Auction runs July 22-25, 2025, with each session beginning at 9:30 a.m. Eastern. The Singh Collection comprises Lots 7501-7564.
Please see separate catalogs for The Martha Hamilton Collection and The Peter and Judi Hersey Collection of Hingham, Massachusetts History. Lots comprising the property of other consignors can be viewed online at www.eldreds.com. A text-only catalog with all lots to be sold during Americana Week is available upon request.
Bidding Options
In-person, online, phone and absentee bidding is available. To register for absentee and telephone bidding, visit our website, or call 508-385-3116. Online bidding is available through www.eldreds.com.
Terms
A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 26 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. Please note we will not accept credit card payment for lots of jewelry, credit cards may only be used for up to $5,000 of the invoice total, and the credit card must have a U.S. billing address.
Bidders holding a resale number must provide the certificate or copy thereof when registering to bid or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Residents of other states may be subject to state and local sales taxes.
Condition Reports
Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is.
All dimensions are approximate.
Shipping Information
We require prompt payment and removal of your purchases. If you plan to pick up your purchases, please call ahead. We provide very limited shipping services but can help coordinate shipping with alternative agents.
Please review our Conditions of Sale at the rear of this catalog before bidding.
BOARD OF DIRECTORS
Joshua F. Eldred CEO and President Head of American and European Paintings jeldred@eldreds.com
Mary Ann Giddings Eldred Chairwoman of the Board maeldred@eldreds.com
William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com
Wendy A. Dunford Treasurer wendy@eldreds.com
Eric S. Mulak Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com
Sarah Eldred Taylor Vice President of Human Resources sarah@eldreds.com
SPECIALISTS AND ADMINISTRATIVE STAFF
Mara Alvarado Assistant Photographer malvarado@eldreds.com
Christine Berlane Prints and Multiples cberlane@eldreds.com
Madison Casale Head of Photography mcasale@eldreds.com
Steve Dunaway Jewelry, GIA Certified jewelry@eldreds.com
Susan Eastman Client Services seastman@eldreds.com
Duncan H. Gray Head of General Merchandise Hanover Gallery dgray@eldreds.com
Devyn Henry Administrative Assistant dhenry@eldreds.com
Glen Krawczyk Head of Oriental Rugs glen@eldreds.com
Suzanne King Inventory Associate, Sandwich Auction sking@eldreds.com
Jennifer Lacker Mystic Gallery jlacker@eldreds.com
Anne G. Lajoie Head of Asian Arts and Contemporary Art annie@eldreds.com
Camille Lajoie Head of Modern Art + Design, Fashion + Accessories camille@eldreds.com
Cheryl Stewart Head of Marketing, Catalogs and Design Maritime Arts + Scrimshaw cheryl@eldreds.com
Katie Callaghan, Nick Fowler, Al Gray and Mark Renkawitz Shipping and Inventory
Mary M. Kuhrtz and Christine Leofanti Gallery Assistants
Dr. Arun and Barbara Singh, of Providence, Rhode Island, are members of the American Folk Art Society and have been avid, passionate and discerning antique collectors for decades. Presented here is a curated selection of rare and historically significant pieces, each item reflecting decades of expertise, important provenance, fine quality and rare beauty.
"It’s been a wonderful journey, meeting some of the most fascinating collectors, curators, auctioneers and dealers along the way. After 45 amazing years of collecting, we’re now ready to pass the torch (and the pieces!) on to fellow new collectors, dealers, and lovers of history and charm. We hope each piece brings special joy to their new caretakers!"
Dr. Arun and Barbara Singh June 2025
THE COLLECTION OF ARUN AND BARBARA SINGH
AUCTION JULY 23, 2025
Cover illustration: Lot 7555
Back cover: Lots 7508, 7534, 7514, 7562
This page: Lot 7542
7501. QUEEN ANNE MAHOGANY DROP-LEAF TABLE WITH TOWNSEND BASE
Dr. Singh notes this was the first thing he purchased, and the base once had a label. Replaced top. 18th Century Newport base with tapered legs ending in delicate pad feet. Height 27”. Length 17” plus two 8.5” drop leaves. Width 35.5”. 800/1,200
Providence, Rhode Island, Circa 1910-1914
Model numbers A5450 through A5455. Engraved rococo floral decoration and monogram. Includes a teapot, a coffeepot, a kettle on stand with burner, a sugar bowl, a creamer, a waste bowl and a two-handled tray. Pots and kettle with wooden handles. Tray length 28”. Kettle height to top of finial 11”. Approx. 227.0 troy oz. inclusive of wood handles
3,000/5,000
7501
7502. GORHAM MFG. CO. STERLING SILVER SEVEN-PIECE TEA SET
7503. GEORGE III INLAID MAHOGANY VENEER TEA CADDY
Early 19th Century
Top and fronts with inlaid nautilus shells. Height 5”. Width 7.5”. Depth 4.25”.
500/1,000
7505. CHIPPENDALE MAHOGANY AND PARCEL GILT MIRROR
England or America, Circa 1760-1780
Scrolled pediment with acanthus leaves centering a phoenix, and a scrolled pendant adorned with gilt flowers. Gilt vines at sides. Backboard faintly inscribed “Thomas Eden Salem, Mass.” for the merchant mariner who was born in England in 1723 and built a house in Salem in 1762, where he lived until his death in 1768. Height 44.5”. Width 20.5”. 1,000/1,500
7504. PAIR OF GEORGIAN BRASS CANDLESTICKS
England, 18th Century Heights 7”. Bases 4” x 4”. 300/600
Provenance:
The Collection of Benjamin F. Edwards, III, Christie’s, January 26, 2010, Lot #308.
