France, 1879-1973). 9” x 6”. Laid down on board.

4) Large artful portrait. Signed “Steichen” upper left corner for Edward Steichen (New York/Connecticut/ France, 1879-1973). May be a later photographic reproduction. 13.5” x 10.75”. Laid down on board.

5) Larger portrait of a young Agnes. Signed “Steichen” lower right corner for Edward Steichen (New York/ Connecticut/France, 1879-1973). May be a later photographic reproduction.13.5” x 10.75”.

600/800 1030, five

1031. ATTRIBUTED TO EDWARD STEICHEN New York/Connecticut/France, 1879-1973 Photographs of the Meyer family.

1) Eugene I. Meyer and his four children, circa 1921.

2) Meyer family portrait, circa 1935. 11” x 9”.

Together with four photos of the eldest Meyer children, circa 1925, by Misses Selby Studios, New York (Anne, 1906-2001). Housed together in a common mat. Images 6.75” x 4.5”.

500/700

1032. ATTRIBUTED TO EDWARD STEICHEN New York/Connecticut/France, 1879-1973 Two images of Eugene “Bill” Meyer III as a child and one of a sister.

1) In a sailor shirt. 14” x 11”. Laid down on foam core.

2) Sitting cross-legged behind a ball game. 9” x 7”. Laid down on board.

3) Elizabeth Meyer Lorentz. 9.5” x 7.5”.

Together with a photo of Bill as a baby in white pantaloons, by Misses Selby Studios, New York (Anne, 1906-2001). 6.5” x 4.5”. Laid down on board. 300/500

1031, six

1032, four

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23

1033, three

1033. THREE BRONZE ZEBRA GARDEN STATUES 20th Century Two heights 52”. Lengths 80”. Widths 18”. Other height 36”. Length 50”. Width 18”. 6,000/7,000 Provenance: Private Collection, Hollywood, California.

Private Collection, Cape Cod, Massachusetts.

Important Note: This item is located off-premises and is not being stored or exhibited at our auction facility.

In-person previewing is not available. The buyer will be required to make special arrangements to remove this item from its location in Provincetown, Massachusetts.

Please contact us for more information.

1034. CONTINENTAL HARDWOOD CARVING OF A PUMA Early 19th Century Traces of black paint over white primer.

Exceptional details. Height 18.5”. Length 29”.

3,000/5,000 1034

24

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1035. HEZEKIAH ANTHONY DYER Rhode Island/Europe, 1872-1943 “Lake Como”. Signed lower left “H.A. Dyer Lake Como”. Watercolor, 15.5” x 11.5” sight. Framed 21” x 16.5”.

800/1,200

1035

1036. KARL ALBERT BUEHR Illinois/Vermont/France, 1866-1952 “Woman by a Tree, Giverny, France”. Unsigned.

Titled on label verso. Pastel on paper, 9.5” x 7.5”.

Framed 16.5” x 14.5”.

3,000/5,000

1036

1037. CONTINENTAL SCHOOL 19th Century Portrait of a woman in a garden. Signed lower left “L.B. de Spiridon”. Oil on panel, 8” x 5”. Framed 12” x 9”.

1,000/1,500

1037

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25

1038, pair

1039

1038. AFTER AMBROISE LOUIS GARNERAY France, 1783-1857 Pair of American views, “Vue de Boston” and “Vue de Philadelphia”. Hand-colored engravings on paper, 11.5” x 15”. Framed 22.25” x 25.75”.

2,500/3,500

1039. AFTER REMBRANDT 18th Century Portrait of Herman Doomer, the artist’s frame maker.

Engraving by John Dixon, published in 1769 by John Weston. Label verso for “M.A McDonald 665 Fifth Ave New York”, stating it was purchased at a 1924 Sotheby’s auction.

Mezzotint on paper, 21” x 14.5” sight. Framed 28” x 21.5”.

3,000/5,000

1040. WILLIAM WETMORE STORY Massachusetts/Italy, 1819-1895 Venus of the Bath. Signed on upper stretcher. Titled on label verso. Oil on canvas, 15.75” x 12.5”. Unframed. 700/1,000 1040

26

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1041. PAIR OF CONTINENTAL SPUN BRASS PRICKET CANDLESTICKS 18th Century Exceptional turnings. Iron prickets. Heights 8.75”.

400/600

1042. GEORGIAN TEA TABLE 18th Century In mahogany. Notched-corner dish top.

Shaped skirt. Slightly cabriole legs with foliate-carved knees and claw & ball feet.

Height 28”. Length 30.5”. Width 18”.

3,000/4,000

1041, pair

1042

1043. GEORGE III BUTLER’S TRAY Circa 1810 In mahogany. Simple carved integrated handles.

Narrow brass reinforcing bands about perimeter.

Height 4”. Length 24”. Width 14.75”. 500/700

1044. RARE PLATE BUCKET 19th Century In mahogany, with bail handle and fenestrated sides.

Height 13”. Diameter 11.5”.

700/1,000

1044

1045. ENGLISH TEA CADDY 19th Century Shell exterior. Fitted interior. Height 4.5”. Width 5”.

Depth 3”.

500/700 1045

1046. ENGLISH TEA CADDY 19th Century Shell exterior. Button feet. Compartmented interior.

Height 5.5”. Width 7.5”. Depth 4.75”. 1,200/1,800

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1046

27

1047. LARGE DROP-LEAF TABLE Early 18th Century Probably English. In oak, with demilune drop leaves and nicely turned legs and stretchers.

Height 29”. Length 72.75”. Width 26” plus two 27” drop leaves.

500/1,000 1047

1048. ENGLISH TEA CADDY 19th Century Shell exterior. Silver plaque on lid and silver escutcheon.

Hinged lid encloses a bone-edged two-section interior with original lids. Bun feet. Height 4.5”. Width 7”. Depth 4”.

1,200/1,800 1048

1049. MYLES BIRKET FOSTER England, 1825-1899 Young girl riding a young cow. Signed with the artist’s monogram lower left. Watercolor on paper, 7” x 4.5” sight. Framed 15.5” x 13.5”.

800/1,200

1049

1050. GEORGE AUGUSTUS HOLMES United Kingdom, 1822-1911 “The Young Mother”, depicting two young girls in a landscape. Signed and titled on gilt frame liner. Oil on canvas, 12” x 10”.

Framed 20.5” x 18”.

800/1,200 1050

28

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1051. FREDERICK W. MACMONNIES New York/France, 1863-1937 Pan of Rohallion. Signed “France Frederick MacMonnies” and dated on base “Anno Domini MDCCCLXLOIO” (1890). Bronze, height 15”.

5,000/7,000 1051

1052. ENGLISH TEA CADDY 19th Century Mother-of-pearl exterior. Brass ball feet. Fitted interior. Height 4”.

Width 6”. Depth 4”. 800/1,000

1053

1052

1053. ENGLISH TEA CADDY 19th Century Shell exterior with mother-of-pearl floral inlay. Ball feet. Fitted interior. Height 5.5”. Width 7”. Depth 4”.

400/600

1054. LEON DABO New York/France, 1864-1960 Still life of flowers in a vase. Signed lower left “Leon Dabo”. Housed in a custom Lowy frame.

3,000/5,000

1054

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29

1055

1059

1055. LIVERPOOL PITCHER WITH GRISAILLE TRANSFER DECORATION 19th Century One side with “The Shipwright’s Arms”, a scene of two shipwrights flanking a coat of arms set in a maritime scene.

Other side with “The Farmers Arms”, a scene of a farmer and his wife flanking a coat of arms set in a planting field above an “In God Is Our Trust” banner. Both scenes titled in banners above. Below spout, “Saml. Mountfort Decr.

4th. 1798” is surrounded by a foliate garland. Floral garland around rim and foliate sprigs below scenes. Height 11.5”.

1,000/1,500

1056. LIVERPOOL JUG WITH GRISAILLE TRANSFER DECORATION Circa 1800 Both sides depict classical scenes with chariots. Height 10.5”.

500/800

30

1057. ENGLISH STICK BAROMETER 19th Century Mahogany case with ivory fittings. Marked on top “St James”.

Height 36”.

500/700

1058. FRENCH EDITION OF JULES VERNE’S 20 THOUSAND LEAGUES UNDER THE SEA Vingt Mille Lieues Sous Les Mers Illustre De 111 Dessins Par De Neuville Graves Par Hildibrand. Paris: Bibliotheque D’Education et de Recreation, J. Hetzel et Cie (nd). Believed to be a 2nd ed, circa 1871. In French. Illustrated. Quarto (10.75” x 7.5”). Half calf with marbled boards. Marbled endpapers. 300/400

1059. CONTINENTAL CARVED WOODEN MINIATURE BILLIARDS TABLE 19th Century Marquetry top with geometric designs, a cribbage board track and images of cards, dice, cues, billiards balls, a dog, bowling pins, etc. Height 4.5”. Length 11.25”. Width 6.25”.

3,000/5,000

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1060. HUBERT SALENTIN Germany, 1822-1910 Two young girls resting in a woodland. Signed and dated lower right “Hubert Salentin 1907 Düsseldorf ”.

Oil on canvas, 26” x 19”. Framed 30” x 23”.

4,000/6,000

1060

1061. AUSTRIAN PORCELAIN BUST OF DIANA 19th Century Beehive mark on underside. Height 17”.

800/1,200

1061

1062. HERMANN FUECHSEL New York/Germany, 1833-1915 A mountain lake scene. Signed lower left “H. Fuechsel”.

Oil on canvas, 10” x 16.25”. Framed 16” x 21.5”.

2,000/3,000

1062

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31

1063. TWO-TIER ETAGERE 19th Century In burled walnut veneer with fruitwood string inlay. Top lifts up. Columnar supports. Full-width drawer below. Feet fitted with brass casters. Height 36”. Width 25”. Depth 16”.

350/450

1063

1064. PAIR OF CONTINENTAL RELIEF-CARVED WOODEN WALL HANGINGS 19th Century Carved with hunting motifs, including animals, guns, knives, etc. Heights 53.5”.

1,200/1,500 Purportedly made for the boardroom of the former Lloyd’s building, Lime Street, London, designed by Sir Edwin Cooper.

1065. MINIATURE GOTHIC ARMOIRE 19th Century In mahogany. Two hinged doors open to reveal three slide-out shelves. Recessed paneled sides. Scrolled skirt. Curved bracket feet. Height 18”. Width 13.5”. Depth 7”.

800/1,200

1066. MARQUETRY TRAVELING CASE 19th Century Opens to reveal a mirror and divided interior.

Height 4.25”. Width 9”. Depth 6.75”.

200/400

1064

1065 1066

32

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1067

1067. LARGE ASSEMBLED COLLECTION OF BW & CO. GILDEA & WALKER ENGLISH PORCELAIN WITH HAND-PAINTED AND TRANSFER DECORATION OF AN ASIAN SCENE Circa 1870s More than 140 pieces total. Includes platters, plates, bowls, assorted dishes, serving bowls, cups, etc. Complete list available at www.eldreds.com. 4,000/6,000

1068. ASSEMBLED SET OF EIGHT ENGLISH WINDSOR-STYLE ARMCHAIRS Late 19th/Early 20th Century In yew wood. Back heights approx. 35”. Seat heights approx. 17”.

1,000/1,500

1068, eight

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33

1069

1069. WILLIAM PENN MORGAN New York, 1826-1900 “Bubble Pipe”. Signed lower left “W. Morgan”. Titled on Coe Kerr Gallery label verso. Oil on canvas, 38” x 32”.

Framed 50” x 42”.

6,000/8,000

34

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1070. EUGENE HENRI CAUCHOIS France, 1850-1911 House and garden. Signed lower right “E.H. Cauchois”. Oil on canvas, 11” x 18”.

Framed 17” x 24”.

3,000/5,000

1070

1071. ALFRED ARTHUR BRUNEL DE NEUVILLE France, 1852-1941 Two kittens and their mother. Signed lower left “Brunel de Neuville”. Oil on panel, 9.5” x 13.25”.

Framed 15.5” x 19”.

800/1,200

1071

1072. WILLIAM CRUIKSHANK America/United Kingdom, 1848-1922 Bird and a nest. Signed lower right “W. Cruikshank”.

Watercolor on paper, 9” x 11.5” sight. Framed 16.5” x 19.5”.

400/600

1072

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35

1073

1073. HERTER BROTHERS MUSIC CABINET New York, 19th Century In rosewood, with shell and fruitwood inlay. Galleried upper tier, the backsplash carved with the bust of a woman. Tier supported by turned columns. Mirrored back. Case door with beveled glass panels and inlaid lute, harp and flute design.

Carved swag apron. Turned legs also support a lower shelf.

Height 61”. Width 33”. Depth 15.5”.

6,000/8,000

36

1074. GERMAN CARVED DEER HEAD MOUNTED WITH STAG ANTLERS Late 19th/Early 20th Century Head under old black paint, with gilt eyes. Height 36”.

Width across antlers 19”. Depth 16”.

500/700

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1075

1075. ENGLISH LEATHER-TOP DESK Early 20th Century In oak and walnut. Three drawers with beaded edges. Turned legs end in elongated turnip feet. Height 29.5”.

Width 60”. Depth 36”. 1,000/1,500

1076. VINTAGE EGYPTIAN SILVER ASSUIT SHAWL Circa 1920 With geometric patterns. Assuit, also known as tulle bi telli or al tally, is a textile made from cotton or linen mesh and small strips of metal. It is named after the Egyptian town Asyut, where it originated, and it was introduced to Americans at the 1893 Chicago World’s Fair. 90” x 30”.

300/400

1077. WEDGWOOD BLUE JASPER DIP PORTLAND VASE England, Circa 1930 Of typical form. Underside depicts a man wearing a Phrygian cap. Impressed “No. 16 HB 80” and “Wedgwood Made in England” near base. The “HB” mark is possibly for the Harry Barnard Edition. Height 10”. 1,000/1,500 Provenance: Private Boston-area Collection.

1077

1078. FRENCH GILT METAL AND MARBLE SHELF CLOCK Late 19th Century Figure of a seated farm boy rests against the clock face. Includes glass dome and ebonized wood base. Height 12”. Length 16”.

Depth 4.5”.

2,500/3,500

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1078

37

1079. T. & E. RHODES FLOOR-STANDING REGULATOR CLOCK Kendal, England, Circa 1875 Dial signed “T. & E. Rhodes Kendal”. Beautifully figured mahogany dome-top case. Hinged access door in the hood.

Full-length door with chamfered corners, three-quarter bead molding along the perimeter of the glass, and a finely carved foliate presentation below the dial. Architectural stepped base with chamfered lamb’s-tongue columns at sides and simple flat feet.

Recessed panels at rear of case interior and on base panel with book match graining. Silvered 12” astronomical dial with outer Arabic numeral minutes ring and subsidiary Arabic numeral seconds and Roman numeral hour dials. Blued steel hands. Eight-day movement with freestanding silvered beat scale/plaque, 5mm thick trapezoidal plates, maintaining power, and deadbeat escapement, outboard mounted cable roller, brass-cased weight and a faceted mercury jar compensating pendulum. Height 75”. Width 16”. Depth 11”.

10,000/12,000 Brothers Thomas and Edward Rhodes worked in Highgate, Kendal from 1869 to 1905.

38

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1079

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39

1081 1080

40

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1080. ENGLISH TALL-CASE CLOCK Early 19th Century Mahogany and mahogany veneer case. Bonnet topped with a brass pineapple-form finial. Arched pendulum door with line inlay. Brass Roman numeral dial with decorative embellishments in corners and surrounding a “Tempus Fugit” medallion in lunette. Brass 8-day movement is a replacement.

Height approx. 94.5” to top of finial. Width at bonnet 20.5”.

Depth at bonnet 10”.

600/1,000

1081. TALL-CASE CLOCK Dublin, Late 18th/Early 19th Century In mahogany. Arched bonnet and door with simple columns and dentil molding at lower edge. Slightly arched pendulum door flanked by fluted quarter columns. Ogee bracket feet.

Metal Roman numeral dial with second sweep and with painted depiction of an angel holding a scythe. Signed on face “Alex Gordon Dublin” between berry and bird decoration.

Height 94”. Width 19.5”. Depth 10.75”.

1,000/1,500

1082. SAMUEL WHALLEY TALL-CASE CLOCK Manchester, England, Circa 1735-1740 Oak case. Bonnet with broken arch pediment. Trunk with dentil molding at shoulder and quarter columns flanking the pendulum door. Brass 13” dial with pewter Roman numerals, corner spandrels, and a rolling moon ring. Face signed “S. Whalley Mancheftr.”. Retains original pendulum and weights.

Height 87”. Width 19.75”. Depth 11.5”.

500/800

1082

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41

1083. ENGLISH MAHOGANY AND STEEL CROSSBOW Circa 1750 An elegant example used for hunting small game such as hares and rooks with a clay bullet. Mahogany shaft with pointed, steel-encased prod end, inset decoratively engraved steel plates on all four sides, possibly for reinforcing supports, and a half-domed steel butt at the opposite end. Sliding metal ring at the butt end slides back to allow the long steel cocking bar to be pivoted forward to engage the bow string and draw it back to a firing position. Just forward of the cocking lever is a metal mount with a flip-up steel sighting vane and trigger release. Mounted at the front is a U-shaped flipup sight with serrated edges and a white bead strung between the two arms. Retains original two-section bow with original round bone spacers. On a contemporary wooden stand. Height on stand 37.5”. Crossbow length 31.5”. Width 27.5”.

3,000/5,000

Often referred to as a stone bow, the bullet-shooting crossbow was developed in the 16th Century and perfected in England in the Late 18th Century. The clay ball or bullet was held in the pouch in the center of the cocked bowstring and when released it passed between the sighting posts and

1083

42

under the sighting bead suspended between them.

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1084, pair

1084. PAIR OF ENGLISH BOX LOCK FLINTLOCK POCKET PISTOLS BY DURS EGG Circa 1780 Walnut grips with fabulous rococo-style silver inlay. Trigger guards engraved with a Tudor rose. Sliding safety catches. Screw-off barrels. Both marked “D. Egg.” and “London”, and with two British proofs. Lengths 7.5”.

6,000/8,000 Durs Egg (1743-1831), a Swiss-born British gunmaker, was appointed gunmaker to King George IV and the Duke of York.

1085

1085. ENGLISH TAP ACTION OVER-UNDER BRASS-BARRELED FLINTLOCK PISTOL

BY B & M REDFERN Circa 1795 Walnut grips with fine silver inlay. Engraved with owner’s initials “JHC”. Trigger guard engraved with a Tudor rose. Sliding safety catch. Marked “B & M Redfern” and with two British proofs. Length 8.5”.

3,000/4,000

1086. TWO DOUBLE BARREL BRASS-FRAME FLINTLOCK PISTOLS BY HENRY NOCK Circa 1790 .38 cal. Walnut grips. Blued finish. Trigger guards engraved with a starburst. Both marked on left side of frame near barrels; one marked “1” above a dot near upper barrel, and the other marked “3” near upper barrel and “2” near lower barrel. The lower barrel of this pistol also marked “2”. Marked “H. Nock” and “London” and with two British proofs.

Lengths 5.75” and 6”.

4,000/6,000

1086, two

Provenance: The William Ashby Collection.

Henry Nock (1741-1804) was appointed gunmaker to King George III in 1789.

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43

1087. CASED COLT 1851 NAVY REVOLVER 19th Century .31 cal., Serial #143920, all matching.

Finish worn to dull silver. Includes a brass reloading tool marked “Colt”. Length of barrel 5”. Total length 9.5”. 1,000/1,500

1087

1088. BONE, MAHOGANY AND SILVER FOLDING KNIFE WITH PATRIOTIC DECORATION America or England, Mid-19th Century Bone grip inlaid with mahogany disks on one side. Silver bolsters, one tapered and one in the form of a sword’s hilt, both with relief patriotic decoration on both sides. Hilt with a “Liberty and Union” banner centered by an oak leaf.

Tapered bolster with a Liberty cap, a sword, a spread-wing eagle, olive branches and an American shield. Pivoting steel blade with nail nick. Length closed 5.63”.

1,200/1,500

1089. MAHOGANY AND SILVER FOLDING KNIFE WITH PATRIOTIC DECORATION America or England, Mid-19th Century Mahogany grip inlaid with mother-of-pearl disks on one side and with a medial silver band on both sides.

Silver bolsters, one in modified shield shape. All silver components with relief patriotic decoration. Medial bands with 14 stars above a spread-wing eagle clutching arrows and perched on a stylized American shield flanked by olive branches. Bolster at pivoting end of knife with an oak leaf design and possibly the letters “Y” and “M”. Shield-shaped bolster with a Liberty cap, scales of justice, eight stars, a spread-wing eagle, a stylized American shield and olive branches. Pivoting steel blade with nail nick. Length closed 5.75”.

700/1,000

1088

1089

1090

44

1090. ALLEN & THURBER PEPPERBOX PISTOL 19th Century .31 cal. Ivory grips. Blued finish. Engraved scroll decoration. Length of barrel 3”. Total length 7.5”.

300/400

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1091. EXTENSIVELY ENGRAVED POWDER HORN 19th Century Nearly entirely covered with whimsical depictions of buildings, figures, fish, animals, cannons, flowers, mermaids, geometric designs, etc. Initialed “WEM” and with other scattered letters throughout. Brass base, spout and hanging loops. Rich patina.

Length 17.5”.

2,000/3,000 Provenance: Nadeau’s, Windsor, Connecticut, April 11, 2015, Lot #297.

1092. ENGRAVED POWDER HORN Dated 1778 Engraved “J JAMES 1778”. Brown finish.

Length 10”.

600/800

1093. BARREL-FORM WOODEN POWDER CASK 18th Century Carved with inscription “Revolutionary War Bottle”. Height 3.5”.

200/300

1091

1092

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45

1094

1094. * PARKER V-GRADE SIDE-BY-SIDE SHOTGUN 12-ga., Serial #176375. Length of pull 14.25”. Length of barrel 28”. Total length 44”. Includes leather case. This gun will only be delivered to holders of a Federal Firearms Dealer’s License. Please be aware of license requirements and delivery regulations and bid accordingly. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith. 500/800

1095. * WINCHESTER MODEL 1885 HIGH WALL RIFLE Early 20th Century .22 cal., Serial #118691.Length of barrel 28”. Total length 44”.

This gun will only be delivered to holders of a Federal Firearms Dealer’s License. Please be aware of license requirements and delivery regulations and bid accordingly. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith. 300/400

1096. PETERS CARTRIDGE COMPANY ADVERTISING CALENDAR “Coming Out Ahead”, depicting moose hunters. Calendar pad with the month of January 1906. 27” x 14”. Framed 31” x 17.5”.

1,000/1,500

1096

46

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1097

1098

1097. DUPONT GUN POWDER ADVERTISING SIGN Circa 1900 “Generations Have Used Du Pont Powders”. Depicts a young and old hunter with their pointers, after Edmund H. Osthaus. Lithograph on tin. 32.5” x 33”.

500/700

1098. DUPONT GUN POWDER ADVERTISING POSTER Early 20th Century “Centennial of the Use of Dupont Explosives in an American War”. Depicts a scene titled “Du Pont Powder Wagon Carrying Powder to Lake Erie for Commodore Perry”, after Howard Pyle. Portrait of company founder E.I. du Pon de Nemours and image of the oldest powder mill in America below. 29.5” x 19.75”. Framed 30” x 20”.

500/800

1099. “DUPONT’S GUN POWDER” ADVERTISING POSTER 20th Century

By Major & Knapp. Depicts hunters and various game.

18” x 22” sight. Framed 24” x 28”.

500/1,000

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1099

47

1100. HAROLD N. ANDERSON Connecticut/Massachusetts, 1894-1973 Original illustration from Boys’ Life magazine. Signed lower left “Harold N. Anderson”. Reproduced in the December 1931 issue of Boys’ Life, p. 48, as part of an advertisement for “The Official Boy Scout Outfitter”. Oil on canvas, 34” x 22”.

Framed 39” x 27”.

1,500/2,500

1100

1101. JAMES WELLS CHAMPNEY Massachusetts/New York, 1843-1903 A young boy fishing for crab. Signed within the compass on the dock lower left “Champ”. Gouache, 9.25” x 7”. Framed 15.5” x 17.5”.

500/1,000

1102. JAMES WELLS CHAMPNEY Massachusetts/New York, 1843-1903 “Never Too Late to Mend”. Signed lower right “J. Wells Champney”. Titled verso. Oil on mahogany panel, 13” x 9.25”. Framed 17.25” x 14.25”.

2,000/3,000

1102

48

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1104 1103

1105

1106

1103. ARTHUR BURDETT FROST Pennsylvania/California, 1851-1928 “Travis and Major Jonathan Wilby”. Reproduced in the May 1890 issue of Century Magazine. Mixed media, 19” x 13.5” sight. Framed 26.5” x 20.5”.

1,500/2,500

1105. WALTER M. DUNK Philadelphia, 19th Century Interior scene with seated figures. Signed lower left “Walter M. Dunk”. Oil on board, 18.75” x 24.5”. Framed 22” x 28”.

500/1,000

1104. ARTHUR BURDETT FROST Pennsylvania/California, 1851-1928 Asking for her hand in marriage. Signed and dated lower right “A.B. Frost ‘84”. Oil, 10.25” x 14”. Framed 17” x 21”.

1,000/1,500

1106. EDWIN AUSTIN ABBEY Pennsylvania/New York/England, 1852-1911 “Mr. Lofty and Dubardieu”. Scene from Oliver Goldsmith’s “Good-Natur’d Man”. Pastel on paper, 24” x 16.25” sight.

Framed 27” x 19.25”.

1,500/2,500

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49

1107. JOHN OPPER New York/North Carolina/Illinois, 1908-1994 Chicago scene with the “L” at 9th Ave. Signed lower left “John Opper”. Oil on canvas, 29.5” x 23.5”.

Framed 31” x 25”.

800/1,200

1107

1108. EARL MACPHERSON Arizona, 1910-1993 Eight sketches of mostly nude women. Titles include “Artist’s Sketch Pad” and “No Foolin’”. All but one signed in lower margins “Earl MacPherson”. Titles boldly incorporated into each drawing. Mixed media on gold sketch paper, approx.

13.5” x 9”. Housed in a 14.75” x 12.75” portfolio.

2,000/3,000

1108, sampling

1109. HORACE ROBBINS BURDICK Massachusetts/Rhode Island/Connecticut, 1844-1942 “One of the Signs of the Times”. Signed in center “H.R. Burdick 1876”. Titled lower center. Ink on paper, 3.5” x 6.5” sight. Framed 11.5” x 14”.

200/400

1109

1110. ATTRIBUTED TO HORACE ROBBINS BURDICK Massachusetts/Rhode Island/Connecticut, 1844-1942 “Frank B’s Sketch from Nature. Jan. 28 - [?]7”. Unsigned.

Sticker attached verso lists provenance as Horace R. Burdick.

Pencil on paper, 5.5” x 8.5”. Framed 15” x 18”.

500/700 1110

50

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1111

1111. JOHN NEWTON HOWITT New York, 1885-1958 Summer lake scene with a woman and dog on shore and figures canoeing, 1920. Signed lower left “John Newton Howitt”. Oil on canvas, 35” x 50”. Framed 36.5” x 51.5”.

1,000/1,500

1111A. LEON DANCHIN America/France, 1887-1938 Mallard ducks in flight. Signed in pencil lower right “Leon Danchin”. Hand-colored etching, 29.5” x 21.5” sight. Framed 31.5” x 23.5”.

300/400

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51

1112

1112. JOHN WOODHOUSE AUDUBON New York/California, 1812-1862 “Sciurus Colliaei, Collies Squirrel”. Number 21, plate CIV from the imperial edition of Vivaparous Quadrupeds of North America with John Bachman. Publisher J.T. Bowen, Philadelphia. Lithograph on paper, 26” x 20” sight. Framed 40.25” x 32.25”.

1,200/1,800

52

1113

1113. JOHN JAMES AUDUBON New York/France, 1785-1851 Red-bellied squirrel. Plate XXXVIII from the imperial edition of Vivaparous Quadrupeds of North America. Publisher J.T. Bowen, Philadelphia. Lithograph on paper, 26” x 20” sight. Framed 40.25” x 32.25”.

1,200/1,800

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1114. MIKE STIDHAM Utah, b. 1954 Four hand-colored lithographs of fish: a land-locked salmon, a brown trout, a rainbow trout and a brook trout.

All numbered 29/50 and signed lower right. 8.75” x 14.25” sight. Framed 16” x 21.75”.

300/400

1114, four

1115. MIKE BORRETT CARVED WOODEN BROOK TROUT 21st Century Signed on back “Borrett”.

Length 20”.

600/900

1115

1116. CASED MODEL OF AN ATKINSON TRAVELER CANOE Dated 2000

By George R. Bullitt. Plank-on-frame construction. Includes two paddles.

Case height 5.75”. Length 19”. Width 6”.

300/500

1117. CASED MODEL OF A J.P. STEPHENS SNEAKBOX

By Jack McKie (Rochester, New York, 20th Century).

Case height 7”. Length 17”. Width 7”.

250/350

1116

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53

1119

1118

1118. CHARLES DREW CAHOON Massachusetts, 1861-1951 Hanging yellow perch. Signed lower right “C.D. Cahoon”.

Oil on canvas, 22” x 14”. Framed 30.5” x 22”.

1,000/1,500

1119. CHARLES DREW CAHOON Massachusetts, 1861-1951 Still life of a trout, fishing rod and creel. Signed lower right “C.D. Cahoon”. Oil on canvas, 11” x 18”.

Framed 14.5” x 21.5”.

1,500/2,500

1120. PAIR OF CAST IRON LEAPING TROUT ANDIRONS 20th Century Rockery bases. Painted black. Heights 15”. Depths 19”.

300/500

1120

1121. PAIR OF CAST IRON OWL ANDIRONS Late 19th/Early 20th Century Painted black. Original glass eyes. Heights 21”.

Depths 19”.

300/500 1121

54

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1122. ROBERT AND VIRGINIA WARFIELD LIFE-SIZE BLUEJAY Jaffrey, New Hampshire, 20th Century Bill open. Mounted on a driftwood base. Signed and dated on base “1973 Warfield Jaffrey NH”. Height 7”.

Length 11”.

300/500

1122

1123. ROBERT AND VIRGINIA WARFIELD LIFE-SIZE SAW-WHET OWL Jaffrey, New Hampshire, 20th Century Mounted on a driftwood base. Signed on base “Warfield Jaffrey NH”. Height 8”.

300/500

1123

1124. ROBERT AND VIRGINIA WARFIELD LIFE-SIZE WOODCOCK Jaffrey, New Hampshire, 20th Century Mounted on a driftwood base. Signed on base “Warfield Jaffrey NH”. Height 8”.

300/500

1124

1125. ARNOLD MELBYE LIFE-SIZE PIPING PLOVER Bass River, Cape Cod, Massachusetts, 1932-2000 Glass eyes. Carved wings. Mounted on a pine base.

Signed and dated. Height 3”.

700/1,000

1126. FRANK FINNEY MINIATURE MALE TURKEY Pungo, Virginia, b. 1947 Mounted on a chip-carved base. “F” carved into side of base. Length 10”.

600/900 1125

1126

1127. JAMES LAPHAM MINIATURE MALLARD DRAKE Dennisport, Massachusetts, Circa 1955 Mounted on a driftwood base. Original paint. Signed on base “J. Lapham Dennisport Mass”. Height 5”.

400/600

1127

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55

Robert Kennedy Abbett Connecticut/New York, 1926-2015 Lot 1128

1128

1128. “‘Stone Wall Surprise’ Brittany & Grouse”.

Signed lower left “Abbett”. Titled and dated 2005 verso. Oil on board, 20” x 30”.

Framed 28.5” x 38.5”.

18,000/22,000

56

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1129. ARTHUR DAVENPORT FULLER Connecticut/New Hampshire, 1889-1966 Setters on point rousing a grouse. Signed lower right “Arthur D. Fuller”. Oil on canvas, 23” x 17”.

Framed 25” x 19”.

1,000/2,000

1129

1130. JOHN HENRY HILL New York/California, 1839-1922 Grouse and her chicks. Signed lower left “Hill”.

Oil on board, 6.5” x 4.5”. Framed 19” x 16.5”.

1,000/1,500

1130

1131. FRANK WESTON BENSON Massachusetts, 1862-1951 “Pair of Pintails”. Signed in pencil lower left “Frank Benson”. Etching on paper, 8.5” x 10.25”.

Framed 14.5” x 18”.

500/700

1131

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57

1132. A. ELMER CROWELL BIRD HEAD PLAQUE East Harwich, Massachusetts, 1862-1952 Circa 1925. Black-bellied plover head on a wooden plaque.

Oval brand on reverse. Length of head 3”. Plaque length 5”.

900/1,200

1132

1133. CURRIER & IVES LARGE FOLIO HAND-COLORED LITHOGRAPH “WILD DUCK SHOOTING, A GOOD DAY’S SPORT.” Painted by A.F. Tait, 1853. On stone by O. Knirsch, 1854.

