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THE SPRING SALE JUNE 11-12, 2020

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

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An important note regarding COVID-19 This catalog was scheduled to go to print just as the Coronavirus started spreading across the United States. Given how quickly changes need to be made in response to the pandemic, and taking into account the safety of our staff and clients, we made the unprecedented decision to not print and mail the catalog and instead present it digitally online. 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. Thank you, as always, for your patronage. We appreciate each and every one of our clients and we wish you all good health.

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


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

Thursday and Friday, June 11-12, 2020

Terms

A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 25 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000. We accept checks, cash, money orders, wire transfers and major credit cards for payment. There is a 2 percent buyer’s premium discount for payment made in full via cash, check, money order or wire transfer within ten (10) days of the invoice date. 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. Mixed payment methods are not eligible for the buyer’s premium discount. 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.

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

Auction

Both sessions beginning at 10 a.m. Eastern at our East Dennis Headquarters.

Exhibit

Per COVID-19, exhibition hours to be determined. Preview by appointment may be available.

Important notices

Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. 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.

Absentee and Telephone Bidding

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

Online Bidding

This auction will be held simultaneously online at www.invaluable.com and www.eldreds.com. Prospective bidders must register and be approved prior to bidding.

All dimensions and weights are approximate. Per Federal and international regulations, items made with whale bone, ivory or other protected species will not be shipped internationally without CITES and other necessary permits. Obtaining these permits is the exclusive obligation of the buyer. Items made with these materials and marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state. Firearms marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License.

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

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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

Mary Ann Giddings Eldred Chairwoman of the Board maeldred@eldreds.com Wendy A. Dunford Treasurer wendy@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

Devyn Henry Administrative Assistant dhenry@eldreds.com Kristin Kiley Client Services Manager/Shipping kkiley@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

Kristyn Mills Head of Photography kmills@eldreds.com

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

Madison Morris Assistant Head of Photography mmorris@eldreds.com Kathleen Morse Auction Coordinator kmorse@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

Tanya Sargent Assistant to the Treasurer tsargent@eldreds.com

John H. Schofield Consultant Susan M. Schofield Consultant Jennifer Lacker Mystic Representative

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

Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants

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

facebook.com/eldredsauction 4

Caleb G. Seaver Shipping cseaver@eldreds.com

twitter.com/eldreds

pinterest.com/eldredsauction

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eldredsauction


W

hile 2020 is just into its fourth month, it is already one of the most dramatic and change-filled years in our over 70-year history.

Leading the way is our new website and complementary iPhone and Android apps, which allow for seamless pre-sale and real-time bidding directly through Eldred’s. As you explore the new site, still at eldreds.com, you will notice some significant changes to our auction schedule, including more regularly scheduled auctions, and a refocused auction schedule that includes some new auctions and changes to the traditional calendar slots for some of our longstanding annual auctions. While all these changes are exciting, the biggest change you will notice is at the top of the masthead, where the titles of John and Sue Schofield have changed. I am pleased to announce that, after more than a century of combined service to Eldred’s, they have decided to enjoy a well-earned retirement. John was a past president of the company and led our Asian Art department since its inception in 1960s. Sue founded our Paul Jacoulet Prints department and was the company’s treasurer, overseeing the company through good times and bad times, but always keeping us in the black, no matter what the situation. I would not have the privilege of writing this letter if not for their many sacrifices and decades of tireless work. What makes this news easier is that John and Sue will not be strangers; they will both work as consultants, helping us gather new and exciting items and collections for auctions. Speaking of collections, we are thrilled to have major consignments already in-house for 2020, including The Kelton Collection of Marine Art and Artifacts, and the Perkins Collection of New Hampshire Furniture. We will be selling the first lots of the Kelton Collection in this sale and its core at our annual summer Marine Sale. The Perkins Collection will lead our annual Summer Sale. There are other collections in the works, but there is still time to be part of what should be a historic 2020, and we would be happy to discuss consignment opportunities with you. Thank you, as always, for your patronage and support. See you at the auctions!

Joshua Eldred President

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Properties From

The Kelton Collection The Estate of a Rhode Island Gentleman A Florida Collection Private Collection, Cape Cod, Massachusetts Private Collection, New York Private Collection, Florida And numerous other estates and collections

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index Auction Information Page 1 Staff Directory Page 2 Index of Artists Page 6-7 Session I Lots 1-337 Session II Lots 501-847 Bidder Information Page 246 Conditions of Sale Page 247 Bidder Pre-Registration Page 248 Absentee Bid Form Page 249 Illustrations Page 256

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

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Index of artists Abbett, Robert Kennedy

823, 824

Bacon, Peggy Brook Badger, Samuel Finley Morse

Fischer, Anton Otto

322-324

Fish, H.A.

224

563

Fish, H.A. (attr.)

225

251

Gasser, Henry Martin

643

Bannister, Edward Mitchell

689

Gifford, Charles Henry

688

Barber, Joseph Moseley (attr.)

503

Gorsline, Douglas Warner

561

700

Grant, Gordon Hope

Bartlett, William Henry (after) Benson, John Prentiss

638, 639

Griggs, Samuel W.

309, 310 701

Bliss, Robert R.

821

Grillo, John

Boughton, George Henry

718

Gruppe, Emile Albert

629

Boundey, Burton Shepard

628

Hamilton, James

277

Bristol, John Bunyan

694

Hammond, Arthur J.

630

Brown, Dan

815

Hare, John Cuthbert

772

Burdick, Horace

654

Harris, Charles Gordon

653

515

Hartwick, George Gunther

699

Heng, Lee

262

Burliuk, David Davidovich Cahoon, Charles Drew

31-34, 768-770

574, 575

Cedro, A.

234

Herzog, Hermann Ottomar

680

Champney, Benjamin (school of )

690

Hewes, Horace Greeley

664

Church, Frederick Stuart

720

Hill, Laura Coombs

635

Clark, C. Myron

276

Hilliard, William Henry

663

Clough, George Lafayette (attr.)

703

Hoffbauer, Charles Constantine

Corot, Jean-Baptiste-Camille (attr.)

513

Hoffman, Harry Leslie

Coulter, William A.

706 644, 645

244, 278

Hoover, Ellison

562

Cozzens, Frederic Schiller

287

Howes, Jerome

812, 813

Cropsey, Jasper Francis

707

Hutchinson, Marieluise

Cross, Roy

292

Inness, Jr., George

Daniels, Fred Hamilton

773

Jacobsen, Antonio Nicolo Gasparo

Daubigny, Karl

514

Jenkins, Paul

572

Davis, William R.

807-811

814 30 230, 291

Johnson, J.

296

de LongprĂŠ, Raoul Maucherat

719

Jordano, Dave

597

Dell, G.

245

Kaplan, Joseph

535

Dennis, Morgan

169

Keane, Margaret

570

Desilva, Joseph

231

Kenney, Charles "Fran"

295

deTirefort, Bela

524

Kloss, Gene

560

Diehl, Arthur Vidal

775-779

Dolph, John Henry

675

Knowles, Kenneth J.

313

Kopman, Benjamin D.

523

Krause, Wilhelm August Leopold C hristian

178

Kuehne, Max

637

Kuhn, Walt Francis

168

Lawson, Ernest

717

Le Breton, Louis (after)

233

Dommersen, William Raymond (school of ) Douglas, Edward Algernon Stuart Drew, Clement Driscole, Harry A. Edouart, Auguste Eldred, Lemuel D.

504, 505 285 38 201 682, 683

Knight, A. Roland

35 646-650

Ellsworth, Clarence

106

Leganger, Nikolay Tysland (Tusland)

702

Enneking, John Joseph (attr.)

676

Leighton, Scott (Nicholas Winfield)

665, 666

Fadum, Morten

37

Feeney, Loretta

822

Fiene, Ernest

8

72, 73

Anderson, Rowenna

537-554

Lewis, Martin

558

Liberman, Alexander Semeonovitch

573

Lyman, Joseph

687

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


Index of artists Maass, David A.

71

Smith, Frank Vining

641

Macy, William Ferdinand

771

Stock, Joseph Whiting

289

Mahoney, Charles A.

163

Straus, Meyer

729

Martin, Fletcher

578

Strisik, Paul

631

696

Sultan, Donald

594, 595

567, 568

Swift, Clement

684

Martin, Homer Dodge Max, Peter (Finkelstein) Mays, Maxwell

774

Sword, James Brade

730

McCarthy, Frank C.

107

Tarkay, Itzchak Isaac

569

818-820

Taylor, Charles

247

576

Thayer, Sanford

697

McClean, Susan O'Brien McGuire, Michael McGurl, Joseph

816, 817

Tiffany, Louis Comfort

714-716

McIlvenny, William

252

Tordoff, Frederick

293, 294

Medearis, Roger Norman

559

Troyon, Constant

521

Miles, Thomas Rose

275

Tudgay, Frederik (attr.)

243

Miller, Charles Henry (attr.)

692

Turner, Charles Henry

705

Mirรณ, Joan

571

Tyler, James Gale

282

Moore, Henry Spencer

587

Vallotton, Felix

557

Mooy, Jan

242

Vassiliou, Spyros

586

290

Moran, Edward

Wagoner, Harry B.

108

633, 634

Weaver, Jeff

632

Nakian, Reuben

588

Weber, Max

583-585

Nemethy, Albert

253

Weisman, William H.

Neogrady, Laszlo

516

Wengenroth, Stow

Nick, George Bentley

536

Wheelock, Merrill Greene

Norman, Joseph

593

Whistler, James Abbott McNeill

Olinsky, Tosca (Barteau)

577

Whitcombe, Thomas (attr.)

Operti, Albert Jaspar

110

Whorf, John

Page, Edward A.

640

Willaerts, Adam (manner of )

512

Paul, Gen

566

Willis, Edmund Aylburton

678

Willis, Thomas

286

Mosher, Donald Allen

Pleissner, Ogden Minton

39

685 564, 565 695 555, 556 249 780-782

Power, Cyril

534

Wolcott, Harold C.

170

Prior, William Matthew (attr.)

677

Woo, Pun

258

Remington, Frederic Sackrider

101

Woodbury, Charles H.

Rhodes, Daniel

589

Woodbury, Charles Herbert

Ripley, Aiden Lassell

53

Woodman, Betty

Ripley, Aiden Lassell (attr.)

54

Wou-Ki, Zao

55, 56 636 590 591, 592

Ritter I, Paul

693

Wright, Richard (attr.)

241

Root, Orville Hoyt

522

Wysocki, Charles

806

Ryder, Capt. R.E.

288

Yakovlev, Alexandre Yevgenievich

Schetky, John Christian

274

Yakovlev, Alexandre Yevgenievich (attr.)

532

734

Yates, Cullen

651

Yorke, William G.

250

Shapleigh, Frank Henry

530, 531, 533

Shaw, Charles Green

579-582

Sheppard, Warren W.

704

Yorke, William Gay

231

Shumaker, Philip

642

Zuill, Abbie Luella (attr.)

727

Skalagard, Hans

254

Sloan, John French

167

Smith, Clarice

525

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Session I Thursday, June 11 at 10 a.m. Lots 1-337 Firearms Lots 1-29 Sporting Art & Decoys Lots 30-84 Historic Documents & Ephemera Lots 96, 98, 128-150, 157 American Native & Western Art Lots 100-112 Needlework Samplers Lots 113-127 Marine Art & Chinese Export Featuring the Kelton Collection Lots 230-337 Also Americana, Folk Art, Paintings, Furniture, Maps, Illustration Art and More

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

1

2

3

4

1.

U.S. MODEL 1873 TRAPDOOR RIFLE .45-.70 cal., Serial #45045. Crisp stamped cartouche on left side of stock. Some rust and wear. Length of barrel 33”. Overall length 52”. 400/700

3.

* WINCHESTER MODEL 63 SEMI-AUTOMATIC RIFLE .22 cal., Serial #86977. Blued finish. Minor wear. Length of barrel 23”. Overall length 39.5”. 500/800

2.

* WINCHESTER MODEL 1885 HIGH WALL RIFLE .22 cal., Serial #121465. Blued finish. Minor wear. Length of barrel 28”. Overall length 44”. 700/1,000

4.

RARE WINCHESTER MODEL 64 LEVER ACTION RIFLE .25-.35 cal., Serial #198703. Exceptionally figured wood stock. Blued finish. Very minor wear. Length of barrel 26”. Overall length 44”. 3,000/5,000

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5

5.

* CASED KRIEGHOFF OVER-UNDER SHOTGUN 12-ga., Serial #16736. Vent ribbed and ported barrel. Moderate wear. Length of pull 15”. Length of barrel 34”. Overall length 52”. Original locking case, combination 451. 2,000/2,500

6

6.

12

WINCHESTER SIGNAL CANNON 10-ga., no serial number. Finish loss and wear. Length of barrel 12”. Overall length 18”. 500/800

7

7.

WINCHESTER SIGNAL CANNON 10-ga., Serial #007000. Black painted finish. Length of barrel 12”. Overall length 17”. Includes original Winchester wooden shipping crate and instructions. 1,400/1,800

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


8.

* WINCHESTER MODEL 12 TRAP SLIDE-ACTION SHOTGUN 12-ga., Serial #1968336. Choked at full. Vent ribbed barrel. Blued finish. Minor wear. Length of pull 14.25”. Length of barrel 30”. Overall length 49.5”. 700/1,000

10.

* REMINGTON MODEL 1100 SEMI-AUTOMATIC SHOTGUN 12-ga., Serial #851390. Choked at modified. Vent ribbed barrel. Length of pull 14”. Length of barrel 28”. Overall length 48.25”. 250/350

9.

* WINCHESTER MODEL 101 OVER-UNDER SHOTGUN 12-ga., Serial #132106. Choked at skeet and improved cylinder. Vent ribbed barrels. Minor surface wear. Length of pull 13.75”. Length of barrels 28”. Overall length 44.5”. 800/1,000

11.

AUSTRIAN LORENZ PERCUSSION RIFLE 19th Century 13.9mm. Length of barrel 33”. Overall length 48.5”. 300/500

12.

EUROPEAN FLINTLOCK MUSKET 19th Century Approx. .60 cal. Length of barrel 45”. Overall length 60”. 200/400

8

9

10

11

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13

14

15

16

17

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

14

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


13.

* WINCHESTER MODEL 42 SLIDE-ACTION SHOTGUN .410-ga., Serial #61032. Choked at full. Blued finish with light wear. Length of barrel 26”. Overall length 45”. 700/1,000

14.

* BROWNING MODEL 42 GRADE V SLIDE-ACTION SHOTGUN .410-ga., Serial #02434. Choked at full. Vent ribbed barrel. Frame etched on left side with pointing dogs and ruffed grouse and on right side with five mallards in flight; both sides highlighted with gold overlay. Blued finish. Very minor wear. Length of pull 14”. Length of barrel 26”. Overall length 45”. 1,000/1,500

15.

* IVER JOHNSON CHAMPION MODEL SHOTGUN .410-ga., Serial #GBRB. Length of pull 14”. Length of barrel 26”. Overall length 42”. 150/250

16.

* WINCHESTER MODEL 9422 XTR LEVER ACTION RIFLE .22 cal., Serial #438640. Blued finish. Very good condition. Length of barrel 30”. Overall length 37.5”. Includes original box. 400/600

17.

* WINCHESTER MODEL 9410 LEVER ACTION SHOTGUN .410-ga., Serial #603168. Very minor wear. Length of barrel 24”. Overall length 42”. 700/900

18

19

20

18.

* COLT MODEL 1917 REVOLVER .45 cal., Serial #[?]49039. Bone grips. Blued finish. Length of barrel 5.5”. Overall length 10.5”. 250/350

19.