7503
7504
7505
7506.
RARE FEDERAL MAHOGANY SERPENTINE-FRONT SIDE CHAIR
Rhode Island, Circa 1790-1810
Shield back with finely carved drapery swags and bellflowers. Molded and tapered legs joined by an H-stretcher. Back height 39”. Seat height 18”. 1,000/1,500
Provenance: Israel Sack, Inc., New York, January 27, 1998.
This chair is extremely similar to a set of six sold at Sotheby’s in January 2020. The catalog notes the “bold sweep of the serpentine seat, the shape of the shield and the exposed mortise of the rear stile distinguish this form from the more prevalent related New York variety.” Israel Sack, Inc.’s receipt pointed out its characteristic Rhode Island through tenons.
A nearly identical chair is in the collection of the Rhode Island School of Design, see American Furniture in Pendleton House by Christopher P. Monkhouse and Thomas S. Michie (Providence, R.I.: Museum of Art, Rhode Island School of Design, 1986), p. 180-181, no. 123.
7507. GODDARD HEPPLEWHITE MAHOGANY
DEMILUNE CARD TABLE
Rhode Island, Circa 1800
Top and front of skirt with select mahogany and veneer. Tapered legs with ebony and light wood cuffed ankles. Inscribed in chalk on underside “Lovett”. Height 29”. Width 37.5”. Depth 17.75”. 2,000/3,000
Provenance: George Constantine, Dartmouth, Massachusetts.
7506
7507
7508. EXCEEDINGLY RARE AND IMPORTANT JOSIAH GOODING FEDERAL TALL-CASE CLOCK WITH ROCKING SHIP MOVEMENT
Bristol, Rhode Island, 1810-1815
Select mahogany and mahogany veneer case with assorted string and banded inlay. Bonnet with scrolled and pierced fretwork joining three plinths topped by brass ball and spire finials, the central surmounted by an eagle. Tombstone dial door flanked by tapered fluted full columns with brass stop fluting. Trunk fronted by brass-capped quarter-columns with brass stop fluting. French splayed bracket feet. Painted iron face with gilt floral and foliate designs at corners. Roman numeral dial with outer Arabic numeral minutes ring and a subsidiary seconds dial. Beautifully tooled steel hands. Lunette with the rocking ship --an American frigate or similar -- set against a coastal scene of a lighthouse and cottage on a rocky island. Signed “J Gooding Bristol” on face. Height approx. 93.5”. Width 19.5”. Depth 10”. Retains pendulum and weights. 30,000/50,000
Provenance:
Gary R. Sullivan Antiques Inc., Massachusetts, 2016.
Illustrated:
Gary R. Sullivan Antiques Inc. advertisement in the The Magazine Antiques, March/April 2014.
Art and Industry in Early America: Rhode Island Furniture 1650-1830 by Patricia E. Kane, p. 424-426.
Josiah Gooding (1777-1867) was trained as a clockmaker by his brother Joseph Gooding. Their brothers, Alanson, Henry and John, also worked in the trade. They worked throughout southeastern Massachusetts and northern Rhode Island from the Late 18th Century through the Mid-19th Century, Josiah basing himself on the border town of Bristol. He was the most prolific of the family and his clocks typically feature high-style cases and premium works. The appealing animated features, as seen here, were highly prized and only seen in the finest clocks.
7509. ATTRIBUTED TO JOHN BREWSTER, JR.
Connecticut/Maine, 1766-1854
Miniature portrait of Thomas Porter, likely Boston, 1795. Unsigned. Set in a gold case, the interior with printed paper label “Royal […] for the Benefit of the Philanthropic Society, St. George Fields Saturday next, the 19th September, 1795 [...]”. Accompanied by a fragment of a handwritten note. 2.75” x 2.25”. Framed 3.5” x 2.5”. Includes case. 2,000/3,000
Provenance:
Mary and Joshua Steenburgh Antique Furniture and Folk Art, Pike, New Hampshire. Jewett-Berdan Antiques, Newcastle, Maine.
Thomas Porter was a prominent Boston merchant and a participant in the Boston Tea Party. He later moved to Alexandria, Virginia, where he and his wife befriended George and Martha Washington. Martha Washington’s papers note they were invited to dinner at Mount Vernon in 1788, and other recollections indicate they were frequent guests.
7510.
New York, 1788-1844
Miniature portrait of John Wickham Wells and a mourning picture for his wife, Mary A. Wells. Miniature portrait probably completed circa 1820 for the couple’s engagement, wedding or an early wedding anniversary. Signed lower right “N. Rogers”, a rare early and signed example by the artist. Set in a locket with a lock of braided hair. Mourning picture depicts a widower weeping into a handkerchief while leaning against a monument, with a ghostly child behind him within a somber, moody landscape. Inscribed verso “Memorial of Mary Wells 1823 upon her death, done by her husband - she died after child birth”. Watercolors, 2.25” x 1.75” and 2.5” x 2.75” sight. Framed 3.25” x 2.25” and 4.5” x 4.75”.
Provenance:
Miniature portrait descended in the original family of Goshen, New York.
Equinox Antiques, Manchester, Vermont, 2001.