Framed. 2,000/3,000

1133

1134. ATTRIBUTED TO ALEXANDER POPE, JR. Massachusetts, 1849-1924 Portrait of a dog. Unsigned. Inscribed verso “... Merry XMas from her friend Alexander Pope 1894”. Oil on board, 5.25” x 4”.

Unframed. 1,000/2,000

1134

1135. ROY THOMPSEN Massachusetts/Florida, b. 1928 Three puffins perched on a rock. Signed lower right “Roy Thompsen”. Acrylic on paper, 9.5” x 14” sight.

Framed 16” x 20”.

1,000/1,500 1135

58

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1136. BYRON BRUFFEE BLACK DUCK DECOY Middleboro, Massachusetts, 20th Century In preening position. Glass eyes. Raised carved wings and carved tail feathers. Chip carving under tail area. Large “B” carved into underside.

Length 15”.

500/800

1136

1137. MARTY COLLINS MALLARD DRAKE DECOY Wareham, Massachusetts, 20th Century Glass eyes. Head turned left. Carved wings and tail.

Oval brand on underside. Length 15”.

400/500 1137

1138

1138. CARL RUNGIUS New York/Wyoming/Canada, 1869-1959 “Dall Sheep”. Signed in pencil lower right “Rungius”.

Etching and drypoint on paper, 9” x 11.25” sight. Framed 16” x 19”.

800/1,200

1139

1139. CARL RUNGIUS New York/Wyoming/Canada, 1869-1959 “White Flag”. Signed in pencil lower right “C. Rungius”.

Etching on paper, 8.75” x 11” sight. Framed 16” x 19”.

500/1,000

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59

1140. RICHARD TALLANT Colorado/Utah/Ohio, 1853-1934 “Northwest Landscape 1889”. Signed and dated lower left “Tallant 89”. Titled verso. Oil on canvas, 24” x 36”. Framed 31” x 43”.

500/1,000

1140

1141. WERNER SEEHOLZER California/Switzerland, 1904-1978 “Sherwood Mountains”. Signed lower left “Werner Seeholzer”. Housed in a Guido frame. Oil on canvas, 22” x 30”. Framed 28” x 35” .

1,200/1,600 Provenance: Private Collection, Cape Cod, Massachusetts.

1141

1142. GREGORY STEWART HULL Arizona, b. 1950 “Sierra Summer”. Signed lower right “G. Hull”.

Titled and dated 1999 on stretcher. Oil on canvas, 40” x 50”. Framed 49” x 59”.

2,000/3,000 Provenance: The Redfern Gallery, Laguna Beach, California.

Private Collection, Cape Cod, Massachusetts.

1142

60

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1143. HERBERT MORTON STOOPS Connecticut/New York/California/Idaho, 1887-1948 A cowboy roping a longhorn. Signed lower right “H.M. Stoops”. Oil on canvas, 34” x 32”. Framed 37” x 35”.

1,000/2,000

1144. NAVAJO TWO GRAY HILLS RUG: 4’3” x 5’9” First Quarter of the 20th Century Large brown, tan and ivory geometric medallion rests at the center of an ivory field and is flanked by small bisected diamonds. Broad ivory main border with brown and tan chevrons arranged to form diamond motifs. 700/900

1143

1145. APPROX. 210 AMERICAN INDIAN ARROWHEADS Various rocks and minerals. Lengths approx. 0.5” to 6”.

300/500 Provenance: Collected in the 1920s. A photocopy of the collector’s inventory accompanies the lot. Some arrowheads have period labels noting their locations.

1146. COLLECTION OF MOSTLY AMERICAN INDIAN ETHNOGRAPHIC ARTIFACTS Approx. thirty-one pieces.

1-2) Two stone ax heads.

3-9) Seven pipes, one carved with diamond designs.

10) Stone amulet carved as a bird’s head. Length 2.25”.

11) Pre-Colombian hardstone amulet formed as a human head. Length 1”.

12-13) Two strands of mostly glass beads, plus several loose beads.

14-16) Three ceramic fragments, probably not American Indian.

17-31) Fifteen carved stone objects.

300/500 Provenance: Collected in the 1920s.

1144

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61

1147. NAVAJO RUG: 2’9” x 5’5” Circa 1930-1940 Three black and dark geometric medallions with serrated edges on an ivory field with black geometric projections about the perimeter.

400/600

1148. AMERICAN SCHOOL 19th Century A Native American maiden in mourning.

Unsigned. Oil on canvas, 17.5” x 22”. Framed 29” x 32”.

800/1,200

1149. GRIFFITH BAILY COALE New York/Connecticut, 1890-1950 “Indians Playing Lacrosse”. Signed lower right “Griffith B. Coale”. Colored pencil on paper, 21” x 15” sight. Unframed.

800/1,200

1147

Provenance: Private Collection, New York.

Driscoll Babcock Galleries, New York.

1148

1149

62

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1151

1150. NATIVE AMERICAN TWO-PART TOBACCO BOX 19th Century Figural and bird decoration. Height 5.75”.

200/400

1151. GRENFELL HOOKED MAT Early 20th Century Depicts a coastal scene of a house, two ships and icebergs.

16” x 26”.

500/700

1152. CANADIAN SCHOOL 1853 Camp scene on the shore. Inscribed in pencil verso “James Kirkwood[?] He did this in the year 1853”. Watercolor on paper, oval 7.75” x 11”. Unframed.

300/500

1153. TWO OBJECTS PERTAINING TO INDIGENOUS PEOPLES 1) Baleen pendant engraved on both sides with writing in a native language. Length 2”.

2) Northwest Coastal carved argillite totem pole. Height 8.75”.

300/500 Provenance: Collected in the 1920s.

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63

1154. PAPUA NEW GUINEA CARVED WOODEN FIGURE OF A BAT WOMAN Early 20th Century Under dark brown paint and with human hair.

Large saucer eyes. Hands and feet carved with claw-like features. Back of the head carved with a spread-wing bat. Height 49.5”. 1,000/2,000

1154

1155. CEREMONIAL OR TROPHY TOOTH NECKLACE Believed to be from the Asmat Tribe of Western New Guinea, Early 20th Century. Teeth are drilled and strung on a fiber cord that is bound in a continuous loop. Necklace length approx. 30”. Teeth lengths approx. 1.25”.

200/400

1155

64

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1157

1156

1156. CHINESE SCHOOL Mid-19th Century Butterflies circling a flowering plant. Unsigned.

Made for export to the Western market.

Watercolor on paper, 16.5” x 13” sight.

Framed 28” x 23”.

800/1,200

1157. CHINESE SCHOOL Mid-19th Century A bird perched on a vine. Unsigned. Made for export to the Western market. Watercolor on paper, 12.25” x 14.25” sight. Framed 21” x 23”.

700/1,000

1158

1158. CHINESE CAMPHORWOOD DOCUMENT BOX 19th Century Brass bound and inlaid. Height 6.5”.

Width 18.75”. Depth 11.75”.

300/500

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65

1159

1159. CHINOISERIE PAINTING Late 18th/Early 19th Century A Chinese lord in a festooned carriage flanked by guards on horseback. Bird, flower and fruit-filled landscape with a temple and pagoda in the distance. Probably French in the style of Watteau.

Oil on canvas, 29” x 44.25” sight. Framed 32.5” x 48”. 1,500/2,500

1160. CHINESE EXPORT ROSE MEDALLION PORCELAIN GARDEN SEAT Circa 1870 Hexagonal. Decorated with finely detailed alternating figural, floral and bird panels and gilt bosses. Height 19”. Width across top 12”.

1,000/1,200 1160

1161. TWO PIECES OF CHINESE BLUE AND WHITE PORCELAIN 19th Century A small covered vase, height 5.25”, and a spoon rest, length 4.75”, both with similar decoration of a herd boy riding an ox in a landscape.

Vase with applied wave decoration at foot.

250/350

1162. CHINESE EXPORT FAMILLE ROSE PORCELAIN PLATE Late 18th/Early 19th Century Central decoration of two birds on a flowering peony tree branch.

Border with floral sprays. Gilt rim. Diameter 8.75”.

250/350 1162

66

Provenance: Bardith, Ltd, New York.

Private Wellesley, Massachusetts Collection.

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1163, set

1163. COLLECTION OF CHINESE EXPORT PORCELAIN Circa 1750 In an Imari pattern. Includes: 1) Large serving bowl with armorial crest. Diameter 10”.

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

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

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

9) Tea caddy with cover. Height 5.5”.

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

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

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

16) Shell-form dish.

17) Small tureen.

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

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

25) Small handled cup. Height 1.5”.

26-28) Three bowls. Diameters 4.5”, 6” and 9”.

1,000/1,500

1164. CHINESE EXPORT ROSE MANDARIN PORCELAIN CUP, SAUCER AND SALAD PLATE 19th Century Saucer diameter 6”. Plate diameter 7.75”.

250/350

1165. SET OF FOUR CHINESE EXPORT BLUE AND WHITE PORCELAIN OCTAGONAL BERRY BOWLS Second Quarter of the 19th Century Diameters 6.25”.

700/1,000

1166. SEVEN PIECES OF CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN 19th Century 1-3) Three pots de creme. Heights from 2.5” to 4”.

4) One small tea jar with wood cover. Height 5”.

5) One leaf-form dish. Length 7”.

6) One oval dish. Length 8.5”.

7) One 6” plate.

500/700

1167. TWO PIECES OF CHINESE EXPORT BLUE AND WHITE PORCELAIN 19th Century A covered cider jug, height 6”, and a covered sauce tureen with undertray, length 7.5”.

600/800

1168. FIVE PIECES OF CHINESE EXPORT BLUE AND WHITE PORCELAIN 19th Century A teapot with domed cover, height 10”, a water pitcher, height 8”, a small lighthouse-form teapot, height 6”, and two mugs, heights 4” and 3.5”.

700/900 Provenance: Mugs: Mellin’s Antiques.

Private Wellesley, Massachusetts Collection.

Similar examples are illustrated in Views of The Pearl River Delta by William R. Sargent, et al.

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67

1169. CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN HOT WATER DISH 19th Century Octagonal. Length 15.5”.

400/600 Provenance: Private Wellesley, Massachusetts Collection.

1169

1170. CHINESE EXPORT BLUE AND WHITE NANKING PORCELAIN HOT WATER DISH 19th Century Octagonal. Length 10.25”.

400/600 Provenance: Private Wellesley, Massachusetts Collection.

1171. CHINESE EXPORT BLUE AND WHITE PORCELAIN LIDDED TUREEN Late 18th/Early 19th Century In melon form. Lid with leaf and stem-form knop. Tureen with lotus pod side handles. Decorated with floral sprays and Nanking-style rims. Height 6”. Length 13”.

800/1,000 1170

Provenance: Linda Willauer Antiques, Nantucket, Massachusetts.

Private Wellesley, Massachusetts Collection.

1172. CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN BRUSH BOX 19th Century Height 3”. Length 7”. Width 4”.

400/600 Provenance: Private Wellesley, Massachusetts Collection.

1171

1173. CHINESE EXPORT FITZHUGH PORCELAIN BRUSH BOX 19th Century Blue and white with overglaze famille rose decoration and gilt highlights. Height 2.5”. Length 7.5”. Width 4”.

400/600

1172

68

1173

Provenance: Eldred’s, Fall Americana, 2009, Lot #855.

The Farm, Wells, Maine.

Private Wellesley, Massachusetts Collection.

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1174, two

1175, two

1176

1174. TWO LARGE CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN TANKARDS Late 19th Century With strap handles. Heights 5.45” and 5.25”.

400/600 Provenance: Mellin’s Antiques, Connecticut.

Private Wellesley, Massachusetts Collection.

1175. TWO SIMILAR CHINESE EXPORT BLUE AND WHITE NANKING PORCELAIN TANKARDS Early to Mid-19th Century Slightly differing borders at rims. Both with dragon-form handles. Heights 5” and 5.25”.

500/700 Provenance: Linda Willauer Antiques, Nantucket, Massachusetts.

Private Wellesley, Massachusetts Collection.

1176. CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN BULB TRAY 19th Century Rectangular, with shaped edges. Exterior with decoration of floral sprays. Height 2.25”. Length 13”. Width 6.5”.

700/900 Provenance: Mellin’s Antiques, Connecticut.

Private Wellesley, Massachusetts Collection.

1177. THREE CHINESE EXPORT ROSE MEDALLION PORCELAIN SERVING PIECES Last Half of the 19th Century An oval platter, length 13.5”, a melon-form bowl with ribbed sides, length 12.5”, and a covered vegetable tureen with gilt chestnut knop, 9” x 10”.

700/900

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69

1178

1178. CHINESE EXPORT REVERSE PAINTING ON GLASS 1179. LARGE COLLECTION OF CHINESE EXPORT OF IMMORTALS ROSE MEDALLION PORCELAIN Mid-19th Century Late 19th/Early 20th Century An engaging scene of the Eight Immortals, five floating Consists of: on white fluffy clouds on a rolling sea and three standing 1-9) Nine 9.5” plates. on shore beneath a pine tree. Interspersed amongst the 10-13) Four 8.5” plates.

Immortals are seven attendants, some in martial poses. In the 14) One 7.5” plate. distance the sky is tinted pale blue and pink for the sunset or 15) One 11” chop plate. sunrise, and in the foreground at right is a rocky outcropping.

16-25) Ten 5.25” dishes.

26-29) Four 4.25” dishes.

Housed in a fine carved wooden frame with fret, cloud and 30-40) Twelve demitasse cups and eight saucers. endless knot designs. 16.5” x 56” sight. Framed 22” x 62”.

1,500/2,500 41-42) Two teacups.

43-44) Two floriform dishes. Lengths 8.25” and 9”.

45-46) Two oval platters. Lengths 10” and 11”.

The Eight Immortals signify prosperity, happiness and longevity 47) One teapot. and are a popular theme across Chinese art forms. They are said to 48-49) Two salts. Diameter 2.5”. live on five islands in the Bohai Sea, including Penglai Mountain50) One small drum-form covered jar.

800/1,000 Island.

70

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1181

1180

1180. TWO RARE CHINESE EXPORT PORCELAIN BOWLS WITH ARMS OF NEW YORK DECORATION Late 18th Century Interiors with cobalt blue and gilt star borders and blue flowers at centers. Exteriors with narrow cobalt blue and gilt geometric borders, and blue flowers and armorial decoration on both sides. Both retain labels for Matthew & Elisabeth Sharpe Antiques. Heights 2.75”. Diameters 5.625”.

1,500/2,500

1181. CHINESE EXPORT PORCELAIN DISH WITH ARMS OF NEW YORK DECORATION Late 18th Century Cobalt blue exterior border with gilt leaf and vine design.

Armorial decoration surrounded by a cobalt blue dot interior border. Retains Elinor Gordon label. 6.625” x 6.125”.

1,000/1,500

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71

1182. CHINESE EXPORT PORCELAIN DRUM-FORM TEAPOT WITH ARMS OF NEW YORK DECORATION Late 18th Century Cover with a pomegranate-form finial. Teapot with applied entwined handle, armorial decoration on both sides, and small red and green floral sprays. Height 5.25”.

400/600

1183. CHINESE EXPORT PORCELAIN TEA CADDY WITH ARMS OF NEW YORK DECORATION Late 18th Century Cover with fruit-form finial. Retains Elinor Gordon label.

Height 6”.

300/500

1185. THREE CHINESE EXPORT PORCELAIN CUPS WITH ARMS OF NEW YORK DECORATION Late 18th Century Two with handles and one without. Each retain Elinor Gordon labels. Handleless cup diameters 3.5”.

500/800

1186. FOUR PIECES OF CHINESE EXPORT PORCELAIN WITH ARMS OF NEW YORK DECORATION Late 18th Century A cream pot, a tea caddy, a handleless cup and a saucer.

Tea caddy height 4.75”. Cup diameter 3.5”.

300/500

1184. SET OF FIVE CHINESE EXPORT PORCELAIN CUPS AND SAUCERS WITH ARMS OF NEW YORK DECORATION Late 18th Century Each with cobalt blue and gilt star rims. Saucer diameters 5.5”.

800/1,200

1182

72

1183

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1184

1185

1186

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73

1187. WILLIAM & MARY THREE-DRAWER CHEST Late 17th/Early 18th Century In oak. Paneled molded drawers of varied depths.

Flat bracket feet. Height 32.5”. Width 36.75”.

Depth 24.5”.

1,000/1,500

1187

1188. UNUSUAL COMB-BACK CORNER CHAIR 18th Century In walnut. High comb back above solid vasiform splats. Scrolled arms. Slip seat. Block corner-molded legs joined with a box stretcher.

Back height 42.75”. Seat height 18”.

800/1,200

1188

1189. WILLIAM & MARY CHEST OF DRAWERS New England, Early 18th Century Hardwood, with two half drawers over three graduated full-width drawers and block feet.

Height 36.25”. Width 37.75”. Depth 20”.

2,000/3,000

1189

74

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1190

1190. WILLIAM & MARY HIGHBOY Rhode Island, Late 17th/Early 18th Century In mahogany and burled walnut veneer. Upper case with two half drawers over three graduated full-width drawers. Lower case with three varied side-by-side drawers. Six trumpet legs joined with scrolled stretcher and end in ball feet. Height 62”.

Width 39.5”. Depth 31.5”.

2,000/3,000

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75

1191. WILLIAM & MARY DRESSING TABLE New England, 18th Century In walnut and walnut veneer, with moldededge top, three varied side-by-side drawers, and trumpet legs. Height 29.25”.

Width 31.5”. Depth 20.25”. 800/1,200

1191

1192. GRAIN-PAINTED BLANKET CHEST Connecticut, Second Quarter of the 18th Century In pine, with the original red and brown grain-painted finish.

Lift top attached with iron hinges. Two faux drawers at front over two working full-width drawers. Flat bracket feet.

Height 42”. Width 43.25”. Depth 18.5”.

1,200/1,800

1192

1193. BANISTER-BACK ARMCHAIR Early 19th Century Under old but not original black paint, showing some minor loss. Crest rail with central heart cutout.

Rush seat. Back height 45”. Seat height 18”.

400/700

1193

76

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1194. BUTTERFLY DROP-LEAF TABLE New England, Mid-18th Century In maple and cherry. Single drawer at one end of apron.

Turned legs joined by a box stretcher. Height 25.75”.

Length 34.5”. Width 15.25” plus two 12.5” drop leaves.

1,200/1,800

1194

1195

1195. QUEEN ANNE DESK-ON-FRAME New England, Mid-18th Century In curly maple. Desk with a slant lid over a full-width drawer. Lid encloses two letter slides, pigeonholes and drawers. Frame with turned legs ending in ball feet.

Height 40.75”. Width 35.25”. Depth 19”.

800/1,200

1196. QUEEN ANNE TILT-TOP CANDLESTAND 18th Century In strongly figured tiger maple. Vasiform pedestal.

Slipper feet. Height 26”. Diameter of top 32.5”.

800/1,200 1196

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77

1197. QUEEN ANNE DROP-LEAF TABLE Probably Maine, 18th Century Hardwood under blue paint. Delicate cabriole legs end in modified pad feet. Height 27”. Length 12” plus two 11” drop leaves. Width 31.5”.

1,200/1,800 1197

1198. RARE REVOLUTIONARY WAR-ERA PUBLICATION “CIVIL PRUDENCE” 1776 “Civil Prudence, Recommended to the Thirteen United Colonies of North-America. A Discourse, Shewing That it is in the Power of Civil Prudence to prevent or cure State Distempers, and to make an industrious, wealthy, and flourishing People; -- Also, to preserve the Balance of Trade, with a replenishing Indraught of Money in any Country, and how it may be done; holding forth the immense Benefits to be obtained by a good Regulation of Trade, and the Stateruining Consequences of the contrary.” Norwich, Conn.: Printed and sold by Judah P. Spooner (1748-1807), 1776.

Wraps. 56pp, incomplete. 7.75” x 5”.

500/1,000

1198

1199. DANIEL WEBSTER AUTOGRAPHED LETTER SIGNED 19th Century One-page handwritten letter, undated, signed “Yours truly Danl Webster”. Framed together with an engraving of Webster.

Letter 9.5” x 7.5” sight. Framed 13” x19.5”.

500/1,000

1200. SIX SILHOUETTES AND A PRINT OF GEORGE WASHINGTON 19th and 20th Century The largest 5” x 3.5”. Framed 9.25” x 7.5”.

500/1,000 1199

1200

78

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1201

1202

1201. ATTRIBUTED TO MARY JANE PEALE New York, 1827-1902 Portrait of Mrs. G.W. Peale. Inscribed verso “Portrait of Mrs. G.W. Peale Phila 1879 for A.C. Peale”. Oil on canvas, 24” x 20”. Framed 29” x 25”.

1,200/1,800

1202. NEW ENGLAND TALL CHEST Late 18th Century Nice old finish. Six full-width drawers. High flat bracket feet.

Height 53”. Width 42.5”. Depth 19.75”.

1,000/1,500

1203. PIPE BOX 19th Century In pine, under a red wash finish. Fitted with a single drawer.

Height 15”.

300/500

1204. I. SEYMOUR TWO-GALLON STONEWARE JUG Troy, New York, Late 19th Century Cobalt blue floral decoration. Height 13.25”.

500/800

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79

1205. EARLY PAINTED PINE BLANKET CHEST Late 18th Century Lift top over three faux drawers over a working full-width drawer. Original teardrop pulls and rat-tail hinges. Shaped bootjack ends. Height 31.5”. Width 40”. Depth 18.5”.

500/1,000

1205

1206. AMERICAN SCHOOL 19th Century Portrait of the Casselberry children of Philadelphia.

Unsigned. Sitters identified verso. Watercolor, 7.5” x 5”.

Framed 10.5” x 8”.

200/300

1206

1207. HAXSTUN & CO. TWO-GALLON STONEWARE JUG Fort Edward, New York, 19th Century Cobalt blue decoration of a pecking hen. Height 15”.

500/800

1208. TURNED BURLWOOD BOWL America, 19th Century Simple incised banding. Height 4.5”.

Diameter 15”.

2,500/3,500

1207

1208

80

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1209. CHIPPENDALE SLANT-LID DESK Connecticut, Circa 1780 In walnut, under an old finish with nice patina. Stepped interior fitted with pigeonholes and drawers with ogee fronts. Case with a near full-width drawer over two half drawers over two graduated full-width drawers. Flat bracket feet. Height 41.5”. Width 37.25”. Depth 21.5”.

1,200/1,800

1209

1210

1210. SIX SILHOUETTES 19th and 20th Century The largest 5” x 4”. Framed 7” x 6”.

500/1,000

1211. CHIPPENDALE CHILD’S CHEST Pennsylvania, Circa 1790 In walnut. Three graduated drawers with cockbead molding. Case fronted by quarter columns.

Flat bracket feet. Height 16.25”. Width 14.75”.

Depth 9.5”.

1,500/2,500

1211

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81

1212. SLANT-LID DESK Second Half of the 18th Century In figured maple. Simple fitted interior with drawers, pigeonholes and removable slide panel. Case with two half drawers over two full-width drawers and flat bracket feet.

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

500/1,000

1212

1213. CHIPPENDALE BLANKET CHEST Late 18th/Early 19th Century, New England Pine lift top attached with replacement hinges. Tiger maple case with two faux full-width drawers over two working full-width drawers, all with molded edges and period engraved brasses. Height 34.5”. Width 37.5”.

Depth 19”.

400/700

1213

1214. COUNTRY CHIPPENDALE CHEST OF DRAWERS Central Massachusetts, Circa 1780 In maple. Five varied drawers across the top, the central with fan carving, over three graduated full-width drawers. High flat bracket feet. Height 42.5”. Width 38.5”. Depth 20”.

1,200/1,500

1214

82

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1215

1215. CHIPPENDALE TWO-PART CHEST-ON-CHEST Connecticut, Circa 1780 In cherry. Upper case with a central fan-carved deep drawer flanked by stacks of two small drawers, all over four graduated full-width drawers. Lower case with four graduated full-width drawers and dovetailed flat bracket feet. Height 72.5”.

Width 39.5”. Depth 19.5”.

2,500/3,500

1216

1216. COUNTRY CHIPPENDALE TWO-PART SECRETARY Possibly Vermont, Circa 1800 In curly and bird’s-eye maple with veneered drawer fronts.

Upper case with two paneled doors enclosing three interior shelves. Lower case with a slant lid enclosing interior pigeonholes and drawers. Four graduated full-width drawers below with cock-bead molding. Flat bracket feet. Height 79”.

Width 39.25”. Depth 20.5”.

2,000/3,000

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83

1217. AMERICAN SCHOOL 19th Century Portrait of a woman. Unsigned. Watercolor on paper, 7.5” x 4.5”. Framed 9.5” x 6.5”.

120/180

1217

1218. J.A. & C.W. UNDERWOOD STONEWARE CROCK Fort Edward, New York, 19th Century Cobalt blue decoration of songbird on a stump. Height 13”.

300/500

1218

1219. PINE SETTLE New Hampshire, Late 18th/ Early 19th Century Under an old red wash finish. Purportedly from the Erving family of Dover, New Hampshire. Height 60.5”. Width 59.5”.

Depth 15”.

2,000/3,000

1220. TWO WINDSOR ARMCHAIRS Probably Rhode Island, 18th Century One painted red, the other black. Back heights approx 37.5”. Seat heights approx 16”.

600/1,000

1219

84

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1221. EDMANDS & CO. TWO-GALLON STONEWARE LIDDED CROCK 19th Century Cobalt blue decoration of a songbird on a fence. Height 11.75”.

300/500 1221

1222. OSCAR MILLER Rhode Island, 1867-1921 Interior scene of a woman knitting and a child playing. Signed lower right “Oscar Miller”.

Oil on canvas laid down on board, 14” x 11”.

Framed 21” x 17”.

250/350

1223. WINDSOR FAN-BACK ARMCHAIR Connecticut, Late 18th Century Old green finish. Nicely scrolled-out ears.

Knuckle arms. Delicate turned legs. Back height 43.5”. Seat height 17.5”. 500/1,000

1222

1224. EARLY ADJUSTABLE CANDLESTAND New England, 18th Century Hardwood under an old painted finish.

Adjustable two-socket candle arm and dish top. Turned splayed legs. Height 37”.

Diameter of top 11”.

300/500

1223

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1224

85

1225, four

1226

1225. SET OF FOUR HEPPLEWHITE SIDE CHAIRS Circa 1800 In mahogany. Shield backs with pierced vertical splats.

Legs joined by H-stretchers, the front legs molded.

Back heights 38”. Seat heights 18”.

800/1,200

86

1226. HEPPLEWHITE BOWFRONT SERVER 19th Century In mahogany, with multicolor conch shell inlay at center of skirt, and band and line inlay on the skirt and at the ankles of the tapered legs. Height 34.25”. Width 53.5”. Depth 23.75”.

700/1,000

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1227

1227. AMERICAN SCHOOL 19th Century Sunset over a mountain river. Unsigned. Boston canvas.

Oil on canvas, 26” x 38”. Framed 32” x 44”.

800/1,200

1228. HEPPLEWHITE TILT-TOP CANDLESTAND Massachusetts, Circa 1800 In mahogany, with string inlay. Cut-corner top on a delicate turned pedestal raised on spider legs. Height 30.5”.

Diameter of top 22”.

250/350

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87

1229. HEPPLEWHITE ONE-DRAWER STAND Rhode Island, Circa 1800 In cherry. Drawer front with bellflower inlay, similar to Howard of Providence. Tapered legs with string inlay.

Blum Antiques label on interior of drawer. Height 27.5”.

Width 17”. Depth 16.5”.

500/700

1229

1230. HEPPLEWHITE BUREAU New England, Circa 1800 In cherry, with four full-width drawers, a nicely scrolled skirt and high flat bracket feet. Height 43”. Width 44.25”.

Depth 22”.

600/900

1230

1231. FEDERAL SLANT-LID DESK America, Circa 1800 In mahogany. Interior pigeonholes, drawers and cupboard with string inlay, the cupboard door also with diamond and geometric inlay. Case with four graduated full-width drawers and French splayed bracket feet. Height 43”. Width 40.25”.

Depth 21”.

800/1,200

1231

88

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1232. SHERATON PEMBROKE TABLE Southern New England, Circa 1805 In mahogany. Top with cut-corner leaves. Single drawer at one end of apron. Slightly tapered reeded legs. Height 28.5”.

Width 23.25” plus two 11.25” drop leaves. Depth 36”.

800/1,200

1232

1233. HEPPLEWHITE BOWFRONT BUREAU New England, Early 19th Century In tiger maple and other assorted wood veneer. Unusual extended top with applied spade-shaped corners. Four fullwidth drawers with hardwood veneer, light and dark wood inlay and period hardware. Block legs. Height 39.75”.

Width 32.75”. Depth 22.25”.

600/900

1233

1234. HEPPLEWHITE BOWFRONT BUREAU AND A FEDERAL SHAVING MIRROR 1) Portsmouth area bureau, Circa 1800, in cherry, with four full-width drawers and high French splayed bracket feet. Height 37.25”. Width 41”. Depth 21.25”.

2) Shaving mirror, Circa 1810, in mahogany and mahogany veneer, with mirror atop three-side-by-side drawers. Height 19.75”. Width 22”.

1,000/1,500

1234

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89

1235

90

1235. SHERATON SOFA Vermont, Circa 1810 In mahogany, with string inlay and tiger maple panels on crest and skirt. Turned front legs. Back height 38”. Seat height 16”. Length 73”.

2,000/3,000

1237. FEDERAL MIRROR America, Circa 1820 Reverse-painted upper tablet depicts a classical landscape.

Frame with lion’s mask flanked by foliate moldings on cornice, and reeded half-columns at sides. Height 47”.

Width 24.75”.

400/600

1236. SHERATON TWO-DRAWER DROP-LEAF STAND Circa 1810 In tiger maple and maple. Turned legs. Height 29”.

Width 16” plus two 7” drop leaves. Depth 18”.

350/450

1238. SHERATON WING CHAIR Massachusetts, Circa 1805 Maroon printed upholstery. Turned, tapered reeded legs fitted with brass casters. Back height 44.25”. Seat height 19”.

600/900

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1239. FEDERAL LOLLING CHAIR Massachusetts, Circa 1800 In mahogany. Scrolled arms and arm supports with diamond and string inlay. Block tapered legs joined by an H-stretcher. Pink and white striped upholstery.

Back height 44.5”. Seat height 16.5”.

800/1,200

1239

1240. WILLIAM HENRY SNYDER New York, 1829-1910 Interior scene with a woman reading. Signed lower left “W.H. Snyder”. Oil on canvas, 15” x 12”. Framed 20” x 17”.

1,200/1,800

1240

1241

1241. SHERATON PEMBROKE TABLE New York, Circa 1805 In mahogany with poplar secondary woods. Single drawer at one end of apron. Slightly tapered reeded legs. Height 29”.

Width 21.75” plus two 10.75” drop leaves. Depth 34”.

600/900

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91

1242

1244

1243

1242. SHERATON BOWFRONT BUREAU Circa 1810 In mahogany. Top with turret corners.

Four full-width drawers with flame birch fronts and bone escutcheons.

Case fronted by three-quarter reeded columns terminating in bulbous tapered legs. Shaped skirt.

Height 41”. Width 43”.

Depth 19.75”.

1,400/1,800

92

1243. TWO-DRAWER DROP-LEAF WORK STAND 19th Century In mahogany. Shaped top and leaves.

Drawers with tiger maple fronts.

Height 31”. Width 20” plus two 8.75” drop leaves. Depth 20.5”.

300/500

1244. COUNTRY SHERATON TWO-DRAWER STAND 19th Century In cherry. Tiger maple banding around perimeter of drawers.

Height 29”. Width 17.5”. Depth 17”.

400/600

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1245 1247

1246

1245. TWO-DRAWER SERPENTINEFRONT STAND Mid-19th Century In mahogany, with tiger maple drawer fronts and string inlay. Tapered legs.

Height 31”. Width 21.5”. Depth 15.5”.

400/600

1246. SHERATON BOWFRONT CHEST Circa 1810 In mahogany and mahogany veneer.

Top with turret corners. Four fullwidth drawers. Case fronted by threequarter turned and reeded columns terminating in tapered feet. Shaped apron. Height 38”. Width 43”.

Depth 23”.

500/800

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1247. SHERATON CARD TABLE Southern New Hampshire, Circa 1805 In cherry, with shaped top and tapered reeded legs. Height 29.75”.

Width 36”. Depth 17.5”. 600/900

93

1248. TWO-PART CORNER CUPBOARD New England, First Half of the 19th Century In pine, with a wonderful old red painted finish. Upper case with twelve-panel glazed door enclosing three fixed shaped shelves. Lower case with three varied side-by-side drawers over two paneled cupboard doors enclosing a single shelf. Height 86.5”. Takes a 25.5” corner.

700/1,000

1248

1249. SHERATON TWO-PART SECRETARY America, Circa 1825 In mahogany and mahogany veneer. Upper case with two arched four-panel glazed doors. Interior fitted with three adjustable shelves. Lower case with a fold-out writing surface over acanthus- and spiral-carved columns flanking two drawers with brass lion’s-head pulls and beaded edges.

Writing surface conceals three shallow drawers with brass pulls. Turned feet. Height 71.5”. Width 35”. Depth 19”.