* COLT MODEL 1917 REVOLVER .45 cal., Serial #289913. Bone Colt-marked grips. Blued finish. Length of barrel 5.5”. Overall length 10.5”. 250/350

20.

* COLT MODEL 1911 CIVILIAN SEMI-AUTOMATIC PISTOL .45 cal., Serial #C159247. Bone grips. Blued finish. Length of barrel 5”. Overall length 8.5”. 400/700

21.

* COLT ACE SERVICE MODEL SEMI-AUTOMATIC PISTOL .22 cal., Serial #297104. Floating chamber. Parkerized finish. Hard plastic grips. Minor wear. Length of barrel 4.75”. Overall length 8.5”. 3,000/5,000

22.

* COLT CIVILIAN GOVERNMENT MODEL SEMI-AUTOMATIC PISTOL .45 cal., Serial #331976C. Blued finish. Pachmayr rubber grips. Minor wear. Length of barrel 5”. Overall length 8.5”. 1,000/1,500

23.

COLT CONVERSION KIT Converts a pistol from a .45 cal. to a .22 cal. Includes extra barrel. Lengths 7.5” and 5”. In original box. 300/500

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21

22

15


25

24.

No Lot.

25.

* SAVAGE MODEL 1907 SEMI-AUTOMATIC PISTOL .32 cal., Serial #2760. Blued finish; trigger with case colors. Hard rubber grips. Minor wear. Length of barrel 4”. Overall length 6.75”. 200/300

26.

No Lot.

27.

* INDUSTRIA ARMI MODEL 1930 SEMI-AUTOMATIC PISTOL 8mm, Serial #133389. Blued finish with some loss and scratches. Hard rubber grips. Length of barrel 3”. Overall length 6”. Includes a Viking black leather holster. 150/250

28.

* HARRINGTON AND RICHARDSON MODEL 195 BREAK TOP PISTOL .22 cal., Serial #325. Checkered walnut grips. Blued finish. Length of barrel 10”. Overall length 13.5”. 200/300

29.

CONTINENTAL ARMS PEPPERBOX Circa 1860 .22 cal., Serial number not visible. Finish worn to dull brown, with pitting. Length of barrel 2.5”. Overall length 5.5”. 500/800

27

28

29

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

16

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George Inness, Jr. New York/Florida/France, 1854-1926

30

30.

Gentleman fishing. Signed lower left “Inness Jr.”. Oil on canvas, 26” x 36”. Framed 35” x 47”. 8,000/12,000

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17


Charles Drew Cahoon Massachusetts, 1861-1951 Lots 31-34

31.

Still life of a mackerel. Signed lower right “C.D. Cahoon”. Oil on board, 13” x 23”. Framed 18” x 28”. 1,200/1,800

31

32.

Hanging yellow perch. Signed lower right “C.D. Cahoon”. Oil on canvas, 22” x 14”. Framed 30.5” x 22”. 1,000/1,500

32

33.

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

33

18

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Charles Drew Cahoon Massachusetts, 1861-1951 Lots 31-34

34

34.

“Man and Boy Fishing”. Signed lower right “C.D. Cahoon”. Titled on exhibition label verso. Oil on canvas, 16” x 24”. Framed 22” x 29.5”. 5,000/7,000 Provenance: Private Collection, Cape Cod, Massachusetts.

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

19


35.

A. ROLAND KNIGHT United Kingdom, 1879-1921 Three fishing scenes. Signed lower left and right “A. Roland Knight”. Oils on board, 7” x 6”. Framed 10” x 9”. 1,000/1,500

35, three

36.

CARVED AND PAINTED WOODEN RACCOON HOLDING A RAINBOW TROUT Late 20th Century Standing on a carved rockery base. Found in Vermont. Height 31”. 150/250

36

37.

MORTEN FADUM Illinois/Colorado, Contemporary Shadow box still life of a salmon, fishing rod and flies. Signed verso. Inscription verso indicates the hand-tied flies were made by Max MacPherson of New Hampshire. Total height 36”. Width 16”. Depth 5.75”. 800/1,200

37

20

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38.

HARRY A. DRISCOLE New York, 1861-1923 “Leaping Smallmouth Bass”. Signed lower right “H.A. Driscole”. Oil on canvas, 14” x 10”. Framed 17.5” x 13.5”. 500/1,000

38

39.

OGDEN MINTON PLEISSNER Vermont/New York, 1905-1983 “Leaping Sea Trout”. Signed in pencil lower right “Ogden Pleissner NA”. Titled on label verso. Lithograph on paper, 17” x 14.5”. Framed 23” x 32”. 250/350

39

40.

RELIEF-CARVED WOOD PANEL DEPICTING A SCHOOL OF FISH Two large and two small fish swim through assorted fauna. Approx. 14” x 48.5”. 400/800

40

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21


41.

THREE CONTEMPORARY FISH DECOYS Two by Al Wilkons of Cadillac, Michigan. The other signed “Burnett”. Lengths from 5.5” to 8”. 200/300

42.

MIKE BORRETT CARVED AND PAINTED WOODEN BROWN TROUT Madison, Wisconsin, b. 1960 Mounted on an oval pine backboard. Trout length 19”. Backboard length 20”. 500/700

43.

MIKE BORRETT CARVED AND PAINTED WOODEN BROOK TROUT Madison, Wisconsin, b. 1960 Mounted on a green-painted oval backboard. Signed and dated on reverse “Mike Borrett 2007”. Trout length 22.5”. Total length 25”. 400/700

42

43

44.

45.

WATERFOWL DIORAMA BY A.C. GOULD 20th Century Depicts eleven miniature decoys in a pond. Height 6.5”. Width 15”. Depth 6”. 500/800

44

SHADOW BOX DIORAMA OF QUAIL IN FLIGHT BY A.J. DANDO Philadelphia, b. 1885 Circa 1934. Depicts three miniature bobwhite quail against a painted landscape of a field, fence and birch trees. Signed and dated lower left “AJ Dando 34”. Height 8.25”. Width 11”. Depth 4”. 400/700

45

22

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Marty Collins East Wareham, Massachusetts, 20th Century Lots 46-50

46

47

49 50 48

46.

AMERICAN MERGANSER DRAKE In the style of Joe Lincoln. Tack eyes. Antiqued finish. Branded “M.D Collins” on underside. Length 18”. 500/700

47.

BLACK DUCK DECOY In swimming form. Glass eyes. Chip-carved tail. Brass plaque on underside stamped “Martin D. Collins”. Length 20”. 500/700

48.

BLACK-BELLIED PLOVER DECOY Glass eyes. Carved raised wings. Antiqued finish. Signed in ink on underside “MDC”. Length 10.5”. 400/500

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49.

WILLET DECOY Tack eyes. Antiqued finish. Signed on underside “MDC”. Length 16.5”. 500/700

50.

RED KNOT DECOY Glass eyes. Inletted with carved peg. Signed in ink on underside “MDC”. Length 9.5”. 500/700

23


51

51.

52

MASON DECOY FACTORY PREMIER GRADE BLACK DUCK DECOY Detroit, Early 20th Century Original paint with minor wear. Lightly hit by shot. Old repair to chip at top of tail. Rig brand “AM” on underside. Copper plate on underside marked “B B Nickerson Bath Maine”. Length 17.75”. 700/1,000

52.

53.

ONTARIO GOLDENEYE DRAKE DECOY First Half of the 20th Century Maker unknown. Hollow-carved. In-use repaint shows minor flaking and wear. Length 13.75”. 250/350

AIDEN LASSELL RIPLEY Massachusetts/New York, 1896-1969 Two works: “Retreiving”, an etching on paper, and “The Start of the Day”, a lithograph. Both signed in pencil lower right “A. Lassell Ripley” and titled lower left. Largest sheet size 11” x 16.25”. 600/1,000

54.

ATTRIBUTED TO AIDEN LASSELL RIPLEY Massachusetts/New York, 1896-1969 Seven etchings: “Duck Hunter”, “Wild Turkeys”, “American Widgeon”, “Grouse and Vines”, “Point on Quail”, “Two Grouse” and one unidentified, depicting flushing grouse. All unsigned. Some identified in pencil in another hand. Sizes vary. Unframed. 500/1,000

53, two

24

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55, two

55.

CHARLES H. WOODBURY Massachusetts/Maine, 1864-1940 Two scenes of feeding seagulls. Both signed lower left “Charles H. Woodbury”. Drypoint etchings on paper, 9” x 11” and 9.75” x 11.75” sight. Framed 16” x 17.75” and 16.75” x 18.25”. 400/600

56, three

56.

CHARLES H. WOODBURY Massachusetts/Maine, 1864-1940 Three sporting scenes. 1) Two boaters. Signed lower left “Charles H. Woodbury”. Initialed lower right “CHW”. 2) Three hunters. Signed lower left “Charles H. Woodbury”. 3) Two fishermen. Signed lower left “Charles H. Woodbury 1/100”. Drypoint etchings on paper, 10.75” x 12.5”, 9.25” x 10.75” and 4.75” x 5.75” sights. Framed 15” x 18.75” to 17.25”x 18.5”. 500/700

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57

58

59

57.

26

THREE HANK WALKER HALF-SIZE DUCKS Newbury, Massachusetts, 1921-1996 Two black ducks and a mallard drake. Lengths from 10” to 12”. 400/600

58.

THREE HANK WALKER QUARTER-SIZE CANADA GEESE Newbury, Massachusetts, 1921-1996 Each with different head positions. Lengths from 11” to 15”. 400/600

59.

THREE SOUTHEASTERN MASSACHUSETTS SHOREBIRD DECOYS Circa 1890 Two yellowlegs and a plover. Plover and one yellowlegs possibly by Joe Lincoln. Traces of original paint with considerable wear. Lengths from 10” to 11.5”. 500/800

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62

60

61

63

60.

MASSACHUSETTS WILLET DECOY Circa 1900 Maker unknown. Glass eyes. Replaced bill. Carved wing detail. Starr Collection stamp on underside. Length 15”. 700/1,000

61.

MASSACHUSETTS PLOVER DECOY Circa 1900 Maker unknown. Original paint. Both sides hit with shot. Length 9.5”. 250/350

62.

MARTHA’S VINEYARD GOLDEN PLOVER DECOY Circa 1900 Maker unknown. Original paint, including painted eyes. Length 10.5”. 700/1,000

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63. MASSACHUSETTS YELLOWLEGS DECOY Circa 1910 Maker unknown. Glass eyes. Hit by shot on right side. Wear to tail. Original paint. Length 10.5”. 700/900

27


64

65

64.

ROBERT MORLEAND SWAN Virginia, 20th Century Head turned right. Antiqued finish. Branded on underside “RDM 86”. Length 32”. 300/500

65.

A. ELMER CROWELL MINIATURE CANADA GOOSE East Harwich, Massachusetts, 1862-1952 Circa 1930. Mounted on a circular base. Rectangular stamp on underside of base. Length 5”. 1,000/1,500

66.

A. ELMER CROWELL GOLDENEYE HEN DECOY East Harwich, Massachusetts, 1862-1952 Circa 1920. Glass eyes. Carved tail feathers. Oval brand on underside. Length 14”. 2,000/3,000

67.

JOSEPH LINCOLN WHITE-WINGED SCOTER DECOY Accord, Massachusetts, 1859-1938 Circa 1920. Canvas-covered. Tack eyes. Neck cracked. Original paint with gunning wear. Length 17”. 1,000/1,500

68.

JOE LINCOLN COMMON SCOTER DECOY AND BODY Accord, Massachusetts, 1859-1938 Both circa 1910. Both canvas-covered. Decoy with tack eyes, damaged bill and gunning wear repaint. Body with considerable damage and wear. Decoy length 17”. Body length 16”. 500/800

69.

JOE LINCOLN CANADA GOOSE DECOY Accord, Massachusetts, 1859-1938 Late 19th Century. Glass eyes. Old gunning in-use repaint with traces of original paint. Lightly hit with shot. Large age split to underside. Unsigned. Length 24”. 700/1,000

70.

NANTUCKET GOLDEN PLOVER DECOY Circa 1890 Maker unknown. Traces of original paint. Length 10.75”. 400/600

66

67

70

69

28

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71

71.

DAVID A. MAASS Minnesota, b. 1929 Black ducks dropping into a winter marsh. Signed lower right “Maass”. Oil on masonite, 24” x 30”. Framed 32” x 38”. 3,000/5,000 Provenance: Private Collection, Cape Cod, Massachusetts.

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29


Robert Kennedy Abbett Connecticut/New York, 1926-2015 Lots 72-73

72

72.

30

“November Grouse”. Signed and dated lower left “Abbett 90”. Titled verso. Oil on masonite, 20” x 30”. Framed 26.5” x 36.5”. 6,000/9,000

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Robert Kennedy Abbett Connecticut/New York, 1926-2015 Lots 72-73

73

73.

“‘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

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74.

PAIR OF GEORGE STRUNK MINIATURE RING-NECKED PHEASANTS Glendora, New Jersey, b. 1958 Mounted on oval chip-carved bases. Signed and stamped on undersides. Heights 3” and 3.5”. 400/600

77.

FIVE FRANK ADAMO MINIATURE CLASSIC SHOREBIRD DECOYS 20th Century Heights from 5” to 6”. Each signed on base “Adamo”. 700/1,000

75.

HOWLAND PARKER DRESSER BOX MOUNTED WITH A MINIATURE RING-NECKED PHEASANT Duxbury, Massachusetts, 20th Century Maple box. Pheasant length 7”. Box height 2.5”. Length 10.75”. Width 3.75”. 150/250

78.

PAIR OF BRIAN MITCHELL MERGANSER DECOYS Plymouth, Massachusetts, Contemporary Glass eyes. Antiqued finish. Carved on underside “D. Mitchell”. Lengths 18.5”. 250/350

76.

79. LESANDER SHERMAN BLACK DUCK DECOY PHILLIP E. ZELLER Marshfield, Massachusetts, Circa 1940 MINIATURE STANDING CANADA GOOSE Glass eyes. Old neck repair. Original paint, with scratch East Arlington, Vermont, 20th Century feather detail. Minor wear. Length 17”. 300/500 Glass eyes. Raised feather carving. Standing on an oval walnut base with chip carving along edge. Signed and dated on underside “Canada Goose P. Zeller 1974”. Height 12.5”. 80. MASSACHUSETTS OLDSQUAW DRAKE DECOY 200/400 Circa 1930 Maker unknown. Painted eyes. Original paint. Minor wear. Phillip Zeller was very familiar with the shores of Cape Cod, akin Length 14”. 300/500 to master carver A. Elmer Crowell. Zeller exhibited for several years at the Leigh Yawkey Woodson Art Museum’s annual Birds in Art Exhibit in Wausau, Wisconsin. His entry from 1979, a kingfisher, was selected for the Smithsonian Institution in 1980.

76

32

81.

FRANK ADAMO LIFE-SIZE BLUEGILL 20th Century Mounted on a carved faux birch backboard. Bluegill length 7.5”. Backboard 8” x 10”. 300/500

82.

HANK WALKER CANVASBACK DECOY Newbury, Massachusetts, 1919-1995 Head turned right. Tack eyes. Antiqued finish. Length 17.5”. 400/600

83.

TWO MICHIGAN CANVASBACK DECOYS Early 20th Century 1) Mason standard grade. Glass eyes. Original paint with gunning wear. Length 15.5”. 2) Maker unknown. Old gunning repaint and wear. Length 15.5”. 150/250

84.