1,500/2,500
Nathaniel Rogers was one of the most prolific miniaturists working in New York City from about 1811 to 1840, painting some of the city’s most prominent residents. He helped found the National Academy of Design in New York in 1826, and retired to his Long Island farm in 1839.
At a young age John Wickham Wells (1794-1871) entered the dry goods business in Middletown, New York, where he likely met his first wife, Mary Ann Eldred (1801-1823). The couple were married for only three years before her death. The contrast between the handsome, confident young man in the miniature portrait and the sorrowful husband in the memorial underscores the sad turn of events in John’s young life, though he did later remarry.
NATHANIEL ROGERS
7511.
ATTRIBUTED TO GEORGE PATTEN
United Kingdom, 1801-1865
Miniature portrait of a girl wearing a white dress and a coral bead necklace, circa 1825. Includes a coral bead necklace, believed to be the one worn by the sitter. Portrait unsigned. Set in a locket with lock of braided hair. Watercolor, 2.25” x 1.75” sight. Framed 2.5” x 2”. 500/1,000
Provenance:
Christie’s, London: Objects of Vertu, Portrait Miniatures and Silver, Sale 9584, March 18, 2003, Lot #75.
Marguerite Riordan Antique Furnishings & Works of Art, Stonington, Connecticut, 2003.
The sitter purportedly is the great-grandmother of prominent miniature collector Edward Grosvenor Paine (1911-1994).
George Patten was a student of the Royal Academy and first exhibited his work in 1819. By 1830 he was a well-known portraitist, painting Prince Albert and other members of London society.
7512.
AMERICAN SCHOOL
19th Century
Miniature portrait of a child wearing a red dress and a coral bead necklace. Unsigned. Set in a mixed metal locket. Watercolor, 2.15” x 1.75” sight. Framed 3” x 2”. 500/1,000
Provenance: Skinner, Inc., Massachusetts: American Furniture and Decorative Arts, Sale 2757B, October 26, 2014, Lot #192.
7513. AMERICAN SCHOOL
19th Century
Miniature portrait of a father and a child in a yellow dress, circa 1840. Watercolor, 2.75” x 2.25” sight. Framed 5.5” x 4.75”. 700/1,000
Miniature portrait of a sea captain. Purportedly a paper label once affixed had an inscription indicating the work was painted by Lamqua in 1814. Set in a gold metal pendant. Watercolor, 3” x 2.25” sight. Framed 3.75” x 2.5”.
1,000/1,500
Provenance: Northeast Auctions, Manchester, New Hampshire: New Hampshire Auction, August 7-8, 1993, Lot #856.
7515. GROUP OF NANKING CARGO CHINESE EXPORT BLUE AND WHITE PORCELAIN
Qing Dynasty, Circa 1750
Recovered from the 18th Century wreck of the Dutch East India Company ship Geldermalsen by Captain Michael Hatcher in 1985, a landmark discovery now referred to as the “Nanking Cargo”. Decorated with scene of a pavilion in a landscape. Includes:
12 bowls
12 cups and saucers
2 plates, diameters 9.125”
Provenance: Christie’s, Amsterdam, April 28-May 2, 1986, Lots #3088, #3544 and #5057. William Grey, Salem, Massachusetts. Marguerite Riordan Antique Furnishings & Works of Art, Stonington, Connecticut.
1,500/2,500
7514
7515, sampling
7516. TWO PIECES OF CHINESE EXPORT PORCELAIN
19th Century
A Rose Mandarin gu-form vase, height 13”, and a Rose Medallion pitcher, height 12”. 500/1,000
7517. CHINESE EXPORT GILT AND BLACK LACQUER SEWING BOX
19th Century
Top opens to reveal a removable upper tray fitted with several compartments. Paw feet. Includes some sewing notions. Height 6”. Width 12”. Depth 8.5”. 500/700
7518. INDIAN OCTAGONAL SEWING BOX
Karnataka, Mid-19th Century
Shell veneer overlaid with pierced or polychromed ivory panels, most in a delicate floral design. Carved paw feet. Fitted interior. Height 5.5”. Width 13”. 1,000/1,600
7516, two
7517
7518
FIGURE OF BUDDHA
17th/18th Century
Dressed in long robes and his hands in abhaya mudra. Dark green patina. Mounted on a wooden base. Total height 23”. 1,000/2,000
Provenance: Skinner, Inc., Massachusetts, June 24, 1989, Lot #156.
Late 19th Century
Seated on a pierced lotus throne, wearing jewelry and a crown. Height 17”. 500/1,000
Provenance: Skinner, Inc., Massachusetts, 1989, Lot #117.
7519. AYUTTHAYA-STYLE THAI BRONZE
7520. NEPALESE BRONZE FIGURE OF TARA
7519
7520
Qing Dynasty, Circa 1820
Four portraits of elegant Chinese ladies in fine clothing. Housed in early, possibly the original, lacquered wood frames with gilt borders. Three oils on paper and one gouache, all approx. 4” x 3.25”. Framed 7” x 5.5”. 2,000/3,000
Provenance: Martyn Gregory, London, 2003.
7521. CHINESE SCHOOL
7521, four
7522. CHINA TRADE DECORATED CAMPHORWOOD TRUNK
Mid-19th Century
Original colorful floral decoration on leather covering. Brass corners and decorative tacking. Height 15.5”. Width 36”. Depth 18”. 500/1,000
Provenance:
Marguerite Riordan Antique Furnishings & Works of Art, Stonington, Connecticut, 2000.