500/700

1249

94

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1250. SET OF SIX FANCY SHERATON CHAIRS Baltimore, Second Quarter of the 19th Century Green-gold foliate and vine decoration against a black ground. Caned seats.

Back heights 32.5”. Seat heights 17”.

500/1,000

1251. SHERATON CARD TABLE Mid-19th Century In mahogany and mahogany veneer.

Shaped top with ribbon and bow inlay inside. Reeded legs. Height 29.25”.

Width 36.75”. Depth 18”.

1,000/1,500

1252. KITCHEN TABLE, POSSIBLY SHAKER 19th Century In pine and cherry. Single drawer at one side of front apron. Tapered legs.

Height 28.5”. Length 60”.

Width 23.5”.

500/1,000

1250, six

1251

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95

1253

1253. ABBOTT FULLER GRAVES Massachusetts/Maine, 1859-1936 Mending the dress. Signed and dated lower left “Abbot Graves 95”. Oil on canvas, 32” x 46”. Framed 37” x 51”.

7,000/10,000

96

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1254. RARE STONEWARE CAKE CROCK ATTRIBUTED TO SOMERSET POTTERS WORKS Somerset, Massachusetts, 19th Century Impressed “George S. Weeks” over exceptional incised and cobalt blue decoration of two birds, leaves and stars.

Applied handles, one an early replacement. Includes thirteen letters pertaining to George S. Weeks of Acushnet, Massachusetts. Height 8”. Diameter 11.25”.

5,000/10,000

1254

1255. RARE J. & E. NORTON THREE-GALLON STONEWARE CROCK WITH STAG DECORATION Bennington, Vermont, 19th Century Stamped “J. & E. Norton Bennington VT”. Cobalt blue decoration of a stag in a landscape with fence. Height 12.75”.

6,000/8,000

1255

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97

1256. PAIR OF CHINESE EXPORT BLUE AND WHITE ARMORIAL PORCELAIN PLATES Early 19th Century Central decoration of an eagle over a monogram. Cobalt blue border with gilt highlights. Diameters 7.5”.

500/700

1256, pair

1257. CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN OVAL PLATTER Last Half of the 19th Century Set into a later wood stand with slightly splayed legs joined by an X-stretcher. Platter length 20”.

Stand height 19”. Top 21.5” x 18.5”. 700/900

1257

1258

1258. CHINESE EXPORT FAMILLE ROSE PORCELAIN FLUTED BOWL Mid-19th Century Interior and exterior with painted flowering tree branch and courtyard decoration. Height 4”. Diameter 10”.

800/1,000 Provenance: Elinor Gordon.

Private Wellesley, Massachusetts Collection.

1259. CHINESE EXPORT ROSE MEDALLION PORCELAIN GARDEN SEAT Last Quarter of the 19th Century In drum form. Height 19”. Diameter 12”.

800/1,000 1259

98

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1260. PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN CROCUS VASES Late 19th Century Shaped as five conjoined baluster forms around a long central tapering neck topped with a crocus-head mouth. Four-character marks on base. Heights 10”.

With fitted rosewood stands.

700/900

1260

1261. FINE CHINESE EXPORT ROSE MEDALLION PORCELAIN PLATTER WITH MAZARIN Third Quarter of 19th Century Each piece with alternating figural, floral and bird reserves on a gilt ground with scrolling green vines, flowers and butterflies. Both pieces armorially stamped on underside “Prenez Garde 1869” encircling a seated cat. This motto was used primarily by the MacIntosh family of Scotland and the Rickard family of Newfoundland and America. Mazarin length 13”.

Platter length 16”.

800/1,000

1261

1262. CHINESE EXPORT FAMILLE ROSE PORCELAIN BOWL Early 19th Century Alternating panels of figural and quilted decoration.

Height 4.5”. Diameter 10.25”.

800/1,200

1262

1263. CHINESE EXPORT ROSE MEDALLION PORCELAIN PUNCH BOWL Second Half of the 19th Century Interior and exterior decorated with alternating figural, floral and bird panels. Height 6”. Diameter 13.75”.

600/800

1263

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99

1264. CHINESE EXPORT ROSE MEDALLION PORCELAIN CHARGER Circa 1875 Alternating figural, floral and bird reserves around a floral center. Diameter 15”.

600/900

1264

1265. CHINESE EXPORT MANTEL CLOCK Mid-19th Century Carved rosewood case on a two-part carved hardwood stand. Enamel Roman numeral dial set in a gilt metal surround engraved with Chinese floral motifs. Height 19.5”. Width 10.75”. Depth 9.875”.

1,600/2,600

1265

1266. CHINESE EXPORT FAN AND CASE Circa 1850 Fan with painted figural decoration on leaf, and gilt black lacquer sticks and guard. Black lacquer case. Fan housed in a shadow box frame. Fan length 21”.

Frame 17” x 26”.

500/700

1266

100

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1267

1267. CHINESE EXPORT SILVER THREE-PIECE COMPOTE SET Late 19th/Early 20th Century Each with a sea serpent supporting a lotus-form shallow dish with alternating decoration of bamboo, prunus, peach, peony and pomegranates. Wave-form circular bases. Each marked “WH 90” with Wang Hing Hong Kong stamp.

Pair heights 5.5”. Single height 7.5”.

2,500/3,500

1268. CHINESE EXPORT FAMILLE ROSE TEAPOT AND FOUR CUPS 19th Century Ball-form teapot with domed cover, serpent-form handle and spout, and decoration of flower sprays. Similar but nonmatching handled cups. Teapot height 6.5”. Cup heights 3”.

300/500

1269. SEVEN PIECES OF CHINESE EXPORT FAMILLE ROSE PORCELAIN 19th Century 1-2) Two 5” dishes.

3-4) Two 6.25” plates.

5-6) Two spoon rests with shaped edges. Lengths 4.75” and 5.25”.

7) One cup. Height 2”.

250/350

1270. FIVE PIECES OF CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN 19th Century A rectangular covered vegetable dish, length 9.5”, and four rectangular serving dishes, lengths from 9.25” to 12”.

500/700 Provenance: Smallest tray: Polly Latham Antiques, Boston.

Private Wellesley, Massachusetts Collection.

1271. SIX CHINESE EXPORT BLUE AND WHITE PORCELAIN SERVING DISHES 19th Century In various shapes, including square, rectangular, butterfly and oval. Lengths from 8.25” to 12”.

500/700 Provenance: One small dish: Polly Latham Antiques, Boston.

Private Wellesley, Massachusetts Collection.

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101

1272. FOUR CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN SERVING DISHES 19th Century A shrimp dish, a floriform dish and two circular deep dishes. Diameters approx. 9”.

500/700

1273. CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE Last Half of the 19th Century In baluster form, with a floriform rim, and gilt fu dogs at the neck and kylins about the shoulder.

Decorated with alternating floral, bird and figural reserves. Height 14”.

600/800

1274

1273

1274. CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE Last Half of the 19th Century In baluster form, with a floriform rim, and gilt fu dogs at the neck and kylins about the shoulder.

Decorated with alternating floral, bird and figural reserves. Height 18”.

700/900

1275. PAIR OF CHINESE EXPORT FAMILLE ROSE PORCELAIN DISHES Mid-19th Century Decorated with central peony sprays surrounded by a gilt spearhead inner border and an intricate famille rose swag outer border. Diameters 9”.

600/800

1275, pair

1276. CHINESE EXPORT PORCELAIN COVERED MEIPING VASE Circa 1875 Domed cover with fu dog finial. Vase with figural panels on a flower-filled ground, and floral and butterfly borders at shoulder and foot. Height 13”.

400/600

1277. CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE Last Quarter of the 19th Century In rouleau form, with mock ring handles at shoulder.

Decorated with alternating figural, floral and bird panels. Height 10”.

300/500

1276

102

1277

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1279

1278. CHINESE EXPORT BLACK AND GILT LACQUER TEA CADDY 19th Century Square, with lift top enclosing a single compartment.

Decoration of figures in a landscape. Height 4.75”. Width 5”.

Depth 5”.

250/350 Provenance: Private Wellesley, Massachusetts Collection.

1279. PAIR OF CHINESE CARVED MARBLE FOO LIONS 20th Century Nicely carved and detailed. Heights 28”.

2,500/3,500

1281. LARGE COLLECTION OF CHINESE EXPORT ROSE MEDALLION PORCELAIN Late 19th/Early 20th Century Consists of: 1-4) Four 9.5” dishes.

5-8) Four 8.75” dishes.

9-12) Four 8.25” dishes.

13-16) Four bowls. Diameters from 4” to 5”.

17-20) Four octagonal plates. Lengths 9.5”.

21-25) Five square plates. Lengths 6.5” and 7.5”.

26) One octagonal plate. Length 7.5”.

27) One teapot. Height 4”.

28-40) Six teacups and seven saucers.

41-44) Four demitasse cups.

45-48) Four egg cups.

49) One spoon.

50-51) One melon-form salt and pepper.

800/1,000

1280. CHINESE EXPORT POLYCHROME PORCELAIN BOWL AND UNDERTRAY 19th Century Both with cobalt blue and iron red floral sprays, cobalt blue borders with gilt stars, Greek key design and alternating foliate reserves. Bowl height 3.25”. Diameter 8.5”. Undertray diameter 10.5”.

300/400

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103

1282, pair

1282. PAIR OF CHINESE EXPORT ROCKEFELLER PATTERN PORCELAIN HOT WATER DISHES First Half of the 19th Century Interiors painted with figures in a pavilion. Borders with sepia and landscape cartouches on a gilt ground. Lengths 11.5”.

2,500/3,500

104

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1283. TWO GRADUATED CHINESE EXPORT BLUE AND WHITE PORCELAIN PLATTERS 18th-19th Century Nanking-style decoration and elaborate floral borders. Lengths 13” and 14.5”.

600/800 Provenance: Private Wellesley, Massachusetts Collection.

1283, two

1284. TWO PIECES OF CHINESE EXPORT ROSE MEDALLION PORCELAIN Second Half of the 19th Century A mug, height 4”, and a reticulated brush pot, height 4.25”.

300/500 1284, two

1285, three

1285. THREE PIECES OF EARLY CHINESE EXPORT BLUE AND WHITE PORCELAIN 18th Century 1) One Nanking undertray. Length 10”.

2) One chop plate. Length 10”.

3) One tankard with floral sprays. Height 5”.

600/800 Provenance: Letitia Lundeen, Palm Beach, Florida.

Linda Willauer, Nantucket, Massachusetts.

Private Wellesley, Massachusetts Collection.

1286. CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN LIDDED TUREEN 19th Century Tureen with boar’s-head side handles.

Height 8”. Length 12.5”.

400/600

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1286

105

1287. CLASSICAL FIVE-DRAWER BUREAU Circa 1850 In mahogany. Three side-by-side drawers over two fullwidth drawers, all with tiger maple fronts. Paneled sides.

Bulbous feet. Height 31.5”. Width 43.5”. Depth 21.75”.

700/1,000

1287

1288. MANNER OF JOHN GEORGE BROWN America, Early 20th Century Shoeshine boy. Unsigned. Oil on canvas, 10” x 18”.

Framed 22.5” x 14.5”.

800/1,000 Provenance: Private Collection, Cape Cod, Massachusetts.

1288

1289. CLASSICAL THREE-DRAWER BUREAU Circa 1850 In mahogany. Three graduated full-width drawers with tiger maple fronts. Paneled sides. Bulbous feet.

Height 36.5”. Width 43”. Depth 21.5”.

700/1,000

1289

106

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1290, pair

1291. SHERATON SIDEBOARD Massachusetts, Circa 1820 In mahogany and mahogany veneer. Attached mirrored backsplash with reeded vertical supports and urn-form finials.

Top with rippled molded edge. Case with three varied sideby-side drawers over cupboards flanked by bottle drawers.

Cock-bead molding throughout. Turned feet. Handwritten label inside one drawer “Samuel S Bridgham”, an East Providence family. Backboard with painted date 1836, not pertaining to the conception of the piece. Height 60.5”.

Width 73”. Depth 23.75”.

1,000/1,500

1290. JAMES HENRY BEARD Ohio/New York, 1811-1893 Pair of portraits on palettes. Signed lower right “Jas H. Beard”.

Oils on board, 24.25” x 16.5”. Framed 29.75” x 21.5”.

1,500/2,500

1291

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107

1292

1292. FEDERAL BREAKFRONT New York, Circa 1820 In mahogany and mahogany veneer. Upper case with two Gothic glazed paneled doors. Lower case with a full-width drawer over four paneled cupboard doors. Both cases with flat foliate-carved columns at sides. Carved front paw feet.

Height 97”. Width 61”. Depth 22.5”.

1,500/2,500

108

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1294

1293. UNUSUAL SEWING STAND IN THE FORM OF AN EMPIRE CHEST Mid-19th Century In mahogany and pine under its original finish. Dovetail construction. Upper tier with a pincushion, eight spool holders and a small hidden drawer in the molding. Case with four drawers. Height 13”. Width 15.25”. Depth 7.5”.

250/400

1294. ATTRIBUTED TO LOUIS LANG New York/Pennsylvania, 1814-1893 Youth in a garden. Unsigned. Oil on canvas, 14.25” x 17.5”.

Framed 23” x 26”.

1,000/2,000 Provenance: Heritage Auction, Texas, June 10-13, 2009, Lot #77337.

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109

1295. BENJAMIN PIKE & SONS STICK BAROMETER New York City, Circa 1845 Lavishly carved walnut or mahogany case with rococo-style floral, leaf and shell designs and an oval bust profile portrait of George Washington, probably a unique design per a special order. Beveled glass panels cover beautifully engraved ivory scales. Signed on scale “S. Pike & Sons. New York.”. Retains original ivory adjustment key, brass knob to set mercury level, and brass hanging hardware. Height 45”. Width 9”.

3,000/5,000 Benjamin Pike, Sr. (1777-1863) established his instrument manufacturer in New York City around 1800. His eldest son, Benjamin, Jr. (1809-1864), became a partner in 1831 and the firm was renamed Benjamin Pike & Son and moved to 166 Broadway. The name vacillated between “Son” and “Sons” as members of the family joined and left the business; at one point, Benjamin, Jr. opened a competing store at 294 Broadway. In operation until 1916, the Pike firms were leading instrument makers of their day, winning notable awards and achieving financial prosperity.

Benjamin, Jr. built an extravagant estate for his family that later became known as the Steinway Mansion.

1295

110

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1296. ARCHITECTURAL CARVED WOODEN AMERICAN SPREAD-WING EAGLE Mid-19th Century Well-carved. Gold leafed in the Early 20th Century. Height 12.5”. Width 25”. Depth 4.5”.

400/700

1296

1297. PRESIDENT FRANKLIN PIERCE SIGNED LAND GRANT Dated 1854 Grants tracts of land in Alabama. Dated July 15, 1854. Preprinted white paper document completed by hand. Signed lower right “Franklin Pierce”, 14th President of the United States from 1853 to 1857. Paper seal affixed lower left. 10” x 16”. 500/800

1297

1298. SIX PRESIDENT ANDREW JACKSON SIGNED LAND GRANTS 19th Century All grant tracts of land in Alabama. Dated from June 1,1831 to October 1, 1835. Pre-printed vellum documents completed by hand. Signed lower right by Andrew Jackson, 7th President of the United States from 1829 to 1837. All six with paper seal affixed lower left. 10” x 14”.

4,000/6,000

1299. PRESIDENT ANDREW JACKSON SIGNED LAND GRANT Dated 1831 For land near Huntsville, Alabama. Dated July 15, 1831. Pre-printed document completed by hand. Signed lower right “Andrew Jackson”, 7th President of the United States from 1829 to 1837. Paper seal affixed lower left. 9.5” x 14.5” sight. Framed 16.5” x 22”.

500/800

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1298, six

111

1300. RARE CIVIL WAR-THEMED COMMEMORATIVE MILITARY COLLAGE Late 19th Century Charcoal, ink and blue watercolor on paper depicts Union soldiers in battle and leisure scenes. Framed together with a fork, knife and piece of hardtack. Commemorates the service of Andrew C. Brigham of Whitman, Massachusetts, Co. I, 4th Mass. Infantry Band, from 1861 to 1896. 21” x 30” sight. Framed 34” x 41”.

2,000/3,000

1300

1301. GROUP OF ITEMS PERTAINING TO COLONEL WILLIAM S. FISH, 1ST CONN. REGIMENT 19th Century Col. William S. Fish (1833-1879) served with the 1st Conn. Regiment from 1861 to 1864. Lot includes a large colored photograph of Fish, signed lower right “Bendann” for David Bendann of Baltimore (1836-1914), a daguerreotype of Fish, a carte de visite of Fish, an incomplete cased drafting set, a bayonet, a small box containing buttons, several rounds of Civil War ammunition, a G.A.R. veterans medal, etc. Photograph 19.5” x 16.5” sight. Framed 21” x 18”.

400/700

1301

112

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1302. ABRAHAM LINCOLN AND HANNIBAL HAMLIN CAMPAIGN FERROTYPE PIN/TOKEN 1860 Together with an 1840 William H. Harrison presidential campaign medal, one side with a bust portrait and the other with a log cabin and “The Hero of Tippecanoe”. Obverse of Lincoln/ Hamlin ferrotype with portrait of a beardless Lincoln, and the reverse with Hamlin. Frame stamped with olive branches, the candidate name and date 1860. Hole on top for stringing on a ribbon. Diameters 1” and 1.5”. 500/700

1302, obverse and reverse

1303. “GREELEY AND BROWN CAMPAIGN CHART” POSTER Circa 1872 Multicolored print by Gaylord Watson of New York and Chicago. Depicts portraits of the candidates, Lady Liberty, the U.S. Capitol and other patriotic imagery surrounding biographies and other text. 33.5” x 26”. Framed 39” x 31”.

1,000/2,000

1304. AMERICAN PATRIOTIC FOLK ART BOTTLE WHIMSEY 1882 Carved spire-form stopper terminating in a clenched fist inside the bottle. Bottle contains a red, white and blue thread-winder whimsey. Handwritten label “Reel made by Caleb Leavitt March 1882. The white wood is holly. The buff colored is made from a piece of Charter Oak of Hartford Conn. The black is a piece of Perry’s frigate Lawrence, sunk in Lake Erie 60 years. It was obtained at the Centennial in Philadelphia 1876”.

Height 11”.

300/400 1303

1305. PAIR OF PARADE HORSE HEADDRESSES Late 19th/Early 20th Century Both with three red plumes and three brass bells. Mounted on contemporary bases. Heights 20”. Width of bases 10.75”.

500/1,000

1305

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113

1306. HALF-GALLON STONEWARE CROCK 19th Century Cobalt blue decoration of a singing bird.

Height 6”.

200/300

1307. STONEWARE PITCHER 19th Century Cobalt blue decoration of a songbird.

Height 10”.

300/500

1308

1308. J. & E. NORTON FIVE-GALLON STONEWARE CROCK Bennington, Vermont, Late 19th Century Cobalt blue decoration of a basket of flowers.

Height 13”. Diameter 12.75”.

300/600

1309

1309. AMERICAN SCHOOL Late 19th Century Portrait of a Pinscher. Signed “Bailey[?]” lower left and dated 1869. Signature untraced.

Oil on board, 11.5” x 8”. Framed 15” x 11.5”.

500/1,000

1310. GERMAN CARVED AND PAINTED WOODEN NOAH’S ARK 19th Century Includes thirty-two animals. Ark length 24”.

Animal heights from 1” to 4”.

400/700

1310

114

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1311

1311. THEODORE VICTOR CARL VALENKAMPH Massachusetts, 1865-1924 Rolling surf off a rocky coast. Signed and dated lower right “T.V.C. Valenkamph 1900”. Oil on canvas, 24” x 36”.

Framed 29.5” x 41.5”.

800/1,200

1312. RARE FOLK ART PILLOW PERTAINING TO EARLY FLIGHT Late 19th Century Hand-stitched and painted decoration of a Wright-style biplane, birds, “America” and “Europe” on either side of an open ocean, and a question mark querying whether a transAtlantic flight would be possible. Original muslin edging.

15” x 18” not including muslin.

200/500

1313. KALEIDOSCOPE ON STAND 19th Century Leather-wrapped tube. Brass barrel and turning spokes.

Wooden tripod stand. Height 13”. Length 10.5”. 400/600

1314. COPPER SPREAD-WING EAGLE WEATHER VANE TOPPER Late 19th Century Eagle perched on a ball. Green patina. Height 25”.

Width 30”. Depth 7”.

600/900

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115

1315

1315. ROSS EDWARD DICKINSON California, 1903-1978 “The Princess”. Signed lower right “Ross Dickinson”. Titled on William Karges label verso. Housed in a hand-carved wood frame by Bernard Vandueren Galleries, Los Angeles.

Oil on canvas, 46” x 31”. Framed 55” x 40”. 8,000/12,000 Provenance: William Karges Gallery, Beverly Hills, California.

Stewart Galleries, Palm Springs, California.

Private Collection, Cape Cod, Massachusetts.

1316. BOSTON QUEEN ANNE-STYLE WING CHAIR Circa 1900 In mahogany. Cabriole front legs end in pad feet. Legs joined by a block and turned H-stretcher. Cream-colored floral print upholstery. Back height 49”. Seat height 20”.

800/1,200

1316

116

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1317. FEDERAL-STYLE LOLLING CHAIR Circa 1900 In mahogany. Legs, the front legs molded, joined by an H-stretcher. White floral print upholstery. Back height 42.25”.

Seat height 16”.

700/1,000

1318. FEDERAL-STYLE LOLLING CHAIR Circa 1900 In mahogany. Legs, the front legs molded, joined by an H-stretcher. White floral print upholstery. Back height 42”. Seat height 17.5”.

700/1,000

1317

1319. CHIPPENDALE-STYLE WING CHAIR Circa 1900 In mahogany. Molded front legs.

H-stretcher. Blue floral print upholstery.

Back height 44”. Seat height 19.5”.

600/900 1318

1320. FOLK ART CARVED AND PAINTED WOODEN BIRD WEATHER VANE 20th Century

By Wayne Bruce Ayers (Connecticut/Texas, 1952-2011). Bird with tack eyes is perched on an arrow. Signed on base “Wayne Ayers”.

Height of bird 7”. Length 15”. Arrow length 37”.

500/700

1321. L. & J.G. STICKLEY OAK BREAKFAST TABLE Model no. 544. Circular top on four exposed tenoned post legs joined with a cross stretcher. Retains the firm’s red L. & J.G Stickley Handcraft decal. Height 29.5”.

Diameter 48”.

800/1,200 Provenance: Peter-Roberts Antiques, Inc., New York.

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

Private collection, Newport, Rhode Island.

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1321

117

Session II Thursday, July 29, at 9:30 a.m.

Lots 1501-1801 Clocks Lots 1571-1575, 1797-1801 Rugs Lots 1576-1597, 1668-1688, 1765-1785 Property of the India House Lots 1598-1620 Also Paintings, Furniture, Americana, Folk Art and More

118

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1501

1501. CLAGGETT D. SPANGLER Pennsylvania/Maryland, 1848-1911 “Catskill Mountain House”. Signed lower right “Spangler”.

Titled on frame plaque. Oil on canvas, 22” x 42”. Framed 35” x 56”.

2,000/4,000 Provenance: Private Collection, New York, New York.

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117

1502. JASPER FRANCIS CROPSEY New York, 1823-1900 “Greenwood Lake, New Jersey, 1895”. Signed and dated lower right “J.F. Cropsey 1895”. Titled on label verso. Watercolor on paper, 12.75” x 21”. Framed 22.5” x 31.5”.

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

Private Collection, New York, New York.

1502

1503. WILLIAM HART New York/United Kingdom, 1823-1894 “Autumn Landscape with Stream”. Signed lower left “Wm Hart”. Titled on label verso. Oil on board, 9.25” x 8.25”. Framed 18” x 16.75”.

2,500/3,500 Provenance: Debra Force Fine Art, New York.

Private Collection, New York, New York.

1503

1504. ARTHUR PARTON New York/Pennsylvania/United Kingdom, 1842-1914 A misty mountain lake. Signed lower right “A. Parton”. Oil on canvas, 10” x 15”. Framed 18” x 23”.

2,000/3,000 Provenance: Private Collection, New York, New York.

1504

118

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Alvan Fisher Massachusetts, 1792-1863 Lots 1505-1506

1505

1506

1505. “View of the Connecticut River at Middletown”.

Unsigned. Accompanied by a 1971 letter of authentication

by Robert Vose. Edward Dechaux stamp verso. Oil on canvas, 18” x 24”. Framed 21.75”x 27.75”.

3,000/5,000

1506. Riders in a landscape.

Unsigned. Oil on canvas, 14” x 17”. Framed 24” x 27”.

2,500/3,500

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119

1508

1507

1509

1510

1507. ATTRIBUTED TO ALFRED C. HOWLAND New York/California/Massachusetts/New Hampshire, 1838-1909 “Mt. Ascutney & Old Windsor Bridge, VT.” Unsigned but retains portion of original label verso with artist’s name.

Titled on cardboard that is affixed to the reverse. Housed in an Aesthetic Movement gilt frame. Oil on canvas, 10.25” x 8.25”. Framed 15.75” x 13.75”.

400/800

1508. JOHN ROWSON SMITH Pennsylvania/New Jersey/Massachusetts, 1810-1864 Small cottage in a landscape. Signed at lower edge, just right of center “J.R. Smith”. Oil on wood panel, 9.75” x 14”.

Framed 15.25” x 20.5”.

400/800

120

1509. ATTRIBUTED TO WILLIAM PRESTON PHELPS New Hampshire, 1848-1923 Mt. Monadnock valley. Unsigned. Oil on board, 7” x 12”.

Framed 8.5” x 14”.

500/1,000

1510. GEORGE LORING BROWN Massachusetts/New Hampshire, 1814-1889 Niagara Falls. Unsigned. Identified on Alexander Gallery label verso. Watercolor, 11” x 8.25” sight. Framed 17” x 13”.

800/1,200

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1511. AMERICAN SCHOOL 19th Century Mountain landscape with boaters on a pond and a mill. Unsigned. Oil on canvas, 18” x 30”. Framed 20” x 32”.

800/1,200

1511

1512. GEORGE HARRINGTON Massachusetts, 1833-1911 “The Old Home”. Signed lower right “G. Harrington”. Titled on frame plaque. Oil on canvas, 16” x 25”. Framed 31” x 40”.

1,200/1,800

1512

1513. JOHN SAMUEL BLUNT New Hampshire/Massachusetts, 1798-1835 New England scenic landscape with travelers.

Unsigned. Attributed to Blunt by Carl Crossman of Child’s Galleries. Oil on canvas, 17” x 21”. Framed 21.5” x 24.5”.

2,000/3,000

1513

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121

Frank Anderson New York, 1844-1891 Lots 1514-1516

1514

1514. Taughannock Falls, Trumansburg, New York.

Signed and dated lower left “F. Anderson 86”. According to the artist’s family, through Artist Frank Anderson lived in Peekskill, New York, which which this painting descended, the location is is on the east side of the Hudson River. He exhibited at the Taughannock Falls near Ithaca. Apparently the Pennsylvania Academy of the Fine Arts and the National artist frequently visited family in the area. Oil Academy of Design of New York. His obituary describes him as on canvas, 27.5” x 20.5”. Framed 39” x 32”.

5,000/7,000 quiet and modest, but with an inventive and inquisitive mind.

Provenance: Descended in the family of the artist. This is the first time this work has ever been available for public sale.

122

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Frank Anderson New York, 1844-1891 Lots 1514-1516

1515. Figure and cattle on a forest path.

Signed and dated lower left “F.A. 85”. Oil on canvas, 27.5” x 20.5”. Framed 33” x 26”.

4,000/6,000 Provenance: Descended in the family of the artist. This is the first time this work has ever been available for public sale.

1515

1516. Coastal inlet with pier and beached dory.

Signed lower right “F.A.”. Oil on canvas, 12.5” x 15.5”. Framed 22” x 25”. 3,000/5,000 Provenance: Descended in the family of the artist. This is the first time this work has ever been available for public sale.

1516

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123

1517. ALFRED T. ORDWAY Massachusetts/New Hampshire, 1821-1897 “Artists’ Brook North Conway NH 1874”.

Signed lower right “A. Ordway”. Oil on canvas, 29.5” x 49.5”. Framed 34.5” x 55”.

5,000/10,000 Provenance: A New Hampshire Collection of Paintings.

1517

1518. WHITE MOUNTAIN SCHOOL 19th Century Mountain view, possibly Mt. Monadnock.

Unsigned. Oil on canvas, 30” x 48”.

Unframed. 1,000/1,500

1518

1519. AMERICAN SCHOOL 19th Century Reflections in a pond. Signed illegibly and dated 1891 lower right. Oil on canvas, 24” x 18”. Framed 36” x 30”. 1,200/1,800

1519

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1520. BENJAMIN CHAMPNEY New Hampshire/Massachusetts, 1817-1907 “Mount Washington”. Signed and dated lower right “B. Champney 1901”. Titled on frame plaque. Oil on canvas, 16” x 24”. Framed 22.5” x 30.5”.

3,000/5,000

1520

1521. BENJAMIN CHAMPNEY New Hampshire/Massachusetts, 1817-1907 Six pencil sketches. Unsigned. Includes: 1) “Mt. Layayette”. Sheet size 10.25” x 13.25”.

2) “Bishop Hatto’s Mouse Tower Oct 14”.

Sheet size 8.75” x 14”.

3) “On Sawyer’s Pond Aug 30th 60”. Sheet size 7.5” x 11”.

4) “Mt. Washington from Jackson Oct 16th /51”. Sheet size 10” x 13.75”.

5) “White Mnts from the Burnt District Sept 16 56”. Sheet size 10.25” x 13.75”.

6) “Haystack Bartlett Sept 30, 73”. Sheet size 11.25” x 15.5”.

Unframed. 1,500/2,000 Provenance: The estate of Wallace D. Fealy of Stanchfield, Minnesota.

Eldred’s, April 5, 2014, Lot #615. In that sale, Eldred’s offered an historic group of undiscovered drawings by Champney that had been found in a midwest estate auction. Many of the more than fifty works presented are now in the permanent collection of the New Hampshire Historical Society.

1521

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125

1522. HEPPLEWHITE BOWFRONT BUREAU Portsmouth, New Hampshire, Circa 1790 In mahogany and mahogany veneer, the edge of the top and the drawer fronts with exceptional flame satin veneer. Four fullwidth drawers with cock-bead molding. High French splayed bracket feet. Height 36”.

Width 41”. Depth 19.75”.

2,000/4,000

1522

1523. HEPPLEWHITE BOWFRONT BUREAU Portsmouth, New Hampshire, Circa 1790 In cherry. Four graduated full-width drawers with figured wood facings and cock-bead molding. Skirt with rectangular drop panel.

High French splayed bracket feet. Height 36.5”.

Width 39.75”. Depth 23”.

4,000/6,000

1523

1524

1524. SHERATON CARD TABLE Portsmouth, New Hampshire, Circa 1805 In mahogany. Shaped top. Skirt with paneled inlay.

Tapered reeded legs. Height 30.5”. Width 38”.

Depth 17.5”.

1,000/1,500

126

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1525, pair

1525. EXCEPTIONAL PAIR OF CARVED SPREAD-WING EAGLE PLAQUES “WAR” AND “PEACE”

BY IVAH W. SPINNEY Portsmouth, New Hampshire, Late 19th/Early 20th Century Gold finish with good patina. Both signed on back side of head. Heights approx. 17”. Widths 58”.

3,500/5,000

1526. FEDERAL SIDEBOARD ATTRIBUTED TO JUDKINS & SENTER Portsmouth, New Hampshire, Circa 1815 In mahogany and mahogany veneer. Three side-by-side drawers over a stack of three narrow drawers flanked by paneled cupboard doors. Both cupboards contain a single interior shelf. Fluted and stop-fluted moldings at sides of arched case. Vasiform reeded legs end in button feet.

Height 43”. Width 55”. Depth 21.5”.

2,500/3,500

1526

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127

1527

1527. FEDERAL TWO-PART SECRETARY Portsmouth, New Hampshire, Circa 1815 In mahogany and select mahogany veneer. Upper case with two Gothic arched glazed doors over two cupboard doors. The glazed doors enclose interior shelves, and the cupboard doors enclose interior pigeonholes and drawers. Lower case with a fall-front writing surface over a full-width drawer over stacks of square and bottle drawers flanking three graduated drawers.

Turned legs. Height 81”. Width 43.25”. Depth 20.5”.

2,500/3,500

128

1528. NEW HAMPSHIRE MILEAGE MARKER SIGN Early 20th Century Lists mileage for Wolfeboro, Ossipee, Union and Rochester, with left and right pointing hands indicating directions. Black lettering on a faded white ground. 17.5” x 52.5”. 300/500

1529. SHERATON CARD TABLE Salem, Massachusetts, Circa 1805 In mahogany, with shaped top and tapered reeded legs.

Height 29.5”. Width 37”. Depth 18”.