TWO ONTARIO DECOYS First Half of the 20th Century 1) Black duck signed “AJ Holsey” and stamped “AJ Holsey Trenton Ont”. Old paint showing minor wear. Length 13.25”. 2) Blue-winged teal hen stamped “CK Orser”. Old paint showing minor wear. Length 10.75”. 250/350

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74, pair

75

79

80

84, two

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33


85

85.

CARVED AND PAINTED WOODEN CANADA GOOSE WEATHER VANE Mid-20th Century In flying form. Once mounted on the barn at the Mayo Duck Farm in Orleans, Massachusetts. Height 25”. Length 34”. 500/800

86.

METAL RUNNING HORSE WEATHER VANE 20th Century Mounted on a contemporary wooden base. Total height 19”. Length 32”. 200/300

87.

COPPER QUILL WEATHER VANE 19th Century With green patina. Mounted on a contemporary wooden base. Total height 18”. Length 37”. 1,500/2,500

87

34

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88

88.

CURRIER & IVES LITHOGRAPH “THE QUEEN OF THE TURF MAUD S, DRIVEN BY W.W. BAIR” America, 19th Century “By Harold dam Miss Russell, by Pilot Jr. Record 2:08¾.” After the original by Scott Leighton. 21.5” x 29” sight. Framed 34” x 41”. 400/600

89.

89

MISSION OAK STAND CONTAINING APPROX. SIXTY-FIVE ASSORTED CANES Stand stamped 432511 on underside. Canes include a Dartmouth College wooden cane, wooden canes with handles in the form of a dog’s head, a snake, an alligator, and a ram with snake, eighteen assorted wood canes, two gold-handled canes, a brass-handled cane in the form of a cobra, two canes with brass bird-form handles, fourteen bonehandled canes, eight European souvenir canes, and fourteen canes with silver, brass and aluminum handles. Cane lengths from approx. 26” to 37”. Stand height 26”. Width 12”. Depth 12”. 2,000/2,500

90.

FIVE CARVED HARDWOOD CANES Late 19th/Early 20th Century With assorted decorative and figural carvings. Lengths from 32.75” to 36.25”. See more at www.eldreds.com. 500/800

90, five

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35


91.

COVERED FIRKIN Hingham, Massachusetts, 19th Century Top stamped “C Wilder and Son So. Hingham Mass.” Height 10”. Diameter 9”. 150/250

92.

CRANBERRY HARVEST SORTING TABLE America, Early 20th Century Height 24”. Length 52”. Width 32”. 200/300

93.

UNUSUAL LIFT-TOP BLANKET CHEST Massachusetts, 19th Century Possibly made in Chatham. In pine, with a yellow and brown grain-painted finish. Top surmounted with a one-drawer glove box. Case with three faux drawers over two working drawers. All drawers with turned wooden pulls. Shaped bracket base. Height 41”. Width 40.75”. Depth 20.25”. 1,500/2,000 According to provenance history, this chest was made by the grandfather or father of Rebecca and Sue Snow, who lived near Oyster Pond in Chatham. In the 1950s, when the sisters were believed to be in their 70s or 80s, the house was torn down to make way for an A&P store. The Snow sisters sold the chest to the Abell family, where it descended.

93

36

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94.

RARE DECORATIVE MAP OF CAPE COD Circa 1937 “Cape Cod Barnstable County Mass. Inc. 1639.” Drawn by C.W. Holliday. Published by Town Crier Shop, Provincetown, Massachusetts, copyright 1937. 24.75” x 34.5” sight. Framed 28.5” x 39.5”. 400/600

94

95.

ALUMINUM NEW HAVEN RAILROAD “BUZZARDS BAY” SIGN Mid-20th Century “NH” in white lettering on a red ground at far left. “Buzzards Bay” in black lettering on a reflective yellow ground. Height 9”. Length 102”. 300/500

95

96.

EXTREMELY RARE DEBENTURE CERTIFICATE FOR THE BUILDING OF THE CAPE COD CANAL Cape Cod, 1887 Signed by the contractor, Frederick A. Lockwood, as well as the president and treasurer of the company. The only example we have ever seen. Framed with a photographic image of the canal being built. Framed 21” x 23”. 500/1,000

96

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37


97.

BRASS GRAPHOMETER BY BERNIER Paris, 18th Century A surveying instrument used for angle measurements. Consists of a semicircular limb marked with 180 degrees, fixed sights, a moving sight bar, a central compass supported by dolphin forms, and a ball-jointed mounting staff. Marked on sight bar “Bernier Paris”. Length 9.25”. 500/1,000 97

98.

18TH CENTURY HAND-DRAWN SURVEY England, 1780 “A Survey of the Lands and a Mansion house of Mr. Charlton Holmes. Situate in the Parish of Glemsford in the County of Suffolk 1780”. Titled within a decorative cartouche lower right. Compass rose upper left, two plot plans at center, image of the house lower left and a key lower center. 11.5” x 13” sight. Framed 14” x 15”. 1,000/1,500

98

99.

NEEDLEWORK AND WATERCOLOR ON SILK DEPICTION OF THE DEATH OF GENERAL WOLFE England, Fourth Quarter of the 18th Century After Benjamin West. Worked in chenille and silk grosse pointe. Fine hand-painted heads, hands and distant ships. 17” x 22.5” sight. Framed 20” x 26”. 1,500/2,500 Provenance: The estate of a Rhode Island gentleman.

99

38

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100

100.

HAND-COLORED ENGRAVING DEPICTING “WILLIAM PENN’S TREATY WITH THE INDIANS” 1775 Published by John Boydell, June 12, 1775, Cheapside, London. Engraved by John Hall after Benjamin West. 18.5” x 23.5” sight. Framed 23.25” x 28.25”. 600/800 Provenance: The estate of a Rhode Island gentleman.

101.

FREDERIC SACKRIDER REMINGTON New York/Kansas/Connecticut, 1861-1909 “The Savage”. Signed and dated verso “Frederic Remington 1908”. Stamped “Roman Bronze Works NY” below signature. Marked on side “Copyright Frederic Remington”. Numbered “64” underneath. Bronze, height 10.75”. 1,200/1,800

101

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39


102

102.

NATIVE AMERICAN RUG Dark red diamonds with dark blue sawtooth edges run down the center of a bright ivory field with similar bisected diamonds about the perimeter. 2’7” x 5’0”. 150/200

103.

ROBERT TENORIO SANTO DOMINGO PUEBLO POTTERY BOWL Late 20th/Early 21st Century Exterior with a wide register of geometric motifs. Interior with six prancing horses. Signed near base. Diameter 16”. 500/800

104.

PLAINS INDIAN BEADED POUCH Early 20th Century Polychrome glass beads in stepped triangular patterns. Further adorned with small metal discs. Length 5.25”. 300/500

105.

PAIR OF CAST IRON ANDIRONS IN THE FORM OF NATIVE AMERICANS America, Late 19th Century Heights 20”. Depths 18”. 500/1,000

103

40

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106

106.

CLARENCE ELLSWORTH California/Nebraska, 1885-1961 Portrait of a Native American Brave at Pine Ridge Reservation, South Dakota. Signed and dated lower left “Clarence Ellsworth 1943”. Accompanied by a photograph of the painting and a handwritten note by the artist explaining the painting was based on 1903 sketch he made at Pine Ridge Reservation. Oil on canvas, 25” x 30.25”. Framed 30.5” x 36”. 3,000/5,000

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41


107.

FRANK C. MCCARTHY New York/Arizona, 1924-2002 “Day’s End”. Signed and dated lower right “McCarthy CA ©1984”. Inscribed verso “#696 ‘Day’s End’ all rights reserved ©1984 by Frank C. McCarthy”. Oil on masonite, 8” x 14”. Framed 14.5” x 20.5”. 2,500/3,500

108.

HARRY B. WAGONER California/Illinois/Arizona/Indiana, 1889-1950 “Spring in the Desert Palm Springs Calif 1930”. Signed lower right “H.B. Wagoner”. Titled in pencil verso. Oil on canvas, 18” x 26”. Framed 25” x 33”. 1,000/1,500

109.

AMERICAN SCHOOL Late 19th/Early 20th Century Figures at a camp. Unsigned. Oil on board, 4” x 7”. Framed 9” x 12”. 300/500

107

108

109

42

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110

110.

ALBERT JASPAR OPERTI New York/Italy, 1852-1927 Arctic scene with Eskimos. Signed lower right “Albert Operti”. Watercolor and gouache on paper, 12.5” x 20.25” sight. Framed 20” x 26.5”. 2,000/3,000

111.

SEVEN INUIT STONE CARVINGS Together with a book on Inuit sculptures. Carvings include a seated figure, height 6”, a figure group of four whales, length 17”, a seal, length 6”, a polar bear with seal, height 7”, and three whales, lengths from 8” to 10.5”. 700/1,000

112.

HIDE-COVERED MODEL OF AN ESKIMO KAYAK Late 19th/Early 20th Century With wood frame. Includes two wooden paddles. Length 27”. 400/600

Albert Jaspar Operti is famous for his Arctic scenes, many of which were created on his voyages with Admiral Robert Peary in the late 19th Century.

112

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43


113

113.

44

NEW JERSEY NEEDLEWORK SAMPLER Dated 1834 Wrought by “Abigail T Reeves Worked in the year 1834”. Upper portion with rows of alphabets and numerals in varied stitches. Lower portion with maker’s inscription contained within a floral garland flanked by a willow tree and a tall flowering plant, all above the four-line verse “Of Happiness”. Sawtooth border. Genealogical research indicates Abigail Reeves was born November 2, 1821 in Gloucester, New Jersey to Joseph Reeves and Mary Gill. 14.5” x 9.5” sight. Framed 18” x 13”. 3,000/4,000

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114.

RARE 18TH CENTURY CAPE COD NEEDLEWORK SAMPLER Dated 1790 “Joanna Gibbs Wrought this in the Eleventh year of her age, Sandwich New England. July 1790”. Alphabet and numerals above maker’s inscription, all interspersed with geometric borders. Research indicates Joanna Gibbs was born October 12, 1779. She married Warren Nye and died in 1800. 10.25” x 8”. Framed. 500/1,000

114

115.

RHODE ISLAND NEEDLEWORK SAMPLER Dated 1827 Wrought by “Phebe Joslin 1827 Rhode Island”. Rows of alphabets and numerals above a diamond containing a partial alphabet. Maker’s inscription amidst trees, diamonds and a basket of fruit. Wide floral border with a sawtooth perimeter. Genealogical research indicates Phebe Joslin was born in Cumberland, Rhode Island, on August 28, 1812 to Rufus and Lusina Joslin. 19” x 16.25” sight. Framed 21.5” x 19”. 3,000/4,000 Exhibited: Pilgrim Hall Museum: “Needlework Samplers, Wrought by Tradition”, February 1- April 25, 2014. Includes copy of show program.

115

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45


116

116.

46

PHILADELPHIA NEEDLEWORK SAMPLER Dated 1826 Wrought by “Rebecca F Bishop Philadelphia 1826”. Maker’s inscription contained within a central floral wreath surrounded by floral bouquets, with two verses above and two verses below: “Lord this I ask in faith sincere The wisdom from above To touch my heart with filial fear And pure celestial love”, “My selfish will in time subdue And mortify my pride And lend my youth a sacred clue To find the crucified”, “Nothing will give a greater lustre to all your virtues than modesty”, and “Innocence is sweet”. Lower portion depicts a Federal-style brick farmhouse within a landscape, with grazing sheep, rabbits and birds, all symbols of prosperity, and a weeping willow and other trees. Floral vine border. Housed in a period, and likely the original mahogany frame. 24.25” x 20.5” sight. Framed 33.5” x 29”. 20,000/30,000

For a similar example from the same unidentified school see Samplers and Samplermakers: An American Schoolgirl Art 1700–1850 by Mary Jaene Edmonds (Rizzoli: 1991), fig. 57. Another example appears in an undated article by Amy Finkel in the Catalog of Antiques and Fine art, viewed at www.antiquesandfineart.com/articles/article.cfm?request=243.

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47


117.

CHARLESTOWN, MASSACHUSETTS NEEDLEWORK SAMPLER Dated 1816 “Wrought by Lydia Teel Charlestown 1816”. Rows of alphabets executed in a variety of colors and stitches above verse “How blest the maid whose circling years improve Whose God’s the object of her warmest love Whose useful hours succesive as they glide The book the needle and the pen decide”. Maker’s inscription flanked by potted plants. Floral vine border. Genealogical research indicates Lydia Teel was born in Charlestown, Massachusetts, on June 13, 1805 to Jonathan Teel and Lydia Hill. She died in 1873. 10” x 11.5” sight. Framed 12.5” x 14”. 3,000/4,000 Exhibited: Pilgrim Hall Museum: “Needlework Samplers, Wrought by Tradition”, February 1-April 25, 2014. Includes copy of show program.

117

118.

MAINE NEEDLEWORK SAMPLER Circa 1835 Wrought by “Martha An [sic] Nutter Born March 18, 1825 Aged 10”. Upper portion with rows of alphabets above maker’s inscription followed by numerals 1 through 10. Lower portion with a Federal-style house flanked by fruit trees, bowls of flowers and meandering trefoil cross borders. Simple line borders along perimeter of sampler. Genealogical research indicates Martha Nutter was born in Ripley, a small farming community in central Maine, to Richard Nutter and Betsey Weston. It is believed Martha was taught needlework by Mehitable Hanson, who lived with the family, as the style of this sampler is more indicative of New Hampshire and Southern Maine, where Hanson was from, rather than central Maine where Martha lived. 13.75” x 17.25” sight. Framed 16” x 19.25”. 1,800/2,400 Exhibited: Saco Museum: “Industry and Virtue Joined: Schoolgirl Needlework of Northern New England”, May 8-October 4, 2015. Includes copy of show program.

48

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118


119.

PICTORIAL NEEDLEWORK SAMPLER Dated 1795 Wrought by Elizabeth Cath. McConnell. Depicts birds in flight above a Georgian mansion, with peacocks in the foreground. Floral borders. 12.5” x 10.25”. Framed. 600/800 Ex Collection: Merle Alling.

119

120.

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

120

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49


121

121.

50

NEW ENGLAND NEEDLEWORK SAMPLER Dated 1817 “Jane Martin’s Work, Aged 14 years”. Rows of alphabets and numerals above a scene of a Federal-style house surrounded by large trees, a garden of flowers, a small dog and “1817”. Bold floral vine at upper and lower border. 17.25” x 10”. Framed 20” x 13”. 2,000/3,000

122

122.

NEEDLEWORK SAMPLER Dated 1822 “Elizabeth Baker Her Work 1822”. Rows of multicolored alphabets above potted plants, with the maker’s inscription along lower margin. 19.5” x 15.5” sight. Framed 21” x 17.5”. 500/1,000

123

123.

VERMONT NEEDLEWORK SAMPLER Dated 1827 Wrought by “Mary Malvina Burton aged 11 years”. Upper portion with rows of alphabets and numerals above the verse “When youths soft season ...”. Lower portion depicts a house in a landscape, and a cartouche containing the names of her parents, John H. Burton, born Nov. 22, 1780, and Mary Burton, born March 6, 1788. Wide flower vine border. Research indicates Mary Malvina Burton Beardsley was born in 1816 in Saint Albans City, Vermont. 19” x 18.5” sight. Framed 21” x 22.5”. 800/1,200

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124

124.