Reference:
A nearly identical example is illustrated in The Decorative Arts of the China Trade by Carl L. Crossman, p. 245, color plate 94.
7523. FEREGHAN SAROUK RUG: 4’6” x 6’8”
Circa 1920
Ivory gabled medallion with a navy blue floral center is surrounded by blue, gold, ivory and olive green stylized branches, blossoms and leaves on a red field. Navy blue subfield. Navy blue border with alternating serrated leaves and stylized blossoms. 600/900
7524. BIDJAR RUNNER: 3’10” x 16’10”
Second Quarter of the 20th Century Serpentine branches bearing boteh and delicate blossoms in a typical Bidjar palette cascade down the length of an abrashed ivory field. Marine blue guard borders. Rich ruby red main border features typical turtles. 400/600
Oval top on a vase- and ring-turned pedestal raised on three shaped legs ending in spade feet. Height 28.25”. Top 15.5” x 23.5”. 300/500
Provenance: Wayne Pratt, Woodbury, Connecticut. Skinner, Inc., Massachusetts: Americana Online, April 15, 2020, Lot #1700.
7527. ROBERT LIONETTI FOR WALTON
ANTIQUES,
INC. REPRODUCTION CIRCA 1770 PHILADELPHIA SOFA
Griswold, Connecticut, Late 20th Century
Constructed of mahogany, yellow pine, poplar and red oak after the example in the DuPont Collection exhibited at the U.S. Department of State and sold at Sotheby’s in January 1994. Signed by Lionetti. 1,000/1,500
7525
7526
7527
THOMAS CHAMBERS
New York/England, 1808-1866/1869
7528. View of Tarrytown, New York, circa 1850
Unsigned. Oil on canvas, 25” x 36”. Framed. 25,000/40,000
Provenance:
Kennedy Galleries, Inc., New York.
Property of Rear Admiral Edward P. Moore and Barbara Bingham Moore, Sotheby’s, New York: Sale 8446, September 26, 2008, Lot #7.
Marguerite Riordan Antique Furnishings & Works of Art, Stonington, Connecticut.
Though Thomas Chambers was born and died in England, he spent at least the years 1832 through 1865 in America, living for periods in New Orleans, New York City, Boston and Upstate New York. His work, typically classified as naive or primitive, exhibits a uniquely bold, almost flamboyant style, leading him to sometimes be referred to as “America’s first modern”.
He rarely signed his pieces and never exhibited, which delayed recognition of his body of work until the 1940s.
7528
America or England, Circa 1800 Lengths to 18.75”.
Provenance:
Pipe from Roger Bacon, New Hampshire. Tongs from Arthur Liverant, Connecticut.
800/1,200
New England, 19th Century Gold leaf garlands against a black ground, with a band of leaves and red berries on white. Height 5.5”. Width 8.25”. Depth 4.25”. 500/1,000
Provenance: The Personal Collection of Lewis Scranton, Skinner, Inc., Massachusetts, May 21, 2016, Lot #51.
7530. TOLE DOME-TOP BOX
7529
7530
7529. RARE WROUGHT IRON LONG-STEMMED PIPE AND A PAIR OF PIPE TONGS
7531. STAFFORDSHIRE BUST OF GEORGE WASHINGTON
England, Late 19th Century After Houdin. Height 8.25”. 150/300
Massachusetts, Late 20th Cenury Shell-carved drawer at base. Height 16.25”. 300/500
Provenance: Eldred’s, July 26, 2022, Lot #2177.
7533.
18th-19th Century
Most by N. Harding and J. Baldwin. Terminals engraved with monograms or names. Lengths from 5.5” to 9”.
Approx. 8.4 troy oz.
300/500
7532. ELDRED WHEELER TIGER MAPLE PIPE BOX
FOURTEEN COIN SILVER SPOONS
7531
7532
7533
7534
7534. AMERICAN SCHOOL 19th Century
Memorial to Sarah Julia Seamans Tillinghast of Providence, Rhode Island. Depicts a woman and a young girl in mourning dress standing before a monument “Consecrated to the remains of Mrs. Sarah J. Tillinghast, who was born August 6th, 1791 and departed this life February 5th 1820. In the 29th year of her age.”. Verse below memorial inscription “Blest Son of Gem: we gladly hail the light That shines from thee o’er Death’s uncertain night Whose heavenly seams dispel the cheerless gloom, And gild with joy the darkness of the tomb.”. Housed in the original frame with eglomise mat. Needlework and mixed media, 21” x 26” sight. Framed 27.25” x 32.75”. 3,000/5,000
Provenance: Estate of Nino David Scotti of Rhode Island. Skinner, Inc., Massachusetts: American Furniture & Decorative Arts, November 8, 2009, Lot #57.
Genealogical research indicates Sarah Seamans married Jeremiah Tillinghast in 1810, and the couple had two daughters, Mary Frances and Sarah Julia. All family members died young -- Jeremiah at age 48 and the two daughters before age 30. The memorial monument seen here still stands in the Tillinghast Burial Ground on Benefit Street in Providence.