500/700

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1530, four

1530. SET OF FOUR FEDERAL ARMCHAIRS ATTRIBUTED TO SAMUEL MCINTIRE Salem, Massachusetts, Circa 1800 In mahogany. Shield-form backs. Diminutive arms with carved rosettes where arms meet supports. Seats with tan, brown and salmon striped upholstery. Molded tapered legs end in spade feet. Back heights 37.5”. Seat heights 18”.

4,000/6,000

1531. SALEM CORNER WASHSTAND North Shore of Massachusetts, Circa 1800 In mahogany. Tall backsplash with small shelf. Fitted top.

Medial shelf with single drawer. Height 44”. Takes a 15.5” corner. 200/300

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129

1532

1532. SHERATON SERPENTINE-FRONT CARD TABLE North Shore of Massachusetts, Early 19th Century In mahogany, with banded inlay on top edge, string inlay on skirt panels, satinwood half-round pilasters and reeded legs. Height 28.5”. Width 36”. Depth 17.5”.

800/1,200

1533. CHIPPENDALE SERPENTINE-FRONT BUREAU North Shore of Massachusetts, Circa 1790 In mahogany, with four graduated full-width drawers and bold ogee bracket feet. Height 32.75”. Width 41.5”.

Depth 21.25”.

2,000/3,000

1533

1534

1534. SHERATON CARD TABLE North Shore of Massachusetts, Circa 1805 In mahogany and mahogany veneer, with alternating wood inlay to edge of top, and string inlay to skirt. Serpentine front and sides. Tapered reeded legs. Height 30”. Width 36”.

Depth 17.5”.

1,200/1,800

130

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1535

1535. BOSTON SCHOOL Circa 1850 Pair of family portraits depicting a husband and wife, each holding a child. Both with canvas preparer’s stamps “Morris No 17 Exchange Street Boston”. According to Norman Muller’s Checklist of Boston Retailers in Artist’s Materials: 1823-1887, the firm of Charles A. Morris was located at 17 Exchange Street in 1849. Unsigned. Housed in contemporary burled veneer frames. Oils on canvas, 30” x 25”. Framed 36.5” x 31.5”.

3,000/5,000 Provenance: Private Boston-area Collection.

1536. DANIEL J. STRAIN Massachusetts, 1847-1925 Signed and dated lower right “Daniel Strain Paris 1882”.

Remnants of a Boston Art Club label verso. Oil on canvas, 36” x 22”. Framed 45” x 31”.

800/1,200

1537. WILLIAM KEESEY HEWITT Pennsylvania, 1817-1893 Portrait of a man. Inscribed verso “Presented to N.P. Meredith as a token of devoted friendship and high esteem by W.K. Hewitt”. Philadelphia framer’s label verso. Oil on board, 6” x 5”. Framed 9” x 8”.

300/500 William Keesey Hewitt was a Philadelphia artist known for his work with Currier & Ives.

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131

Ella Emory Hingham, Massachusetts, 19th Century Lot 1538

1538

1538. Rare and important view of the East Chamber, Peter Cushing house, Hingham, Massachusetts, 1878.

Shows a slant-lid desk, a fireplace with tall brass andirons and a fire going, a large wing chair, a canopy bed with toile bed hangings, a long covered center table, and two kittens, named Tweedledum and Tweedledee, one playing under the center table and the other nearby on the straw floor covering.

Oil on canvas, 15.5” x 26.75”. Framed 18” x 30”.

40,000/60,000

132

This is the companion painting to one illustrated in Little By Little: Six Decades of Collecting American Decorative Arts

by Nina Fletcher Little (E.P. Dutton, Inc., 1984). Pieces in the Little collection were purchased from Matthew Cushing in 1957 when Fletcher Little visited the Cushing homestead. Cushing kept this painting because it had the two family cats, Tweedledum and Tweedledee, in the picture.

“In 1878, the child Alice Cushing, accompanied by her mother and her Aunt Ella Emory, went to spend the summer in the Peter Cushing house in Hingham, Massachusetts. Aunt Ella was an amateur artist and occupied herself by painting the interiors of four of the rooms as they appeared during her visit. Built about 1678, the house was refurbished during the mid-eighteenth century. At the time the pictures were painted, the majority of the furnishings dated back to the eighteenth century, although a few Victorian pieces had begun to creep in. All these features were duly observed and carefully recorded by Ella Emory, and her canvases are not only charming examples of their period but also visual documents recording the changes in life-style that took place in the life of one family over a span of two hundred years.”

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133

1539. JOHN HENRY DOLPH New York/Ohio, 1835-1903 A dog and kitten standing over a bowl. Signed lower left “J.H. Dolph”. Oil on canvas, 8” x 10”. Framed 12” x 14”.

800/1,200

1540. JOHN HENRY DOLPH New York/Ohio, 1835-1903 Two kittens at play. Signed lower left “J.H. Dolph”. Oil on canvas, 8” x 10”. Framed 12” x 14”.

800/1,200

1539

1540

1541

1541. JAMES MCDOUGAL HART New York, 1828-1901 Study of a bull’s head. Signed lower right “James Hart”.

Oil on canvas, 21” x 16”. Framed 26” x 21”. 1,200/1,800

1542. AMERICAN SCHOOL 19th Century Two kittens. Unsigned. Oil on canvas, 20” x 24”. Unframed.

500/1,000

1542

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1543

1544

1543. ALFRED WORDSWORTH THOMPSON New York/Maryland/New Jersey, 1840-1896 The Grange Inn. Signed lower left. Oil on canvas, 18” x 27”.

Framed 24.5” x 33.5”.

7,000/10,000

1544. VICTOR DE GRAILLY New York/France, 1804-1889 West Point. Oil on board, 23.25” x 28.5”. Framed 28.5” x 33”.

3,000/5,000

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135

1545. WILLIAM SAMUEL HORTON New York/Michigan/France, 1865-1936 “Ravens on the Balcony”. Signed lower left “W.S. Horton”. Titled on gallery label verso. Oil on canvas, 25” x 30.5”. Framed 36” x 41.5”.

4,000/6,000

1546. EDWIN AUSTIN ABBEY Pennsylvania/New York/England, 1852-1911 Portrait of a man wearing a white cape. Signed and dated lower right “E.A. Abbey 90”. Watercolor on paper, 19.5” x 8”. Framed 22.5” x 11.5”. 800/1,200

1545

1547. HERMANN (ARMIN) KERN Hungary, 1838-1912 The Blacksmith. Signed lower left “Kern H.” and dated illegibly. Oil on canvas, 16.5” x 21”. Framed 22” x 26.5”.

1,000/1,200

1547

1546

136

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1548

1548. DAVID GILMOUR BLYTHE Pennsylvania/Ohio, 1815-1865 “Don Quixote”. Signed lower right “Blythe”. Oil on canvas, 24” x 20”. Framed 31” x 27”.

6,000/9,000 Provenance: The Collection of Harry Stone, New York.

Private Collection, Massachusetts.

Literature: Dorothy Miller’s The Life and Work of David G. Blythe (Pittsburgh: University of Pittsburg Press, 1980), p. 71 notes “There are two paintings probably painted during Blythe’s Pittsburg period which do not use Pittsburgh persons or settings.

They are not like his other Pittsburgh paintings in color and brushwork; if not the theme. One is of Don Quixote, a subject unique for Blythe. Don Quixote wears green knickers and red hose and reclines easily in a chair, illustrating with sweeping gestures what he is saying to Sancho. … This is the only painting in which Blythe has drawn his subject from literature”.

The painting is illustrated in The World of David Gilmour Blythe by Bruce W. Chambers, p. 144, which notes the painting is “missing”.

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137

1549, pair

1549, two

1549. WILLIAM GUY WALL 1550. HUDSON RIVER SCHOOL New York/Ireland, 1792-1864 19th Century Pair of landscapes. One signed lower right “W.G.W.”. The Two landscapes. Unsigned. Oils on board, 4.5” x 7”. Framed other unsigned. Oils on paper, 3” x 4.75”. Framed 12” x 14”.

10” x 14”.

500/700 2,000/3,000 Provenance: Phillip’s, New York, January 1979 (as noted verso).

Private Collection, Cape Cod, Massachusetts.

138

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1551. CLINTON LOVERIDGE New York/New Hampshire, 1838-1915 Sheep in a farmyard. Signed faintly lower left “Loveridge”.

Oil on board, 6” x 9”. Framed 10.5” x 13.5”.

600/900

1551

1552. JOHN JOSEPH ENNEKING Massachusetts/New York/Maine/Ohio, 1841-1916 Sunset in the forest. Signed lower left “Enneking”. Oil on board, 9” x 12”. Framed 14” x 17”.

1,000/1,500

1552

1553. EDWARD B. GAY New York/Ireland, 1837-1928 River landscape. Signed lower left “Edward B. Gay”. Oil on canvas, 20” x 16”. Framed 29” x 25”.

1,000/1,500 1553

1554. JOSEPH MORVILLER Massachusetts/France, 1800-1870 New England landscape. Signed and dated faintly lower right “J. Morviller 1864”. Oil on canvas, 16” x 27”.

Framed 23.5” x 34.5”.

3,000/5,000

1554

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139

1555. THOMAS MICKELL BURNHAM Michigan/Massachusetts, 1818-1866 “Picnic on the Mohawk”. Signed lower right “Burnham”. Titled on frame plaque. Oil on canvas, 29” x 36”. Framed 37” x 45”.

3,000/5,000

1555

1556. WILLIAM EDWARD NORTON Massachusetts/United Kingdom, 1843-1916 Figure on a beach. Signed lower left “W.E. Norton”.

Oil on canvas, 10.5” x 15.75”. Framed 20” x 25”.

2,000/3,000

1556

1557. CHARLES WARREN EATON New York/New Jersey/The Netherlands, 1857-1937 “Flemish Highway”. Signed faintly lower left “C.W. Eaton”. Titled verso. Oil on canvas, 20” x 24”.

Framed 25” x 30”.

2,000/3,000

1557

140

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1558. FRANCIS AUGUSTUS SILVA New York, 1835-1886 “Summer in Connecticut”. Signed and dated lower left “Aug. 14 ‘80 Silva”. Titled on frame plaque.

Watercolor on paper, 9.25” x 15.5” sight. Framed 18” x 24.75”.

2,000/3,000

1558

1559. HENRY PEMBER SMITH New York/Connecticut/New Jersey, 1854-1907 Pier houses on the shore. Signed lower right “Henry P. Smith”. Oil on canvas, 12” x 18”. Framed 18” x 24”.

1,500/2,500

1559

1560. HENDRIK-DIRK KRUSEMAN VAN ELTEN New York, 1829-1904 Farmyard scene. Signed lower right “Kruseman Van Elten”. Watercolor on paper, 8.5” x 13.75” sight.

Framed 19.5” x 23”.

500/1,000

1560

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141

1561. WALTER FRANKLIN LANSIL Massachusetts/Maine, 1846-1925 “Boston Harbor 1879”. Signed and dated lower right “W.F.L. 1879”. Titled on frame plaque. Oil on canvas, 11” x 17.25”. Framed 14.5” x 21”.

1,500/2,000

1561

1562. WALTER FRANKLIN LANSIL Massachusetts/Maine, 1846-1925 “Gloucester, Massachusetts”. Unsigned. Identified and titled on Vose Galleries label verso. Oil on canvas board, 9” x 12”. Framed 15” x 18”.

1,000/1,500

1562

1563. JOHN WILLIAM HILL New Jersey/California, 1812-1879 “The Hudson River at Caldwell’s Landing”. Signed lower right “J.W. Hill 1873”. Titled on gallery label verso. Watercolor on paper, 8” x 12” sight. Framed 13.25” x 17.25”.

5,000/10,000 Provenance: Christie’s East, New York, October 4, 2000, Lot #24.

Sotheby’s, New York, May 19, 2004, Lot #66.

Thomas Colville Fine Art (label verso).

1563

142

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1564

1565

1564. CHARLES HENRY GIFFORD Massachusetts, 1839-1904 Fishing off the coast, likely Gay Head, Martha’s Vineyard, Massachusetts. Signed and dated lower left “C.H. Gifford 1879”. Oil on canvas, 9” x 14”. Framed 13.25” x 18.25”.

10,000/15,000

1565. CHARLES HENRY GIFFORD Massachusetts, 1839-1904 Vessels off the coast. Signed and dated lower left “C.H. Gifford 94”. Oil on canvas, 13” x 18”. Framed 18” x 24”.

8,000/12,000 Provenance: Private Collection, Connecticut.

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143

Alfred Thompson Bricher New York/New Hampshire, 1837-1908 Lots 1566-1570

1566

1566. Rocky coastline, Narragansett Bay, circa 1880.

Signed lower left “AT Bricher”. Oil on canvas, 22” x 32”. Framed 29.25” x 39”.

18,000/22,000

144

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145

Alfred Thompson Bricher New York/New Hampshire, 1837-1908 Lots 1566-1570

1567. Pair of coastal sketches.

Signed with the artist’s monogram lower right.

Mixed medias on paper, 2.5” x 7” sight. Framed 9.25” x 13.75”.

1,500/2,500

1567, pair

1568. Two coastal views.

Both signed lower right “AT Bricher”. Watercolors on paper, 9.5” x 19.5”. Framed 18” x 28”. 4,000/6,000

1567, two

146

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Alfred Thompson Bricher New York/New Hampshire, 1837-1908 Lots 1566-1570

1569

1570

1569. ALFRED THOMPSON BRICHER New York/New Hampshire, 1837-1908 Rocky coastal scene. Signed lower left “AT Bricher”.

Watercolor on paper, 9” x 20” sight. Framed 20” x 31”.

2,000/3,000

1570. ALFRED THOMPSON BRICHER New York/New Hampshire, 1837-1908 “Along the Coast”. Signed lower right “AT Bricher”. Titled on gallery label verso. Watercolor on paper, 11.75” x 25.75” sight. Framed 22.25” x 36.25”.

3,000/5,000 Provenance: Taggart, Jorgensen & Putman Gallery, Washington D.C. Birmingham Musuem of Art (label verso).

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147

1571. GRAIN-PAINTED TALL-CASE CLOCK New England, First Half of the 19th Century Painted red and chrome yellow with black and mustard yellow borders. Bonnet with simple fretwork and arched dial door. Case with arched pendulum door and simple flat bracket feet. Painted Roman numeral dial with second sweep.

Wooden works. Height 87.75”. Width 16.5”. Depth 9.5”.

1,000/1,500

1572. ELI TERRY PILLAR AND SCROLL SHELF CLOCK 19th Century Mahogany and mahogany veneer case. Retains original label.

Height 29”. Width 16”. Depth 4.5”.

400/700

1573. AARON WILLARD FEDERAL BANJO CLOCK Circa 1825 Mahogany case with gilt wooden finial and brass side arms.

Reverse-painted lower glass depicts a naval battle scene.

Roman numeral dial signed “Aaron Willard Boston”.

Height 40”. Width 10”. Depth 4”.

800/1,200

1574. PAUL ROGERS TALL-CASE CLOCK Berwick, Maine, Late 18th/Early 19th Century Butternut case. Bonnet with three brass finials on plinths and a broken arch ending in carved rosettes. Arched dial door flanked by brass-capped full columns. Trunk with arched pendulum door flanked by brass-capped fluted quarter columns. Base with nicely shaped bracket feet. Burnished steel dial with second sweep and calendar dial. Eight-day movement. Face signed. Complete with pendulum, weights and key. Height 85”. Width 18”. Depth 10”. 1,500/2,500

1571

148

1575. AARON WILLARD TALL-CASE CLOCK Boston, Circa 1800 Fine Roxbury mahogany and mahogany veneer case. Bonnet with pierced fretwork joining three plinths supporting brass ball and steeple finials. Arched glazed dial door flanked by fluted full columns with brass stop fluting. Paneled molded pendulum door in select grain mahogany veneer. Sides of trunk with fluted quarter columns with brass caps and brass stop fluting. Pendulum door and base panel with string inlay. Ogee bracket feet. Painted metal Arabic numeral dial with floral decoration at corners. Moon phase with ship decoration. Signed on face “Aaron Willard”. Includes weights and pendulum. Height 83.5”. Width approx. 19.5”.

Depth 9.5”.

10,000/15,000

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1572

1573

1574

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1575

149

1576. HERIZ RUG: 8’0” x 10’0” Second Quarter of the 20th Century Broad midnight blue, rust red, ice blue and bright ivory gabled medallion suspends midnight blue pendants.

Dark red field with an ivory subfield and red and blue spandrels. Stylized gold, blue, pink, red and ivory elements throughout. Gold, red and midnight blue borders. 700/1,000

1577. SAROUK RUG: 3’0” x 6’9” Circa 1925 Abrashed red field with a symmetric arrangement of floral bouquets and flowering branches rendered in light blue, dark blue, faded gold and subtle brown. Gold guard borders contain some Arabic script in dark red.

Dark blue main border with traditional floral elements.

300/500

1576

1578. BAKHTIARI RUG: 6’10” x 10’0” Third Quarter of the 20th Century Cruciform bright ivory field above an abrashed garnet subfield. Elaborate floral bouquets and clusters in shades of red, blue, dark green, pink, ivory and yellow throughout. Dark blue floral spandrels. Red and bright ivory borders.

700/1,000

1579. PAIR OF CONJOINED SOUMAC SADDLE BAGS: 2’2” x 4’7” Mid-20th Century A variety of zig-zag, diamond, barber pole and latch hook motifs run in alternating rows across the faces.

Rendered in muted shades of red, green, blue, yellow, brown and ivory.

150/250

1578

150

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1581

1580

1580. CAUCASIAN DESIGN RUG: 5’3’ x 6’9” 20th/21st Century Red field with staggered rows of light blue, dark blue, pea green, dark salmon pink, ivory, red and yellow geometric medallions, each containing a ribbon and stylized blossom motif. Navy blue guard borders. Ivory main border with crab motif. 500/700

1581. TORBA RUG: 1’5” x 3’10” Late 19th Century Dark rust red field with a pair of navy blue medallions, bisected salmon red and ivory medallions about the perimeter, and small ivory stylized blossoms throughout. Borders with traditional tribal motifs.

200/300

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1582

1582. TRIBAL STORAGE BAG IN A SOUMAC RUG WEAVE: 2’8” x 4’1” Early 20th Century Red field with several rows of repeating bright ivory, dark blue, slate blue, red and salmon pink stylized motifs. Simple border of colorful chevrons. Broad flatweave panel below. 200/400

151

1583. CAUCASIAN DESIGN RUNNER: 3’2” x 25’10” 21st Century Scarlet red field with geometric latch hook medallions, Lesghi stars and hexagonal latch hook medallions in shades of red, blue, ivory, pale yellow and subtle dark amethyst. Light blue and ivory borders.

1,000/1,500

1584. SAROUK RUG: 9’9” x 23’0” Third Quarter of the 20th Century Ivory field with an elaborate and colorful medallion surrounded by satellite bouquets rendered in scarlet red, marine blue, salmon pink, ivory, gold and subtle brown.

Tomato red spandrels with graceful flowering branches. Pink, blue and red borders.

500/1,000

1585. FLATWOVEN BOKHARA DESIGN RUG: 4’0” x 10’2” Late 20th Century Blue, green and ivory quartered medallions on a red field flanked by a single gray border with traditional repeating elements. Colorful checkered end panels.

300/500

1586. BIDJAR MAT: 2’0” x 2’5” Second Quarter of the 20th Century A small light blue geometric medallion is surrounded by traditional Herati pattern in faded shades of pink, green, blue, yellow and a rich brown. Borders with serpentine and zig-zag vines. 150/200

1587. KAZAK RUG: 3’9” x 7’4” 19th Century Dark blue geometric medallions contain stylized red, ivory and faded yellow blossoms. Medallions arranged within a green lattice that cascades down the red field. Blue subfield echos medallions. Ivory, blue and yellow borders. 300/500

1588. AFGHAN BELOUCH RUG: 3’3” x 3’6” Second Quarter of the 20th Century Two columns of slate blue and rich cochineal red tribal guls on a cochineal red field. Red, blue, brown and subtle ivory borders. 150/250

1583

152

1589. SERAPI DESIGN RUNNER: 2’6” x 9’9” 21st Century Four stout gabled medallions in rust red, navy blue, pale gold and bright ivory occupy an ivory field traversed by green, tan, blue and gold flowering vines. Dark rust red border features turtle motif.

400/500

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1592

1590. SERAB RUG: 3’1” x 10’5” Third Quarter of the 20th Century Red field with traditional linked geometric medallions containing stylized elements and a striped pattern, all rendered in dark red, navy blue, Bengal orange, ivory and tan.

Dark red, dark blue and ivory borders.

400/600

1594. CAUCASIAN DESIGN RUNNER: 2’7” x 13’1” 21st Century Ivory field with a single column of bold stylized elements connected by a flowering vine in scarlet red, dark blue, light blue, dark amethyst, salmon pink, and subtle shades of green and yellow. Red and blue borders.

400/600

1591. NORTHWEST PERSIAN: 4’10” x 10’10” Third Quarter of the 20th Century Midnight blue, moss green, dark red and dark ivory geometric medallions contain and are surrounded by stylized blossoms and bird figures in colors to match the medallions.

Dark red field. Green, red, blue and ivory borders with repeating elements, including boteh.

450/650

1595. TURKISH RUG: 3’11” x 6’9” Early 20th Century Blue field with stylized elements and three octagonal medallions with latch hook perimeters in bright red, salmon pink, ivory, brown, deep green and pale yellow. Broad ivory main border with crab motif.

250/350

1592. HERIZ RUG: 7’8” x 11’4” Circa 1970 Dark charcoal gabled medallion with an overlapping red and blue center and suspended charcoal pendants. Bright red field with traditional stylized elements in blue, gold, pink and bright ivory throughout. Abrashed blue spandrels. Gold guard borders. Abrashed charcoal main border. 1,400/1,800

1593. TURKISH PRAYER RUG: 2’6” x 3’7” 19th/20th Century Empty red field outlined in blue is capped by a stepped mihrab below a faded yellow panel. Ivory, brown, abrashed yellow and blue borders.

100/200

1596. KILIM PRAYER RUG: 2’1” x 3’5” Late 19th Century Mihrab suspends a blue and green lamp above stylized branches in blue and faded shades of pink, yellow and ivory.

Red field with green and charcoal borders.

200/300

1597. AFSHAR RUNNER: 1’7” x 7’3” First Half of the 20th Century Multiple rows of repeating stylized elements traverse a dark blue field. Blue and ivory borders.

250/400

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153

Property from

Th e Indi a Ho use , New Yo rk The landmark India House building, in lower Manhattan, was constructed in the 19th Century and was used by several private companies and enterprises prior to it becoming the home of the India House organization in 1921. The building is in the style of a Renaissance palazzo, and the name references the Indies, epitomizing the rare and exotic, and the Dutch West India Company, the first colonizers of Manhattan.

India House, the organization, was established in 1914 by a group of businessmen who wanted to promote foreign trade. It existed for many years as a social club, and its diverse collection of Maritime, Asian and New York art was renowned.

Several of the items presented here are included in A Descriptive Catalogue of the Marine Collection To Be Found at India House, a book published in an edition of 1,000 copies for the Board of Governors of India House in 1935.

1598. LARGE CHINESE LACQUERED WOOD FIGURE OF A SEATED LAUGHING BUDDHA HOLDING A BALL Early 20th Century This Buddha graced the entrance to India House and was an icon of good luck to the members, who would rub its belly upon entering and leaving the club. Three-character inscription on his left side. Affixed to a separate wooden pedestal. Presentation inscription on plaque “Presented to India House by Morley L. Cho”. Cho was an influential member of the China Institute in New York during the Last Quarter of the 20th Century. Buddha height 24”. Pedestal height 46”.

2,500/3,500 Literature: Carl C. Cutler’s A Descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), #624, p. 136.

1598

154

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1599

The Astor House was built by John Jacob Astor, who assembled the lots around his former house until he had purchased the full block in the heart of the city’s most fashionable residential district. Construction began in 1834, and the hotel opened in June 1836 as the Park Hotel. It was located on the west side of Broadway between Vesey and Barclay Streets, across from City Hall Park and diagonally across from the offices of the New York

1599. ATTRIBUTED TO JOHN WILLIAM HILL Herald. The building was designed by Isaiah Rogers, who in 1829 New Jersey/California/England, 1812-1879 had designed the first luxury hotel in the United States, the Astor House, Rendezvous of the New York Merchants and Tremont House, in Boston.

Ship Captains, circa 1854. For many years the Astor House was the favorite meeting place for New York merchants.

Astor House contained 309 rooms in five stories, with servant’s Oil on canvas, 36” x 48”. Framed 39.75” x 49.5”. rooms on the sixth floor, whose mezzanine windows opened 3,000/5,000 Provenance: James A. Farrell (President of U.S. Steel), New York, donated to India House, circa 1920.

Literature: Carl C. Cutler’s A descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), #100, p. 41, with an extensive description.

in the frieze below the building’s cornice. It had gaslights – the gas was produced in the hotel’s own plant – and bathing and toilet facilities on each floor, with the water pumped up by steam engines. Its tree-shaded central courtyard was covered over in 1852 by an elliptical vaulted cast iron and glass “rotunda” designed by James Bogardus. Under the direction of its proprietor, “Col.” Charles A. Stetson (1837–1877), it was the city’s most stylish luncheon place for gentlemen. It featured a curving bar, and side dining rooms entered from Vesey Street or Barclay Street. Guests could order from thirty meat and fish dishes offered daily. Although by the 1850s some restaurants allowed men and women to dine together, and others had a special ladies’ dining room with separate entrances to reserved drawing rooms, the Astor House would not admit unaccompanied women to enter, a policy which prevented prostitutes from nearby brothels from plying their trade in the hotel.

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155

1600

1601

1600. HAND-COLORED LITHOGRAPH “VUE GÉNÉRALE 1601. HAND-COLORED ETCHING “NEW YORK, FROM DE NEW-YORK PRISE A VOL D’OISEAU” GOVERNORS ISLAND” (“A View of New York A Bird’s-Eye View”.) After John After William Guy Wall (America, 1792- c. 1864). Engraved Bachmann (France, active 1830-1860). Published by Asselineau,

by John Hill (America, 1770-1850). Published by Henry 1851. On paper, 16” x 23” sight. Framed 28” x 33.75”.

I. Megarey, circa 1815. Depicts a view of New York City 600/800 from Governors Island, with a soldier patrolling outside a fortification, a sailboat and sailing ship in the harbor, and the Literature: city in the background. On paper, 15.5” x 22” sight. Framed Carl C. Cutler’s A descriptive Catalogue of the Marine 20.25” x 26.75”.

400/600 Collection at India House (At the Sign of the Gosden Head, New York: 1935), #417, p. 122.

Literature: Carl C. Cutler’s A descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), #413, p. 122.

156

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Property from The India House, New York

1602. “BASIC COMMODITIES OF COMMERCE” SPECIMEN CABINET Circa 1922 Mahoganized wood case with thirty labeled drawers containing specimens and samples. Brass plaque at top engraved “Basic Commodities of Commerce Prepared by The Economic Laboratories Washington Chas. R. Toothaker, Curator Philadelphia. Presented to The India House James A. Farrell April 28, 1922”. Drawers labeled “Corn Products”, “Grains”, “Minor Foods”, “Sugar”, “Tea Chocolate Coffee Tobacco”, “Spices and Flavors”, “Drugs”, “Natural Dyestuffs”, “Tanning Materials”, “Rubber”, “Gums and Resins”, “Oil Seeds and Oils”, “Waxes”, “Woods”, “Cotton”, “Flax”, “Vegetable Fibres”, “Rope and Brush Fibres”, “Silk”, “Wool”, “Animal Hairs”, “Furs”, “Leather”, “Animal Products”, “Iron and Steel”, “Metallic Minerals”, “Non-Metallic Minerals”, “Minerals and Building Stones”, “Coal and Petroleum” and “Coal Tar Products”. Height 60.75”. Width 45”. Depth 17”.

1,500/2,500

James Augustine Farrell Sr. (February 15, 1863-March 28, 1943) was president of U.S. Steel from 1911 to 1932. A major business figure of his era, Farrell expanded U.S. Steel by a factor of five during his presidency, turning it into America’s first billion-dollar company. Farrell was also a champion and early pioneer of export markets, and he massively expanded U.S. steel exports to the world with the help of the shipping subsidiary he founded, the Isthmian Steamship Company.

1602

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157

1603. COLLECTION OF UNITED STATES FRACTIONAL NOTES Twenty-one fractional notes of various denominations and sizes, housed together in a common frame. Brass plaque affixed to frame labeled “United States Fractional Notes Presented by Mr. L.R. Morgan”. Notes appear to be laid down as stamps and easily removable. Framed 16.5” x 22.5”.

600/800 Fractional currency is United States paper money that has a face value of less than one dollar. Also known as “shinplasters” because of the small face value, they had become almost worthless in U.S. commerce by the late 1800s.

1603

1604. DECORATED BURLAP SWATCH WITH A BRITISH CREST England, 19th Century Probably referring to Lord Charles James Fox, a British politician, liberal and opposition leader to King George III and William Pitt. Label verso for Arthur Ackermann & Son Inc., London.

Screen-printed on treated burlap. 18.5” x 18.5” sight. Framed 21.5” x 21.5”.

250/350

1604

1605. PAIR OF CHINESE CARVED WOODEN FIGURE GROUPS Early 20th Century A warrior with a flag standing over a warrior on horseback. Allover gold wire inlay. Heights 20”.

300/500

1606. CHINESE BRONZE VASE 20th Century In pear shape, with applied dragon-form handles and incised landscape decoration about the body. Height 9.5”. 300/500

1605, pair

1606

158

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Property from The India House, New York

1607. FREDERICK LEO HUNTER New York, 1858-1943 “Old Houses Near East India Docks”. Signed, dated 1882 and titled lower right. Pencil on paper, 15.25” x 11” sight.

Framed 17” x 13.25”.

400/600 Provenance: Willard D. Straight (1880-1918).

Literature: Carl C. Cutler’s A descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), #464, p. 125.

1607

1608. ARCHITECTURAL PRINTS OF HISTORIC NEW YORK AND LONDON BUILDINGS 19th Century Includes: 1) Hanover Building. Published by J.P. Newell.

2-4) Three views of East India House, London. Housed together in a common frame. 7.25” x 10.5” sight and smaller. Framed 13” x 31.25”.

5) “Ruins of the Merchant’s Exchange N.Y. After the Destructive Conflagration of Decbr. 16 & 17, 1835”. After J. Bufford. Published

by N. Currier, 1835. This is one of the earliest known lithographs by Nathaniel Currier. 9” x 11” sight. Framed 16.5” x 20”.

6) “Franklin Market, Old Slip N.Y. 1820.”. After George Hayward.

Published by D.T. Valentine, from the “Manual of the Corporation of the City of New York by D.T. Valentine for 1861” (N.Y.: 1861), opposite p.324. 4.25” x 6.5” sight. Framed 15.25” x 20”. 300/500 Literature: Carl C. Cutler’s A descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), see alphabetical listing for additional information on this lot.

1608, sampling

1609. HAND-COLORED LITHOGRAPH “ACROSS THE CONTINENT. PACIFIC BAHN NACH CALIFORNIEN.” “(Pacific Railway to California). Passing the Humboldt River.

Den Humboldt Fluss Passirend”. Published by H. Schile & Co., 62 Division Street, New York, 1870. On paper, 20” x 27” sight. Framed 24” x 31”.

300/400

1609

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159

1610. MONUMENTAL LIVERPOOL JUG CELEBRATING IRELAND Circa 1800 Tall ribbed neck with face of a horned satyr as the spout. Decorated with various transfers including a map of Ireland, “May Irish Societies Freedom Maintain ...”, “Union to the People of Ireland”, “Tun’d to Freedom for our Countrywit”, “May I be freighted with Irish Manufacture ...”, “Great Britain And Ireland United MDCCC” and “May all virtuous Irishmen Live in peace and dye happy”. Enameled handle. Impressed Herculaneum mark. Height 16.5”.

600/800

1610

160

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Property from The India House, New York

1611. TWO LARGE LIVERPOOL PITCHERS England, Circa 1800 1) Transfer-decorated and titled “Ella”, with duplicate image of a young woman on both sides and “Sweet Maid an Emblem of the Lamb ...” under the spout. Height 13”.

2) Neck and shoulders decorated with blue bands and foliate details. Body monogrammed “M” over “JE” and with the verse “We neer see our foes but we wish them to stay...”.

Height 10.5”.

300/500 1611

1612. SUNDERLAND PINK LUSTREWARE MASONIC JUG England, Circa 1820 Transfer-decorated with floral motifs surrounding phrase “Let Masonry from Pole to Pole ...” on one side, a ship with trade inscription on opposite side, and a view of the Cast Iron Bridge in Sunderland below the spout. Height 8.25”.

200/300

1612

1613. THREE LIVERPOOL TRANSFER-DECORATED VESSELS Early 19th Century 1) Pitcher, one side with the “Arms of the United States” above an eagle with an “E. Pluribus Unum” pennant, the other side with illustrated verse “Poor Jack”, and below the spout a classical woman playing a harp. Height 8.75”.

2) Masonic pitcher polychrome-decorated with an American ship, an American eagle with an “E. Pluribus Unum” pennant, and Freemasonry emblems. Height 11”.