NEEDLEWORK “FAMILY RECORD” OF THE PIERCE FAMILY OF BRIGHTON, MASSACHUSETTS Dated 1840 “Wrought by Louisa Pierce Sept 16th 1840 Aged 14 Yrs”. Lists the family of Horace Pierce, born 1792, and Sarah Thwing, born 1794[?], including their six children born between 1821 and 1832. Inscription pertaining to the deaths of two of the children is flanked by weeping willows. Maker’s inscription below record. Floral border. Genealogical research indicates Louisa Pierce was born February 15, 1826 in Brighton, a suburb of Boston, though the family name was alternately spelled Peirce and the mother was listed as Sally, not Sarah as seen on the record. 20” x 16” sight. Framed 22.75” x 19”. 4,000/5,000

125.

ENGLISH NEEDLEWORK SAMPLER Dated 1775 An unusual asymmetric design of rows of letters, numerals and decorative borders, assorted flowers and biblical scenes. Signed “CSV”. 16” x 13.5”. Framed. 400/600

127.

TWO NEEDLEWORK SAMPLERS 1) Wrought by Hannah E Merrill. Dated 1807. 16” x 14” sight. Framed 18” x 16”. 2) Dated 1806. 10” x 8.5” sight. Framed 11” x 9”. 600/900

Ex Collection: Merle Alling.

126.

NEEDLEWORK FAMILY RECORD Dated 1805 Wrought by Margaret Baily. Stitched on fine linen. 15.5” x 12.5”. Framed. 200/300 Ex Collection: Merle Alling.

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51


Lots 128-130

128

52

128.

APPROX. FIFTY-FIVE DOCUMENTS FROM BRISTOL COUNTY, MASSACHUSETTS 1740-1823 Primarily dealing with estates, probate and receipts for goods and services. Includes one accounting ledger. Some pertaining to lawyer and Justice of the Peace Samuel White (1710-1769) of Taunton and some to lawyer Samuel Baylies of Dighton. 400/600

129.

BOUNTY HUNT RECEIPT Taunton, Massachusetts, 1750s For the killing of grown wolves, bears, wild cats, catamounts, wolf whelps, wild cat whelps, catamounts whelps and bears cubs. 6” x 7.5”. 200/300

130.

THOMAS HANCOCK (1703-1764) LETTER Thomas Hancock was the uncle and benefactor of founding father John Hancock (1736-1793). Letter to Samuel White, Esq. of Taunton, Massachusetts, and dated June 14, 1763. Reads: “We have just rec’d a letter from our friends in London to whom we sent Mr. Cumings’ bill and his power; but they are not able to obtain the money of the gent. ______ owing to a mistake in the power as they say, and desire a new power may be forwarded, and as there are several ____ for London, beg Mr. Cumings would come to town as soon as he can. _____ another power, which you will forward, I hope shall be able then to affect it. We are sir, your most obet. serv. Thos. Hancock & Comp.” 200/300

From the Baylies Family of Dighton, Massachusetts. The family of merchants was highly connected to the early foundation of the American Revolution and the nascent government that came as a result. Family members served in the Continental Congress and the U.S. Congress and as ambassadors.

131.

HUNTINGTON FAMILY LETTERS, DOCUMENTS AND EPHEMERA 1782-1898 From several generations of the Connecticut family. Includes: 1) 1816 court martial document ordered by Adjunct General Ebenezer Huntington (1754-1834). 2-50) Assorted documents, mostly letters regarding personal and financial matters, including the selling of bonnets, an election, a request for clover seed, a request for whiskey, and cautionary words about drinking. Also includes an 1898 letter from George Reynolds of the Crane Elevator Co., Chicago, to Henry Huntington, discussing the sinking of the steamboat Lexington and a typed copy of a spurious letter supposedly written by Cotton Mather in 1682, plotting to kidnap William Penn and sell him into slavery in Barbados. 51-53) Three land deeds, two concerning Connecticut Senator James Hillhouse (1754-1832). 54-66) Thirteen addressed envelopes with canceled stamps. 67-75) Nine pieces of Late 19th Century ephemera. 76-87) Twelve Late 19th/Early 20th Century photographs. 500/800

132.

THREE CONNECTICUT ORDERS TO PAY FROM THE REVOLUTIONARY WAR SIGNED BY OLIVER ELLSWORTH AND JOHN TRUMBULL 1) 1776, Hartford, to Stephen Pratt for a purchase of saltpeter. Signed by Oliver Ellsworth, T. Seymour and Thomas Spencer. Saltpeter was used to make gun powder and thus crucial to the war effort. 2) 1777, Hartford, to Hezekiah Goff for wages due to his son while a prisoner. Signed by Oliver Ellsworth, John Chinward and James Church. 3) 1779, to Lebanon, Connecticut for supplies. Signed by John Chinward and Finn Wadsworth. John Trumbull and W. Williams signed the exterior to acknowledge the payment was received. 400/600

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133.

GEORGE WASHINGTON AUTOGRAPH Circa 1793 Signed on a pre-printed document. Includes letter of authenticity. Matted with a steel engraving of Washington. Autograph signature length 4”. Matted 10.25” x 8”. 7,000/10,000

133

134.

AMERICAN SCHOOL 19th Century Portrait of George Washington. Unsigned. Oil on canvas, 30” x 25”. Framed 37” x 30”. 1,000/1,500

134

135.

BROADSIDE COMMEMORATING GEORGE WASHINGTON’S DEATH Circa 1800 “An Elegiac Poem on the Death of General George Washington, Commander in Chief of the Armies of the United States. Who died at Mount Vernon, Virginia, 14th December, 1799, aged 69 years .... Printed by R. Aitken, January 1, 1800. Printed on silk, with three columns of verse set within an archway surmounted by putti with flags. 18.25” x 11.25” sight. Framed 23.5” x 16.5”. 500/1,000 Provenance: The estate of a Rhode Island gentleman. 135

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53


136.

TWENTY-FIVE SERMONS AND ORATIONS 1801-1820 Ten commemorating Independence Day, including one delivered before the Society of the Cincinnati at New Haven, Connecticut in 1801. Seven Thanksgiving Day Sermons. Eight assorted sermons and discourses. 200/300

137.

FORTY-THREE MASSACHUSETTS INDEPENDENCE DAY ORATIONS AND SERMONS 1801-1820. 400/700

138.

MASSACHUSETTS REGIMENTAL COMMISSION LETTER Dated June 13th, 1819 Addressed to Captain Joshua Goodwin notifying him he had been elected captain of the militia. Signed by Governor and Commander in Chief John Brooks below the state seal and by Secretary of the Commonwealth Alden Bradford. Matted 10” x 16”. 200/400

139.

THIRTY-SEVEN CONNECTICUT MILITIA DOCUMENTS 1830s Centered around the Hartford area, most related to Captain Salmon Allen. Together with seven letters addressed to Allen. Includes two invitations to a military ball, brigade orders, enlistment papers, and other military papers. 200/300

140.

HANDWRITTEN COPY OF DANIEL WEBSTER’S 1825 ADDRESS ON THE LAYING OF THE CORNERSTONE OF THE BUNKER HILL MONUMENT 19th Century Written and signed in pencil on blue paper. Together with notes for another speech in another hand. 200/300

141.

TWO EARLY IVY LEAGUE UNIVERSITY CATALOGS An 1802 Yale alumni and an 1819 Harvard officers and students. 200/300

142.

INLAID BURLED WALNUT LAP DESK America or England, Early 19th Century Top inlaid with numerous Masonic symbols, including an eye, a square and compass, a skull and bones, etc. Serrated inlaid borders. Height 5”. Length 15.25”. Depth 10”. 800/1,000

143.

BROADSIDE BOX Mid-19th Century With glazed lid. Encloses a “Burns Lodge ... Special Meeting” announcement with gilt lettering and square and compass on a black ground. Overall 13” x 10.5”. 450/600

142

143

54

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144

144.

“TRAVELING MUSEUM” BROADSIDE 1832 John A. Landis invites inhabitants to view curiosities, including a mummified Indian woman, a variety of birds, animals and insects, a panorama of Mt. Vesuvius erupting by moonlight, and wax figures of notable people. Illustrated with creatures real and imagined, horsedrawn wagons and Masonic imagery. Printed by H.W. Villee, Lancaster, Pennsylvania. 25.5” x 19.5” sight. Framed 28.5” x 22.5”. 500/1,000 Provenance: The estate of a Rhode Island gentleman.

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55


145.

BROADSIDE DECLARATION OF THE PHILADELPHIA ANTI-SLAVERY CONVENTION Circa 1833 Printed on silk. Inscribed in pencil on the backboard “Anna Gardner Nantucket Mas [sic]”. 18” x 12” sight. Framed 20.5” x 14.25”. 800/1,000

Provenance: The estate of a Rhode Island gentleman. Anna Gardner (1816-1901) was an abolitionist and reformer from a prominent Quaker family on Nantucket. She purchased her own subscription to The Liberator as a teenager. In 1841 she organized the island’s first anti-slavery convention, where Frederick Douglass gave one of his earliest public speeches. At the end of the Civil War she volunteered for the New England Freedmen’s Union Commission. She taught at Freedmen’s Schools in Virginia and the Carolinas, with as many as eighty students to a class. Upon her return north, Gardner also championed women’s rights and universal suffrage. She was also a poet, memoirist and lecturer.

146.

145

AETNA SLAVE INSURANCE POLICY Dated January 18, 1853 From the life department of the Lexington, Kentucky agency. Notes William H. Brand of Fayette County, Kentucky purchased a $600 life insurance policy for three slaves for a term of twelve months. Printed document, completed by hand. Sheet 13.5” x 8.25”. 1,500/2,000 The Kentucky Historical Society, repository for the William H. Brand Papers, notes that Brand was a lawyer and businessman from Lexington and later Columbia, Missouri.

146

56

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147


147.

BROADSIDE PRINTING OF JOHN BROWN’S FINAL SPEECH Circa 1859 “Addresss of John Brown To the Virginia Court, when about to receive the Sentence of Death, For his heroic attempt at Harper’s Ferry, to Give deliverance to the captives, and to let the oppressed go free”. Printed by C.C. Mead, 91 Washington Street, and for sale at The Liberator office, 21 Cornhill, Boston. 13.5” x 10.75”. Framed 16” x 13.25”. 1,000/2,000 Provenance: The estate of a Rhode Island gentleman.

148.

MILITARY RECORD OF BREVET MAJOR GENERAL SAMUEL WYLIE CRAWFORD, U.S. ARMY, DURING THE WAR OF THE REBELLION 1860-65 Circa 1875 Samuel Wylie Crawford (1829-1892) was a surgeon and Union general during the Civil War, who was present at the bombardment of Fort Sumter and Lee’s surrender at Appomattox Court House. As a commissioned Army officer, he fought at both Antietam and Gettysburg. Record written in ink in Crawford’s hand, with red ink accents. Bound in marbleized paper boards, with typed cover and title page. Includes a typed form letter from the War Department requesting Crawford’s account of his military service, as well as a cabinet card with photograph of Crawford as a two-star general taken by F. Gutekunst of Philadelphia, Pennsylvania. 1,200/1,800

149.

APPROX. NINETEEN CIVIL WAR LETTERS 1860s Includes an 1862 letter from Williamsburg, Virginia on “Union Forever” letterhead, providing a detailed firsthand account of the battle of Williamsburg. Other letters to and from encampments, between New York, Virginia, Pennsylvania, Connecticut and Washington, D.C. Several addressed to Captain George Dimock of the First Connecticut Artillery. 250/350

148

150.

TWENTY PIECES OF UNITED STATES AND CONFEDERATE PAPER CURRENCY 19th Century 1) U.S. 10-cent bill dated March 3, 1863. 2) U.S. 10-cent bill dated March 3, 1863. 3) U.S. 10-cent bill dated June 30, 1864. 4-5) Two Confederate 10-cent bills from the Bank of Tennessee dated December 1, 1864. 6) U.S. 25cent bill dated March 3, 1863. 7) U.S. 50-cent bill dated July 17, 1862. 8) U.S. 50-cent bill dated June 30, 1864. 9) U.S. 50-cent bill dated Oct. 25, 1861. 10) Confederate 50-cent bill dated April 6, 1863. 11-12) Two Confederate one-dollar bills, one undated from the Bank of Tennessee and the other from Richmond dated April 6, 1863. 13) Confederate two-dollar bill from Richmond dated February 17, 1864. 14) Confederate five-dollar bill dated February 17, 1864. 15) Confederate 10-dollar bill from Richmond dated February 17, 1864. 16-17) Two Confederate 20-dollar bills from Richmond dated February 17, 1864. 18) Partial Confederate 50-dollar bill from Richmond dated February 17, 1864. 19) Confederate 100-dollar bill from Richmond dated February 17, 1864. 20) Confederate 500-dollar bill from Richmond dated February 17, 1864. 500/1,000

150

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57


152

151.

PATENT MODEL OF A MECHANIZED SAW 19th Century Made of hardwood and metal. Apparently unmarked. Height 17”. Width 10”. Depth 5.25”. 300/500

152.

TERRESTRIAL GLOBE ON STAND BY GILMAN JOSLIN Boston, 19th Century Typical construction consisting of a steel meridian and papered globe. Ebonized tripod base with gilt highlights and turned legs ending in ball feet. Height 42”. Globe diameter approx. 17”. 2,500/3,500

153.

HANDMADE CENTENNIAL-ERA THIRTEEN-STAR AMERICAN FLAG Ohio, Circa 1884 Signed on a white stripe “J.L. Wakefield Preston Ohio, Nov. 10 1884”. Housed in a fine custom frame. Flag 68” x 45”. Framed 56” x 79”. 3,000/5,000 According to accompanying provenance information, the flag was made by John Lowry Wakefield, born May 20, 1852 in New Haven, Ohio. Wakefield married Mary Eliza Sater and moved to her family farm in 1874. The flag was made for the large house on the Sater property, and it descended through the family until it was purchased by the current consignor. The historic Sater property was still standing as of 2002.

153

58

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154.

SPANISH-AMERICAN WAR CHILD’S DRUM Circa 1898 Sides decorated with portraits of various war ships. Height 9”. Diameter 11”. Includes a pair of drumsticks. 200/400

154

155.

AMERICAN SCHOOL Mid-19th Century Portrait of Carrie E. Cousins. Depicts the boy in a white shirt, brown jacket, and red, white and blue striped tie leaning against a table covered with a red damask cloth and topped with a vase of roses. Unsigned. Subject identified on label verso. Oil on canvas, oval, 26” x 20.75”. Framed 31.5” x 26.5”. 1,000/1,500

155

156.

GILT AND CARVED WOODEN EAGLE 19th Century Height 35”. Wingspan approx. 21.25”. 4,000/6,000 Provenance: Christie’s. 156

157.

JAMES GARFIELD AUTOGRAPH Signed “J.A. Garfield MC”, probably on a piece of mail, also stamped “October 12 Washington D.C.” and inscribed “James Grant Wilson Esq New York”. Includes letter of authenticity. Matted with a steel engraving of Garfield. Matted 12.25” x 9”. 300/500

157

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59


159

158.

WORLD WAR I WARNER & SWASEY BRASS AZIMUTH Cleveland, Early 20th Century Model of 1910, No. 1. Height 13.5”. Length 25”. Width 10”. Includes original wood and brass tripod. Height 50”. 300/500

159.

“LOUISBURG”-STYLE CARVED AND PAINTED EAGLE PLAQUE Contemporary Silver-colored spread-wing eagle clenching arrows in one talon and a red, white and blue Liberty shield in the other. Length 37”. 1,200/1,800

160.

“THE PATH OF ELECTRICAL SERVICE GENERAL ELECTRIC” POSTER First Half of the 20th Century Artwork by Walter L. Greene (New York, 18701956). Depicts transmission towers through a snowy mountain landscape. Signed in image lower left “Walter L. Greene” and marked “© General Electric Co.” 39.5” x 25.75” sight. Framed 40.25” x 26.25”. 800/1,000 Walter L. Greene managed General Electric’s art department from 1903 to 1940. He produced paintings for both G.E.’s and the New York Central Railroad’s annual calendars, and a 1928 work was used as a U.S. Navy recruitment poster.