JAMES BARD
New York, 1815-1897
7535. Portrait of the steamer Thomas Collyer
Signed and dated lower right “Drawn and Painted by James Bard N.Y. 1850”. Inscribed lower left “Built by Thomas Collyer”. Oil on canvas, 25.5” x 45.5”. Framed 29” x 49”. 30,000/50,000
Provenance:
Alvin and Claude Bisnoff Collection. Marguerite Riordan Antique Furnishings & Works of Art, Stonington, Connecticut, 1999.
Reference:
J. & J. Bard: Picture Painters by A.J. Peluso, Jr. (N.Y.: Hudson River Press, 1977), p. 21, 108, 122. The Bard Brothers: Painting America Under Steam and Sail by The Mariner’s Museum in collaboration with Anthony J. Peluso, Jr. (N.Y.: Harry N. Abrams, Inc., 1997), p. 70.
The Thomas Collyer, 123 feet in length, was launched in New York City in 1850. Her first homeport was Georgetown, Washington, D.C., where she sailed the Chesapeake Bay as far south as Norfolk, Virginia. In 1886 she moved to Brunswick, Georgia and was renamed City of Brunswick. She was stricken from the records in 1896.
Thomas Collyer, for whom this steamer was named, and his brothers George and William had a reputation for building some of the fastest inland steamboats in America. The brothers built and then sold several namesake vessels, but this appears to be the earliest one Bard painted.
The figures on deck are likely the Collyer brothers and members of their family, including some of their children. The proud pennant flying off the stern of the vessel, and the sun peaking through the delicate clouds to shine its light upon it, probably indicate how important the Collyers were as clients to Bard -- there are at least 30 Bard portraits of Collyer vessels.
Twins John and James Bard were born in New York City. They were only 12-years-old when they painted their first picture, “Bellona”. They worked together through the 1830s until at least 1849, the last year they jointly signed a painting.
John died at age 41, but James prospered alone, painting several important ships and maintaining a client roster of noted ship builders and operators.
7536. Part of portraits, likely a husband and his wife, circa 1815 Unsigned. Housed in their original hand-painted frames. Oils on panel, 24.5” x 19.25”. Framed 28” x 24.25”.
25,000/35,000
Provenance:
A minister in Marlow, New Hampshire, who sold them on behalf of his parishoners.
Rockwell Gardiner, Stamford, Connecticut, 1975.
The Bertram K. Little & Nina Fletcher Little Collection, Sotheby’s, New York: Sale 6526, January 29, 1994, Lot #354.
James and Ann Lowder, Columbus, Ohio.
Marguerite Riordan Antique Furnishings & Works of Art, Stonington, Connecticut, 2001.
Exhibited:
The Addy Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia: “Zedekiah Belknap 1781-1858: Itinerant New England Portrait Painter”, 1977.
Illustrated:
Little by Little: Six Decades of Collecting American Decorative Arts by Nina Fletcher Little, p. 116, fig. 152 and 153.
Reference: “Zedekiah Belknap 1781-1858: Itinerant New England Portrait Painter” by Elizabeth Mankin in The Magazine Antiques, November 1976, p. 1056-70, fig. 11-2.
Little by Little: Six Decades of Collecting American Decorative Arts by Nina Fletcher Little (N.Y.: E.P. Dutton, Inc., 1984), p. 116, fig. 152-3.
Zedekiah Belknap was born in Ward (now Auburn), Massachusetts and attended Dartmouth College, graduating in 1807. His earliest documented portraits date from the year he graduated. He worked as an itinerant portrait painter throughout Vermont, New Hampshire and Massachusetts for more than 40 years before settling at a family farm in Vermont in the late 1840s. More than 170 portraits are attributed to him.
7536, pair
7537. MAPLE AND PINE TAVERN TABLE
New England, 18th Century Oval overhanging top. Splayed block, vase and ring-turned legs joined by a square stretcher and end in knob feet. Height 24.5”. Top 30.75” x 24”. 1,500/2,000
Provenance:
Property approved for deaccession by the Board of Trustees of Historic Deerfield, Inc. Skinner, Inc., Massachusetts, April 2020, Lot #57.
7538. BOW-BACK WINDSOR CHAIR
America, Late 18th Century Hickory, pine and maple, showing traces of original blue and mustard yellow paint. Seven-spindle back. Stamped on underside “I. Brooks”. 300/500
7539. BLUE AND WHITE STAFFORDSHIRE PLATTER, FITTED AS A STAND
England, 19th Century
Platter depicts cattle in a classical landscape. 16” x 12”. Stand height 18.5”. 200/300
7537
7538
7539
7541.
Crescent Park Looff Carousel, a National Historic Landmark, was built in 1895 by Charles I.D. Looff (1815-1892), the Danish-American master carver known for his carousels and amusement rides. The Crescent Park Carousel has 61 horses, one camel and four chariots on its 50-foot platform in a traditional hippodrome-style building. It is one of the best maintained and least altered of all the Looff carousels.
7540.
Rhode Island, 1918-2009
Carousel scene, probably the Crescent Park Looff Carousel in Riverside, Rhode Island. Signed and dated lower left “Maxwell Mays 83”. Oil on board, 24” x 30”. Framed 26” x 32”. 800/1,200
America, 20th Century Snowy village scene across from the Woodstock Inn, Woodstock, Vermont. Signed lower left “Bonnie Taylor”. Oil on vintage wooden ironing board, 13” x 60”. Unframed.
Provenance: Purchased from a local antiques shop, 1985.