3) Yellow-glazed jar decorated with a scene outside the “Blue Boar” Public House. Height 6”.

250/350 1613

1614. TWO COBALT-GLAZED STONEWARE TOBACCO JARS Circa 1800 Bulbous bodies decorated with a native man smoking a pipe while sitting next to a tobacco jar, with shipping and landscapes in the background. One labeled “St. Vincent” the other “No. 6”. Brass covers. Undersides labeled “P.C.”.

Heights 12.75” and 13.25”.

800/1,200

1614

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161

1615. SILVER GELATIN PRINT OF THE FOUR-MASTED BARQUE HERZOGIN CECILIE SAILING OUT OF CALLAO Circa 1925 San Lorenzo Island in the background. Presented to India House

by Bernard Schaefer, with donor plaque affixed to frame. 6.5” x 9” sight. Framed 13.5” x 15.5”. Together with a silver gelatin print of tall ships at dock. Possibly a later reprint. 8.25” x 13.25” sight.

Framed 18.5” x 23.5”.

250/350

1616. AMERICAN SCHOOL 19th Century “Mississippi River Packet Robert E. Lee”. Presented to India House

by William F. Woodward of Louisville, Kentucky. Brass title and donor plaques affixed to frame. Watercolor and gouache on paper, 18.75” x 28” sight. Framed 26.5” x 36”.

400/600

1615, two

1617. AMERICAN SCHOOL 19th Century “Mississippi River Packet Natchez”. Presented to India House

by William F. Woodward of Louisville, Kentucky. Brass title and donor plaques affixed to frame. Watercolor and gouache on paper, 18.5” x 28” sight. Framed 26.5” x 36”.

400/600

1616

162

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1617

Property from The India House, New York

1618. HAND-COLORED LITHOGRAPH “CLIPPERSHIP LEACHEN OF GUERSENSEY” Attributed to Thomas Dutton, circa 1870. Titled on mat. 12.25” x 18” sight. Framed 20.5” x 26.5”.

250/350

1619. HAND-COLORED LITHOGRAPH “WRECK OF THE U.S.M. STEAM SHIP ‘ARCTIC’” “Off Cape Race Wednesday September 27th, 1854.

On her homeward voyage from Liverpool, during a dense fog, she came in collision with the French iron propeller ‘Vesta,’ and so badly injured that in about 5 hours she sunk stern foremost, by which terrible calamity nearly 300 persons are supposed to have perished.”. After James E. Buttersworth (England/ America, 1817-1894) and signed within the image.

Marked in lower margin “After a Sketch by James Smith of Jackson, Miss. A Passenger on Board the Arctic”. Drawn on stone by Charles Parsons. Published

by N. Currier, New York, circa 1854. 20” x 27.75” sight. Framed 25” x 31.5”.

400/600

1618

Literature: Currier & Ives: A Catalogue Raisonné (Detroit: Gale Research, 1983), No. 7346.

Carl C. Cutler’s A descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), #254, p. 63.

1619

1620. HAND-COLORED LITHOGRAPH “BOMBARDMENT OF FORTS HATTERAS & CLARK, BY THE U.S. FLEET” After Francis Garland (Ireland/America, 18271902). John Henry Bufford (America, 1810-1870), lithographer, 1861. Marked in lower margin “Drawn

by Francis Garland (Seaman) U.S. Ship Cumberland”.

19.5” x 25.5” sight. Framed 24” x 30.25”. 250/350 Literature: Carl C. Cutler’s A descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), #386, p.120.

1620

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163

1621, pair 1621, pair

1621. RARE PAIR OF JOSLIN 12-INCH TERRESTRIAL AND CELESTIAL GLOBES Boston, Circa 1890-1900 Terrestrial globe marked “Joslin’s Terrestrial Globe containing all the Late Discoveres and Geographical Improvements ... Manufactured by Gilman Joslin, Boston.”.

Celestial globe marked “Joslin’s Celestial Glove Containing all the Star Nebulae &c ...

Manufactured by Gilman Joslin & Son, Boston.”. Both with turned mahogany stands and semicircular brass circumference rings marked with degree scale. Heights 21.5”.

Diameters approx. 11.5”.

7,500/10,000

164

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1622

1622. CARVED WHATNOT SHELF ATTRIBUTED TO DAVID A. TITCOMB AND JOHN HALEY BELLAMY Charlestown, Massachusetts, Circa 1870 In mahogany. Carved with Masonic symbols including the square and compass, globe-topped columns, wings, etc.

Height 21.25”.

3,000/5,000

1623. JOHN HALEY BELLAMY AUTOGRAPH Dated 1873 Return Registered-Letter Receipt dated December 12, 1873 for a letter mailed from Charlestown, Massachusetts to a Ms. Bellamy in Kittery Point, Maine. Signed “John H. Bellamy”.

Framed together with a copy of a photograph of John H. Bellamy, the noted American folk art carver.

Letter 4.5” x 4.5”. Framed 15” x 11”.

400/600

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165

1624

1624. EVERETT LLOYD BRYANT Pennsylvania/California/Ohio, 1864-1945 Flower garden by the shore. Signed lower left “E.L. Bryant”.

Oil on canvas, 25” x 30”. Framed 34” x 39”. 5,000/7,000

166

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1625. EXCEPTIONAL LIFE-SIZE SWAN GARDEN PLANTER America, Circa 1880 In pine, showing traces of the original gold leaf surface.

Positioned as if it is swimming, with its right foot forward and the left foot behind, its neck curved and the head projecting forward, and its wings open and held close to the body. Rounded base with a wave shape at front. Elaborate and delicately executed head, wings, feathers and tail, exhibiting the skill of an experienced professional carver. Original tin ring-handled planter conforms to the shape of the swan.

Height 39”. Length 44.75”. Width 26”. Tin planter height 13.25”. Diameter 9”.

15,000/20,000

1625

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167

1626. CAROUSEL HORSE 20th Century Traces of original paint. Cast iron tri-foot base.

Horse height 32”. Total height including base 52.5”.

Length 48”. Width 9”.

700/1,000

1626

1627. OUTSTANDING CARVED AND PAINTED CAROUSEL HORSE Late 19th/Early 20th Century Galloping horse with its head turned slightly left. Two-rider configuration, with a seat in front of and behind the central mounting pole. Detailed carving of the head, mane, breastplate, saddle, etc. Retains original twisted brass mounting pole and mounting brackets.

Includes contemporary base. Total height 67”.

Horse height 44”. Length 72”. Width 12.5”.

3,000/5,000

1627

168

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1628. CARVED AND POLYCHROMED BUST OF A YOUNG WOMAN Mid-19th Century Original paint. Height exclusive of stand 19”.

2,500/3,500 Provenance: Bibler & Coger, Ashley Falls, Massachusetts.

Sotheby’s, Important Furniture, Folk Art, Silver & Ceramics, January 31, 1985, Lot #316.

Exhibited: Montclair Museum, New Jersey.

Amherst College, Massachusetts.

South Seaport Museum, 1977.

1628

1629

1629. AMERICAN SCHOOL Early 20th Century Shore scene with Egg Rock Light (Nahant, Massachusetts) in the distance. Signed and dated lower right “Nellie Maroon 1901”. Oil on canvas, 18” x 30”.

Framed 26” x 36”.

800/1,200

1630. PAINTED PINE BIRDHOUSE IN THE FORM OF A COUNTRY CHURCH America, Circa 1890 Under mustard yellow paint with deep red trim. White horse painted on the front facade. Two-tiered steeple topped with a metal weather vane with an arrow pointer and directionals. All four sides of the church with several window openings, each with a perch. Includes carved and painted wooden songbirds. Birdhouse height 56”. Width 29.25”. Depth 20.25”.

1,500/2,000 1630

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169

1631

1631. SIGNED FEDERAL GENTLEMAN’S CHEST New York, Circa 1820 In mahogany and mahogany veneer. Recessed two-drawer deck top surmounted by a pivoting mirror supported by bold columns topped with acorn finials. Case with a hidden overhanging full-width drawer over three full-width drawers.

Full columns at sides of case terminate in bold turned feet.

Signed on upper edge of backboard “Edward Meeks 99 Broadway N.Y.”. Height 72.5”. Width 46”. Depth 22.5”.

800/1,200

170

1632. SHERATON DROP-LEAF PEMBROKE TABLE New York, Circa 1810 In select mahogany. Single drawer with brass pull. Cut-corner drop leaves. Tapered rope-turned legs fitted with brass casters. Height 28.5”. Width 20.5” plus two 12” drop leaves.

Depth 36”.

800/1,200

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1633

1633. FEDERAL CARD TABLE Early 19th Century In mahogany and mahogany veneer. Pedestal and legs with acanthus carvings. Brass-capped paw feet fitted with casters. Height 29.5”. Width 36”. Depth 18”.

500/800

1634

1634. FEDERAL GILT CONVEX MIRROR First Quarter of the 19th Century Eagle and foliate crest and foliate presentation below.

Height 43”. Width 25”.

800/1,200

1635. CHIPPENDALE BUREAU New York, Circa 1790 In mahogany. Top with molded edge. Four graduated full-width drawers with cock-bead molding. Nicely shaped flat bracket feet. Height 37”. Width 42.75”.

Depth 22.75”.

1,000/1,500

1635

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171

1636, two

1636. NEAR-PAIR OF FEDERAL CARD TABLES Circa 1825 In Cuban mahogany. Nicely shaped tops with carved and molded edges. Bold rope-turned legs with beautiful acanthus leaf carvings at top. Feet fitted with brass casters.

Heights 29.5”. Widths 38.75”. Depths 18.5”. 2,000/3,000

1637. FEDERAL FAINTING COUCH New York, Circa 1820 In mahogany and mahogany veneer. Bold tapered reeded legs.

Pink striped upholstery. Back height 33”. Seat height 17.5”.

Length 81”.

2,000/3,000

1637

172

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1638. DROP-LEAF SEWING TABLE IN THE MANNER OF DUNCAN PHYFE New York, Circa 1820 In rosewood veneer. Two drawers over a sewing basket, probably once covered with fabric. Four reverse-arched legs with brass-capped paw feet. Height 28.75”. Width 21.5” plus two 9” drop leaves. Depth 20.25”.

1,000/1,500

1638

1639. RARE TRAY-TOP CHIPPENDALE LOWBOY Pennsylvania, Circa 1775 In mahogany. Central drawer flanked by stacks of two drawers. Cabriole legs with shell-carved knees and claw & ball feet. Height 29.75”.

Width 33.25”. Depth 21”.

8,000/12,000

1639

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173

1640

1642

1641

1640. PEMBROKE TABLE New York, Circa 1820 In mahogany, with line, bellflower and cuff inlay. Single drawer at one end of apron. Height 28.5”.

Width 19” plus two 11” demilune drop leaves. Depth 32”.

400/800

174

1641. FEDERAL SEWING STAND New York, Circa 1820 In mahogany. Case with two demilune lift-top side cabinets and two drawers with bird’s-eye veneer fronts. Duncan Phyfe-style reeded four-legged base. Brass-capped feet fitted with casters. Height 29.5”.

Width 25.25”. Depth 14”.

1,000/1,500

1642. HEPPLEWHITE CARD TABLE New York, Circa 1790 In mahogany. Top, skirt and legs with string inlay. Tapered legs with bellflower inlay. Height 29”.

Width 35.5”. Depth 18”.

1,000/1,500

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1643

1643. FRANKLIN DEHAVEN New York/Pennsylvania/Connecticut/Indiana, 1856-1934 “Dune Landscape, 1890”. Signed and dated lower left “F. De Haven 1890”. Oil on canvas, 28” x 40”. Framed 34” x 46”.

5,000/7,000

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175

Robert Emmett Owen New York/Connecticut/Massachusetts, 1878-1957 Lots 1644-1645

1644. “New England Waterfall”.

Signed lower left “R. Emmett Owen”. Titled on frame plaque. Oil on canvas, 25” x 30”.

Framed 33” x 38”.

2,000/3,000 Provenance: Spanierman Gallery, New York.

A Massachusetts Estate.

1644

1645. Winter scene with pine trees.

Signed lower right “R. Emmett Owen”.

Oil on canvas, 18” x 24. Framed 24” x 34”.

1,000/1,500

1645

176

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Henry Ward Ranger New York/Connecticut, 1858-1915 Lots 1646-1647

1646. A farm viewed through the trees.

Signed lower left “H.W. Ranger”. Housed in a hand-carved Paul Carter Goodnow frame.

Oil on canvas, 25” x 25”. Framed 34” x 34”.

3,000/5,000

1646

1647. Forest scene.

Signed with artist’s monogram lower left.

Oil on board, 12” x 16”. Framed 19” x 23”.

2,000/3,000

1647

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177

1648. JOHN CARLETON WIGGINS New York/Connecticut/France, 1848-1932 Sheep in a meadow. Signed lower left “Carleton Wiggins”. Oil on cradled board, 20” x 33”. Framed 31.5” x 43”.

4,000/6,000 Provenance: Joan Whalen Fine Art, New York.

Private Collection, Cape Cod, Massachusetts.

1648

1649. CHARLES HAROLD DAVIS Connecticut/New York/Massachusetts/France, 1856-1933 “Autumn Spleandor [sic]”. Signed lower right “C.H. Davis”. Title taken from a 1982 exhibition listing.

Oil on canvas, 26” x 36”. Framed 32” x 42”.

3,000/5,000 Provenance: A Connecticut Estate.

Exhibited: Charles Harold Davis N.A. Memorial Exhibition, June 26-July 18, 1982, #18.

1649

1650. CHARLES FREDERICK NAEGELE Tennessee/Georgia/New York, 1857-1944 Landscape, likely Shinnecock Hills. Signed lower left “Charles Frederick Naegele”. Oil on canvas, 14” x 17”. Framed 19” x 21.5”.

2,000/3,000 Provenance: Private Collection, Cape Cod, Massachusetts.

Eldred’s, March 31, 2012, Lot #995.

Charles Frederick Naegele studied in New York with William Sartain and William Merritt Chase.

1650

178

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1651. JOSEPH H. GREENWOOD Massachusetts, 1857-1927 “A Sunny Evening”. Signed and dated lower left “J.H. Greenwood 13”. Oil on canvas, 20” x 25”. Framed 25” x 30”.

2,000/3,000

1651

1652. CHARLES WARREN EATON New York/New Jersey/The Netherlands, 1857-1937 “A Dutch Village”. Signed lower left “Chas. Warren Eaton”.

Oil on board, 12” x 16”. Framed 19” x 23”.

2,000/3,000

1652

1653

1653. HAYLEY LEVER New York/Massachusetts/England/Australia, 1876-1958 “St. Ives -C”, a seascape with distant sailing vessels.

Signed “Hayley Lever” and titled lower left. Oil on canvas, 18” x 24”. Framed 22.75” x 26.5”.

2,000/3,000

1654. AMERICAN SCHOOL Early 20th Century A river landscape, possibly upstate New York. Unsigned. The consignor purchased this in New York from a collector who attributed it to Frederick Remington (New York/Kansas/ Connecticut, 1861-1909) and stated it was from the St. Lawrence River area. Oil on board, 4.5” x 6.5”. Unframed.

300/500 1654

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179

1655. EDWARD CHALMERS LEAVITT Rhode Island, 1842-1904 Still life of strawberries and plums. Signed and dated lower left “E.C. Leavitt 1875”. Housed in a period frame. Oil on canvas laid down on board, 12” x 16”. Framed 23.5” x 28.5”.

3,500/4,500 Provenance: Marymercer Thompson Ord Spencer, Los Angeles.

(Marymercer Spencer was a granddaughter of U.S. Army Major General E.O.C. Ord, who prepared a survey of the City of Los Angeles before serving in the Civil War.) Trust of James T. Spencer, Los Angeles.

By descent in the family.

Current consignor.

1655

1656. AMERICAN SCHOOL 19th Century Still life of peaches. Signed illegibly lower right.

Oil on canvas, 10” x 8”. Framed 11” x 9”.

500/700

1656

1657. GIOVANNI MARTINO Pennsylvania, 1908-1997 “At the Crossing”. Signed lower left “Giovanni Martino”. Titled on National Academy of Design label verso. Oil on canvas, 20” x 36”.

Framed 22” x 39”.

3,000/5,000

1657

180

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1658. GEORGE LOFTUS NOYES Massachusetts/New Hampshire, 1864-1954 Still life of flowers and a Chinese porcelain figurine. Signed lower right “G.L. Noyes”.

Oil on board, 17.5” x 21”. Framed 23” x 26”.

1,200/1,800

1659. CHARLES GORDON HARRIS Rhode Island, 1891-1963 Figures under a blossoming apple tree. Signed lower left “C. Gordon Harris”. Oil on canvas board, 11.5” x 9.25”. Framed 17.5” x 15.5”.

600/900 Provenance: James D. Julia Auctions, Fairfield, Maine, February 4, 2012, Lot #1068.

1660. AMERICAN SCHOOL 19th Century Still life of flowers overflowing from an urn.

Signed lower right “Nisbet”. Oil on canvas, 32” x 20”. Framed 44” x 32”.

1,000/1,500

1658

1659

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1660

181

Edward Henry Potthast New York/Ohio, 1857-1927 Lot 1661

1661

American Impressionist Edward Henry Potthast is known for coastal scenes, often showing people enjoying a pleasurable day at the beach. He is one of the most significant artists to emerge from Cincinnati, which was a burgeoning art center in the 19th Century.

He studied at the McMicken School of Design and at the Cincinnati

1661. Moonlit seascape.

Signed lower right. Oil on canvas, 20” x 23.5”.

Framed 24.5” x 28.5”.

20,000/30,000

Academy and traveled to Europe before establishing himself as a lithographer and illustrator in his hometown. In 1892 he moved to New York City, where he would travel to Coney Island or Rockaway to capture the beach that so enchanted him.

He also painted at the Grand Canyon, in California, at seaside art colonies in Massachusetts and Maine, and he also traveled extensively in Europe later in his life. He died in his studio, purportedly at his easel, of a sudden heart attack.

Potthast’s paintings exhibit sound draftsmanship, rich, vivid colors, and adept brushwork.

182

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183

1662

1663

1662. CARL WUERMER 1663. GEORG EMIL LIBERT New York/California/Germany, 1900-1981 Denmark, 1820-1908 “Late Summer 1924”. Signed and dated lower right “Carl Waves crashing against a rocky coast. Signed lower Wuermer 24”. Titled on gallery label verso. Oil on canvas, right “G. Emil Libert”. Oil on canvas, 12.25” x 18.25”.

26” x 28”. Framed 36” x 38”.

3,000/5,000 Framed 18” x 24”.

1,500/2,500

Provenance: McColl Fine Art, North Carolina.

184

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1664

1665

1666

1664. CARL HIRSCHBERG Connecticut, 1854-1923 “New England Coastal Scene Low Tide”. Signed lower right “Carl Hirschberg”. Titled verso. Oil on canvas, 12” x 16”.

Framed 18” x 22”.

1,200/1,800

1665. FRANK CONVERS MATHEWSON Rhode Island, 1862-1941 Evening, Providence, Rhode Island. Likely depicts the First Baptist Church. Signed faintly lower right “F.C. Mathewson”.

Oil on board, 7.25” x 9.25”. Framed 11” x 13”. 500/1,000

1667

1666. ROBERT HOGG NISBET Connecticut/Rhode Island, 1879-1961 “At Northport”. Initialed lower left “R.H.N”. Titled verso.

Oil on board, 5” x 7”. Framed 10.75” x 12.75”.

600/800

1667. CHARLES P. APPEL New Jersey/New York, 1857-1928 “A Breezy Day”. Signed lower right “C.P. Appel”. Titled in a later hand on a piece of tape verso. Oil on canvas, 9” x 12”.

Framed 13” x 16”.

800/1,200

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185

1668

1668. KURD BIDJAR RUG: 10’7” x 17’0” Circa 1925-1930 Tekke Bokhara field includes midnight blue, slate blue, red, orange and ivory guls on a traditional dark red field. Multiple yellow, red, ivory and blue borders contain Bidjar motifs, delicate flowering vine and turtles, all rendered in blues, red, brown, tan, orange and ivory.

300/500

1669. HAMADAN RUG: 2’5” x 5’8” First Quarter of the 20th Century Red field with small brown diamonds linked by a gold stylized vine. Ivory, brown and gold borders.

100/200

1670. HAMADAN RUG: 3’7” x 5’0” Second Quarter of the 20th Century Overlapping bright ivory and rich crimson red fields with pink, green and blue stylized vines throughout. Navy blue main border with colorful flower blossoms.

250/350

186

1671. AFSHAR RUG: 5’0” x 6’9” Early 20th Century Overlapping ivory and dark rust red geometric medallions on a hexagonal navy blue field above an abrashed red subfield.

Tiny stylized elements throughout. Ivory medallions at corners match the center. Multiple narrow borders. 300/500

1672. KAZAK RUG: 4’3” x 4’11” First Quarter of the 20th Century Dark blue field with colorful blossoms surrounding six red geometric medallions with pink, green and blue stylized central motifs. Rich red and yellow borders.

200/300

1673. FACHROLO KAZAK DESIGN RUG: 4’1” x 5’9” 21st Century Rectangular red field with dark green and ivory geometric medallions and an ivory perimeter. Dark blue subfield with a neat array of stylized elements. Colorful borders with repeating stylized elements.

350/450

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1674. CAUCASIAN DESIGN RUG: 7’10” x 10’0” 21st Century Neatly arrayed tan, red, salmon pink, pale yellow, ivory, subtle turquoise and blue stylized elements cover a light blue field. Light ivory and dark blue guard borders. Bright red main border.

1,000/1,500

1674

1675. HERIZ RUG: 8’1” x 10’7” Third Quarter of the 20th Century Charcoal, bright scarlet red, olive green, blue and bright ivory gabled medallion on a scarlet red field above an ivory subfield.

Traditional stylized elements and human and animal figures throughout, rendered in colors to match the medallion. Red and olive green guard borders. Charcoal main border with stylized elements.

1,200/1,600

1675

1676. SERAPI DESIGN CARPET: 8’1” x 10’0” 21st Century Broad dark rust red, salmon pink, midnight blue and ivory gabled medallion occupies an ivory field above a salmon subfield with gold spandrels. Pale celadon green interior guard border, slate gray exterior guard borders and rust red main border. 1,200/1,800

1676

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187

1677. MAHAL DESIGN RUG: 5’10” x 8’10” 21st Century Bright red field with a pleasantly asymmetrical arrangement of bold blossoms and foliate vines in dark blue, light blue, bright ivory, faded yellow, peach and coffee brown. Blue and yellow reciprocal wave guard borders. Ivory main border with colorful cartouches.

700/900

1678. PEREPEDIL RUG: 3’8” x 5’0” Late 19th Century Abrashed dark blue field with a cruciform arrangement of ivory and dark red stylized branches surrounded by red, light blue, ivory and pale yellow blossoms. Brown guard border with repeating flower blossoms throughout. Main border composed of barber pole motif.

600/900

1677

1679. KAZAK DESIGN RUG: 6’3” x 9’0” 21st Century Three marine blue, dark blue and bright ivory geometric medallions with latch hook perimeters contain and are surrounded by additional latch hook medallions and small stylized blossoms. Scarlet red field. Light blue, dark blue, pale yellow and ivory borders.

700/900

1680. OUSHAK RUG: 6’0” x 8’5” Late 20th Century Bold turquoise, pale green, yellow and dark red medallions on a pink field. Blossoming dark red vine runs throughout turquoise main border.

500/800

1679

188

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1681. OUSHAK DESIGN RUNNER: 2’7” x 16’0” 21st Century Array of pale yellow and light blue linked garrus vines are surrounded by neatly arranged stylized flower branches in light blue, brown and gray. Ivory field. Meandering vine throughout main border in colors matching the field.

400/600

1682. CAUCASIAN PRAYER RUG: 3’5” x 4’9” Late 19th Century Dark brown field is traversed by several rows of bright red, yellow and ivory boteh beneath a mihrab formed by an ivory ribbon. Red, brown and ivory borders.

600/900

1683. KARABAGH RUG: 3’9” x 8’5” Dated 1937 Abrashed crimson field contains a curious variety of animals including saddled stallions, recumbent and standing collies and spaniels, and recumbent kittens, all rendered in Bengal orange, tan, gold, green and ivory. Abrashed gray guard borders. Black main border with rose blossom motif. Signed “Pasa” and dated in field, with additional script lettering.

400/600

1684. KAZAK RUG: 4’0” x 9’0” Late 19th Century Barber pole field with alternating rows of colorful boteh and flower blossoms in red, blue, green, yellow and ivory. Red, ivory and abrashed blue-green borders.

400/600

1685. AFSHAR RUG: 4’6” x 6’4” 19th/20th Century Brown field filled with colorful stylized blossoms and five staggered rows of bold boteh in blue, brown, red and yellow with ivory highlights. Ivory main border.

300/400

1686. JAFFE BAG FACE: 2’1” x 2’1” Early 20th Century Field composed of red, blue, green, ivory, pink and subtle yellow contiguous diamonds. Ivory and blue borders. 80/120

1681

1687. HAMADAN RUNNER: 3’1” x 14’5” First Half of the 20th Century Red field with multiple rows of a repeating red, yellow, pink, black and ivory stylized element. Black guard borders and ivory main border with similar serrated leaf and blossom design. 300/400

1688. SOUTH PERSIAN RUNNER: 2’4” x 17’0” 20th Century Blue field with a single column of a bold red, blue green, yellow and ivory Herati-like pattern. Bright red and ivory borders. 400/700

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1688

189

1689 1690

1689. PENNSYLVANIA DUTCH FRAKTUR Mid-19th Century Pre-printed German text with handwritten names and dates. Watercolor decoration of flowers and vines around the perimeter. Housed in its original grain-painted frame.

10.5” x 16.25” sight. Framed 20.5” x 24.5”. 500/1,000

1691

190

1690. OHIO FAMILY RECORD Mid-19th Century “The Record of the Jacob & Magdalene Stome Family. ...

Joined in Hands on the 12th day of January A.D. 1835”.

Lists the births of their five children from 1835 to 1843.

Watercolor and ink. Housed in a contemporary tiger maple frame. 14.75” x 12.25”. Framed 23.25” x 20.25”.

500/1,000

1691. EXCEPTIONAL PAINT-DECORATED DOME-TOP BOX 18th Century In birch. Decorated with birds, hearts, flowers and swags against a blue ground.

Height 11”. Width 23”. Depth 12”.

2,000/3,000

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1692

1692. AUGUSTE AMANT CONSTANT FIDELE EDOUARTE Louisiana/France, 1789-1861 Wonderful large-format group silhouette picture of Kentucky interest. Signed lower right “Aug. Edouarte fecit Louisville May 15th, 1844”. Watercolor and ink with cut paper on paper, 12” x 23”. Framed.

5,000/10,000 Provenance: Private Boston-area Collection.

Note: A similar work sold at Christie’s, New York, January 21, 2006, Lot #564.

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191

1693

1694

1693. SCHOOLGIRL PICTORIAL SAMPLER “Catharine Ann Leeks Work Aged 9 Years March 22nd AD1832”. Petit point on linen. Depicts a shepherdess with her sheep, and a village in the distance. Rose vine border.

16.25” x 17” sight. Framed 23.75” x 24.25”.

400/600

192

1694. RARE AND IMPORTANT SAMPLER WROUGHT BY LUCY STONE 19th Century Rows of alphabets above maker’s inscription “Wrought by L.Stone.

Aged 11yrs”. Lucy Stone (18181893), the prominent American orator, abolitionist and suffragist, was born in West Brookfield, Massachusetts. She was the first woman from Massachusetts to earn a college degree and she defied gender norms upon marriage when she wrote her own vows and refused to take her husband’s name. 8” x 8.5”.

2,500/3,000

1695. PAIR OF QUEEN ANNE BRASS CANDLESTICKS 18th Century Heights 7.75”.

300/500

1696. PAIR OF BRASS CANDLESTICKS 18th Century Column-form stems on square bases.

Heights 8.75”.

300/500

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1700

1699

1697. PAIR OF BRASS PUSHUP CANDLESTICKS First Half of the 19th Century Circular bases. Heights 10.5”.

200/300

1698. PAIR OF IRON KNIFE BLADE ANDIRONS Late 18th Century Cast flame-form finials. Tooled feet.

Heights 30.25”. Depths 21.25”.

400/600

1699. ATTRIBUTED TO JOHN BREWSTER, JR. Maine/Connecticut, 1766-1844 Portrait of George Anderson.

Unsigned. Sitter identified on card on stretcher. Oil on canvas, 24.75” x 18.5”. Framed 29.5” x 22.5”.

1,500/2,500

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1700. QUEEN ANNE HIGHBOY Deerfield, Massachusetts, Late 18th Century In maple. Wonderful old finish, possibly original, shows wear commensurate with age. Upper case with a hidden drawer in the cornice molding over two half drawers over four graduated full-width drawers.

Lower case with a full-width drawer over three side-by-side drawers.

Drawers with original hardware.

Delicate cabriole legs end in pad feet.

Height 71.5”. Width 41”. Depth 20”.

5,000/10,000

193

1701. CHIPPENDALE TIGER MAPLE SLANT-LID DESK Late 18th/Early 19th Century Typical interior fitted with pigeonholes and drawers.

Case with a shallow top drawer over three graduated fullwidth drawers and straight bracket feet. Height 41.5”.

Width 37”. Depth 20”.

1,200/1,800

1701

1702. QUEEN ANNE DROP-LEAF TABLE Pioneer Valley, Massachusetts, Mid-18th Century In maple, under an old red stain. Cupid’s-bow skirt. Cabriole legs end in pad feet. Height 27.5”.

Length 14.75” plus two 13.5” drop leaves.

Width 42”.

1,500/2,500

1702

1703. CHIPPENDALE FOUR-DRAWER CHEST 18th Century In mahogany. Graduated drawers with cockbead molding. Case fronted by reeded quarter columns. Ogee bracket feet. Height 35”.

Width 39.5”. Depth 21”.

1,500/2,500

1703

194

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1704. CHIPPENDALE BUREAU Southern Connecticut, Circa 1785 In cherry, with a nice old finish and patina. Four graduated full-width drawers. Ogee bracket feet.

Height 37”. Width 45.25”. Depth 20.25”.

3,000/5,000

1704

1705

1705. SHERATON CARD TABLE Massachusetts, Circa 1805 In mahogany and mahogany veneer. Reeded tapered legs, the front legs with floral carvings at tops. Height 29”.

Width 36.5”. Depth 18”.

1,000/1,500

1706. CHAPIN SCHOOL CHIPPENDALE OXBOW BUREAU Connecticut, Circa 1780 In cherry, with molded-edge top, four graduated full-width drawers and ogee bracket feet. Height 36.5”. Width 42.5”.

Depth 22”.

3,000/5,000

1706

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195

1707

1708

1707. DIMINUTIVE CHIPPENDALE CHEST-ON-CHEST White Valley, Central Massachusetts, Circa 1780 In pine, with an old washed finish, some of which appears to be the original. Upper case with three side-by-side drawers, the central with fan carving, over two half drawers, over three graduated full-width drawers. Lower case with three graduated full-width drawers and arched flat bracket feet.

Height 71.5”. Width 36.75”. Depth 17.5”.

4,000/6,000

1708. HEPPLEWHITE TWO-PART SECRETARY Connecticut, Circa 1790 In cherry with an old, possibly original, finish. Upper case with two paneled doors enclosing interior shelves. Lower case with a slant lid enclosing interior drawers and pigeonholes, four graduated full-width drawers, and French splayed bracket feet. Height 84”. Width 42”. Depth 19.25”.

3,000/5,000

196

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1709

1709. QUEEN ANNE FLAT-TOP HIGHBOY Deerfield, Massachusetts, Mid-18th Century In walnut, with an old finish and nice patina. Upper case with three side-by-side drawers over four graduated full-width drawers. Lower case with a full-width drawer over three varied side-by-side drawers. Nicely carved skirt. Cabriole legs end in pad feet. Includes a framed inventory of the John Strong estate, dated 1815, which lists a case of drawers believed to be this highboy. Height 73.75”. Width 36.75”. Depth 21”.

7,000/10,000

Provenance: The estate of John Strong of Farmington. John Strong (Connecticut, 1733-1816) was a farmer and officer in the Revolutionary War. His great-grandfather, elder John Strong, came to America in 1635 on the ship Hopewell, listed on the passenger list as “Jon Stronge”. The Strong family played an important role in founding the early Connecticut colony.

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197

1710. HEPPLEWHITE BOWFRONT BUREAU Connecticut, Circa 1790 In cherry, with four graduated full-width drawers and French splayed bracket feet. Height 36.5”. Width 44”.

Depth 21.5”.

1,000/1,500

1710

1711. NEAR-PAIR OF QUEEN ANNE CANDLESTANDS Connecticut, 18th Century In cherry. Square tops with applied moldings. Urn-form pedestals with checkered carving. Cabriole legs with flat diamond carving at knees and graceful snake feet.

Heights approx. 25.5”. Tops approx 15.75” x 16”.