160

60

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161

161.

“GO BY ALL MEANS WORLD’S FAIR IN NEW YORK 1940” POSTER Circa 1940 Artwork by Stanley Ekman. Depicts a family on their way to the fair, with the mother pushing the baby in a carriage, the daughter riding a scooter, the son riding a bike, and the father riding a penny farthing. “Admission Fifty Cents” at lower margin. Marked “Made in U.S.A. by Polygraphic Company of America, Inc., N.Y.C.” lower right. 19.5” x 13” sight. Framed and matted 24.25” x 17.25”. 300/400

162.

“WORLD’S FAIR OF 1940 NEW YORK” POSTER Circa 1940 Depicts a crowd of people around monumental flags and a statue of George Washington, with “For Peace and Freedom” in upper left and “Admission 50¢ Opens May 11th” along lower margin. Marked “© N.Y.W.F.” lower left and “Made in U.S.A. by Polygraphic Company of America, Inc., N.Y.C.” lower right. 19.75” x 13” sight. Framed and matted 23.5” x 16.5”. 300/400

163.

CHARLES A. MAHONEY United Kingdom, 1903-1968 Portrait of a pensive Robert Frost. Signed lower left “Charles A. Mahoney”. Watercolor on paper, 17.25” x 13.25” sight. Framed 26” x 22”. 400/600

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162

163

61


164.

“ABC ... GULFPRIDE OIL” POSTER Mid-20th Century Depicts vintage cars backed by letters A, B and C above “All 3 types of driving need Winter-Grade Gulpride Oil Now!” Marked lower left “Form SP-2214 - To be Posted December 1 to 15. All Divisions”. 42” x 28”. In plastic sheeting. 300/500

164

165.

THIRTY-ONE ITEMS OF DR. SEUSS INTEREST 1) Colored pencil sketch attributed to Dr. Seuss depicting a griffon carrying a steamer trunk. Inscribed in ink “Bon voyage Griffins!”. Sheet 14” x 17.25”. 2-3) Two handwritten notes from Dr. Seuss to Paul Griffin, both on notepaper printed with the Cat in the Hat and signed “Ted”. 4-6) Three letters between Paul Griffin and Claudia Prescott, Dr. Seuss’s secretary. Griffin explains his father and Dr. Seuss were Dartmouth classmates and asks if Seuss would sign copies of Seuss’s books supplied by Griffin. 7-10) Early printings of Oh, the Places You’ll Go! (unsigned), And to Think That I Saw it on Mulberry Street (signed), and You’re Only Old Once! (two copies, one signed). 11-30) Twenty additional titles, all signed by Dr. Seuss and several with inscriptions. 31) Unsigned copy of Dr. Seuss’s Sleep Book. 3,000/4,000

165

62

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Charles M. Schulz California/Minnesota, 1922-2000

166

166.

Original four-panel “Peanuts” comic strip. Depicts Linus walking by Snoopy perched atop his dog house, then saying to Lucy, “There’s a gargoyle in the neighborhood!” Published September 27, 1962, with the United Feature Syndicate, Inc., pastedown in the first panel. Dated in image in first panel “9-27” and signed in image in fourth panel “Schulz”. Signed in pen in second panel “Best wishes - Charles M Schulz”. Ink and pencil on heavy paper, 5.5” x 27.25” sight. Framed 7.25” x 29”. 7,000/10,000

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63


167.

JOHN FRENCH SLOAN New York/New Mexico/New Hampshire, 1871-1951 “An Art Lecture”. Signed upper right “John Sloan”. Ink on paper, 6.25” x 4.75”. Framed 12.5” x 10.5”. 1,500/2,500 Exhibited: Mercer University Plunkett Art Gallery, 2014. Provenance: Berry Galleries, Atlanta.

168.

WALT FRANCIS KUHN New York/California, 1877-1949 A cowboy and his horse. Signed and dated lower right “Walt Kuhn 1932”. Ink on paper, 10.5” x 10.25” sight. Framed 17.25” x 17.25”. 800/1,200

167

168 169

169.

MORGAN DENNIS New York/California/Florida/Massachusetts, 1892-1960 Sketch of a dog, likely a Scottie. Inscribed lower right “For Catherine from Morgan Dennis”. Ink on paper, 5.75” x 4”. Matted 16” x 16”. 200/300

170.

HAROLD C. WOLCOTT New York, 1898-1977 Three terriers looking out a car window. Signed lower right “H.C. Wolcott”. Dogs identified as Sparky, Raffle and Sandy, and dated 1951 verso. Oil on canvas board, 16” x 20”. Framed 23” x 27”. 500/1,000

170

64

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KINGSBURY TIN TOY FIRE STATION AND PUMPER Circa 1920 Some repaint and wear. Station height 10”. Width 9”. Depth 13”. Pumper length 11”. 400/600

172.

SILVER PLATED FIRE TRUMPET 19th Century Unengraved. Length 19.25”. 400/600

174.

FRENCH CAROUSEL HORSE ON STAND Late 19th Century Carved and polychromed wood prancing horse with saddle and horse-hair tail. Removeable iron fork stand. Rear legs attached to a single plank. Height 52”. Length 45”. Width 12”. 1,000/2,000

172

171

173.

171.

LEATHER FIRE BUCKET Late 19th Century “No. 2 J. Abbot. 1829 F.F.S.” in gold block lettering on a painted green ground. Leather handle off but present. Height 13.25”. Diameter at top 8”. 250/350 173

174

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65


175.

DUCK PRESS Probably France, 20th Century In brass and copper, mounted on a wooden base. Height 18”. Width 11”. Depth 15”. 200/400

176.

CHINA TRADE PAINTED TOLE TEA CANISTER 19th Century Labeled “3 Assam” and decorated with a scene of workers harvesting tea leaves below a hillside palace on a deep green ground. Height 20.5”. 500/1,000

175

177.

CHINA TRADE TOLE TEA CANISTER 19th Century Labeled “12 Lapsang Souchong Fine Teas” and decorated with a scene of workers harvesting tea leaves below a hilltop seaside palace on a black ground. Height 21.5”. 500/1,000

178.

WILHELM AUGUST LEOPOLD CHRISTIAN KRAUSE Germany, 1803-1864 Figures on a harbor’s shore. Signed lower right “W. Krause 1838”. Oil on board, 16” x 18”. Framed 20” x 22”. 500/1,000

179.

178

TAVERN TABLE New England, 18th Century In pine under red paint, with tapered legs and stretcher base. Height 25.5”. Diameter of top 29”. 300/500

180.

PAIR OF MAHOGANY WHALE-SIDE SHELVES 19th Century With four tiers. Heights 33.5”. Widths 26”. Depths 8”. 500/700

179

66

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181.

AMERICAN SCHOOL 19th Century Portrait of a boy in a green coat and red bow tie. Unsigned. Pastel, 16” x 13” sight. Framed 20” x 17”. 400/600

181

182.

LIFT-TOP BLANKET CHEST New England, Early 19th Century In pine, with exceptional black sponge-painted decoration on a red ground. Top attached with iron hinges. Interior with ditty box. Shaped bootjack ends. Height 23.5”. Width 37.5”. Depth 16”. 500/800

182

183.

NEW YORK STONEWARE COMPANY FIVE-GALLON CROCK 19th Century Impressed “New York. Stoneware Co. Fort Edward N.Y. 5” above cobalt blue floral decoration. Height 12.5”. Diameter 13”. 150/200 183

184.

SIX TWO-PART BLOWN-MOLDED GREEN GLASS BOTTLES 19th Century Applied glass seals on fronts marked “D Sears” above a numeral; one with “4”, four with “5” and one with “8”. Marked “Patent” on shoulder. Raised lettering on base. Heights approx. 11”. 400/600

184

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67


185, pair

185.

186.

68

AMERICAN SCHOOL Mid-19th Century Pair of portraits, likely a husband and wife. Both seated in front of a window hung with a red velvet curtain pulled open to reveal a partial landscape. Unsigned. Oils on canvas, 33” x 27”. Framed 41” x 33”. 2,500/3,500

WROUGHT IRON MEAT RACK 19th Century With heart decoration. Painted black. Height 15”. Length 33”. 150/200

187.

PEWTER PORRINGER BY SAMUEL HAMLIN Providence, Rhode Island, Late 18th/Early 19th Century Jacobs #J-163. Touchmark on handle. Diameter 4.63”. 400/600

188.

PEWTER PORRINGER BY SAMUEL HAMLIN Providence, Rhode Island, Late 18th/Early 19th Century Jacobs #163. Touchmark on handle. Diameter 4.25”. 400/600

189.

APPROX. FORTY-TWO PIECES OF EARLY AMERICAN AND ENGLISH PEWTER 18th/19th Century Includes three coffeepots, two teapots, a flagon, four porringers, one pair of candlesticks, two fluid lamps, eight tankards, a tumbler, an inkwell, two chargers and sixteen plates. Heights from 7” to 12”. Largest diameter 16”. 500/800

190.

SHAVING STAND Circa 1810 In mahogany and mahogany veneer. Mirror supports with carved bell finials. Base with serpentine front, single drawer with circular brass pulls, and ogee bracket feet. Height 25”. Width 15.5”. Depth 7.5”. 250/300

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192

191

193

193.

QUEEN ANNE CANDLESTAND Circa 1800 In mahogany. Top with fruitwood inlay. Turned pedestal raised on cabriole legs ending in pad feet. Height 26.5”. Top 14.75” x 15”. 250/300

191.

HEPPLEWHITE ONE-DRAWER STAND Circa 1810 In pine, with fruitwood string inlay and brown stained finish. Drawer with brass circular pull. Square tapered legs. Height 27.75”. Width 18.75”. Depth 16”. 150/200

192.

194. TWO-DRAWER ONE-DRAWER TAVERN TABLE BLANKET CHEST New England, Early 19th Century In pine and maple under an old Early 19th Century brown finish. Top with breadboard In pine under a light brown finish. Lift top attached with iron hinges. ends. Drawer with circular wooden Interior fitted with a ditty box. pulls. Tapered legs end in knob feet. Drawers with circular wooden pulls. Height 27”. Width 43”. Depth 29”. Shaped bracket base. Height 42”. 400/700 Width 39.5”. Depth 19.5”. Provenance: 300/500 Paul Madden collection.

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195.

DAVIS SWING CHURN AND A HARTFORD THREE-GALLON STONEWARE CROCK 1) Wooden churn with iron mounts. Painted yellow, with black stenciled lettering and designs throughout. Does not include cradle. Height 15”. Length 43.5”. Width 22.5”. 2) Crock with cobalt blue fern design. Height 11”. 250/350

195A. CHILD’S SLED WITH PAINTED DECORATION America, 20th Century In pine. Seat depicts a running horse. Length 42”. 200/300

69


196.

MINIATURE BUREAU 19th Century In mahogany, with two half drawers over three fullwidth drawers, and a shaped bracket base. Spoolturned moldings along edges of case. Secret locking mechanism for top two drawers. Height 18.75”. Width 19.5”. Depth 8”. 200/400

197.

196

198.

MINIATURE FOUR-DRAWER CHEST America, Circa 1810 In mahogany and mahogany veneer, with bone drawer pulls. Height 12”. Width 12.5”. Depth 7”. 400/600

197

AMERICAN SCHOOL 19th Century Still life of watermelon and other fruit. Unsigned. Oil on canvas, 19” x 15” sight. Framed 28” x 24”. 500/1,000

198

199.

UNUSUAL PAIR OF LARGE IRON ANDIRONS Large ball tops on obelisks with scrolled feet. Rusted surfaces. Heights 23.5”. Depths 26.5”. 500/1,000

200.

INLAID DRESSER BOX 19th Century In mahogany and other woods, with brass ball feet. Inlaid lift top depicts an eagle and a Liberty shield. Height 5”. Width 11.25”. Depth 9”. 200/300

199, pair

70

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201.

AUGUSTE EDOUART Louisiana/France, 1789-1861 Silhouette of a family in front of a fence. Signed and dated lower right “Aug. Edouart 1848”. 12.5” x 15.75” sight. Framed 15.5” x 19”. 700/1,000

202.

FULL-LENGTH SILHOUETTE OF A GENTLEMAN 19th Century 11.75” x 8.75” sight. Framed 15.25” x 12.25”. 300/500

201

203. 203

204.

TWO MINIATURE WATERCOLOR PORTRAITS 19th Century A man and a woman. Housed in matching ornate brass frames. On paper, 3.5” x 2.75” sight. Framed 5.5” x 4.5”. 300/500

205.

AMERICAN SCHOOL First Half of the 20th Century Dogs relaxing by a fire. Signed lower right “R.E.M”. Stamp verso for Spaulding Moss Co., Boston. Oil on canvas, 6” x 8”. Framed 11.75” x 13.75”. 300/500

TIGER MAPLE LAP DESK America, 19th Century Height 3.5”. Width 14”. Depth 10”. 250/350

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205

71


206.

FALL-FRONT SECRETARY America, Second Quarter of the 19th Century Original grain-painted dark brown and red surfaces. Upper case’s ogee molded cornice with a top that lifts open to an additional storage compartment. Front falls open, revealing a felt-lined writing surface, numerous pigeonholes and two drawers. Lower case with a full-width drawer and octagonal turned legs. Height 55.75”. Width 35.75”. Depth 19.5”. 500/1,000

206

207.

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

207

72

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208, pair

208.

AMERICAN SCHOOL 19th Century Pair of portraits, likely a husband and his wife. Unsigned. Oils on canvas, 36” x 29”. Framed 46” x 39”. 3,000/5,000

211.

QUEEN ANNE-STYLE WING CHAIR Late 19th Century With red floral upholstery. Back height 50”. Seat height 19”. 200/400

209.

ANTIQUE CRADLE America, 19th Century Under a red wash. Cut-out hearts at head and foot. Length 41”. 150/250

212.

CUSTOM-MADE QUEEN ANNE-STYLE CANDLESTAND 20th Century In bird’s-eye and tiger maple. Spool-turned shaft raised on cabriole legs. Height 25”. Diameter of top 14.25”. 150/200

210.

TWO GRAIN-PAINTED LIFT-TOP BOXES Vermont, 19th Century Both in pine. One with a domed top. Heights 11” and 13”. Widths 24”. Depths 12”. 150/250

213.

CUSTOM-MADE TIGER MAPLE QUEEN-SIZE CANOPY BED 20th Century Pencil posts with turned finials. Shaped backboard. Height without canopy 87”. Width 62”. Includes rails and hardware. 700/1,000

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73


215 214, pair

214.

AMERICAN SCHOOL Late 19th Century Pair of landscapes. One signed lower right “F.H. Miller”, possibly Franklin Harrison Miller (Massachusetts, 18431911). Oils on artist board, 4” x 7.5”. Framed 5” x 8.5”. 300/500

215.

LIFT-TOP BLANKET CHEST Pennsylvania, Early 19th Century In pine, with yellow and brown sponge-painted decoration. Molded top attached with iron hinges. Interior fitted with ditty box. Dovetailed sides. Turned bun feet painted black. Height 24.75”. Width 43”. Depth 20”. 500/800

216

216.

74

217

CARVED PINE LIFT-TOP CHEST New York, 19th Century Under black paint. Two-board top. Front with carved tulip decoration. Iron bail handles at sides. Height 22”. Width 40”. Depth 23”. 600/800

217.