800/1,200
7540
MAXWELL MAYS
BONNIE TAYLOR
7541
7542
This painting is likely the mate to one in the Shelburne Museum collection, Shelburne, Vermont. The Shelburne work probably depicts this boy’s brother, posed with an identical column within a garden setting.
Ruth Whittier Shute and Dr. Samuel Addison Shute married in 1827 and shortly thereafter began painting, both separately and collaboratively. Through the late 1820s and early 1830s they traveled throughout New England and New York as nomadic artists, creating hundreds of portraits. Ruth would often create the underlying drawing, then Samuel would paint it in with oil or watercolor. They also are known to have used pastels, collage, gouache and gold foil. Their portraits typically show expressive facial features, an emphasis on clothing and accessories, and hourglass-shaped bodies.
Several Shute works donated by noted Americana collector Ralph Esmerian to the American Folk Art Museum depict the family members of textile mill workers around the area of Lowell, Massachusetts. It can be argued the couple’s most important legacy is the likenesses they captured of the young working-class women who were vitally important to New England’s industrial economy.
Ruth continued to paint even after Samuel became ill around 1833, his death at age 32 in 1836 and her second marriage to Alpha Tarbel. She moved with Tarbel to Lexington, Kentucky, where she had two daughters and continued to paint until her death.
7542. ATTRIBUTED TO RUTH WHITTIER AND SAMUEL ADDISON SHUTE
New Hampshire, 1803-1882 and 1803-1836
Portrait of a boy in a garden. Unsigned. Housed in a period ogee mahogany veneer frame. Oil on canvas, 28.5” x 24.5”. Framed 37” x 33”. 8,000/12,000
Provenance:
Olde Hope Antiques, New Hope, Pennsylvania. Garth’s Auctions, Delaware, Ohio: Sale 1068, November 25-26, 2011, Lot #103. David L. Good Antiques, Camden, Ohio.
Reference:
“A ‘woman could paint a likeness?’” by Michael R. Payne and Suzanne Rudnick Payne in The Magazine Antiques, January 2009.
7543. ENGLISH SCHOOL
Mid-19th Century
Set of four portraits of the Winniatt family: parents Ann and Richard, and their children, John and Louisa. The parents are both seated, and Richard is posed with the family dog. Louisa holds a feather and John a stick and hoop. Unsigned. Each inscribed with the sitter’s name and other information verso. Watercolors on paper, 9.5” x 7.25” sight. Framed 12.75” x 10.5”. 800/1,200
Provenance:
Descended in the Winniatt family. Private collection.
Martin J. Conlon American Antiques, Providence, Rhode Island, 1987.
The origin of these works is a bit of a mystery. The portrait of the parents were most certainly painted in England, likely London or near the family’s hometown of Gravesend. The portraits of the children could also have been done at this time, and brought as family heirlooms when John and Louisa moved to Boston, or they could have been painted in America. The Singhs stated paper analysis on the portraits concluded the cardboard is American.
7544. SET OF FOUR PAINT-DECORATED STEP-DOWN WINDSOR CHAIRS
America, 19th Century
Believed to be by John White of Woodstock, Vermont. Painted brown with off-white wavy decoration on crests. Back heights 33.25”. Seat heights 17.5”. 400/600
Provenance:
Mr. and Mrs. Jerome W. Blum, Lisbon, Connecticut.
Reference:
See The Ornamented Chair by Zilla Rider Lea, p. 64-65 for more on the characteristics of John White chairs.
7545. RARE JOSHUA WILDER FEDERAL DWARF CLOCK
Hingham, Massachusetts, Circa 1820
Inlaid and figured mahogany and mahogany veneer case. Bonnet with pierced fretwork joining three plinths topped with brass ball and spire finials. Tombstone dial door flanked by delicate full side columns. Trunk fronted by brass-capped fluted quarter columns. Flat bracket feet. Arabic numeral dial. Face with gilt corner embellishments and a basket of flowers in the lunette. Signed “J Wilder Hingham” on face. Height approx. 48.25”. Width 11.25”. Depth 5.75”. Retains original pendulum and weights. 25,000/40,000
Provenance:
Israel Sack, Inc., New York.
John D. Shapiro, Monkton, Maryland. Northeast Auctions, Manchester, New Hampshire: New Hampshire Auction, August 2, 2003, Lot #794.
Robert Cheney Fine Antique Clocks, Brimfield, Massachusetts.
This clock represents the most elaborate form made by Joshua Wilder (1786-1860). An example with similar face decoration and high-style case is in the collection of Winterthur Museum.
7544, four
7546. ATTRIBUTED TO ERASTUS SALISBURY FIELD
Connecticut/New York, 1805-1900
Pair of portraits depicting a lady and a gentleman. Unsigned. Housed in their original turned and painted wooden frames. Oils on canvas, 30” x 24”. Framed 37” x 30”. 15,000/25,000
Provenance:
Purportedly purchased at Christie’s in the 1960s, per Skinner, Inc. catalog notes. Skinner, Inc., Massachusetts: American Furniture & Decorative Arts, August 12, 2012, Lot #1044.
7546, pair
7547. ATTRIBUTED TO JOHN SAMUEL BLUNT
New Hampshire/Massachusetts, 1798-1835
Portrait of a lady wearing a red velvet dress, purportedly Martha Nelson. Unsigned. Housed in the original frame. Oil on canvas, 30” x 25”. Framed 33.75” x 28.5”. 3,000/5,000
Provenance: Marguerite Riordan Antique Furnishings & Works of Art, Stonington, Connecticut, 1997.