1,500/2,000

1711, two

1712

1712. HEPPLEWHITE CARD TABLE Massachusetts, Circa 1790 In the manner of Seymour. In mahogany and mahogany veneer, with string inlay and an oval panel at the center of the skirt. Tapered legs end in spade feet. Height 28.75”. Width 36”. Depth 17.75”.

2,000/3,000

198

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1713

1713. WINTHROP DUTHIE TURNEY New York, 1884-1965 “Pidgeon[sic] Hill” (Rockport, Massachusetts). Signed and dated lower left “Winthrop Turney ‘17”. Titled on gallery label verso. Oil on canvas, 20” x 24”. Framed 27” x 31”.

6,000/9,000 Provenance: Vose Galleries, Boston.

Exhibited: Allied Artists of America, Thirty-Eighth Annual Exhibition, 1951.

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199

1714. HARRY AIKEN VINCENT Massachusetts/New York/Illinois, 1864-1931 Boats at the dock. Signed lower left “H.A. Vincent”.

Oil on canvas, 28” x 34”. Framed 33” x 39”.

6,000/8,000

1714

1715. CARL WILLIAM PETERS New York, 1897-1980 Figures examining two beached dories. Signed lower right “Carl W. Peters”. Oil on canvas, 20” x 24”.

Framed 25.5” x 29.5”.

3,000/5,000

1715

1716. JOHN RETTIG Ohio/The Netherlands, 1855-1932 “Marblehead Harbor”. Signed lower right “John Rettig”. Titled on frame plaque. Oil on board, 6” x 9”. Framed 11.25” x 15.25”.

1,000/2,000

1716

200

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1717. CARL NORDELL Massachusetts/California/Denmark, 1885-1957 “October Still Life”. Signed lower right “Carl Nordell”. Titled on label verso for Vose Galleries, Boston. Oil on canvas, 32” x 40”. Framed 40” x 48”.

2,000/3,000

1717

1718. ALEXANDER HUDNUT New York/New Jersey, 1861-1940 Fishing village. Signed lower right “Alexander Hudnut”. Gouache, 17” x 23” sight.

Framed 24” x 29”.

2,000/3,000 A man of some wealth, Alexander Hudnut was an early patron of Jane Peterson.

1718

1719. GEORGE GARDNER SYMONS New York/California/Massachusetts, 1863-1930 “Gloucester + The Paint Factory from Rocky Neck”.

Unsigned. Estate stamped verso. Titled verso.

Oil on board, 11” x 14”. Framed 18” x 21”.

1,200/1,500

1719

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201

1720. EMILE ALBERT GRUPPE Massachusetts, 1896-1978 “The Yankee”. Signed lower left “Emile A. Gruppe”. Titled on gallery label verso. Oil on canvas, 24” x 20”. Framed 32” x 27”.

6,000/9,000 Provenance: Vose Galleries, Boston.

1720

1721. EMILE ALBERT GRUPPE Massachusetts, 1896-1978 Winter landscape. Signed lower left “Emile A. Gruppe”. Oil on canvas, 32” x 32”. Framed 38” x 38”.

7,000/9,000

1721

202

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1722

1722. EMILE ALBERT GRUPPE Massachusetts, 1896-1978 “Morning Gloucester”. Signed lower right “Emile A. Gruppe”. Titled verso. Also inscribed verso “To Mr. & Mrs. Bob Blue October 22, 1960 by Emile A. Gruppe”. Gruppe introduced Bob Blue to painting and they remained close friends for years.

Oil on canvas, 25” x 30”. Framed 28.5” x 33.5”.

9,000/12,000

Provenance: The artist to Mr. and Mrs. Bob Blue.

James Julia Auction, Fairfield, Maine, August 24-26, 2016, Lot #1136.

Private Collection, Massachusetts.

1723. BOB BLUE Massachusetts, 1924-2008 “Seafarer’s Friend”. Depicts Eastern Point Light in Gloucester, Massachusetts. Signed lower left “Bob Blue”. Titled verso. Oil on canvas, 24” x 24”.

Framed 30” x 30”.

800/1,200 1723

Provenance: State of the Art Gallery II, Gloucester, Massachusetts.

Private Collection, Cape Cod, Massachusetts.

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203

William Lester Stevens Massachusetts, 1888-1969 Lots 1724-1725

1724

1724. Waterfall under a bridge.

Signed lower left “W. Lester Stevens N.A.”.

Oil on masonite, 23.75” x 30”. Framed 31” x 37”.

5,000/7,000

204

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William Lester Stevens Massachusetts, 1888-1969 Lots 1724-1725

1725

1725. Winding road through a New England town.

Signed lower right “W. Lester Stevens”.

Oil on canvas, 40” x 36”. Framed 50” x 46”.

20,000/30,000

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205

1726. FREDERICK JAMES BOSTON New York/Connecticut, 1855-1932 Autumn in the forest. Signed lower right “F.J. Boston”.

Oil on canvas, 16” x 20”. Framed 25” x 29”.

800/1,200

1726

1727. HAYLEY LEVER New York/Massachusetts/England/Australia, 1876-1958 “Brittany France 1902”. Signed lower right “Hayley Lever”. Titled verso. Oil on board, 6.25” x 9.25”.

Framed 12.25” x 15.25”.

1,000/1,500

1727

1728. JUNIUS ALLEN Pennsylvania/ New Jersey, 1898-1962 Waves crashing against the coast. Signed lower right “Junius Allen”. Titled “ ... Surf ” on label verso for Grand Central Art Galleries, New York. Oil on canvas, 20” x 28”.

Framed 28” x 36”.

1,200/1,500

1728

1729. NATHANIEL LEANDER BERRY Massachusetts, 1859-1929 “The Salt Hay Harvest on Marshes near East Everett”. Signed lower left “N.L. Berry”. Titled verso. Oil on unstretched canvas, 3.75” x 11.5” sight. Framed 9” x 16.75”.

600/800 1729

206

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1730. CHARLES HERBERT WOODBURY Maine/Massachusetts, 1864-1940 “Monadnoc [sic] I”. Signed lower left “Woodbury”. Titled verso. Oil on board, 8” x 10”.

Framed 14” x 16”.

3,000/5,000 Provenance: A Massachusetts Estate.

1730

1731. EDWARD A. PAGE Massachusetts, 1850-1928 Fishing shacks, North Shore of Massachusetts.

Signed lower left “E.A. Page”. Oil on canvas, 9” x 12”. Framed 13” x 19”.

2,000/3,000 Provenance: A Massachusetts Estate.

1731

1732. KATHRYN E. BARD CHERRY Missouri/Illinois, 1860-1931 Gloucester Harbor. Signed lower right. Signed verso “Painted by Kathryn E. Cherry”. Oil on board, 18” x 24”. Framed 23” x 29”. 4,000/6,000 Provenance: Link Auction Galleries, St. Louis, May 11, 2019, Lot #73.

A Massachusetts Estate.

1732

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207

Gustave Claude Etienne Courtois France, 1853-1924 Lot 1733

1733

1733. Girl in a pink kimono.

Signed and dated lower right “Gustave Courtois 1883”.

Oil on canvas, 25.5” x 18”. Framed 32” x 24”.

8,000/12,000

208

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209

1734

1734. NEW BEDFORD HEPPLEWHITE TAMBOUR SECRETARY Circa 1808 Made by Ebenezer Shearman in partnership with Rubin Eldred Swift as Swift & Shearman, New Bedford, Massachusetts. In mahogany. Upper case with three varied side-by-side drawers over a central cupboard door flanked by tambours. Cupboard door encloses six small drawers and the tambours enclose drawers and pigeonholes. Lower case with a fold-out writing surface over three graduated full-width drawers and tapered block legs. One interior drawer inscribed “Jan 22 1910 This Secretary was purchased by my Grandfather of Swift & Shearman New Bedford 1808 Geo. H. Howland”. Height 53”. Width 42”. Depth 22”.

4,000/6,000 Literature: Illustrated in Harbor & Home: Furniture of Southeastern Massachusetts 1710-1850 by Brock Jobe, Gary R. Sullivan and Jack O’Brien, p. 21. A copy of the book is included with the lot.

210

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1735. CHIPPENDALE SERPENTINE-FRONT CHEST New England, Circa 1780 In cherry, with a molded-edge top, four graduated full-width drawers and ogee bracket feet.

Height 36”. Width 38.25”. Depth 20.5”.

2,500/3,500

1735

1736

1736. CUMBERLAND FEDERAL DROP-LEAF DINING TABLE 19th Century Duncan Phyfe style. In mahogany. Spiral-turned legs end in brass-capped lion’s-head feet fitted with casters. Height 27.5”.

Length 14.25” plus two 22” leaves. Width 49”. 1,500/2,000

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211

1737. QUEEN ANNE BONNET-TOP HIGHBOY Newport, Rhode Island, Mid-18th Century In walnut with chestnut secondary woods. Broken arch pediment and three plinths supporting urn-form and spiral-carved finials. Upper case with a small central drawer over four graduated full-width drawers. Lower case with a full-width drawer over three varied sideby-side drawers. Drawers with molded edges. Graceful cabriole legs end in pad feet. Height 89.75”. Width 40”.

Depth 21.75”.

3,000/5,000

1737

1738. QUEEN ANNE BONNET-TOP HIGHBOY Rhode Island, Mid-18th Century In cherry with chestnut secondary woods. Broken arch pediment with deep cove moldings and three urn and acorn-form finials. Upper case with three varied sideby-side drawers over four graduated full-width drawers.

Lower case with a full-width drawer over three varied side-by-side drawers. Drawers with molded edges and period hardware. Skirt with acorn drops. Cabriole legs end in pad feet. Height 87.5”. Width 38.5”. Depth 21”.

5,000/8,000

212

1738

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1739

1739. CHIPPENDALE CAMELBACK SOFA Newport, Rhode Island, Circa 1780 Mahogany legs, the front fluted and stop-fluted, joined by an H-stretcher. Light blue foliate print upholstery.

Back height 39”. Seat height 17”. Length 79”.

2,500/3,500

1740. CHIPPENDALE BLANKET BOX IN THE MANNER OF GODDARD-TOWNSEND Newport, Rhode Island, Circa 1780 In mahogany. Lift top encloses interior apothecary drawers. Box with heavy brass bracket handles at sides and ogee bracket feet. Height 29”. Width 62”.

Depth 23.5”.

800/1,200

1740

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213

1741. CHIPPENDALE BONNET-TOP CHEST-ON-CHEST Newport, Rhode Island, Circa 1780 In mahogany. Upper case with a broken arch pediment, three beautifully carved spiral twist finials on plinths, and three varied side-by-side drawers over four graduated full-width drawers.

Lower case with three full-width drawers and bold ogee bracket feet. Drawers with molded edges. Retains old tag labeled “E.P. Mitchell ...”.

Height 87.75”. Width 40”. Depth 20.5”.

10,000/15,000

1741

214

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1742. CHIPPENDALE TILT-TOP TEA TABLE ATTRIBUTED TO GODDARD-TOWNSEND Newport, Rhode Island, Circa 1775 In select Santo Domingo mahogany. Circular top set on a columnar pedestal. Cabriole legs with shell-carved knees and diminutive claw & ball feet, indicative of Goddard-Townsend. Height 28.75”.

Diameter of top 33.75” x 34.5” with shrinkage.

5,000/7,000

1742

1743. CHIPPENDALE TILT-TOP TEA TABLE ATTRIBUTED TO GODDARD-TOWNSEND Newport, Rhode Island, Circa 1775 In select Santo Domingo mahogany. Circular top set on a turned pedestal with spiral carving at base.

Cabriole legs with shell and tassel-carved knees and diminutive claw & ball feet, indicative of Goddard-Townsend. Height 29.75”. Diameter of top 31.5” x 32” with shrinkage.

5,000/8,000

1743

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215

1745. THOMAS R. CURTIN Vermont/Massachusetts, 1899-1977 “Sugar Shack at Last Light”. Signed lower right “Thos R. Curtin”. Titled on gallery label verso. Oil on board, 10” x 14”. Framed 17” x 21”.

1,000/1,500

1745

1746. THOMAS R. CURTIN Vermont/Massachusetts, 1899-1977 Winter church scene with a horse-drawn sleigh. Signed lower right “Thos. R. Curtin”. Oil on canvas, 17” x 14”. Framed 18” x 15”.

1,000/1,500

1746

1747

1747. ANTONIO CIRINO Rhode Island/Italy, 1889-1983 “Maple Majesty”. Signed lower left “Cirino”. Titled verso.

Oil on canvas, 20” x 24”. Framed 31” x 35”. 3,000/5,000

1748. ANTONIO CIRINO Rhode Island/Italy, 1889-1983 “Rural Sanctuary”. Signed lower right “A. Cirino”. Titled on frame plaque. Salmagundi Art Club label verso. Oil on board, 8” x 10”. Framed 13.5” x 15.5”.

800/1,200

1748

216

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1749. SCHOOL OF ARTHUR WESLEY DOW America, Early 20th Century Marsh landscape, likely the North Shore of Massachusetts. Unsigned. Oil on canvas, 20” x 38”.

Framed 30” x 46”.

1,000/2,000

1749

1750. JACOB GREENLEAF Massachusetts, 1887-1968 “October Afternoon”. Signed lower right “J. Greenleaf ”. Titled verso. Oil on canvas board, 9” x 12”. Framed 14.5” x 17.5”.

800/1,200

1750

1751. OTIS PIERCE COOK, JR. Massachusetts, 1900-1980 “Rockport Winter Scene”. Signed lower left “Otis Cook”. Titled on frame plaque. Oil on canvas board, 12” x 16”. Framed 17.5” x 21.5”.

1,000/1,500

1751

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217

T.M. Nicholas Massachusetts, b. 1963 Lots 1752-1754

1752. Fall on the farm.

Signed lower right “T.M. Nicholas”.

Oil on canvas, 24” x 30”.

Framed 32” x 38”.

5,000/7,000

1752

1753. Good Harbor Beach, Gloucester, Massachusetts.

Signed lower left “T.M. Nicholas”.

Oil on board, 18” x 24”. Framed 26” x 32”.

5,000/10,000

1753

218

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T.M. Nicholas Massachusetts, b. 1963 Lots 1752-1754

1754

1754. “‘The Green Canopy’ Nantucket”.

Signed lower left “T.M. Nicholas”. Titled verso.

Oil on canvas, 30” x 40”. Framed 39” x 49”.

15,000/25,000

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219

1755. DAVID LUSSIER Connecticut, 20th Century Homestead by the water. Signed lower left “D. Lussier”. Oil on board, 11” x 14”. Framed 16” x 19”.

600/900

1755

1756. WAYNE BEAM MORRELL Massachusetts, 1923-2013 “Sunlight of Winter”. Signed lower right “Wayne Morrell”. Tiled and inscribed verso “A sunny afternoon with the oak leaves still lingering through January 1965”. Oil on canvas, 30” x 40”. Framed 38” x 37”.

2,000/4,000

1756

1757. WAYNE BEAM MORRELL Massacbusetts, 1923-2013 “Marsh Duck Pond”. Signed lower right, “Wayne Morrell”. Titled verso. Oil on canvas, 26” x 36”.

Framed 35” x 45”.

2,000/4,000 Provenance: Altermann Galleries, New Mexico.

Exhibited: Wayne Morrell Retrospective, Drexel University, 1992.

1757

220

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1758

1759

1760

1758. ERIC TOBIN Vermont, b. 1958 “Cold Day in Winter - Lowell, VT”. Signed lower right “Eric Tobin”. Titled verso. Oil on canvas, 12” x 16”.

Framed 18” x 24”.

500/1,000

1759. CHARLES J. MOVALLI Massachusetts/Maine, 1945-2016 The white house. Signed faintly lower right “Movalli”.

Oil on board, 16” x 20”. Framed 24” x 28”.

800/1,200

1761

1760. BERNARD COREY Massachusetts, 1914-2000 “Downtown Worcester”. Signed lower right “Bernard Corey”.

Titled verso. Estate stamped, number 732. Housed in a Goodnow frame. Oil on board, 8” x 12”. Framed 14” x 18”.

1,000/1,500

1761. ARNOLD WHITMAN KNAUTH II Massachusetts/New York, 1918-2017 “Early Spring, White Mountains” (New Hampshire).

Signed lower right “A. Knauth”. Titled verso. Oil on board, 20” x 30”. Framed 27” x 37”.

800/1,200

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221

1762. JOHN TERELAK New York/Massachusetts, b. 1942 Landscape with cows. Signed and dated lower right “J Terelak 75”. Oil on canvas, 18” x 24”. Framed 24” x 30”.

2,500/3,500

1762

1763. PHILIP G. SHUMAKER Pennsylvania, 1921-1967 Coastal scene with crashing surf. Signed lower right “Shumaker”. Oil on canvas, 48” x 72”. Framed 52.5” x 77”.

3,000/5,000

1763

1764. WOLF KAHN New York/Vermont/Germany, 1927-2020 The red barn. Signed lower left “W. Kahn”.

Pastel on paper, 14” x 17”. Framed. 4,000/6,000

1764

222

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1765. SULTANABAD DESIGN RUG: 10’1” x 14’0” 21st Century Light ivory field with neatly arrayed columns of gray and tan serrated leaves and stylized blossoms and palmettes suspended from meandering vines.

Tan guard borders. Ice blue main border.

900/1,200

1766. GABBEH RUG: 3’5” x 5’4” 20th/21st Century Nicely variegated red field with randomly scattered colorful human and deer figures. Geometric and stylized elements about the perimeter. 150/250

1765

1767. SULTANABAD DESIGN RUG: 9’0” x 12’5” Last Quarter of the 20th Century Light green field with symmetrically arranged flowering vines, serrated leaves and bold palmettes in faded shades of pink, gold, turquoise, salmon red and sage green. Narrow pink guard borders.

Broad yellow main border.

1,000/1,500

1768. BIDJAR RUG: 8’7” x 11’10” Second Half of the 20th Century Navy blue field with overlapping sky blue and scarlet red hexagonal medallions and a fine green, blue, pink and tan Herati pattern. Olive green and light blue guard borders. Scarlet main border.

600/1,000

1767

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223

1773 1769

1769. HERIZ RUG: 9’2” x 12’8” Circa 1910 Light and navy blue gabled medallion rests at the center of a red field with a bright ivory subfield, small blue spandrels, and blue, brown, tan, pink and teal blossoming vines throughout. Broad red main border contains a bold turtle motif. 1,500/2,500

1770. AFSHAR SCATTER RUG: 3’0” x 3’0” Second Quarter of the 20th Century Bright red medallion containing ivory and blue flowers is surrounded by concentric stylized ivory vines and red and blue ribbons on a camel’s-hair colored field. Red, blue and ivory borders.

100/300

1771. BOKHARA RUG: 4’0” x 6’0” 20th Century Field composed of five columns of concentric ivory and tan diamonds containing Chodor guls and small red, ivory, black and tan stylized blossoms. Multiple borders with repeating traditional elements.

150/250

224

1772. BOKHARA RUG: 3’8” x 6’4” Mid-20th Century Rich red field with alternating traditional quartered guls and cruciform elements in red, black, bright ivory and deep Bengal orange. Borders with traditional elements throughout.

200/400

1773. SERAB RUNNER: 3’1” x 9’9” Second Quarter of the 20th Century Four ivory and tan diamond-shaped medallions contain pink and red floral motifs on an otherwise empty camel’s-hair colored field. Red and ivory borders.

400/700

1774. KILIM RUG IN A CONTEMPORARY DESIGN: 6’9” x 9’7” 21st Century Pale aqua field with multiple rows of checkerboard, geometric and stylized elements in a colorful palette of abrashed red, blue, violet, green gray and butter yellow. Borders consist of striped clusters and a zigzag blue vine.

400/600

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1775. MAHAL DESIGN RUG: 8’10” x 11’4” 20th/21st Century Abrashed green field with several rows of bright ivory, salmon red, brassy gold, smoke gray and medium blue stylized elements. Narrow guard border and abrashed salmon red main border with meandering vine.

1,000/1,500

1776. AHAR HERIZ RUG: 10’0” x 12’0” Second Half of the 20th Century Dark red, black, green, gold and bright ivory gabled medallion is surrounded by boldly rendered traditional motifs on a dark red field. Bright ivory subfield. Abrashed green interior border, midnight blue main border, and an abrashed red and blue exterior border.

600/800

1777. SERAPI DESIGN RUG: 9’0” x 11’9” 21st Century Unusual rust red, dark blue, light blue, almond and salmon red gabled medallion on an ivory field. Pale yellow subfield.

Light gray guard borders. Rust red main border with turtle motif. 900/1,200

1775

1777 1776

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225

1780. MESHED RUG: 11’3” x 16’4” Circa 1970 Midnight blue medallion with a Bengal orange center contains an ivory garrus vine motif and suspends urn-form pendants. Red field filled with traditional vines and blossoms. Midnight blue spandrels. Ivory guard borders and blue main border. Signed in border.

1,500/2,000

1780

1781. KHORASSAN RUG: 11’10” x 17’6” Second Quarter of the 20th Century Abrashed blue, green and teal field with several rows of bold red, blue, yellow-gold, pink and ivory blossoms and palmettes amidst meandering vines.

Blue, ivory and red borders with floral motifs.

1,000/2,000

1781

226

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1783

1782

1782. SERAPI DESIGN RUG: 10’0” x 13’9” 21st Century Dark salmon red, tan, faded gold and navy blue gabled medallion on an ivory field traversed by traditional flowering branches. Tan subfield with pale gold spandrels to echo medallion. Pale yellow and slate blue guard borders. Dark salmon red main border.

1,600/2,400

1783. SULTANABAD DESIGN RUG: 10’2” x 13’10” 21st Century Ivory field with a delicate moss green vine joining bold rust red, tan, gray and forest green blossoms and palmettes. Tan guard borders. Dark slate blue main border.

1,500/2,000

1784. SOUTH PERSIAN RUG: 4’0” x 6’0” Early 20th Century Dark blue field with two columns of linked light blue and red diamond-shaped medallions surrounded by traditional blossoms, boteh and birds. Red and ivory borders. 300/500

1785. SOUTH PERSIAN BAG FACE: 1’9” x 3’3” 20th Century Multiple rows of tiny, colorful, contiguous diamonds form medallions with floral centers on a dark blue field populated with foliate motifs in green, brown, red and yellow. Bright ivory main border.

100/200

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227

1786. CHIPPENDALE OXBOW CHEST Boston or Salem, Massachusetts, 18th Century In beautifully grained mahogany. Bold overhanging top with molded edge. Four graduated full-width drawers retain original oval bail-handled brasses molded with stars surrounding a spread-wing eagle with a Liberty shield at its breast. Blocked ogee feet. Height 30.5”. Width 37.75”.

Depth 21.5”.

10,000/12,000 Provenance: The estate of the Duchess of Devonshire, sister-in-law of Kathleen “Kick” Kennedy, who was a sister of President John F. Kennedy.

Against the wishes of her parents, Kathleen, who was Catholic, married the Duke of Devonshire, who was Protestant, in 1944.

He was killed by a sniper during World War II just a few months after their wedding, and his younger brother inherited his title. Kathleen died in a plane crash in 1948, and many of her possessions remained at Chatsworth House, the seat of the Duke of Devonshire. It is believed this chest was amongst Kathleen’s items inherited by her in-laws.

1786

1787. QUEEN ANNE LOWBOY Massachusetts, Mid-18th Century In cherry, with a nice rich finish, possibly original. Top with molded edge. Full-width drawer over three side-by-side drawers, the central with fan carving. Cabriole legs end in pad feet. Height 29.25”. Width 32.75”. Depth 19.75”.

3,000/5,000

1787

1788. CHIPPENDALE BLOCKFRONT SLANT-LID DESK Massachusetts, Circa 1780 In mahogany. Lid encloses a block and shell interior fitted with central compartment, pigeonholes and drawers. Case with four graduated full-width drawers retaining bold original brasses. Flat bracket feet. Height 42”. Width 41”.

Depth 22”.

3,500/5,000 1788

228

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1789. CHIPPENDALE BLOCKFRONT BUREAU Massachusetts, Circa 1780 In mahogany. Overhanging top with molded edge. Four graduated full-width drawers with period replacement hardware. Flat bracket feet. Height 31”. Width 35.25”.

Depth 21.75”.

3,000/5,000

1789

1790

1790. QUEEN ANNE SLAB-TOP LOWBOY Massachusetts, Mid-18th Century Hardwood, the case and legs with an old painted surface.

Molded-edge top with walnut veneer and inset slate slab.

Case with a full-width drawer over three side-by-side drawers, the central with fan carving. Skirt with acorn drops. Cabriole legs end in pad feet. Original hardware. Height 30.75”.

Width 33.5”. Depth 20.75”.

4,000/6,000 Provenance: Purchased from Joseph Sprain Antiques, Philadelphia.

1791. CHIPPENDALE BUREAU Massachusetts, Circa 1780 In mahogany, with molded-edge top, four graduated full-width drawers, and nicely carved claw & ball feet. Period hardware. Height 32”. Width 35”.

Depth 20.75”.

2,500/3,500

1791

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229

1792. SHERATON TAMBOUR SECRETARY ATTRIBUTED TO THOMAS SEYMOUR Boston, Early 19th Century In mahogany and mahogany veneer. Upper case with a lift top over faux drawers over tambours flanking a central cupboard door. Cupboard contains four small drawers. Tambours enclose open compartments.

Lower case with a fold-out writing surface over four drawers. Height 56”. Width 43”. Depth 23”.

3,000/5,000

1793. SHERATON SOFA North Shore of Massachusetts, Circa 1810 In mahogany. Tapered reeded legs. White upholstery.

Back height 33.5”. Seat height 18”. Length 78.5”.

2,000/3,000

1792

1793

230

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1794

1794. SHERATON CARD TABLE North Shore of Massachusetts, Circa 1805 In mahogany, with satinwood veneer and tapered reeded legs. Height 30.5”. Width 38”. Depth 18”.

1,200/1,800

1795. SHERATON CHEST OF DRAWERS IN THE MANNER OF JOHN SEYMOUR Boston, Circa 1805 In mahogany. Four full-width drawers with bird’s-eye maple veneer facings and period hardware. Three-quarter reeded columns at sides of case terminate in turned feet. Height 40”.

Width 41.5”. Depth 19”.

1,200/1,500

1795

1796

1796. SHERATON CARD TABLE North Shore of Massachusetts, Circa 1805 In mahogany and mahogany veneer, with tapered reeded legs. Height 30.25”. Width 36.75”. Depth 17.75”.

700/1,000

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231

1798

1799

1797

1797. ELMER STENNES GRANDFATHER CLOCK Weymouth, Massachusetts, 20th Century Mahogany case with band inlay.

Bonnet with brass finials on plinths and pierced fretwork. Brass-capped full columns at front of bonnet and fluted quarter columns at sides of trunk. Base with French bracket feet. Painted Roman numeral dial with rocking ship movement in lunette. Branded “Elmer O. Stennes Weymouth Mass” and Stennes paper label inside pendulum door.

Height 85”. Width 16.5”. Depth 9”.

1,500/2,500

232

1798. ELMER STENNES-TYPE BANJO CLOCK 20th Century Mahogany case with brass ball and eagle finial. Painted Roman numeral dial with a bee between the four and five. Reverse-painted throat and door glass with gilt designs against a white ground. Retains weight and pendulum. Height 34.25”. Width 10”.

600/800

1799. ELMER STENNES TALL-CASE CLOCK Weymouth, Massachusetts, 20th Century Nicely made inlaid mahogany case with reeded quarter columns. Metal Roman numeral dial with painted floral decoration at corners and in lunette. Signed “Elmer O. Stennes, Weymouth, Mass.”. Stamped “54” and “15” in case. Includes weights and pendulum. Height 87” including finial. Width at base 19”. Depth at base 11”.

1,800/2,400

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1800. RARE E. HOWARD & CO. SHELF CLOCK Boston, Late 19th Century Oak case surmounted with gilt-painted dragons flanking a winged eagle, a heraldic symbol of transport, speed and progress. Crest carved with a classical figure.

Carved columns at sides of case. Brass Arabic numeral dial etched “E. Howard & Co. Boston”. Height 32”.

Width 19”. Depth 8”.

1,000/1,500

1800

1801. FOSTER CAMPOS BANJO CLOCK 20th Century Mahogany case with brass eagle-form finial and brass side arms. Reverse-painted throat and door glass; door glass depicts English and American ships engaged in battle. Face marked “Foster S. Campos Pembroke Mass”. Height 41”.

800/1,200

1801

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233

Session III Friday, July 30, at 9:30 a.m.

Lots 2001-2182 Artwork from the Estate of Hilary Bamford Lots 2001-2020 Nantucket Baskets Lots 2120-2131 Furniture Lots 2172-2182 Also Cape Cod, Contemporary and Marine Art, and More

234

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ARTWORK FROM THE ESTATE OF HILARY BAMFORD OF PROVINCETOWN Lots 2001-2020

Hilary and Sidney Bamford were longtime residents of Provincetown, Massachusetts. They collected works from local artists and developed a passion for white line block prints, including those by Blanche Lazzell.

They supported the local art scene and have donated two Lazzells to The Provincetown Art Association and Museum (PAAM).

Hilary annually made holiday cards using linoleum block printing. An avid deltiologist, she collected early Provincetown photo cards and was a founding member of the Cape Cod Postcard Collectors Club. For thirty years, she hosted “The Friday Folk Show” on WOMR.

2001

2001. JOHN WHORF Massachusetts, 1903-1959 “Lovett’s Court, Provincetown”. Signed lower right “John Whorf ”. Titled on Provincetown Art Association & Museum exhibit label verso. Watercolor on paper, 15.25” x 21.5” sight.

Framed 26” x 32”.

7,000/9,000 Exhibited: “The Whorf Family, Four Generations of Art”, Provincetown Art Association & Museum, May 24-June 30, 1991. PAAM exhibit checklist and biographies included with lot.

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235

ARTWORK FROM THE ESTATE OF HILARY BAMFORD OF PROVINCETOWN

2002. PETER PLAMONDON Masschusetts/California, b. 1944 Still life of pears in a bowl. Signed lower right “P.P. 78”.

Oil on canvas, 10” x 11”. Framed 10.5” x 11.5”.

300/500

2002

2003. PETER PLAMONDON Masschusetts/California, b. 1944 Kitchen interior with dishes filling a shelf. Signed lower right “P.P. 78”. Oil on canvas, 33” x 25”.

Framed 33.25” x 25.25”.

500/700

2003

236

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2005

2004

2004. ATTRIBUTED TO ARTHUR MORRIS COHEN New York, 1928-2012 MacMillan Wharf, Provincetown, Massachusetts.

Unsigned. Oil on canvas, 25” x 24”. Framed 26” x 25”.

4,000/6,000

2005. ARTHUR MORRIS COHEN New York, 1928-2012 “Long Point”. Signed lower right “Arthur Cohen”.

Signed and titled on stretcher. Oil on canvas, 8” x 12”.

Framed 8.5” x 12.5”.

1,500/2,500

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237

ARTWORK FROM THE ESTATE OF HILARY BAMFORD OF PROVINCETOWN

2006

2006. BLANCHE (NETTIE) LAZZELL Massachusetts/West Virginia, 1878-1956 “Provincetown Water Front”. Titled in ink lower left and signed lower right “Blanche Lazzell 1945”. Signed in image lower right “B. Lazzell”. Titled on label verso, also inscribed “513 number from all blocks 4 number from this block”.

Whiteline woodblock print, 12.5” x 14.5” sight. Framed 19.5” x 21.25”.

35,000/45,000

238

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2007

2007. BLANCHE (NETTIE) LAZZELL Massachusetts/West Virginia, 1878-1956 “My Wharf Studio”. Titled in ink lower left and signed lower right “Blanche Lazzell 1945”. Signed in image lower right “B. Lazzell”. Titled on label verso, which is also inscribed “Provincetown, Mass Oct. 1945”, “Taken from block” and “511 Number from all blocks 9 Number from this block”.

Whiteline woodblock print, 12.5” x 14.5” sight. Framed 19.5” x 21.25”.

35,000/45,000

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239

ARTWORK FROM THE ESTATE OF HILARY BAMFORD OF PROVINCETOWN

2008. BROR JULIUS OLSSON NORDFELDT New Mexico/New Jersey/Kansas/Sweden, 1878-1955 “The Shoregoing Sailor”. Titled lower left and signed “Nordfeldt imp.” lower center.

Whiteline print, 12” x 13” sight. Framed 19” x 20”.

3,000/5,000 Illustrated: The Woodblock Prints of B.J.O. Nordfeldt: A Catalogue Raisonne by Fiona I. Donovan (Minnesota: University Art Museum, University of Minnesota, 1991), fig. 46, “The Dock, 1916”, catalogue 24.

2008

2009. TOD (RAPHAEL LEROY) LINDENMUTH Massachusetts/Florida, 1885-1976 “Along the Shore”. Titled lower left. Signed lower right “Tod Lindenmuth”. Whiteline woodblock print, 13.25” x 14.75” sight.

Framed 21.5” x 22.5”.

800/1,000

2009

240

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2010

2011

2010. WILLIAM EVAUL Massachusetts, Contemporary “Rooftops”. Titled lower left and dated “9.19.82” lower center. Signed lower right “W.H. Evaul”.