AMERICAN SCHOOL Late 19th Century A house in Eastport, Maine. Unsigned. Location identified verso. Oil on paper, oval, 6” x 7” sight. Framed 10” x 11”. 250/350

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219

218

218.

AMERICAN SCHOOL Circa 1845 Portrait of a young boy leaning against a classical stool. Handwritten note verso indicates the sitter is Edward Bowne Willets (Long Island, New York, 1837-1916). Unsigned. Oil on canvas, 34” x 29”. Framed 39” x 32”. 1,000/1,500

219.

QUEEN ANNE TAVERN TABLE 18th Century In chestnut, showing traces of red paint. Oval top. Tapered legs end in pad feet. Height 26.5”. Top 34” x 26”. 500/800

221

220

220.

ONE-DRAWER HUTCH TABLE New England, Early 19th Century In pine under red paint, with a circular top and a shaped base. Height 28”. Top diameter 35.5”. 400/700

221.

AMERICAN SCHOOL 19th Century Cows crossing a mountain stream. Unsigned. Oil on board, 13” x 9”. Framed 15.5” x 13.5”. 300/500

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224

222 225, pair

222.

CHIPPENDALE TALL CHEST America, 18th Century In maple, with a molded top, six graduated full-width drawers and a bracket base. Height 56”. Width 38”. Depth 18.5”. 400/600

223.

TAVERN TABLE 19th Century In pine under green paint, with an oval top, turned legs and stretcher base. Height 24.5”. Top 28” x 22”. 200/300

224.

H.A. FISH Fall River, Massachusetts/Providence, Rhode Island, Late 19th Century Cows in a stream. Signed lower left “H.A. Fish”. Watercolor on paper, 5.5” x 9.5” sight. Framed 11.5” x 15.5”. 250/350

225.

ATTRIBUTED TO H.A. FISH Fall River, Massachusetts/Providence, Rhode Island, Late 19th Century Pair of pasture views: one with grazing cattle, the other with sheep. Oils on board, 4.5” x 8”. Framed 5.5” x 9”. 300/500 Provenance: Descended in the Fish family.

76

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226, six

226.

SET OF SIX FANCY SHERATON SIDE CHAIRS Second Quarter of the 19th Century Under mustard yellow paint with brown highlights. Upper horizontal splats with painted decoration of a reclining stag near a tree. Cane seats. Back heights 33.5”. Seat heights 18”. 500/700

227.

AMERICAN SCHOOL 19th Century Sunset winter landscape. Unsigned. Oil on beveled board, 4.75” x 2.75”. Framed 5.5” x 3.5”. 300/500

228.

TAVERN TABLE New England, Early 19th Century In pine and birch under an old brown finish. Top with breadboard ends. Fitted with a candle slide. Turned legs joined with stretcher and end in knob feet. Height 24”. Top 22.5” x 17”. 250/350

229.

WINDSOR BOWBACK ARMCHAIR Late 18th Century Under an old brown finish. Back height 37.5”. Seat height 18.5”. 300/500

228

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229

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The Kelton Collection Eldred’s is pleased to announce it will be offering maritime art and artifacts from the Kelton Collection over a series of auctions this year, beginning with the thirty-three lots presented here.

230.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 The American clipper ship Dreadnought under full sail. Signed and dated lower left “Antonio Jacobsen 1916”. The Dreadnought was built by Currier & Townsend of Oil on board, 15.5” x 23.5”. Framed 20” x 27.5”. Newburyport, Massachusetts in 1853. Commanded 7,000/10,000 by Samuel Samuels for ten years, she was master for

Literature: Antonio Jacobsen - The Checklist by Harold S. Sniffen (Sanford & Patricia Smith Galleries, Ltd., N.Y., 1984), pp. 92-93, #23 for a listing of this painting.

David Ogden’s Red Cross packet service between New York and Liverpool, establishing an outstanding record for speed and reliability. Dreadnought made many record runs and holds the record of 9 days, 21 hours from Sandy Hook to Queenstown. In her later years,

Exhibited: Montclaire Art Museum, Montclaire, New Jersey: “Ship Portraits Owned In New Jersey”, December 16, 1973 through February 3, 1974.

she engaged in trade from New York to San Francisco to the Far East and back to New York. She was lost in 1869 in a storm off Terra del Fuego, and her crew was rescued by a Norwegian vessel.

Provenance: Old Prints Shop, New York, until 1963. Eldred’s, Summer Marine Auction, July 1994.

78

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230

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231

This example is one of the only known works bearing Joseph Desilva’s signature. Art historian Sam Davidson believes Desilva was both a marine artist and an agent for Liverpool painters such as Yorke and McFarlane as his trade label has been found on works by both those artists. This painting depicts the Resolute at the end of her career as a packet, painted with faux

231.

gun ports and with the identifying Black Star Line symbol emblazoned on

WILLIAM GAY YORKE AND JOSEPH DESILVA her fore lower topsail. The house flag of Williams and Guion, managers of New York/England/Canada, 1817-1892 Black Star, flies at the main and the Marryat code hoist “2nd distinguishing and United Kingdom, 1816-c. 1875 pennant, 1,4,2”, along with the U.S. ensign on the mizzen mast, identifies the Black Star Line packet ship Resolute off Point Lynas, 1866. Indistinctly signed and dated lower left “Josp vessel as Resolute. Desilva, L’pool, 1866” and lower right “Wm. Yorke”. Oil on canvas, 24” x 36”. Framed 31” x 43”. Resolute was a three-deck ship built by William Webb in New York for the 6,000/8,000 Black Star Line of Liverpool as a passenger packet. Resolute’s career spanned Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 2006.

nearly forty years of hard service. By the mid-1860s the passenger trade for transatlantic sailing packets was no longer profitable and Resolute was converted to the general freight trade. For the remainder of her career, she carried coal, lumber, barrel and case oil, cotton and guano to ports throughout the Pacific, South America, the Far East and Europe. Resolute was abandoned in a sinking condition in March 1886 while on a voyage from Philadelphia to Europe. At the time she was under Dutch registry and rigged as a bark.

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232.

PRESENTATION MODEL OF AN AMERICAN PACKET SHIP ON THE WAYS America, Early 20th Century Hull built up in plank-on-frame construction, with a copperplated bottom, white waterline and black topsides. Stem at the bow with decorated trailboard supporting a stump bowsprit. Deck not planked, showing the frame construction of the hull and decks, including such details as the knees, hatch frames, mast steps, lower partners and partners. Fitted with stump mast bulwarks built up and painted white with a mahogany cap rail. At the stern the deck is planked with the rudder post coming through, with belaying posts on either side. Mounted on a built-up “ways” as if in preparation for launching. Height 15”. Length 50.5”. Width 9.5”. 3,000/4,000

232, detail above

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233.

AFTER LOUIS LE BRETON France, 1818-1866 Claiming the prize, American whaler in the Arctic, circa 1860. Oil on canvas, unlined, 20” x 32”. Framed 27.75” x 40.25”. 1,500/2,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1998.

233

234

234.

This is one of several paintings by A. Cedro of Robert E. Peary’s trips to A. CEDRO the North Pole and the ship Roosevelt. Sailing in July 1905, the expedition America, Early 20th Century wintered at the north coast of Grant Land in 1905-1906, the probable Robert Peary’s expedition vessel Roosevelt location for this painting. In February 1906 Peary reached to within 174 wintering, circa 1908. Signed lower right miles of the Pole before being forced to return to the Roosevelt and sail “A. Cedro”. Oil on canvas, relined, with back to New York. In 1908, again on the Roosevelt, Peary made his final new stretchers, 34.25” x 54”. Framed. expedition, sailing to 82 degrees 30 minutes North, a record latitude for a 5,000/7,000 vessel under its own steam. On this expedition Peary would reach the North

Provenance: Eldred’s, Spring Americana Auction, March 1995.

Pole on April 6, 1909. It is possible A. Cedro was a crew member on the Roosevelt. Comparisons may be made between this work and the paintings of Captain John Bertonccini, who is best known for his views of the whalers at Herschel Island.

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235

235.

AMERICAN SCHOOL 19th Century Portrait of Captain Joseph Gray Russell. Oil on canvas, old glue lining, 33” x 27”. Framed 39” x 33”. 2,000/3,000 Provenance: Collection of the Museum of the City of New York. Child’s Gallery, Boston. The William B. Osgood Collection of China Trade and Marine Paintings. Northeast Auctions, Portsmouth, New Hampshire, August 1995. Joseph Russell’s father and son were pioneer whaling merchants of New Bedford from 1775. In 1837, Joseph Gray Russell was captain of the 895-ton Sheridan of the Dramatic Packet Ship Line on her first voyage. Later, Russell was a senior member of the China Trade firm

236

236.

PORTRAIT OF CAPTAIN GEORGE WOOLSEY ASPINWALL Label affixed verso by great-grandson John Aspinwall Roosevelt (son of Franklin Delano Roosevelt) lists the dates for Captain George Woolsey Aspinwall. The Aspinwall family founded a steamship and rail route to California via Panama around 1845. Oil on canvas, relined, 30.5” x 26”. Framed 37.75” x 33.25”. 3,000/5,000 Provenance: Captain George Woolsey Aspinwall, probably commissioned by him. Mary Rebecca Aspinwall, his daughter, and thence by descent to John Aspinwall Roosevelt, son of Franklin Delano Roosevelt, until his death in 1981. Northeast Auctions, Portsmouth, New Hampshire, August 1996.

Russell & Co.

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237

238

237.

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MOUNTED HALF HULL MODEL OF THE PILOT 238. MOUNTED HALF HULL MODEL OF THE SCHOONER HESPER BY TOM D. CONLON SCHOONER MARY B. DYER BY TOM D. CONLON America, Circa 1995 America, 20th Century Built up in mahogany lifts. Bottom finished bright with Built up in lifts. Bottom finished bright with painted white painted black topsides. Detailed with applied sheer strake topsides. Detailed with trailboard with name, stump masts, and coaming, stump masts, etc. Pine backboard inscribed etc. Pine backboard inscribed along the bottom “Mary B. lower left and signed lower right. Backboard 9.25” x 44.25”. Dyer East Boston. 1860”. Signed lower right “T.D. Conlon”. 1,000/1,500 An identifying label affixed to the back by the maker provides additional details. Backboard 11.25” x 54.5”. Provenance: 1,000/1,500 Eldred’s, March 1994. Provenance: Eldred’s, March 1994.

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239

239.

Ocean Herald was one of the first and largest clipper ships built in Maine. AMERICAN SCHOOL 19th Century The American flag depicted in this portrait dates the painting to between The American clipper ship Ocean Herald, circa 1853 and 1855 as Ocean Herald only sailed under U.S. registry for those 1853. Stamped on canvas verso “S.N. Dodge years. Her builder is listed as Cyrus Cotter of Damariscotta, Maine. This Artist & Painting Supply Store 189 Chatham painting descended through the family of Damariscotta ship builder cor(ner) of Oliver Street N York”. Oil on canvas, Charles Glidden Merry, who was likely involved in her construction. unlined, 32” x 44”. Framed 38” x 50”. The ship was built for the New York firm of Everett & Brown and their 4,000/6,000

Washington Line Liverpool packet service. She also sailed on the Liverpool

Provenance: The estate of Charles Glidden Merry, Damariscotta, Maine. Elizabeth Merry, daughter of Charles Glidden Merry. Skidompha Library, Damariscotta, Maine. Thomaston Place Auction Galleries, Thomaston, Maine, May 2005.

run for the Dunham & Dimon Company New Line in 1854. During her short American career there is no record of Ocean Herald ever participating in the Cape Horn trade. In 1855 she was chartered to the French for transporting troops and supplies to the Black Sea during the Crimean War. In 1856 she was formally purchased by the French and renamed Malabar. She was abandoned at sea March 10, 1862 near Bermuda.

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240.

EXHIBITION STANDARD ADMIRALTY BOARD-STYLE MODEL OF THE 60-GUN SHIP H.M.S CENTURION BY J. CULTER America, 20th Century In 1:48 scale. Based on plans from the National Maritime Museum, Greenwich, United Kingdom. Hull built up in plank-on-frame construction, predominantly in boxwood. The lower hull is un-planked, showing the hull framing, and then planked from the waist up through the gun decks, with a black waist, chain plates with dead-eyes, sixty pierced gun ports with hinged lids, and other details on the hull. Stern and quarter galleries are finely carved and detailed with glazed windows. At the bow, and supported by the head rails, is a carved and polychromed figurehead of a lion wearing a crown. Deck is mostly planked with some open areas showing the detail in the deck framing, further detailed with the bulwarks painted red, heads, bit posts, cut-away masts, stove pipes, hatch gratings, belaying rails, bell and canopy, capstan, companionways, deck rails, balustrades, etc. Height on stand 14.5”. Length 43”. 4,000/6,000 One of the most famous ships of her day, the H.M.S. Centurion was built by Surveyor Allin at Portsmouth Dockyard to a modified 1719 Establishment design. Ordered and laid down in 1729, she was 144 feet on deck with a 40 foot beam, and carried a crew of 400. She was launched January 6, 1733 as a third-rate with sixty guns. In the autumn of 1739, Centurion was placed under the command of Captain George Anson, whose orders were to take a squadron to the Pacific, harry Spanish possessions there, and, if possible, capture one of the valuable treasure ships known as the Acapulco galleons, which annually traveled between Mexico and Manila. By June 1743 various misfortunes had reduced Anson’s squadron of six vessels to a single ship, Centurion. The vessel was by then well-armed and manned by a highly experienced veteran crew. On June 20 Centurion sighted, gave chase, engaged and captured the Spanish treasure galleon Nuestra Senora de Cobadonga, the richest prize ever taken during the era of sail. With the Spaniards combing the ocean around the Philippines, Anson then decided to return home by circumnavigating the globe, still a highly unusual and immensely risky voyage in the Mid-18th Century. Arriving back in England in 1744 with treasure valued at over a half million pounds sterling (around $400 million by today’s standards), Anson’s reputation was made and his career assured. Likewise was his ship, whose name became synonymous with the triumphant exploits of her commander. Centurion was refitted as a fourth-rate of fifty guns after her round-the-world voyage and briefly renamed Eagle. Due to Anson’s influence, however, she reverted to her original name again in 1745. Thereafter, she saw action at the battle of Cape Finistere in 1747, during the Seven Years War in 1758, at Quebec in 1759 and also at the capture of Havana in 1762. Centurion was laid up after the Treaty of Paris in 1763 and finally broken up at Chatham in

240, multiple views

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December 1769.

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241

241.

ATTRIBUTED TO RICHARD WRIGHT United Kingdom, 1735-1774 Dutch ships in a squall, circa 1760. Oil on canvas, relined, 16.5” x 25.25”. Framed 19.25” x 28.25”. 5,000/7,000 Provenance: West Sea Company, Old Town San Diego, California, October 1992.

242

242.

JAN MOOY The Netherlands, 1776-1847 Dutch packet ship Sara Maria. Watercolor and ink on paper, 16.75” x 22” sight. Framed 26.25” x 31”. 2,500/3,500 Provenance: Sotheby’s, Marine and Nautical Works of Art Auction, May 1985.

The Dictionary of Marine Artists by Dorothy Brewington cites Jan Mooy as a Dutch watercolorist, born in 1776 in Callantsoon. Active from 1796 to 1847, he was also a house painter and glazer. He died in 1847 in Den Helder. Copies of his works are in eight museums including the Peabody-Essex Museum and the Rijks Museum.

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243

243.