Reference: “John S. Blunt” by Robert Bishop in The Magazine Antiques, November 1977, p. 964-971.
This portrait is notable for its balanced color composition, with red and yellow seen in the sitter's dress, jewelry and the shell comb that holds her hair, as well as in the loggia and pot of flowers behind her. The extraordinary face here, again using red and yellow, is accented with cooler tones to create a particularly lifelike tint to the flesh.
John Blunt was born in Portsmouth, New Hampshire, the son of a sea captain. Several city directories throughout the 1820s listed him as an ornamental and portrait painter. He died at sea while on passage from New Orleans to Boston. As scholarship in American folk art portraiture evolves, works attributed to Blunt, who sometimes is also known as the Borden Limner, are now being attributed to Edwin Plummer (1802-1880), who was active in Massachusetts and Maine.
New England, Circa 1800-1810
Height 26.5”. Diameter of top 48”. 500/1,000
Provenance:
Mr. and Mrs. Jerome W. Blum, Lisbon, Connecticut.
7548. RED-WASHED PINE AND OAK HUTCH TABLE
7549.
SET OF SIX PAINT-DECORATED WINDSOR CHAIRS
America, Circa 1828-1835
Attributed to Jonathan Whitney of Templeton, Massachusetts. Green and ochre trim against a mustard yellow ground, the crests with stenciled grape and grape leaf decoration. Back heights 33.5”. Seat heights 18.25”. 700/1,000
Provenance: The Kolar Collection, Skinner, Inc., Massachusetts, August 2020.
7550. KIRMAN RUG: 8’3” x 12’9”
Circa 1930-1940
Stylized architectural elements, acanthus leaves and rose blossoms in shades of blue, green, yellow, pink and ivory are arranged in columns across a red field. Ivory guard borders and navy blue main border with delicate blossoms and various elements that echo the field. 500/700
7549, six
Circa 1925
Several columns of pinwheel-shaped clusters of red, light blue, olive green and pink boteh cross an ivory field. Scarlet red and bluish gray borders. 500/700
Second Quarter of the 20th Century
Deep navy blue field, scarlet central medallion and scarlet spandrels are covered in an elegant and intricate array of scrolling garrus vines, blossoms and palmettes in vibrant shades of red, blue, pink and ivory, as well as subtle gold and green. Multiple borders with floral motifs. 700/1,000
7551. SENNEH RUG: 4’5” x 6’4”
7552
7552. KESHAN RUG: 8’10” x 12’2”
7553. HORACE BUNDY
Vermont/New Hampshire, 1814-1883
Portrait of a toddler with its shoe and a rattle. Signed verso “H. Bundy Painter”. Oil on canvas, 29.25” x 25”. Framed 34” x 30”. 3,000/5,000
Provenance:
Joseph Martin Art and Antiques, Brownington, Vermont, 2009.
Horace Bundy, essentially self-taught, was an itinerant artist who began his career by decorating sleighs before transitioning to portrait painting. In 1842 he became a licensed Adventist preacher, earning his living for the next 20 years preaching and painting across northern New England.
7554. AMERICAN SCHOOL
Circa 1830
Half-length portrait of a gentleman seated in front of red drapery drawn open to reveal the sun setting over a landscape. Unsigned. Oil on panel, 14” x 11”. Framed 17” x 14.5”. 800/1,200
Provenance: Skinner, Inc., Massachusetts, November 15, 1985, Lot #130.
7553
7554
7555. PRIOR-HAMBLIN SCHOOL
Massachusetts, Mid-19th Century
Portrait of a lady seated on a sofa, circa 1840. She holds open a book with the fingers of her right hand. Unsigned. Housed in the original frame. Oil on canvas, 30” x 25.25”. Framed 34” x 29”. 8,000/12,000
Provenance:
Sara and Mary Andrews, Westerly, Rhode Island, who purportedly purchased it from a private collector in Providence, Rhode Island in 1946 and brought the painting home on the bus. Other provenance histories indicate the work descended through the Andrews family from the original sitter.
Marguerite Riordan Antique Furnishings & Works of Art, Stonington, Connecticut, 1996.
Reference:
“Best Face Forward” in Antiques and the Arts Weekly, August 2, 1996, p. 67.
7556. CUTLERY TRAY
19th Century
Bold wave carvings on handle and sides. Finely carved dovetails. Height 4.5”. Length 12.25”. Width 7”. 200/300
7557. FEDERAL MAHOGANY AND MAHOGANY VENEER SEWING STAND
Massachusetts, Circa 18001810
Octagonal top with banded inlay and thumb-molded edge. Conforming case with a compartmented drawer and basket slide, both with banded inlay and cock-bead molding. Tapered legs. Stringing throughout. Height 30”. Width 20.5”. Depth 15.5”. 1,200/1,800
Provenance: A Salem, Massachusetts Collection. Gary R. Sullivan Antiques, Inc., November 2006. Skinner, Inc., Massachusetts, April 2020, Lot #173.
7558. AARON WILLARD BANJO CLOCK
Boston, Circa 1810-1825
Mahogany case with brass side arms, and gilt finial, moldings and presentation bracket. Reverse-painted glass throat and door panels, both possibly early replacements. Roman numeral dial. Face signed “Aaron Willard Boston”. Height 41”. Width 10.5”. 1,500/2,500
Provenance: Kirtland H. Crump Antique Clocks, Wallingford, Connecticut.