Whiteline woodcut, 12” x 8” sight. Framed 17” x 13”.

400/600

2011. RUTH D. HOGAN Massachusetts, b. 1943 “Airing the Quilts, 1985”. Titled and dated lower left. Signed lower right “Ruth Hogan”. Whiteline woodblock print, 11.5” x 13.5” sight. Framed 18” x 20”.

300/400

2012. COULTON WAUGH New York, 1896-1973 “Low Tide - Provincetown”. Titled lower left and signed lower right. Color etching, 12” x 8.25” sight. Framed 18” x 14”.

400/600

2012

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241

ARTWORK FROM THE ESTATE OF HILARY BAMFORD OF PROVINCETOWN

2013

2013. ROSS E. MOFFETT Massachusetts/California/Iowa, 1888-1971 Boat repairs. Signed lower left “Moffett”.

Oil on canvas, 16” x 20”. Framed 18” x 22”.

7,000/9,000

242

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2014. NICHOLAS “AFON” AFONCHICOV Provincetown, Massachusetts, 20th Century “Shacks by the Old Cold Storage”. Estate stamped and titled verso. Oil on canvas board, 12” x 16”.

Framed 19” x 23”.

500/700

2014

2015. COURTNEY CHARLES ALLEN New York/Massachusetts/France, 1896-1969 A couple in a cafe interior. Signed lower right “CA”. Oil on canvas, 24” x 25”. Unframed.

400/600

2015

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243

ARTWORK FROM THE ESTATE OF HILARY BAMFORD OF PROVINCETOWN

2016. COURTLAND BUTLER Pennsylvania/Connecticut/Florida/Ohio, 1871-1952 “Wren Tower from Harbor”. Signed lower right “Courtland Butler”. Titled verso. Oil on board, 8” x 10”. Framed 14” x 16”.

400/600

2016

2017. PAMELA JASON Massachusetts, 20th/21st Century Provincetown rooftops. Signed lower right “Jason”.

Signed and dated “4/79” on stretcher. Oil on canvas, 13” x 10”. Framed 14” x 21”.

400/600

2017

2018. GAYLE LOVETT Massachusetts, Contemporary “Study for Yellow Bike”. Signed lower right “Gayle Lovett”. Titled, signed and dated “Provincetown / 1971” on stretcher. Oil on canvas, 12” x 16”.

Framed 12.5” x 16.5”.

200/250

2018

244

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2019. HOOKED RUG “THE MOORINGS 1954” Mid-20th Century Depicts an Outer Cape landscape. Titled on lower border.

Hand-stitched label verso “JB Truro”. 50” x 40”.

500/1,000

2019

2020. COLLECTION OF SIGNED LETTERS INCLUDING ONE BY WALT WHITMAN Early 20 Century Others signed “Henry James”, “John C. Whittier” and “W.C. Bryant”, for William Cullen Bryant, written on “The Evening Post” letterhead. Whitman letter written in ink “Camden 328 Mickle Street Dear ECS I have written to Mr. Browne, giving permission -- I am living here quite fit + in good spirits but disabled, paralyzed in my locomotion almost completely - Get out every afternoon + take two or three hours ride in the nice Phaeton that was given me - Affectionate respects to you and Mrs. S + all inquiring friends. Come + see me. Walt Whitman”. Whitman letter 6” x 9”. Others vary.

3,000/5,000

Walter “Walt” Whitman (1819-1892), often called the “father of free verse” and one of the foremost American poets, suffered a stroke toward the end of his life and moved to Camden, New Jersey, where his health further declined.

2020, four

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245

2021. CHARLES WEBSTER HAWTHORNE Massachusetts/New York, 1872-1930 Portrait of an elegant woman. Boldly signed upper right “C.W. Hawthorne”. Oil on canvas, 44” x 34”.

Framed 48.75” x 38.75”.

6,000/8,000 Provenance: Deaccessioned from the Granville County Historical Society Museum, Oxford, North Carolina.

Leland Little Auctions, North Carolina, June 13, 2009, Lot #229.

2021

2022. CHARLES WEBSTER HAWTHORNE Massachusetts/New York, 1872-1930 Portrait of a nude seated at a mirror. Signed lower left “C.W. Hawthorne”. Oil on canvas, 20” x 16”.

Framed 27” x 23”.

9,000/11,000

2022

246

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2023

2023. CHARLES WEBSTER HAWTHORNE Massachusetts/New York, 1872-1930 “Nina”. Signed lower left “C.W. Hawthorne”. Oil on panel, 30” x 25”. Framed 38” x 32”.

15,000/20,000 Provenance: Mrs. George Stevens, New York.

Sotheby’s, New York, April 7, 1971, Lot #40.

Dr. James Nelson.

Christie’s, New York, November 30, 1994, Lot #93.

Private Collection, Cape Cod, Massachusetts.

Note: There is also a label verso for Rainone Galleries, Arlington, Texas. The catalog entry in the 1994 Christie’s auction states this work was executed in 1910.

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247

2024. HENRY HENSCHE Massachusetts/Louisiana/Germany, 1899-1992 Tabletop still life with decoy. Signed lower right “Henry Hensche”. Oil on canvas, 25” x 24”. Framed 31” x 31.75”.

2,000/3,000

2025. ANGELE E. MYRER Massachusetts, 1896-1970 “Wharf House”. Titled lower left. Signed and dated lower right “Angele Myrer 1954”. Titled on Cape Cod Art Association label verso. Whiteline color woodblock print, 8” x 10”. Framed.

2,500/3,500

2024

Provenance: Provincetown Art Association.

Private Cape Cod, Massachusetts Collection.

Exhibited: Cape Cod Art Association, Inc. Second Jury Show.

2026. JERRY FARNSWORTH Masschusetts/Florida, 1895-1982 Three portraits: 1) Truro Gypsy.

2) Basque Type. Signed lower right.

3) Musician.

Monoprints on paper, 9” x 8.5”. Largest frame 17” x 15”.

400/600 Provenance: Private Collection, Cape Cod, Massachusetts.

Exhibited: Cape Museum of Fine Arts, “Cape Cod Print Makers, 1995”.

2025

2026, three

248

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Henry Kallem New York/Massachusetts/Maine, 1912-1985 Lots 2027-2029

2027

2028

2027. “Provincetown”.

Signed in pencil lower left, titled lower center, and numbered 18/100 lower right. Color woodcut, 10.25” x 22.75” sight. Framed 16.5” x 29”.

300/500

2028. Still life of bottles.

Signed lower left “Kallem”.

Oil on canvas, 18” x 24”. Unframed.

500/700

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2029

2029. Abstract with vases.

Signed verso “Henry Kallem”.

Oil on canvas, 24” x 30”. Unframed.

500/700

249

2030. JOHN WHORF Massachusetts, 1903-1959 “Blue Harbor”. Signed lower right “John Whorf ”. Titled verso. Watercolor on paper, 15” x 22”. Framed 24” x 31”.

2,000/3,000

2030

2030A. JOHN WHORF Massachusetts, 1903-1959 Picnic by the sea. Signed lower left “John Whorf ”.

Watercolor on paper, 18.75” x 25” sight. Framed 29” x 36”.

2,500/3,500

2030A

2031

2031. JOHN CUTHBERT HARE Massachusetts/Florida, 1908-1978 “Old Wharf Provincetown”. Signed lower right “John Hare”.

Titled on label verso for A.A. Munson’s Son Fine Arts, New Haven, Connecticut. Watercolor on paper, 13” x 16”.

Framed 16” x 19”.

700/1,000

2032. JOHN CUTHBERT HARE Massachusetts/Florida, 1908-1978 “In Provincetown Harbor”. Signed lower right “John Hare”. Titled verso. Watercolor on paper, 16” x 19”.

Framed 24.5” x 27”.

500/1,000

2032

250

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2033. PROVINCETOWN SCHOOL Early 20th Century Higgins Wharf. In the manner of Arthur V. Diehl. Signed lower right “C.E. Woods”. Oil on board, 9.75” x 6.25”.

Framed 14” x 10.25”.

1,000/1,500

2033

2034. SOL WILSON New York/Poland/Russian Federation, 1896-1974 “Beached Sail Boats”. Signed lower right “Sol Wilson”. Titled and signed verso. Oil on canvas board, 8” x 10”. Framed 15.5” x 17.5”. 800/1,200

2034

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251

Karl (Otto) Knaths Massachusetts/Wisconsin, 1891-1971 Lots 2035-2037

2035

2035. “Road”, 1968-1970.

Signed lower left “Karl Knaths”. Titled, signed and dated “P-Town 1968” on stretcher. Oil on canvas, 30” x 36”.

Framed 30.5” x 36.5”.

4,000/6,000 Provenance: Paul Rosenberg & Co., New York.

Danforth Museum, Framingham, Massachusetts, Gift of Abraham and Faye Adler, 1981.

252

2036. “Whoa”, 1966.

Signed lower left “Karl Knaths”. Signed, titled and dated on stretcher. Illustrated in Paul Rosenberg & Co.’s 1967 exhibition catalog (No. 7) and Contemporary American Painting and Sculpture, Krannert Art Museum, Champaign, Illinois,1969, p. 53. Both volumes included with the lot. Oil on canvas, 40” x 50”. Unframed.

10,000/15,000 Provenance: Paul Rosenberg & Co., New York.

Krannert Art Museum 1969 exhibit.

Property of First National Bank, Orleans, Cape Cod, Massachusetts.

Danforth Museum, Framingham, Massachusetts, Gift of Charles H. Mandell, 1982.

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Karl (Otto) Knaths Massachusetts/Wisconsin, 1891-1971 Lots 2035-2037

2036

2037. Nighttime harbor scene.

Signed lower left “Karl Knaths”.

Mixed media on paper, 20.25” x 28” sight. Framed 29.5” x 37”.

1,200/1,800

2037

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253

2038, obverse

2039

2040

2041

2038. TOD (RAPHAEL LEROY) LINDENMUTH Massachusetts/Florida, 1885-1976 Double-sided work, one side depicting fishermen and the other side a beach scene. Signed on one scene “Tod Lindenmuth”. Oil on board, 14” x 17”. Framed 19” x 22”.

1,500/2,500

2040. HENRIETTA DUNN MEARS Massachusetts/Minnesota/California/Wisconsin, 1877-1970 “Fishing Boats, Provincetown, Cape Cod”. Signed lower left “Henrietta Dunn Mears”. Titled on original backing fragment affixed verso. Watercolor on paper, 15” x 19.5” sight. Framed 25” x 29”.

800/1,200

2039. HEINRICH HERMAN R. PFEIFFER Massachusetts/Florida, 1874-1960 “Morning” (Provincetown, Massachusetts). Signed lower right “Heinrich Pfeiffer”. Titled verso. Oil on canvas board, 8” x 12”. Framed 16” x 17.5”.

800/1,200

2041. MAX KUEHNE New York/Germany, 1880-1968 “The White Church”. Signed lower left “Kuehne”. Titled on gallery label verso. Watercolor on paper, 14.5” x 19” sight.

Unframed. 700/900

254

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2042

2042. EDWIN WALTER DICKINSON New York/Massachusetts, 1891-1978 “Wellfleet 1942”. Signed and dated lower left “E. Dickinson”.

A highly desirable work from the artist’s Provincetown period.

It is also a rare pastel by Dickinson, as only five are known to exist: one in the possession of the heirs of Edwin Dickinson, one at the Montclair Art Museum, one unlocated, and two in private ownership, of which this is one. Pastel on paper, 10.5” x 13.5”. Framed 18” x 21”.

12,000/15,000

Provenance: Graham Gallery, New York.

The Tibor de Nagy Gallery, New York.

Driscoll-Babcock Galleries, New York.

Extensive Exhibition History Includes: Lenox Hill Hospital, New York, 1965.

Institute of Contemporary Art, Boston, 1969 and 1971.

Parke-Bernet Galleries, New York, 1970.

Delaware Museum of Art, Wilmington, Delaware, 1971.

Hirshhorn Museum and Sculpture Garden, Washington, D.C., 1981.

Listed in the artist’s catalog raisonné as no. 1011.

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255

Guy Carleton Wiggins New York/Connecticut/Florida, 1883-1962 Lot 2043

2043

2043. “Before Dawn, Provincetown, 1922”.

Signed lower left “Guy Wiggins”. Titled verso.

Oil on board, 18.5” x 23”. Framed 25” x 30”.

10,000/15,000

256

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257

2044. BRUCE MCKAIN Massachusetts/Indiana, 1900-1990 Red house, winter. Signed lower right “McKain”. Watercolor on paper, 19” x 14” sight. Framed 29” x 23”.

900/1,100

2045. BRUCE MCKAIN Massachusetts/Indiana, 1900-1990 “The Charlotte”. Signed lower right “McKain”.

Remnants of Provincetown Art Association & Museum exhibit label on stretcher. “Woodshed Provincetown, Mass.” stamp on frame. Oil on canvas, 20” x 26”. Framed 27” x 33”.

3,000/5,000

2046. ARTHUR MORRIS COHEN New York, 1928-2012 “Flatiron Building”. Signed lower right “Arthur Cohen”. Titled, signed and dated 2001 verso.

Oil on canvas board, 14” x 10”. Framed.

1,000/1,500

2044

2045 2046

258

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2047

2047. GERRIT ALBERTUS BENEKER Massachusetts/New York/Michigan, 1882-1934 A Cape Cod home, likely Truro, Massachusetts.

Signed and dated lower left “Gerrit A. Beneker 1927”. Oil on canvas, 34” x 34”. Framed.

4,000/6,000

2048. GERRIT ALBERTUS BENEKER Massachusetts/New York/Michigan, 1882-1934 Lot of printing blocks, depicting a boat at dock, a house and tree, “Men are Square”, “Homer White”, “Alabama Kid” and an unknown portrait. Most signed in plate. Sizes vary, largest 5” x 4”.

500/1,000

2048

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259

2049

2050

2049. FRANK ALFRED BICKNELL Connecticut/Maine, 1866-1943 “A Souvenir of Provincetown (Cape Cod) Aug. 1907”. Signed faintly lower left. Signed and titled verso. Oil on board, 8” x 10”. Framed 14” x 16”.

4,000/6,000

260

2050. HAROLD B. WARREN Massachusetts, 1859-1934 Dune and bog scene, possibly Provincetown, Massachusetts.

Signed lower left “H.B. Warren”. Watercolor, 8” x 10”.

Framed 12” x 15”.

3,000/5,000

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Arthur Vidal Diehl Massachusetts/New York/England, 1870-1929 Lots 2051-2057

2051

Although Arthur Vidal Diehl was born in England, he is probably best known for capturing the sand dunes and harbors of Cape Cod.

He was born into an artistic family and went off on his own around age 19 to roam Europe. In 1891 he was in the United States, where he worked as a performance artist and decorated piecework to earn money. In 1912 he spent his first summer on Cape Cod and established a studio.

A prolific, and fast, painter, it is said he produced up to 25 paintings a day.

2051. Boats at dock, Provincetown, Massachusetts.

Signed lower right “A.V. Diehl”. Illegibly inscribed verso.

Also noted verso “I watched artist paint this in Provincetown in 1927”. Oil on board, 6” x 6”. Framed 6.75” x 6.75”.

600/800

He would compose scenes from memory and entertain onlookers as he finished a small painting right before their eyes, often managing to sell it to them in the process. It was a clever way to cater to the tourists that flocked to the Cape each summer. He established a similar business model in Saint Augustine, Florida, where he spent some winters.

Diehl died in Fall River, Massachusetts, in 1929.

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261

Arthur Vidal Diehl Massachusetts/New York/England, 1870-1929 Lots 2051-2057

2052

2052. A fisherman relaxing on a fence and gazing towards a pier, Provincetown.

Signed and dated lower left, “Arthur V. Diehl 1919”.

Oil on canvas, 10” x 18”. Framed 16” x 24”.

5,000/7,000

262

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Arthur Vidal Diehl Massachusetts/New York/England, 1870-1929 Lots 2051-2057

2053

2053. City scene, likely St. George Street in St. Augustine, Florida.

Signed and dated lower left “Arthur V. Diehl 1921”. Oil on board, 25” x 15”. Framed 31” x 21”.

4,000/6,000

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263

Arthur Vidal Diehl Massachusetts/New York/England, 1870-1929 Lots 2051-2057

2054. Path through the dunes.

Signed lower left “Arthur V. Diehl”. Oil on canvas, 6” x 11.75”.

Framed 10” x 15.75”.

1,000/1,500

2054

2055. Sailing ship at dock, Provincetown, Massachusetts.

Signed and dated lower right “Arthur V. Diehl 1928”.

Oil on board, 13” x 10”. Framed 16” x 13”.

2,000/3,000

2055 2056

2056. Dock scene, Provincetown Harbor, Massachusetts.

Signed lower left “Arthur V. Diehl”. Oil on board, 7” x 9”.

Framed 9” x 11”.

1,500/2,500

2057. “Boats at a Pier”, likely Provincetown, Massachusetts.

Signed lower left “Arthur V. Diehl”. Titled on frame plaque.

Oil on board, 10” x 12”. Framed 14.5” x 16.5”.

2,000/3,000

2057

264

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2059

2058

2058. CHESTER VAN NORTWICK Massachusetts/New Hampshire/Rhode Island, 1881-1944 Woman nursing a baby. Unsigned. Estate stamped verso.

Oil on canvas, 14” x 12”. Framed 18.5” x 16.5”. 800/1,200

2059. ELLIOT ORR Massachusetts/Florida, 1904-1997 Stage Harbor, Chatham, Massachusetts. Signed lower right “Elliot Orr”. Oil on board, 9” x 12”. Framed 12.5” x 15.5”.

250/350

2060. SELINA TRIEFF New York/Massachusetts, 1934-2015 Two figures with a skeleton. Signed and dated upper right “Trieff 1984”. Graphite on paper, 13.25” x 14.5” sight.

Framed 19” x 16”.

400/600 2060

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265

2061. ANNE PACKARD Massachusetts/New Jersey, b. 1933 Landscape, Truro, Massachusetts. Signed lower left “A. Packard”. Oil on board, 8” x 10”. Framed 9.5” x 11”.

1,000/1,500

2062. ANNE PACKARD Massachusetts/New Jersey, b. 1933 “Headed Home”. Signed lower right “A. Packard”.

Signed, titled and dated “Provincetown 2004” verso.

Housed in a Guido frame. Oil on canvas, 36” x 24”.

Framed 41.5” x 29.5”.

20,000/25,000 2061

Provenance: Private Chatham, Massachusetts Collection.

Although she was born and raised in Hyde Park, New York, Anne Packard spent her childhood summers in Provincetown, a seaside village at the tip of Cape Cod. Her grandfather, noted Romantic Impressionist Max Bohm, was one of the founders of the art colony there that has thrived for more than a century. Packard moved to Provincetown full-time in 1977.

Packard is a self-described self-taught artist. Her early works were painted on wood panels and weathered shingles. Probably best known for her dream-like Provincetown and Outer Cape landscapes, Packard has also painted in Ireland, Italy, Greece and Mexico.

Daughter Leslie Packard began painting as an adult, when Anne presented her with a birthday gift set of paints. Under the study of her sister Cynthia Packard, she has developed her own distinct style.

Cynthia Packard has been artistic since childhood, and she graduated from the Massachusetts College of Art in 1981 with an MFA in sculpture. She also lives in Provincetown, and her eldest son, Zachary, represents the fourth generation in the family of painters.

2062

266

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2063

2063. LESLIE PACKARD Massachusetts, Contemporary Still life of red flowers. Signed and dated lower right “L. Packard 07”. Housed in a Guido frame. Oil on canvas, 40” x 30”. Framed 46” x 36.5”.

1,000/1,500 Provenance: The Packard Gallery, Provincetown, Massachusetts.

Private Chatham, Massachusetts Collection.

2064

2064. CYNTHIA PACKARD Massachusetts/Florida, b. 1957 Two figures. Signed lower right “Cynthia Packard”. Housed in a Guido frame. Oil on canvas, 24” x 18”. Framed 30” x 24”.

1,000/1,500 Provenance: The Packard Gallery, Provincetown, Massachusetts.

Private Chatham, Massachusetts Collection.

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267

William R. Davis Massachusetts, b. 1952 Lots 2065-2070

2065

2065. “Fisherman off Boon Island”.

Signed lower left “William R. Davis”. Titled verso.

Oil on canvas, 12” x 24”. Framed 18” x 30”.

7,000/10,000

2066. “Owl’s Head Light Maine”.

Signed lower left “W. Davis”. Titled verso.

Oil on board, 5” x 7”. Framed 8.75” x 10.75”.

1,500/2,500

2066

268

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William R. Davis Massachusetts, b. 1952 Lots 2065-2070

2067

2067. “Maine Harbor Sunset”.

Signed lower right “William R. Davis”. Titled verso.

Oil on canvas, 18” x 36”. Framed 26” x 44”.

12,000/15,000 Exhibited: Salmagundi Club, New York, 2018.

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269

William R. Davis Massachusetts, b. 1952 Lots 2065-2070

2068. “Isles of Shoals Light White Island N.H.”.

Signed lower right “William R. Davis”.

Signed, titled and dated 1991 verso. Oil on canvas, 12” x 16”. Framed 13” x 17”.

1,500/2,000

2068

2069. “Schooner Yacht off Sankaty Light, Nantucket”.

Signed lower left “William R. Davis”.

Titled verso. Oil on panel, 12” x 16”.

Framed 19” x 23”.

5,000/7,000

2069

270

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William R. Davis Massachusetts, b. 1952 Lots 2065-2070

2070

2070. The steamer Gay Head.

Signed and dated lower right “William R. Davis 83”.

Acrylic on canvas, 14” x 28”. Framed 19” x 33”.

8,000/12,000 Provenance: The artist.

Private Collection, Cape Cod, Massachusetts.

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271

2071. ATTRIBUTED TO SANDY MORAN Cape Cod, Massachusetts, d. 2020 Sailor’s valentine contained within a rosewood veneer tea caddy. Interior lid with multicolored shells in a heart design and base with “Love” and flowers. Caddy with shell inlay on lid. Caddy height 5”. Width 8.5”. Depth 5”.

400/600 Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

2071

2072. SANDY MORAN Cape Cod, Massachusetts, d. 2020 Sailor’s valentine composed of multicolored shells, mounted with a cameo depicting a seated mermaid. Signed verso.

Housed in an octagonal wooden case. 7.25” x 7.25”.

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

2072

2073. SANDY MORAN Cape Cod, Massachusetts, d. 2020 Sailor’s valentine contained within a curly maple heart-shaped lift-top box. Composed of multicolored shells. Interior of lid with “Love” above a bed of flowers. Base with an array of flowers. Box height 2.5”. Width 9.25”. Depth 9.5”.

700/1,000 Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

2073

272

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2074. SANDY MORAN Cape Cod, Massachusetts, d. 2020 Octagonal sailor’s valentine composed of predominantly white shells. One side with a compass rose and the other side with “Love” and flowers. Housed in a hinged octagonal wooden case. 14.75” x 14.75”.

800/1,200

2074

Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

2075, five

2075. SANDY MORAN Cape Cod, Massachusetts, d. 2020 Five small sailor’s valentines composed of multicolored shells in star and other geometric designs. One mounted with a miniature hat and one with a miniature basket.

Housed in octagonal wooden cases. From 3.25” x 3.25” to 5.25” x 5.25”.

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

2076. SANDY MORAN Cape Cod, Massachusetts, d. 2020 Sailor’s valentine composed of multicolored shells surrounding a circular portrait of an American ship at the center of a compass rose. Portrait signed lower center “DM”. Housed in an octagonal wooden case.

29.5” x 29.5”.

3,000/5,000 Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

2076

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273

2077. FREDERICK COLLORD Cape Cod, Massachusetts, Contemporary “Sunset on Quidnet”. Depicts sweeping views of a shoreline and distant lighthouse. Signed, titled and dated verso “F. Collord ‘01”. Oil on canvas, 24” x 26” sight.

Framed 32.25” x 44.25”.

500/700

2077

2078. ALAN J. EDDY Massachusetts, b. 1940 Sailing off Brant Point, Nantucket. Signed lower right “Alan J. Eddy”. Oil on board, 15” x 30”. Framed 20.5” x 35.5”.

1,500/2,500

2078

2079. YASEMIN KYRENA TOMAKAN Connecticut/Massachusetts/Turkey, b. 1958 “Windswept, Nantucket”. Depicts sailboats off Great Point. Signed lower right. Oil on canvas, 23” x 48”.

Framed 29” x 52”.

1,200/1,800

2079

2080. YASEMIN KYRENA TOMAKAN Connecticut/Massachusetts/Turkey, b. 1958 “Expansive Views, Great Point, Nantucket”. Depicts a sailboat rounding the lighthouse. Signed lower right.

Oil on canvas, 23” x 35”. Framed 29” x 35”.

1,200/1,800

2080

274

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2081. KENNETH J. KNOWLES Massachusetts, b. 1968 “‘Sunlight on Upper Main St.’ Nantucket”. Signed lower left “Ken Knowles”. Signed, titled and dated 2009 verso. Oil on canvas, 24” x 30”. Framed 32.5” x 38.5”.

2,000/3,000

2081

2082. KENNETH J. KNOWLES Massachusetts, b. 1968 “‘Morning Light on India Street’ Nantucket, MA”.

Signed lower left “Ken Knowles”. Signed, titled and dated 2008 verso. Oil on canvas, 24” x 30”.

Unframed. 2,000/3,000

2082

2083. HAROLD ABBOTT GREEN Connecticut/Rhode Island/Canada, 1883-1969 Fishing schooner at dock. Estate stamped verso.

Oil on board, 9.5” x 14.5”. Framed 16” x 21.5”.

800/1,200

2083

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275

2084. MAXWELL MAYS Rhode Island, 1918-2009 “Newport Soiree”. Signed lower right “Maxwell Mays”. Titled on frame plaque. Oil on board, 32” x 21”. Framed 42” x 32”.

1,800/2,500

2085. ELIZABETH MUMFORD Massachusetts, 1950-2020 “I wish in my Heart, I was far away from here A sittin’ in my parlor, and talking to my Dear ...”. Signed and dated lower right “Elizabeth Mumford 84”. Oil on board, 15” x 20”.

Framed 15.75” x 20.75”.

1,000/1,500

2086. FRED HAMILTON DANIELS Massachusetts/New York, 1872Shore view, likely Menemsha, Martha’s Vineyard, Massachusetts. Signed and dated lower right “F.H. Daniels 1930”. Oil on board, 12” x 16”. Framed 14.5” x 20.5”.

500/1,000 2084

2085

276

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2086

Robert Douglas Hunter Massachusetts, 1928-2014 Lot 2087

2087

2087. “A Tribute to Herman[sic] Dudley Murphy”.

Signed and dated lower left “Robert Douglas Hunter ‘92”. Titled on note verso. Oil on canvas, 36” x 36”. Framed 42” x 42”.

6,000/9,000

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277

2088. MARTHA FARHAM CAHOON Cape Cod, Massachusetts, 1905-1999 A child on a rearing horse. Signed and dated lower right “Martha Cahoon 78”. Oil on masonite, 9” x 10”. Framed 10.5” x 11.5”.

800/1,200

2088

2089. RALPH EUGENE CAHOON, JR. Cape Cod, Massachusetts, 1910-1982 19th Century six-board pine blanket chest with painted decoration of a sailor eyeing two vessels off the coast through his spyglass. Red painted background bordered with a black rope motif.

Height 16.5”. Width 33”. Depth 15.75”.

3,000/5,000

2089

2090. RALPH EUGENE CAHOON, JR. Cape Cod, Massachusetts, 1910-1982 A ship off a lighthouse. Signed lower right “R. Cahoon”.

Oil on masonite, diameter 10”. Framed diameter 13”.

4,000/6,000

2090

278

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2091

2091. RALPH EUGENE CAHOON, JR. Cape Cod, Massachusetts, 1910-1982 “Cape Cod Patchwork Co. Inc.”. Signed lower right “R. Cahoon”.

Titled on the quilt draped over the whale. Commissioned by the family of the consignor in 1975. A wonderful example incorporating the classic Cahoon elements of whales, sailor, mermaids, ships and balloons combined into a mischievous fantasy setting. Includes a signed handwritten note by Cahoon to the original owner confirming the desired size of the finished work. Oil on masonite, 16” x 22”.

Framed 20” x 26”.

15,000/20,000

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279

2092. NANCY WHORF Massachusetts/Florida, 1930-2009 Pine hutch table with painted decoration of songbirds, hearts and flowers on a yellow ground. Unsigned. Height 31”.

Top 24” x 36”.

300/500

2093. TWO WOODEN VERNON B. SMITH PROPERTY SIGNS 20th Century Found in Orleans, Massachusetts. One with “Private Property No Public Parking” and the other with “Vernon Smith”, both with black lettering on a white ground. 8.5” x 26” and 4” x 16”.

300/400

2094. VERNON B. SMITH Massachusetts, 1894-1969 Two birds in a tree-filled landscape. Signed lower left “Vernon Smith”. Painted wood bas relief carving, 38” x 18”.

3,000/5,000

2094

280

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2095. RICHARD “RIC” HOWARD Massachusetts, 1912-1996 “Route 28 Dennisport”. Unsigned. Oil on masonite, 20” x 39. Framed 28” x 47.5”.

2,500/3,500 2095

Provenance: The Collection of Avard “Chick” Craig, Dennis, Massachusetts.

Exhibited: The Cape Museum of Fine Art, Dennis, Massachusetts.

2096. RICHARD “RIC” HOWARD Massachusetts, 1912-1996 Beach scene with figures. Signed lower left “Richard Howard”. Oil on canvas, 18” x 21”. Framed 20” x 24”.

500/1,000

2096

2097. EUGENE CAMILLE FITSCH New York/Massachusetts/France, 1892-1972 Working the fish weir, Brewster, Massachusetts. Signed faintly lower right. Oil on canvas, 34.5” x 44”. Framed 35.5” x 45”.

500/700

2097

2098. EUGENE CAMILLE FITSCH New York/Massachusetts/France, 1892-1972 Panoramic landscape, Truro, Massachusetts. Signed lower right “E. Fitsch”. Oil on board, 24” x 58”. Framed 25” x 58”.

500/700

2098

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281

Harold C. Dunbar Massachusetts, 1882-1953 Lots 2099-2102

2099

2100

2101

2102

2099. “Fishing Schooners in Port”.

Signed lower right “Harold Dunbar”. Titled, signed and dated 1953 verso. Oil on board, 12” x 15”. Framed 14” x 17”.

300/500

2100. “Moonrise, (the ‘Powder Hole’) - Monomoy Point”.

Signed lower right “Harold Dunbar”. Signed, titled and dated 1949 verso. Oil on board, 20” x 24”. Framed 23” x 27”.

300/500

282

2101. Forest landscape, likely the Blue Hills of Massachusetts.

Signed lower right “H.C. Dunbar”. Oil on canvas, 16” x 20”.

Framed 23” x 26.5”.

2,500/3,500

2102. Cape Cod landscape, possibly Chatham, Massachusetts.

Signed and dated lower left “Harold C. Dunbar 1908”. Oil on canvas, 11” x 14”. Framed 17.5” x 21”.

3,000/5,000

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Wendell M. Rogers Massachusetts, 1890-1973 Lots 2103-2106

2103

2104

2105

2103. Nathaniel Wixon’s fish house on the Herring River, West Harwich, Massachusetts.

Signed lower left “Wendell Rogers”. Oil on canvas board, 10” x 12”. Framed 13.25” x 15.25”.

800/1,200

2104. Rock Harbor, Orleans, Massachusetts.

Signed lower left “Wendell Rogers”. Oil on canvas, 25” x 36”.

Framed 30” x 41”.

1,800/2,500

2106

2105. Preparing for a day of fishing.

Signed lower left “Wendell M. Rogers”. Oil on canvas, 34” x 42”.

Framed 39” x 46”.

3,000/5,000

2106. Boats by the dock.

Signed lower left “Wendell Rogers”. Oil on canvas, 30” x 54”.

Framed 39” x 59”.

2,500/3,500

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283

2107

2107. FREDERICK JUDD WAUGH New Jersey/Massachusetts, 1861-1940 Crashing waves. Signed lower right “Waugh”.

Housed in a Newcomb-Macklin frame. Oil on board, 16” x 20”. Framed 22” x 25.5”.

3,000/5,000

284

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2108. FREDERICK HATFIELD CLARK New Jersey/New York, 1862-1947 “Winter Dawn at Vineyard Haven Looking Towards Lagoon Heights”. Signed and dated in pencil verso “F.H. Clark 1918”. Titled in pencil verso. Oil on canvas, 6” x 12”.

Framed 8.25” x 14.25”.

1,000/1,500

2108

2109. WILLIAM RICHARDSON TYLER New York/New Hampshire, 1825-1896 Ship at sea. Signed lower left “W. Tyler”. Oil on canvas, 22” x 38”. Framed 29” x 45”.

2,500/3,500

2109

2110. WARREN W. SHEPPARD New Jersey, 1858-1937 Ship off a rocky coast. Signed lower left “Warren Sheppard”.

Oil on canvas, 20” x 30”. Framed 26” x 36”. 2,000/3,000

2110

2111. WALTER LOFTHOUSE DEAN Massachusetts, 1854-1912 Ships racing. Signed lower left “WL Dean”. Oil on canvas, 20” x 30”. Framed 26” x 36”.