ATTRIBUTED TO FREDERIK TUDGAY United Kingdom, 1841-1921 The four-masted ship County of Peebles under full sail, inbound, circa 1875. Oil on canvas, 30” x 48”. Framed 38” x 56”. 6,000/8,000 Provenance: Malcolm Parry, Barclay, Curie & Co., Glasgow, Scotland, until 1985. Jack Partridge, North Edgecomb, Maine. Purchased from the above at the 1986 Winter Antiques Show, New York.

88

County of Peebles was an iron-hulled, four-masted ship built in 1875 by Barclay, Curie & Co., Glasgow, for Robert Craig. Having seen many tall three-masted ships lose their rig, Craig made the decision to have his County Line ships spread their 30,610 square feet of sail over four very strongly rigged shorter masts. Between 1880 and 1898 the County of Peebles had a busy schedule, making seventeen round-trip voyages from Europe to India or China without accident. Her 83-day passage form Cardiff to Bombay in 1880 was a record at the time. She was sold to Chile in 1898. Her hulk remains at Punta Arenas.

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244.

WILLIAM A. COULTER California/Ireland, 1849-1936 Fishing boats off Land’s End, England, circa 1880. Signed lower left “W.A. Coulter”. Oil on artist board, 14” x 19.5”. Framed 17.75” x 23.25”. 2,000/3,000 Provenance: Butterfield & Butterfield, Los Angeles, 2001.

244

245.

G. DELL Great Britain, 19th Century A British packet ship off the White Cliffs of Dover, circa 1861. Signed and dated lower right “G. Dell 1861”. Oil on canvas, 24” x 36”. Framed 28.25” x 40.25”. 700/1,000 Provenance: Fritz Gold, New York. Northeast Auctions, Portsmouth, New Hampshire, August 1996.

245

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246.

MOUNTED HALF HULL MODEL OF AN ENGLISH LAUNCH Painted backboard depicts a church in an English countryside. Backboard 9.75” x 20”. 300/500

246

247.

CHARLES TAYLOR United Kingdom, 1833-1883 The clipper ship Biobio with a U.S. paddle steamer in the distance, circa 1856. Watercolor and gouache on paper, 16” x 27” sight. Framed 26.25” x 37.5”. 400/600 Provenance: Andrew Boyer, London, July 1986.

247

248.

MOUNTED PAIR OF KENNEBUNK RIVER LAUNCH HALF HULL MODELS Both built in alternating lift construction, the upper with a cruiser stern and skeg, and the lower with five lifts. Mounted on a common backboard. Backboard 9.5” x 21.75”. 300/500 248

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249

249.

ATTRIBUTED TO THOMAS WHITCOMBE United Kingdom, c. 1760-1824 The battle between the U.S.S Chesapeake and H.M.S. Shannon, circa 1813. Oil on canvas, 25” x 30.25”. Framed 30.75” x 36”. 4,000/6,000 Provenance: Sotheby’s, New York, April 1986.

92

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250

This work depicts the chase and eventual capture of the American 44-gun frigate U.S.S. President by the British Naval vessels H.M.S. Endymion, Majestic and Pomone on January 15, 1815. The U.S.S. President was one of the U.S. Navy’s original six frigates. In January

250.

WILLIAM G. YORKE New York/England/Canada, 1817-1892 Capture of the frigate U.S.S. President, January 15, 1815. Signed lower right “W.G. Yorke”. Oil on canvas, 28” x 22”. Framed 35.5” x 29.5”. 4,000/6,000 Literature: Ships of the World by Lincoln P. Paine (Houghton Mifflin Company, New York, 1997), pp. 403-4. “Capture of the U.S.S. President - Battle report to the Secretary of the Navy Benjamin Crowninshield” by Stephen Decatur, online at www.cronab.demon.co.uk. Provenance: Skinner Auctions, Boston, June 2006.

1815, under the command of Stephen Decatur, President slipped the blockade that had held her in New York Harbor for nearly a year. The Treaty of Ghent, ending the War of 1812, had already been signed, but word had not yet reached New York. During its escape, the President grounded on a sandbar for several hours during the night, damaging her keel and badly straining her hull. Working her way off the bar the following morning, the frigate soon encountered a British squadron led by the 50-gun Endymion, which immediately gave chase. The following account is from Decatur’s after-action report to Crowninshield, Secretary of the U.S. Navy: “The Endymion, mounting 50 guns, had now approached us within gun shot, and had commenced a firer with her bow guns, which we returned from our stern.” Decatur, realizing he could not outrun the British in his damaged condition, turned for a broadside action and had actually gained the advantage over Endymion until Majestic and Pomone arrived. After a fierce battle where he lost nearly half his crew, Decatur was forced to strike his flag. President was seized as a war prize and taken to England, too badly damaged for further work. She was broken up at Portsmouth in 1817, but not before her lines were taken off by the Admiralty, which were used for a new British warship of the same name.

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251.

SAMUEL FINLEY MORSE BADGER Massachusetts, 1873-1919 The four-masted schooner Mary E.H.G. Dow, 1894. Signed lower left “S.F.M. Badger. 94”. Oil on canvas, 25.5” x 42.25”. Framed 31.75” x 48.25”. 5,000/7,000 Provenance: Eldred’s, January 1995.

Built in 1894, and the second schooner by this name, the Mary E.H.G. Dow was built and owned by W.T. Donnell. At 1,264 gross tons and 208.5 feet LOA, she was registered in Bath, Maine. She was abandoned at Key West in June of 1916.

94

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T H E K E LT O N C O L L E C T I O N 252.

WILLIAM MCILVENNY Great Britain, 19th Century The three-masted barque Alice M. Craig off Holyhead, 1884. Signed and dated lower right “W. McIlvenny Belfast 1884”. Oil on canvas, 22” x 31.25”. Framed 26.5” x 36.5”. 1,000/1,500 Provenance: Sotheby’s, London, March 1986. Identified by the owner’s flag of W.J. Woodside and Company, the Alice M. Craig is seen here inbound for Liverpool off South Stack and Holyhead Mountain in Anglesey. The pilot jack at the ship’s foremast is signaling for a pilot. In an uncommon detail, the breakwater at Holyhead Harbor is also visible under the ship’s bowsprit.

252

253.

ALBERT NEMETHY America, 1920-2000 Paddle steamer California of the U.S. Mail Line. Circa 1985. Oil on canvas, 14” x 24”. Framed 20.5” x 30.5”. 2,000/3,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1997.

253

254.

HANS SKALAGARD California/Denmark, 1923-2017 Pamir off Cape Horn. Circa 1974. Signed lower right “Hans Skalagard International Academy”. Oil on canvas, 20” x 30”. Framed 32” x 41.5”. 600/800 Provenance: Fred von Weigen Ship’s Store Galleries, Kapaa, Hawaii, 2000.

254

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255

255.

MOUNTED BUILDER’S HALF HULL MODEL OF AN AMERICAN MERCHANT BRIG Built up in seven alternating pine lifts, with applied rudder post and keel (the stem and stump bowsprit are absent). Bottom finished bright, and the topsides finished black with yellow waist bands. Lifts held together with wedges and have not been fused or glued together, as is the case with the majority of surviving lift models. 10.5” x 42.5”. 2,500/3,500 Provenance: Skinner Inc., Boston, February 2002.

256

256.

MOUNTED BUILDER’S HALF HULL MODEL OF AN AMERICAN PACKET SHIP Built up in seven lifts, with applied stem, keel and stern post. Bottom finished bright, the topsides finished black. Detailed with lift wedges and stump bowsprit. Green-painted backboard with applied trim. Backboard 10.5” x 42.5”. 1,500/2,500 Provenance: Ship owner James Corner & Sons, Port of Baltimore. The Port Mission of Baltimore City, Baltimore. West Sea Company, Old Town, San Diego, California, April 2001.

257

257.

MOUNTED BUILDER’S HALF HULL MODEL OF THE OYSTER SCHOONER LOUISA MORRISON Built up in eleven alternating lifts, finished bright, with an applied veneer deck. Old pine backboard with mahogany trim. Inscribed with number on reverse, possibly a de Young Museum accession number. “Model of Schooner Louisa Morrison presented by The Morgan Oyster Company” on typewritten paper label affixed verso. Backboard 7” x 37.25”. 1,000/1,500 Provenance: The Morgan Oyster Company. Possibly the de Young Museum, San Francisco. Vallejo Gallery, Newport Beach, California, April 2001.

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258.

PUN WOO China, 1860- c. 1890 China Trade portrait of the clipper ship Celtic Chief in a storm, circa 1887. Oil on canvas, 17.5” x 23.25”. Framed 20.25” x 26.25”. 1,000/1,500 Provenance: Parker Gallery, London. A private U.S. collection. Sotheby’s, New York, sale unknown. The first two ships of the Celtic Line, started by Parry, Jones & Co., were the big Celtic Monarch and the speedy Celtic Chief, the first built by Royden and the second by McMillan. The Celtic Chief in 1886 ran from the Clyde to Rio in 32 days, and in 1895 from Newcastle, N.S.W., to Valparaiso in 36 days.

258

259.

CHINESE SCHOOL 19th Century China Trade portrait of the White Star ship Thermopylae in Chinese waters, circa 1870. Oil on canvas, 18” x 23.5”. Framed 21.75” x 27.5”. 2,000/3,000 Provenance: Sotheby’s, London, Paintings, Drawings and Watercolours, March 1986.

259

260.

CHINESE SCHOOL 19th Century China Trade portrait of the Admiral of San Francisco under shortened sail, circa 1865. Identified by label on back of stretcher. Oil on canvas, 18” x 23.5”. Framed 24.75” x 30.5”. 1,500/2,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1998.

260

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261

The East Boston ship Agenor was built and launched in 1870 by Curtis & Smith for the Boston firm of E. Williams & Co. Her fastest passage around Cape Horn westward was 120 days from New York to San Francisco in 1876, and her fastest passage eastward from San Francisco to Antwerp was 113 days in 1882. She was laid up in San Francisco from October 1891 to July 1893 due to lack of business. She serviced the Puget Sound lumber trade but was sold to the American company Sale & Frazer in Yokohama. She was wrecked on a Kobe wheat run.

262

261.

CHINESE SCHOOL 19th Century China Trade portrait of the ship Juno anchored off Whampoa, circa 1845. Oil on canvas, 17.25” x 30.25”. Framed 20.75” x 33.75”. 3,000/5,000 Provenance: Christie’s East, Chinese Works of Art, March 1988.

262.

LEE HENG China, 19th Century China Trade portrait of the ship Agenor in Chinese waters, circa 1871. Oil on canvas, relined, 20.75” x 26”. Framed 25.75” x 31”. 3,000/5,000 Provenance: Eldred’s, Spring Americana Auction, 1995.

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263.

PAIR OF CHINESE EXPORT REVERSE PAINTINGS ON GLASS Late 19th/20th Century Both depict a young woman with fanciful hair adornments seated at a courtyard window. Housed in rosewood frames. 22” x 16” sight. Framed 25” x 19”. 800/1,000

263, pair

264.

CHINESE EXPORT ROSE MEDALLION PORCELAIN GARDEN SEAT 19th Century With figural, floral and bird decoration. Height 19”. 400/600

264

265.

CHINESE BRASS-BOUND CAMPHORWOOD TRUNK Early 20th Century With brass bail handles at sides. Height 15.75”. Width 36”. Depth 15.75”. 500/700

265

266.

BRASS-BOUND CAMPHORWOOD CHEST 19th Century With brass corners and bail handles at sides. Interior with ditty box. Height 17”. Width 35”. Depth 18”. 300/500

266

100

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267.

TWO CHINESE EXPORT PORCELAIN TEA CADDIES Mid-19th Century One decorated with floral swags and the other with peaches. Both with chestnut knops on covers. Heights 5.25”. 600/800 267, two

268.

CHINESE EXPORT ROSE MEDALLION PORCELAIN PUNCH BOWL Last Half of the 19th Century With alternating figural, floral and bird reserves on a predominantly green ground. Height 6”. Diameter 15”. 500/700

269.

PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN CANDLESTICKS Second Half of the 19th Century Tapered cylindrical shafts on flat circular bases. Heights 6”. 700/900

270.

268

PAIR OF CHINESE GRANITE LION FIGURES Late 19th Century One guarding a cub and the other guarding a ball. Heights 40”. Lengths 34”. 5,000/10,000 Proveance: From the grounds of a home in Old Lyme, Connecticut.

269, pair

270, pair

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101


271

271.

102

CHINESE SCHOOL 19th Century An American clipper off Hong Kong. Unsigned. Oil on canvas, 25” x 34.75”. Framed 30” x 40”. 5,000/10,000

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272.

CONTINENTAL SCHOOL 19th Century “Ship Hannah Crooker of Bath ...”. Signed and dated lower right “H. Cassinelli au Harve 1849”. Possibly Horacio Cassinelli. Watercolor and gouache on paper, 16.5” x 23”. Framed 20” x 27”. 1,000/1,500

272

273.

CONTINENTAL SCHOOL 19th Century “Friendship of Salem”, likely off Marseilles. Unsigned. Watercolor on paper, 19.5” x 26.5”. Framed. 1,200/1,800

273

274.

JOHN CHRISTIAN SCHETKY Scotland, 1778-1874 “H.M.S. Active working out of Portsmouth Harbour”. Signed verso “J.C. Schetky”. Retains old gallery label on reverse. Watercolor, 12.75” x 19.75” sight. Framed 17.75” x 24.25”. 500/1,000

274

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103


276 275

277

278

275.

THOMAS ROSE MILES United Kingdom, 1844-1916 “Just in Time”. Signed lower left “T.R. Miles”. Titled in a later hand verso. Oil on canvas, 24” x 16”. Framed 35” x 27”. 1,000/1,500

277.

JAMES HAMILTON Pennsylvania/California, 1819-1878 “Storm Warning”. Signed faintly lower left “J. Hamilton”. Titled on frame plaque. Oil on canvas, 14” x 24”. Framed 21” x 31”. 1,000/1,500

276.

MYRON C. CLARK Massachusetts, 1858-1925 Boats offshore. Signed lower right “C. Myron Clark”. Oil on canvas, 19.5” x 29.5”. Framed 30” x 40”. 800/1,200

278.

WILLIAM A. COULTER California/Ireland, 1849-1936 Moonlit ship and lighthouse. Signed lower right “W.A. Coulter”. Oil on canvas, 24” x 16”. Framed 27” x 19”. 1,200/1,800

104

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279.

FINE CARVED AND GILDED PILOTHOUSE EAGLE America, Mid-19th Century An American eagle with outstretched wings perched on a ball. Height 19”. Length 35”. 2,500/3,500

279

280

280.

281.

HALF A SHIP’S FIGUREHEAD IN THE FORM OF A RUNNING DOG Mid-19th Century With extensive relief-carved fur, foliate carvings below dog’s rear leg and a scroll carving. Retains some of its original gilt finish. Height approx. 12”. Length 77”. 6,000/8,000

ENGLISH WOOLWORK PICTURE DEPICTING A SHIP AND A FLORAL VINE 19th Century Full-length photograph portraits of a sailor and his wife inset at lower half. Swagged curtain design about perimeter. 12.75” x 12.75” sight. Framed 17” x 17”. 800/1,200

281

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105


282.

JAMES GALE TYLER Connecticut/New York, 1855-1931 “Whaler - Homeward Bound”. Signed lower right “James G. Tyler”. Titled on stretcher. Oil on canvas, 30” x 22”. Framed 39” x 30”. 1,200/1,800

282

283.

COCONUT SHELL DIPPER WITH WHALE IVORY MOUNTS Mid-19th Century Tapering fruitwood handle with whale ivory and contrasting wood spacers, a whale ivory hanging loop at one end, and a whale ivory mount to affix handle to bowl. Length approx. 16”. 400/600

284.