7556
7557
7558
New York/Canada, 1838-1900
Pair of mountain lake landscapes. Both signed lower left “D.C. Grose”. Oils on canvas, 8” x 12”. Framed 12” x 16”. 1,000/1,500
Provenance:
William Vareika Fine Arts, Newport Rhode Island, 1990.
7560. HEPPLEWHITE-STYLE INLAID MAHOGANY
DEMILUNE CARD TABLE
Skirt with an inlaid oval eagle medallion at center. Legs with flame panels and bellflower inlay. Stringing throughout. Height 29.75”. Width 36”. Depth 18”. 500/1,000
Slightly arched back. Tapered reeded arm supports and legs. Pale green moire upholstery. Back height 39.25”. Seat height 19.5”. Length 64.5”. 500/1,000
7559. DANIEL CHARLES GROSE
7561. SHERATON-STYLE MAHOGANY SOFA
7559
7560
7561
ANTONIO CIRINO
Rhode Island/Italy, 1889-1983
Signed lower right “A. Cirino”. Oil on canvas, 25” x 30”. Framed 35” x 40”. 8,000/12,000
Antonio Cirino immigrated to Providence, Rhode Island with his family when he was just two-years-old. He graduated from the Rhode Island School of Design (RISD) in 1909 and Columbia Teachers College in 1912.
While a resident of Providence and teacher at RISD, he began summering in Rockport, Massachusetts in the 1920s, a popular destination for artists. He was a contemporary of artist of Emile Gruppe, the two sharing a salon together, and most of Cirino's most important works were produced while he was on the North Shore. His paintings exhibit skillful composition and an Impressionistic fluidity of color.
Cirino was one of the founding members of the Rockport Art Association, was a member of the Salmagundi Club and Providence Art Club, and received dozens of awards.
7562. North Shore harbor scene
7562
Signed
Figures on a path walking toward a village, East Providence, Rhode Island
Signed lower left “A. Cirino”. Oil on board, 8” x 10”. Framed 13” x 15”. 700/1,000
7563. “Lobsterman in Port”
lower left “A. Cirino”. Titled verso. Oil on board, 8” x 10”. Framed 11.75” x 13.75”. 700/1,000
7564.
7563
7564
GLOSSARY, IMPORTANT NOTICES AND ADVICE TO BIDDERS
Authorship of Paintings and Works of Art
A LEMUEL D. ELDRED
Massachusetts, 1848-1921
In our opinion, this is a work by the artist.
B. 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.
C 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.
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
It is the bidder’s responsibility to obtain a condition report. Condition reports can be viewed at www.eldreds.com or by contacting us. Condition reports will be provided to the best of our ability, and the reports are statements of opinion only. Prospective buyers should satisfy themselves by personal inspection as to the condition of each lot. 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. All property is sold subject to Item 1 of our Conditions of Sale, which provides all property is sold as-is. Jewelry has been analyzed and evaluated in accordance with standards using state of the art methods and precision equipment. Unless otherwise stated, all colored stones listed have probably been subjected to various treatments to improve their appearance. Treatments are considered usual and customary practices when properly disclosed and when done without intent to defraud.
Advice to Bidders
1. Carefully read the Conditions of Sale on the following page.
2. Pre-sale estimates are provided for your convenience. They are not meant to be taken as a guide to the value of an item, but rather its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision.
3. If you are unfamiliar with auction procedure or terminology, please ask for assistance from our staff.
4. You may bid in person for this auction. Online, phone and absentee bidding are also available.
5. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and submit a completed bid form.
6. Online bidding is available at www.eldreds.com. Prospective bidders must register and be approved prior to placing bids or bidding live online.
6. 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.
Terms and Payment
A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 26 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000.
Bidders holding a resale number must provide a copy of their certificate or otherwise will be required to pay Massachusetts or other applicable state and local taxes.
We require prompt payment. We accept checks, cash, money orders, electronic transfers and domestic credit cards. Credit cards may only be used for up to $5,000 of the invoice total, and we will not accept credit card payment for any jewelry lot. We reserve the right to hold merchandise until payment has cleared.
Shipping Information
We require prompt removal of your purchases
If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready.
For those needing purchases shipped, we will provide you a list of shipping agents if we are unable to provide shipping services.
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
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. ABSENTEE 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 absentee 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. 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
CONDITIONS OF SALE
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 or 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. 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.
Those shipping purchases out of state directly from Eldred's by a bona fide shipping agent may be exempt from sales tax depending on whether we have met that state’s nexus requirements, per the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair. Please contact us to find out if your purchase would be subject to applicable sales taxes.
11. RESERVES: Unless otherwise advertised, all items may be 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: Pick up or shipping arrangements of all purchases must be made within seven (7) days of the close of the auction. 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 more than thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees.
13. SHIPPING: Shipping is not included in the purchase price, and the buyer is responsible for arranging shipment. Eldred's is happy to coordinate and recommend shipping agents. 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.
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.
Two Shaker measures and one similar
Rare miniature turkey by Harold Gibbs (Rhode Island, 1886-1970)
"Morning Gloucester" by Emile Gruppe (Massachusetts, 1896-1978)
Tiffany & Co. Sterling Silver Soup Tureen
"Ethan Allen"-type copper and zinc weather vane
19th Century American School View of the Delaware River