2,500/3,500

2111

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285

2112. CHARLES DREW CAHOON Massachusetts, 1861-1951 Still life of apples on a plate. Signed lower right “C.D. Cahoon”. Oil on board, 10.75” x 13.75”.

Framed 17” x 21”.

1,200/1,800

2112

2113. CHARLES DREW CAHOON Massachusetts, 1861-1951 Man in a dory. Signed lower right “C.D. Cahoon”.

Oil on canvas, 12” x 18”. Framed 18” x 24”.

1,000/1,500

2113

2113A. CHARLES DREW CAHOON Massachusetts, 1861-1951 “Cape Cod Dunes”. Signed verso “C.D. Cahoon”.

Titled on frame plaque. Oil on board, 8” x 12”.

Framed 12.5” x 16.5”.

1,000/1,500

2113A

286

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2114

2115

2114. JOHN JOSEPH ENNEKING Massachusetts, 1841-1916 “Sketch of Nantucket Shore”. Signed faintly lower left “Enneking”. Dated lower right “8-92”. Inscribed in pencil verso “Sketch of Nantucket Shore”. Oil on board, 4” x 6”.

Framed 10.5” x 12.5”.

6,000/9,000

2115. VACLAV VYTLACIL New York/California, 1892-1984 Fishing boats, Martha’s Vineyard. Signed lower right “Vaclav Vytlacil 1966”. Oil on board, 24” x 31”. Framed 27” x 34”.

3,000/5,000 Provenance: Private Boston-area collection to the present owner.

Private Connecticut collection.

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287

George Elmer Browne Massachusetts/Connecticut, 1871-1946 Lots 2116-2117

2116. “Marine Nocturne”.

Signed lower right “Geo. Elmer Browne N.A.”.

Titled on label verso. Oil on canvas, 25” x 30”.

Framed 35” x 40”.

3,000/5,000

2116

2117. “The Harbor”.

Signed lower left “Geo. Elmer Browne”.

Titled verso. Housed in a high-quality gilt frame by Steve Motyka. Oil on canvas, 25.25” x 30”. Framed 33” x 38”.

8,000/12,000

2117

288

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2118

2118. SHELLWORK SETTEE BY GAEL RYAN New Brunswick, Contemporary Elaborate shellwork application throughout. Back’s central crest with painted vignette of a ship. Back height 36”. Seat height 16”. Length 77”.

3,000/5,000

2119. PAIR OF VINTAGE PORTER-STYLE WROUGHT IRON GARDEN CHAIRS Mid-20th Century Painted white. Bold hooded backs. Open arms. Heights 53.5”.

700/1,000

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289

2120. NANTUCKET LIGHTSHIP BASKET

BY DAVID E. RAY Circa 1870 Round, with a beautifully shaped oak swing handle retaining its original brass ears. Rim, base plate and ribs made from oak. Ribs with chamfered sides and delicate taper. Top of base plate carved with concentric rings.

Retains original label on underside marked “Manufactured

By David E. Ray, On Board the South Shoal Lightship”.

Beautiful age patina and outstanding condition.

Basket height 7”. Diameter 10”.

3,500/5,500 Provenance: Hyland Granby Antiques, Hyannisport, Massachusetts, February 1, 2000.

The Folk Art & Americana Collection of Carl and Sonia Schmitt, Eldred’s, July 20, 2018, Lot #547.

A Massachusetts Estate.

Note: An identical paper label from another David Ray basket is illustrated in Basketry: The Nantucket Tradition by John McGuire (Asheville, N.C.: Lark Books, 1990), p. 45.

2120

2121. NANTUCKET LIGHTSHIP BASKET

BY DAVIS HALL Late 19th Century Round, with two fixed handles. Retains original label.

Height inclusive of handles 5”. Diameter 10”. 500/1,000 Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

2121 Davis Hall (1828-1906) was the son of a mariner who died around the time of his birth. His mother remarried in 1840 and the family moved to Nantucket sometime that decade. Davis sailed on Gold Rush clippers in the late 1840s and worked on lifeboats in the 1850s and 1860s before joining the Union Army during the Civil War. He retired with injuries from a gunshot wound and chronic illnesses and returned to Nantucket, where he took a job on the South Shoal Lightship and cultivated his basket making. He is known to have developed the oval form of lightship baskets.

2122. NANTUCKET BASKET Late 19th Century Round, with swing handle. Turned base. No apparent signature. Basket height 6.25”. Diameter 11.25”.

300/500 Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

2122

290

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Jose Formoso Reyes Massachusetts, 1902-1980 Lots 2123-2124

2123

2123. NANTUCKET BASKET PURSE

BY JOSE FORMOSO REYES Nantucket, Massachusetts, Circa 1955 Oval, with characteristic “square style” swing handle.

Carved sperm whale mounted to top of hinged lid. Signed on underside “Made in Nantucket Jose Formoso Reyes” around an image of Nantucket island. Basket height 7.5”.

Width 9.5”.

2,000/3,000

2124

Jose Formoso Reyes (1902-1980) is credited with having invented the purse form of the Nantucket basket, often referred to as “friendship baskets”. He was born in the Philippines and attended high school and college in the United States, earning an M.Ed from Harvard. He returned to the Philippines with his wife in 1935 and joined the faculty of the military academy. In 1941, he joined the U.S. Army and was discharged a captain after World War II. He and his family moved back to the U.S. and settled on Nantucket, where his American wife’s family had property.

2124. NANTUCKET BASKET PURSE

BY JOSE FORMOSO REYES Nantucket, Massachusetts, Dated 1969 Oval, with characteristic “square style” swing handle.

Carved gull mounted to top of hinged lid. Signed and dated on underside “Made in Nantucket Jose Formoso Reyes 1969” around an image of Nantucket island.

Basket height 7.5”. Width 11.5”.

2,000/3,000

Because he was unable to find a teaching position, he worked as a house painter and repaired cane and rush seat chairs, applying weaving training he had learned in the Philippines. He eventually turned this skill toward Nantucket basket making after he befriended noted basketmaker Mitchell Ray. In 1948, Reyes developed the Nantucket basket purse.

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291

2125. NANTUCKET BASKET PURSE BY BILL AND JUDY SAYLE Nantucket, Massachusetts, Dated 1988 Oval, with swing handle. Carved gull mounted to top of hinged lid. Basket signed and dated on underside “Made in Nantucket B & J Sayle 1988”. Basket height 7.25”. Width 9.5”.

1,000/1,500

2125

2126. LARGE PICNIC-STYLE NANTUCKET BASKET

BY GERALD L. BROWN Nantucket, Massachusetts, Circa 1992 Rectangular, with double swing handles. Engraved plaque on top depicts vignettes of Nantucket and a floral and thistle design surrounding “Love”. Plaque signed and dated “M.J. Vienneau 1992 Nantucket”.

Signed and dated inside basket “GL Brown 1992” with further inscription. Basket height 14.5”.

Width 19.5”. Depth 14”.

1,200/1,800

2126

2127. NEST OF SEVEN NANTUCKET BASKETS

BY GERALD L. BROWN Nantucket, Massachusetts, Contemporary Round, with swing handles. Each signed “GL Brown”. Heights to rim 7”. Diameters from 4.25” to 12.5”.

1,000/1,500

2127

292

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2128. NANTUCKET BASKET PURSE

BY HENRY HAUG Contemporary Oval picnic-style basket with a woven and wooden top that opens at both ends. Signed on underside “Henry Haug”. Basket height 5.25”.

Width 8”.

700/1,000 Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

2129. TWO NANTUCKET BASKET PURSES

BY HENRY HAUG Contemporary Tall narrow creel-style baskets. Wooden tops, one mounted with three scallop shells. Braided leather straps. Signed on undersides “Henry Haug”. Heights 5.5” and 7”.

400/600

2128

Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

2130. NANTUCKET BASKET PURSE

BY BOBBY AND KAREN MARKS Osterville, Massachusetts, 20th Century Oval, with swing handle. Two scallop shells mounted to top of hinged lid. Signed on underside “B. & K. Marks”. Basket height 6.5”.

Width 10.5”.

500/800

2129, two

Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

2131

2131. NANTUCKET BASKET PURSE

BY GERALD L. BROWN Dated 1991 Oval, with two swing handles. Carved porpoise plaque mounted to top of hinged lid. Dated and signed on interior “G. Brown”. Basket height 7”.

Width 10”.

700/1,000

2130

Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

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293

2132. “A PICTURE CHART OF CAPE COD, MARTHA’S VINEYARD AND NANTUCKET” Mid-20th Century Published by Trina Publishers, Westwood, Massachusetts.

Depicts a bird’s-eye view of Cape Cod and the Islands with illustrations of area highlights. 28.5” x 21.5” sight. Framed 30” x 23”.

250/350

2133. RARE CYCLING MAP OF CAPE COD, NANTUCKET ISLAND AND MARTHA’S VINEYARD Massachusetts, 1891 Prepared for the “Mass. Div. of L.A.W. by W.T. Oliver, Lynn Mass”. L.A.W. refers to the League of American Wheelmen, a formal group of bicycle enthusiasts. Map shows detailed views of area roads and notes good and inferior roads.

17.5” x 16.75” sight. Framed 26” x 25.5”.

200/300 2132

2134. COULTON WAUGH PICTORIAL MAP OF CAPE COD Dated 1926 “A Map of Cape Cod wherin is showing ye discovering and ye settlement of the same; with the tracks of ye pilgrims carefully prepared according to Mourts Relation, Coulton Waugh Cartographer”. 16” x 19.5” sight. Framed 17.5” x 21”.

250/350

2135. “A MAP OF INTERESTING CAPE COD” Circa 1940 Published by F.J. Miller. Depicts Cape Cod and southeastern Massachusetts surrounded by an illustrated border.

21” x 32” sight. Framed 24” x 35”.

300/500

2133

294

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2136

2136. WARREN BOUCHER Rhode Island, 1922-1999 Lobsterman rowing a Grand Banks dory, outrunning a storm.

Two-masted sailing vessel off her bow. Signed and dated lower left “Warren Boucher 80”. Boucher’s business card verso.

Oil on masonite, 30.5” x 48”. Framed 39” x 55”.

5,000/8,000

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295

2137. CASED MODEL OF THE BRIGANTINE BERTHA 19th Century Carved wooden case with mirrored back. Ship set on a star-shaped wooden plinth painted green and white.

Painted on back of case “Brigantine Bertha Designed and Built by C.T. Conklin MAY15/89 No1.”. Case height 8”. Length 10.5”. Width 6”.

500/700

2137

2138. AMERICAN SCHOOL Early 20th Century An old mariner enjoying a pipe. Signed lower right “J. Shot”. Oil on canvas, 24” x 20”.

Framed 36” x 31”.

800/1,200

2138

2139. CAMPHORWOOD SEA CHEST Mid-19th Century Bold cleats with three carved and painted blue stars.

Sailor’s ropework double beckets. Interior ditty box.

Replaced brass hinges. Height 16.5”. Width 38.5”.

Depth 16.5”.

300/500

2139

2140. WOOLWORK PICTURE OF A BRITISH WARSHIP 19th Century Inset with three tintypes of sailors. 14” x 17”. Framed 18” x 21”.

400/600

2140

296

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2141. TWO WOOLWORK PICTURES OF THREE-MASTED SHIPS 19th Century One flying an American flag and the other a British flag. 7” x 11” and 10” x 12.5”.

Framed 10.75” x 15.75” and 14” x 16.5”.

300/500

2142. BRASS-BOUND CAMPHORWOOD TRUNK 19th Century Iron handles at sides. Height 17”. Width 37”.

Depth 17”.

400/500

2142

2143. REGINALD NICKERSON Massachusetts, 1915-1999 The ship Yale. Signed lower right “R.E. Nickerson”. Oil on canvas, 22” x 36”.

Framed 27” x 39”.

1,000/2,000

2143

2144

2144. CARVED WOODEN EAGLE PLAQUE 20th Century Unsigned work of Jerome Howes (New York/Massachusetts/Vermont, b. 1955).

Spread-wing eagle with a “’Don’t Give Up The Ship’” banner. Height 13”.

Length 42”. Depth 7”.

600/900

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297

John and James Bard New York, 1815-1897 Lot 2145

The Wilson G. Hunt was built at New York in 1849 for the excursion trade to Coney Island, but on March 2, 1850, shortly after her completion, she was sent around the Horn to San Francisco, arriving there in early 1850.

She was immediately placed in the Sacramento River trade and became

2145. JOHN AND JAMES BARD New York, 1815-1897 Portrait of the Gold Rush steamer Wilson G. Hunt. Signed and dated lower right “Drawn and painted by J&J Bard, NY 1849”. Inscribed at bottom “Steamer connecting Coney Island, Shreveburg, Red Bank & ‘W...Cilly’ [indistinct] New York Captain A.H. Haggerty - Commander 1849 For T. Hunt Bros. N.J. Built by Thom. & Wm. Colyer N.Y. Engines of Wilson G. Hunt built by H.R. Nenham N.Y. Drawn & painted by J & J Bard N.Y. 1849”. Oil on canvas, relined, 28.75” x 49.5”. Framed 39.25” x 59.25”.

40,000/60,000

Provenance: The Mariner’s Museum, Newport News, Virginia.

Northeast Auctions, Portsmouth, New Hampshire, March 2001.

The Kelton Collection of Marine Art & Artifacts.

a “bonanza steamer,” carrying gold speculators to the gold fields. She proceeded to make a fortune for her owners, clearing over $1 million in her first year. The steamer was sent to Victoria, British Columbia in August 1858, and ran for a short time on the New Westminster route. In October 1858 she was withdrawn, and then in the following year she replaced the steamer Constitution on Puget Sound. Early in the 1860s she was bought by the Oregon Steam Navigation Company and taken to the Columbia River, where she operated on the Cascade Route under the command of Captain John Wolf. She ran on the Columbia until 1869, carrying from 250 to 300 passengers, 100 head of stock and a substantial amount of freight on a single trip. The Wilson G. Hunt was rebuilt in 1865, and in 1869 she returned to Puget Sound. She continued to be used on various runs until 1890, when she was broken up and sold for iron scrap to Cohn & Company of San Francisco. Her hull was burned shortly thereafter.

Twin brothers John and James Bard were self-taught ship portraitists who

specialized in steamships. The painting of the Wilson G. Hunt was one of Literature: the last two paintings signed jointly by the Bard brothers, and it has been See J & J Bard Picture Painters by Anthony J. Peluso (Hudson River Press, 1977), p. 7-9 for a reference to this painting, noting speculated that John Bard went off in search of gold shortly after the it is one of the last paintings signed by John and James Bard, and completion of this work. By March of 1850 James Bard was the only signer John Bard’s demise. of these works. After November 1855, John reappears and is known to have

become a “destitute painter” in and out of New York almshouses until his

death October 18, 1856. James lived a long and artistically productive life.

He died 41 years after his brother, on March 26, 1897.

298

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2145

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299

2146

2147

2146. SHADOW BOX MODEL OF A FIVE-MASTED VESSEL America, 20th Century White and green-hulled vessel flying an American flag off the gaff. Twomasted ship off the bow and a tug off the stern. Molded and painted plaster sea. Blue painted sky background with white and gray clouds.

Shadow box height 22”. Width 42.5”.

Depth 7”.

500/800

300

2147. SHADOW BOX MODEL OF A BRITISH TWO-MASTED WARSHIP 19th Century Ship flying a “Cossack” pennant and a British flag. Pilot boat, two other vessels and a lighthouse off her bow.

Molded and painted plaster sea.

Bright blue painted sky background with white fluffy clouds and seagulls.

Shadow box height 18”. Width 35”.

Depth 6”.

500/800

2148. JOHN STOBART PRINT “USS CONSTITUTION” 20th Century “The Celebrated Frigate Preparing to Sail on the Ebb Tide c. 1825”.

Depicts Old Ironsides off Salem.

Signed in pencil lower right “Stobart”. 20” x 25” sight.

Framed 31” x 37”.

300/500

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2149. AUSTIN STRONG Nantucket, 20th Century Map “Nantucket in the State of Massachusetts”.

Signed lower left “Austin Strong”. 15” x 18” sight.

Framed 22” x 25”.

200/300

2149

2150. WOODEN “HAPPY JACK” WHIRLIGIG Early 20th Century Shows traces of original paint. Face and brim of his hat made from metal parts. On contemporary stand. Total height 22.5”.

Width 10”.

500/700

2150

2152

2151. DOUBLE-SIDED TIN SIGN “BOILED LOBSTERS” Early 20th Century Black lettering on a cream-colored ground. 10.25” x 28.75”. 300/500

2152. TIN MODEL OF THE GREAT WHITE FLEET VESSEL CAROLINE Signed and dated on underside “JA Cervenka D-308 1998”.

Height 9.75”. Length 18”. 600/900

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2153

2153. TIN MODEL OF THE STEAMSHIP ARGO Dated 1984 Signed and dated on underside “John Cervenka N72 1984”. Height 10”.

Length 19.5”.

500/700

301

2154. FINE REPRODUCTION OF A JAMES E. BUTTERSWORTH PAINTING OF THE 1871 AMERICA’S CUP YACHT SAPPHO Giclée on canvas, 20” x 30.5”. Framed 26” x 37”.

1,000/1,500

2154

2155. FINE REPRODUCTION OF A JAMES E. BUTTERSWORTH PAINTING OF PURITAN IN THE 1885 AMERICA’S CUP Giclée on canvas, 24” x 30”. Framed 31” x 36”. 1,000/1,500

2155

2156

2156. FINE REPRODUCTION OF A JAMES E. BUTTERSWORTH PAINTING OF AMERICA IN THE 1851 AMERICA’S CUP TRIALS Giclée on canvas, 10.75” x 14”. Framed 14.5” x 17.75”.

400/600

2157. FINE REPRODUCTION OF A JAMES E. BUTTERSWORTH SCENE OF THE YACHT AMERICA OFF CASTLE GARDEN IN 1870 Giclée on canvas, 17.5” x 24.25”. Framed 23” x 30”.

700/1,000

2157

302

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2158

2158. STAN STOKES America, 20th Century “U.S.S. Princeton at New York”. Depicts the vessel in New York Harbor by the Brooklyn Bridge, surrounded by a tugboat, sidewheeler and other vessels. Signed lower right “Stokes”. Titled on plaque. Includes two vintage photographs, one of the Princeton and the other of her crew. Oil on canvas, 36” x 48”. Framed 42.75” x 54.75”.

6,000/8,000

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303

2161

2159. JAPANESE NEEDLEWORK OF A BRITISH ROYAL NAVY CREST Late 19th Century Crest surrounded by a lion, a unicorn, flags and a “Dieu Et Mon Droit.” banner. Labeled lower right “Nagasaki Japan Himamura Embroiderer”. 18” x 14.5” sight.

Framed 27” x 24”.

400/700

2160. BRASS-BOUND CAMPHORWOOD CAMPAIGN DOCUMENT BOX 19th Century Height 8.5”. Width 19.5”. Depth 9.5”.

300/500

2162. FLAG OF THE ASSISTANT SECRETARIES OF DEFENSE AND GENERAL COUNSEL Belonged to Franklin B. Lincoln, Jr., an assistant secretary of defense, notably preparing President Dwight D. Eisenhower’s final military budget for Congress, and an aide to President Richard M. Nixon. Flag with four red stars surrounding a spread-wing eagle with a Liberty shield and arrows.

20” x 29”. Framed 25” x 34”.

500/800

2163. FINE REPRODUCTION OF AN ANTONIO JACOBSEN PAINTING OF THISTLE AND VOLUNTEER IN THE 1887 AMERICA’S CUP Giclée on canvas, 19.75” x 34.25”. Framed 26” x 40”.

800/1,200

2161. BOAT FRAME MODEL Early 20th Century Under old white paint. Exposed ribs. Height 18”. Length 101.5”.

500/1,000

2163 2162

304

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2164. PAIR OF FINE REPRODUCTIONS OF ANTONIO JACOBSEN PAINTINGS OF PURITAN AND GENESTA IN THE 1885 AMERICA’S CUP Giclées on canvas, 12.25” x 20.25”. Framed 16” x 24”.

800/1,200

2164, pair

2165. JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Yacht race. Signed lower right “Jerome Howes”. Oil on masonite, 18” x 48”. Framed 23” x 52”.

2,500/3,000

2165

2166. JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Ships becalmed at sunset. Signed lower right “Jerome Howes”. Oil on masonite, 18” x 24”. Framed 22.5” x 28.5”.

800/1,200

2166

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305

2167

2167. FREDERICK SCHILLER COZZENS New York, 1846-1928 Beached sailboats, possibly Staten Island, New York. Signed and dated lower left “Fred S. Cozzens 20”. Inscribed verso “Property of Carolyn F. Schaefer Staten Island N.Y. This picture was painted for my father, August A. Landau, by his good friend Fred Cozzens ...”. Watercolor on paper, 13.25” x 20”. Framed 24” x 31”.

1,000/1,500

2168. HENRY FARRER New York/United Kingdom, 1843-1903 Shipping on the Hudson. Signed and dated lower left “H. Farrer 1881”. Watercolor on paper, 7.5” x 13.25”. Unframed.

800/1,200

2168

2169. A.R. WILLIAMS Late 19th Century “Off Mount Desert”. Coastal view of small boats and net minders off Mount Desert Island. Signed lower left, and signed and titled verso. Oil on canvas, 24” x 42”. Framed 29.5” x 47.5”.

600/1,000

2169

2170. JOHANN FREDERIK CORNELIS SCHERREWITZ The Netherlands, 1868-1951 A fishing boat at low tide. Signed lower right. Oil on canvas, 16” x 26”. Framed 21.5” x 31.5”.

2,000/4,000

2170

306

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2171

2171. JOHN MECRAY Rhode Island/Pennsylvania, 1938-2017 “Beavertail”. Signed, titled and dated lower right “John Mecray Beavertail 6/23-24/1995”.

Mixed media on woven paper, 17.5” x 23.25” sight. Framed 28.5” x 34.25”. 6,000/8,000

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307

2172

2172. ELDRED WHEELER QUEEN ANNE-STYLE BONNET-TOP HIGHBOY 20th Century In cherry. Bonnet with three urn and flame-form finials on plinths, a broken arch pediment and three carved rondels. Upper case with three varied sideby-side drawers, the central with fan carving, over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with repetitive fan carving. Cabriole legs end in pad feet. Original paper label inside drawer. Height 82”. Width 38”. Depth 20”. 2,400/2,800

308

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2173. ELDRED WHEELER QUEEN-SIZE PENCIL POST BED Massachusetts, 20th Century In tiger maple and maple. Original Eldred Wheeler paper label on back of headboard. Post heights 86”. Headboard width 60”.

1,000/1,500 2174

2174. WALLACE NUTTING PILGRIM-STYLE BLANKET CHEST Early 20th Century In oak, poplar and pine. Jacobean-carved front and lower drawer. Original paper label on backboard. Height 31”.

Width 46”. Depth 20.5”.

800/1,200

2175. ELDRED WHEELER DUNLAP-STYLE SERVER Massachusetts, 20th Century In tiger maple. Three graduated full-width drawers, the top drawer simulating three side-by-side drawers and the lower with fan carving. Skirt with fan carvings and central scroll.

Cabriole legs end in pad feet. Height 36”. Width 39”.

Depth 19.5”.

1,800/2,200 2175

2176. ELDRED WHEELER BLANKET CHEST 20th Century In maple. Dovetail construction. Lift top with breadboard ends. Front with scribed and painted compass rose decoration and heart-shaped inlay. Two half drawers below with molded edges. Straight leg bracket base. Eldred Wheeler label inside drawer. Height 25.5”. Width 39”. Depth 19.5”. 1,500/2,000

2177. LEONARD’S FULL-SIZE MAPLE TESTER BED 20th Century Together with a maple trundle bed. Tester bed with reeded and acanthus-carved posts. Leonard’s stamped mark on back of headboard. Includes canopy top, rails and bolts.

Height approx. 68”. Width 56”. Takes a 54” mattress.

500/800

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2176

309

2178

2179, six

2178. ELDRED WHEELER QUEEN ANNE-STYLE TABLE Massachusetts, 20th Century In maple and tiger maple. Top with cut porringer corners. Tapered legs end in pad feet. Original Eldred Wheeler label on underside of top.

Height 30”. Length 58”. Width 36”.

1,400/1,800

310

2179. ASSEMBLED SET OF SIX WARREN CHAIR WORKS AND ELDRED WHEELER BOWBACK WINDSOR-STYLE CHAIRS Rhode Island and Massachusetts, 20th Century In maple. Four side chairs and two armchairs. Some branded “WCW” on underside of seats. Back heights 37.5”. Seat heights 17.5”.

700/1,000

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2180

2181

2180. DAVID SMITH DINING TABLE Morrow, Ohio, 20th Century Tiger maple top with breadboard ends. Dark green painted base with cabriole legs ending in pad feet.

Branded on underside “David Smith Morrow Ohio”. Includes two 12” leaves. Height 29”. Length 66”.

Width 36”.

1,000/1,500

2181. ELDRED WHEELER DROP-LEAF DINING TABLE Massachusetts, 20th Century In maple. Square tapered legs. Eldred Wheeler paper label and brand on underside. Height 29”. Length 19” plus two 11.5” drop leaves.

Width 58”.

1,000/1,500

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2182. ELDRED WHEELER QUEEN-SIZE CANOPY BED Massachusetts, 20th Century In tiger maple. Turned posts with urn-form finals. Shaped headboard.

Eldred Wheeler paper label and brand on back of headboard. Includes finials, rails, bolts, center mattress support and canopy support.

Post heights 74”. Width 65.5”.

1,500/2,000

311

GLOSSARY OF TERMINOLOGY AND ADVICE TO BIDDERS Authorship of Paintings and Works of Art

Advice to Bidders

A.

1. Carefully read the Conditions of Sale.

B.

C.

LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, this is a work by the artist.

ATTRIBUTED TO LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, probably a work by the artist based on the style of the piece, however, the work lacks a signature, marking or adequate provenance to fully ascribe it.

MANNER OF LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, a work made in the style of the artist listed, most likely by a follower or student.

D. SCHOOL OF LEMUEL D. ELDRED

Late 19th Century In our opinion, a work executed at the time and in the style of the artist listed.

E.

AFTER LEMUEL D. ELDRED 20th Century In our opinion, a work made in the style of the artist listed, but not by the artist. Often used to describe a direct reproduction of an original work of art.

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

3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff.

4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form.

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

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

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

Shipping Information We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale.

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

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

Condition Reports Condition reports can be viewed at www.eldreds.com. The absence of a condition report does not imply an object is free of defects or restoration. If provided, a Condition Report may only detail flaws or restorations, and may not take into account wear, fading or other issues consistent with an object’s age. Please contact Eldred’s before bidding with any questions as to condition.

The property listed in this catalog will be offered and sold subject to the terms and conditions listed in this catalog.

312

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

We provide limited shipping services directly from our gallery; our staff can assist determining if your items qualify for in-house shipping.

Shipments from our gallery may take 4-6 weeks from receipt of payment. You will be charged for carrier fees, packing and handling, and required insurance. There is a minimum handling charge for all shipments. If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent once your payment has cleared. Shipping estimates can be provided only AFTER we receive payment for your invoice.

Bidding Increments $0-$99: $10 I $100-$499: $25 I $500-$999: $50 $1,000-$2,999: $100 I $3,000-$4,999: $250 $5,000-$9,999: $500 I $10,000-$29,999: $1,000 $30,000-$49,999: $2,500 I $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

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CONDITIONS OF SALE 1. CORRECTNESS OF DESCRIPTION: Robert C. Eldred Co., Inc. (hereinafter referred to as Eldred’s) has exercised reasonable care to catalog and describe correctly the property to be sold, but neither Eldred’s nor its consignors warrant the correctness of description, attribution, authenticity, or condition of said property.

No statements shall be deemed such a warranty or representation or an assumption of liability with respect thereto, but are to be construed as opinions only. Bidders are encouraged to personally examine all property to be sold prior to the beginning of the auction.

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

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

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

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

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

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

A buyer’s premium will be added to the hammer price to be paid by the buyer as part of the purchase price.

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

Eldred’s shall not be held responsible for any failure to properly execute

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

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

EXCEPTION: Eldred’s will not be held responsible for damage to picture frames or lampshades.

10. SALES TAX: All purchases are subject to the Massachusetts sales tax (currently 6.25%) unless the purchaser: A) possesses a Massachusetts sales tax exemption or resale number and registers that number with the company, B) is an out-of-state vendor who meets all the requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89-10 and registers with the company prior to each purchase, or C) has purchases shipped out of state (with the exception of Connecticut and New York) directly from Eldred’s by a bona fide shipping agent.

Connecticut residents picking items up in our Mystic branch or having purchases shipped to their Connecticut address are responsible for CT state sales tax (currently 6.35%). New York residents having purchases shipped to their New York address are responsible for NY state sales tax (currently 4.0%). Due to the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair, residents of other states may be required to pay their state sales tax on purchases as we meet each state’s nexus requirements.

Dealers, museums, etc. can apply for a Massachusetts number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, MA 02204.

11. RESERVES: Unless advertised as an “Unreserved Auction”, all sales may have items subject to reserve (an agreed upon price between the auctioneer and the consignor, below which the article will not be sold).

12. COLLECTION OF PURCHASES: Delivery or shipping arrangements must be made within seven (7) days from the close of the auction for all purchases. All items must be removed from Eldred’s facilities within fourteen (14) days of the end of the auction. All items remaining after fourteen days may be subject to a $5/per item/perday storage fee.

No items will be released unless storage fees are paid in full. Items remaining over thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees.

13. PACKING: Purchasers are advised that packing and/or handling

by Eldred’s employees is undertaken solely as a courtesy for the convenience of customers. In the case of fragile articles, it will be undertaken at the sole discretion of the company. Handling and packing

by Eldred’s is at the risk of the purchaser. SHIPPING: When requested, Eldred’s may arrange shipment of paid purchases. Eldred’s will not be responsible for damage or loss once the item has been received by the shipper. In the case of fragile articles, shipping will be undertaken at the sole discretion of the shipper. Please refer to our Advice to Bidders for details.

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

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

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

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

CLIENT INFORMATION Name:

Phone:

Company:

Alternate Phone:

Address:

Email:

City:

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

MA Resale #: State:

ZIP:

FINANCIAL REFERENCES Please select one of the following options: 1. DEPOSIT Submit a deposit representing 10% of the total order, either by mailing a check to the address below or providing a credit card number.

We accept Visa, MasterCard, American Express and Discover with domestic billing addresses in amounts up to $5,000.00.

2. LETTER OF CREDIT FROM YOUR BANK Please have your bank fax us at 508-385-7201. Letter must be on bank letterhead.

3. AUCTION HOUSE REFERENCE Complete the information requested below.

Advance notice is required for this option as it is often difficult to reach the appropriate contact. You may have to authorize release of information.

Please be aware Christie’s and Sotheby’s will not divulge any credit information.

Auction House:

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

SIGNATURE (required): Date: Bids will not be accepted without your signature on this form.

By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc.

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

ABSENTEE/TELEPHONE BID FORM

2.

Carefully review your bid form for accuracy of lot numbers, phone numbers, shipping information, etc. Although we attempt to confirm descriptions against lot number, bids are posted by lot number.

6.

At the conclusion of the sale you will be notified if you were the successful bidder. All invoices must be paid in full within ten (10) days of the close of the auction. We accept checks, cash, money orders, wire transfers and major credit cards for payment. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. We reserve the right to hold goods until payment has cleared.

3.

Please submit your bids in a timely manner, to avoid the chance of posting error. We request all bids be received by 3 p.m. the day before the auction. In the event of identical Absentee bids, the earliest received takes precedence.

7.

All purchases are subject to state and local sales tax unless you possess a Massachusetts or out-of-state sales tax exemption or resale number and register that number with us.

4.

A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount will be returned promptly to you.

The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.

1.

Clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow our standard bidding increments.

5.

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

Are you a new bidder with Eldred’s?

Yes:

No:

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

SALE TITLE: SALE DATE:

NAME:

Lot #

Item Description

Maximum Bid or “phone” for Telephone Bid

ADDRESS: check if change in address

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

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

No:

Ship to address above:

Or ship to:

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

Total 10% Deposit

Have you examined the items listed above?

Yes:

No:

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

PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 www.eldreds.com info@eldreds.com Phone: 508-385-3116 Fax: 508-385-7201 see photos of all lots and view condition reports at www.eldreds.com

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The Marine Sale AUGUST 19-20, 2021

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

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CONTEMPORARY EVENING OF AUGUST 11 ART 318

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Women in the Arts Auction FALL 2021

CONSIGNMENTS NOW INVITED

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

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www.eldreds.com

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508-385-3116

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

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Illustrations Cover Lot 2009 Back Cover Lot 1007 Page 3 Lot 2062 Page 5 Lot 1064 Page 6-7 Lot 1518 Page 8 Lot 1016 Page 116 Lot 1543 Page 234 Lot 2167 This Page Lot 1539

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