283

AQUATINT AND HAND-COLORED ENGRAVING “A SHOAL OF SPERM WHALE OFF THE ISLAND OF HARWAII [SIC]” 1838 Painted by T. Birch, from a sketch by C.B. Hulsart. Engraved, printed and colored by J. Hill. 20” x 24” sight. Framed 23” x 30”. 1,000/1,500 Provenance: The estate of a Rhode Island gentleman.

284

106

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285.

CLEMENT DREW Massachusetts, 1806-1889 “Long Island, Boston Harbor”. Signed lower right “C. Drew”. Inscribed verso “Long Island, Boston Harbor. By C. Drew 1885”. Oil on canvas, 18” x 30”. Framed 22” x 34”. 2,000/3,000 Provenance: Private Collection, Wisconsin. Eldred’s, July 17, 2008. Private Collection, New York. 285

286.

THOMAS WILLIS New York/Denmark, 1850-1925 Portrait of the American steam yacht Niagara. Signed lower right “T. Willis N.Y.”. Oil on canvas with applied cloth sails, 20” x 36”. Framed 31” x 48”. 4,000/6,000

286

287.

FREDERIC SCHILLER COZZENS New York, 1846-1928 Fishing schooner at sea. Signed lower left “Fred S. Cozzens”. Watercolor and gouache on board, 15” x 22”. Unframed. 400/600

287

288.

CAPTAIN R.E. RYDER United Kingdom, Late 19th Century The British cutter Majestic. Signed lower right “R.E. Ryder”. A gallery label verso states similar examples of Ryder’s works are in the Jersey Museum in the Channel Islands as well as the Plymouth Museum and National Trust. Oil on board, 17.5” x 23.75”. Framed 21” x 27”. 600/1,000

288

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107


289

289.

JOSEPH WHITING STOCK Massachusetts, 1815-1855 Portrait of a sea captain, painted in New Bedford circa 1847. The captain is seated on a green Empire sofa and holds a telescope, and a view of New Bedford Harbor, a lighthouse and a ship flying an American flag is visible through the window behind him. Unsigned, but the artist’s card affixed verso. Oil on canvas, 36” x 30”. Framed 43” x 49”. 12,000/15,000 Provenance: Joan R. Brownstein Art & Antiques. Private Collection, Florida.

108

Joseph Whiting Stock traveled to New Bedford in 1842, a trip recorded in his journal. This work is compositionally related to his 1847 portrait of Captain Stephen Christian, as seen in Joseph Whiting Stock, 1815-1855 by Juliette Tomlinson (Smith College Museum), p. 41.

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290

291

290.

EDWARD MORAN Pennsylvania/New York, 1829-1901 Men in a lifeboat in stormy seas. Signed lower left “Edw. Moran”. Oil on canvas, 16” x 24”. Framed 28” x 36”. 4,000/6,000

291.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 Steamship City of Rome. Signed and dated lower right “A. Jacobsen 1885. 705 Palisades West Hoboken”. Oil on canvas, 22” x 36”. Framed 26” x 40”. 7,000/10,000 The City of Rome was built in 1881 by the Barrow Ship Building Company for the Inman Line, and shortly thereafter acquired by the Anchor Line. She was built to be the fastest liner in the North Atlantic and was also considered one of the most beautiful of the time.

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109


110

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Roy Cross United Kingdom, b. 1924

292

292.

“Constitution Captures Java 1812”. Signed and dated lower right “Roy Cross 1998”. Titled on frame plaque. Oil on canvas, 30” x 52”. Framed 37” x 59”. 25,000/35,000

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111


293

293.

FREDERICK TORDOFF New Jersey/United Kingdom, b. 1939 “Calm on the Hudson River”. Signed lower right “Frederick Tordoff”. Titled verso. Oil on panel, 12.75” x 15.75”. Framed 15.25” x 18.25”. 500/700

294.

FREDERICK TORDOFF New Jersey/United Kingdom, b. 1939 “America’s Cup Yacht Racing Around the Sandy Hook Light Vessel”. Signed lower right “Frederick Tordoff”. Titled verso. Small chart titled “Courses for America’s Cup Races” affixed verso. Oil on board, 16” x 20”. Framed 21.5” x 25.5”. 800/1,200

294

295.

296.

CHARLES “FRAN” KENNEY Massachusetts, 1919-2014 “Clipper Ship ‘Stag Hound’”. Signed lower left “Charles F. Kenney”. Titled verso. Oil on canvas, 24” x 30”. Framed 31.25” x 37”. 800/1,200

295

J. JOHNSON 20th Century Two gaff-rigged yachts under full sail engaged in an upward wind leg of a race. Signed lower right “J. Johnson”. Oil on canvas, 30” x 50”. Framed 37” x 57”. 800/1,200

296

112

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297.

297

BRASS BULPITT SHIP’S CABIN LANTERN Late 19th Century Highly polished and lacquered. Swing handle at top. Mounted on a later wooden base and electrified. Total height 17.5”. 600/900

298

298.

NICKEL-PLATED LIGHTHOUSE COFFEE SHAKER Marked on underside “No 2803”. Height 14”. 200/400

299.

WALTHAM EIGHT-DAY DECK WATCH First Quarter of the 20th Century 15-jewel movement. Gimbal mount. Bezel diameter 3”. Brass-mounted case marked 688. Height 5”. Width 5”. Depth 5”. Contained within a fitted traveling case. Height 8”. Width 7.5”. Depth 7.5”. Two keys present. 600/800

299

300.

CHELSEA U.S. MARITIME COMMISSION SHIP’S CLOCK Boston, First Half of the 20th Century Serial no. 4390. Brass screw case and bezel. Silvered brass face with black Arabic numeral 12-hour dial and subsidiary seconds dial. Includes original brass key marked “Chelsea”. Case diameter 7.25”. 300/500

300

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113


301.

SHADOW BOX MODEL OF A TWO-MASTED SCHOONER America, Early 20th Century White-hulled schooner with natural wood decking and billowing full sails. Shadow box height 31”. Width 33”. Depth 4”. 700/1,000

301

302.

AMERICAN SCHOOL Late 19th Century Boating in a shipping channel. Unsigned. Aaron Draper Shattuck keys. Oil on canvas, 14” x 19”. Framed 18” x 23”. 600/900

302

303.

UNUSUAL SHADOW BOX MODEL OF A SAILING VESSEL OFF A LIGHTHOUSE Late 19th Century Free-standing pine shadow box. Height 30.5”. Width 35.5”. Depth 15”. 600/900

303

114

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304

306 305

304.

GEORGE W. ELDRIDGE CHART OF LONG ISLAND SOUND “Geo. W. Eldridge’s Chart A Long Island Sound from New York to New London”. Dated 1913. Stamped 1915. Framed 27” x 79.25”. 800/1,200

305.

GEORGE W. ELDRIDGE CHART OF BUZZARDS BAY “Geo. W. Eldridge’s Chart J Buzzards Bay”. Dated 1916. Stamped 1917. Framed 35” x 29.25”. 500/800

306.

GEORGE W. ELDRIDGE CHART OF VINEYARD SOUND “Geo. W. Eldridge’s Chart C Vineyard Sound Lt. Ship to Chatham”. Dated 1914. Stamped 1915. Framed 29.25” x 49.25”. 700/1,000

307.

CAST METAL AMERICAN EAGLE PLAQUE America, Late 20th Century With outstretched wings and clutching a Liberty shield. Height 14”. Length 42”. 250/350

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115


308.

SAILOR-MADE MODEL OF THE BRIGANTINE IMOGENE. W. Late 19th/Early 20th Century Under original milk white paint with green bootstripe and green bottom. Nicely carved figurehead, trailboards and ribbon-form sternboards. Displayed on a mahogany stand. Height on stand 34”. Length approx. 41.5”. 500/700

308

309.

GORDON HOPE GRANT New York/California/United Kingdom, 1875-1962 “In Bound”. Signed lower right “Gordon Grant”. Titled verso. Watercolor on paper, 11” x 16” sight. Framed 18.5” x 23”. 1,000/1,500

309

310.

GORDON HOPE GRANT New York/California/United Kingdom, 1875-1962 Five maritime-themed lithographs including “Between Tides”, “The Crested Dune”, “Hardy Breed” and “Shore Patrol”. “Between Tides” framed 14.75” x 17.5”. Others unframed. 600/900

310, five

116

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Peter Q. Libby Maine, 1944-2018

311

311.

Master carver Peter Q. Libbey was born in Maine and spent most of his life there, save for his time in the Air Force, when he was stationed in Japan and flew missions over Vietnam. His eagles were carved by hand in the traditional style and are considered some of the finest 20th Century carvings. Given the time it took to complete each eagle his production was limited and examples rarely come on the market.

FINE DOUBLE EAGLE PLAQUE BY PETER Q. LIBBEY Rockland, Maine, Circa 1975 Boldly carved and painted pine rendering of two eagles clutching a red, white and blue American shield and a blue and gilt “E. Pluribus Unum” banner in their talons. Below the shield is a green olive branch bearing red berries. Exquisitely detailed and with a wonderful sense of motion and tension. The eagles’ heads face different directions and their sharp beaks are open, showing their slithering red tongues. Their feathers are highly defined, unique to Libbey’s style, and their wings are raised as if they are about to take flight. The shield’s white stars are raised and a matching star punctuates the banner. Signed on reverse “Peter Q. Libbey”. Height 20”. Width 60”. Depth 3”. 6,000/8,000

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117


312.

POND MODEL OF A GAFF-RIGGED SLOOP Hull planked in alternating light- and dark-colored wood. Fitted with cotton sails. Displayed on a wood cradle. Height on cradle 53”. Length 55.5”. 600/900

312

313

313.

314.

SCHOOL OF WILLIAM RAYMOND DOMMERSEN 19th Century Vessels beached on the coast, possibly the English Channel. Unsigned. Oil on board, 7.25” x 20.25”. Unframed. 700/1,000

CASED MODEL OF A CATBOAT Late 20th Century Hull painted green and red. Model height 27”. Case height 33”. Length 22”. Width 10”. 700/1,000

314

118

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315.

DOUBLE SAILOR’S VALENTINE 19th/20th Century Composed of multicolored shells. Left side with a heart, star and geometric design. Right side with a flower, star and geometric design. Octagonal hinged wooden case. Each side 13.5” x 13.5”. 5,000/7,000 315

316.

SHELLWORK VALENTINE 19th/20th Century Composed of multicolored shells in a floral and geometric design. Octagonal case with floral découpaged exterior. 10.75” x 8.75”. 600/900

316

317.

DIORAMA DEPICTING TWO SAILBOATS AND THREE SMALL MOTORBOATS Circa 1920 Painted background depicts a New England hillside. Shadow box frame painted brown. Shadow box height 9”. Width 21”. Depth 7.25”. 800/1,200 317

318.

SHADOW BOX MODEL OF A WHITE-HULLED BRIGANTINE Early 20th Century Shadow box height 12.5”. Width 20”. Depth 2.5”. 300/500 Provenance: Estate of Ernest Rohdenburg III.

318

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119


319

319.

BOLLINGER CHAMPAGNE PAINTED ADVERTISEMENT FEATURING A CRUISE SHIP 20th Century “American Export Lines S.S. Constitution and the S.S. Independence New York to the Mediterranean”, depicting a champagne bottle and the Constitution off the Rock of Gibraltar. Gouache on paper, 35” x 40” sight. Framed 40” x 51”. 1,400/1,800

320.

“NORDDEUTSCHER LLOYD, BREMEN” MAP OF THE WORLD Early 20th Century “Map of the world showing the Express and Mail Steamer Services of the Norddeutscher Lloyd Bremen”. Rolled on dowel. 32.5” x 41”. 600/800

321.

EXCEPTIONAL CASED MODEL OF THE LIGHTSHIP BOSTON With milled brass fittings and an American flag flying off the stern. Glass and brass case with wooden base. Case height 21.25”. Length 32”. Width 12”. 2,500/3,500

321

120

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Anton Otto Fischer New York/Germany, 1882-1962

322.

Men battling heavy seas in a lifeboat. Signed and dated lower right “Anton Otto Fischer 1938”. Oil on canvas, 24” x 30”. Framed 27” x 33” 1,200/1,800

322

323.

Longshoremen awaiting an incoming steamer. Signed and dated lower right “Anton Otto Fischer 1935”. Oil on canvas, 20” x 35.5”. Framed 24.5” x 40”. 3,000/5,000

323

324.

Ship at sea. Signed lower right “Anton Otto Fischer”. Oil on canvas, 24” x 36”. Framed 28” x 40”. 1,200/1,800

324

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121


327 326

325

328

325. BRASS-BOUND CAMPHORWOOD CHEST 19th Century With brass corners and bail handles at sides. Height 20”. Width 41”. Depth 20.5”. 400/600

326.

SHIP’S PORTHOLE MOUNTED AS A SIDE TABLE Steel porthole mounted into a mahogany table with a lower shelf simulating deck grating. Height 28.5”. Diameter 26”. 600/900

328. BRASS-BOUND CAMPHORWOOD TRUNK 19th Century With brass bail handles at sides. Height 15.5”. Width 36”. Depth 18”. 400/600

327. SHIP’S PORTHOLE MOUNTED AS A BAR-HEIGHT TABLE Aluminum porthole mounted into a mahogany table with a lower shelf simulating deck grating. Height 45.5”. Diameter 26.5”. 800/1,200

122

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329.

CARVED AND PAINTED EAGLE PLAQUE Contemporary Gold-colored eagle clenching a red, white and blue Liberty shield at its breast. Height 20.5”. Width 19”. 600/900

330.

MOUNTED HALF HULL MODEL OF THE AMERICA’S CUP YACHT DEFENDER Model with white hull, green bottom and detailed deck. Mahogany backboard mounted with plaque marked “1895 America’s Cup Yacht ‘Defender’ Designer: Nathanael Herreshoff ...” and with other information about the yacht. Backboard 11.5” x 44”. 600/1,200

331.

JOHN ALDEN BLUEPRINT OF AN AUXILIARY CENTERBOARD CRUISING YAWL Circa 1934 Marked lower right “Cabin and Construction Plan for Auxiliary Centerboard Cruising Yawl John G. Alden, N.A. ... Boston ... 1934 ... No. 573”. Exceptionally detailed drawing. 24” x 47” sight. Framed 28.25” x 52”. 700/900

329

330

331

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123


332.

STONE LIGHTHOUSE LAMP Early 20th Century With a red and brown striped tower, and a rockery base carved with steps. Electrification replaced. Height 25.5”. 600/800

333.

LITTCO CAST IRON SAILOR DOORSTOP Early 20th Century Some repaint. Height 12”. 300/500

332

333

334

334.

335. 335

124

HOOKED RUG WITH NAUTICAL SCENE 2’11” x 4’3” Depicts anchors at each corner and a central seascape with ship flying an American flag. Unmarked. 400/700

CARVED AND PAINTED WOODEN MERMAID Distressed finish. Height 48”. 400/600

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336

336.

COD FISH-FORM PAINTED WOODEN TRADE SIGN 20th Century From a restaurant in Point Pleasant, New Jersey. Painted green, blue and off-white. Iron mounts. Height 29”. Length 78”. 1,500/2,000

337.

“OAK & IVORY NANTUCKET LIGHTSHIP BASKETS” DOUBLE-SIDED TRADE SIGN Osterville, Massachusetts, 20th Century Oak with gold leaf lettering and green border. Height 31.5”. Width 64”. Depth 1.75”. 500/1,000

337

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125


Session II Friday, June 12 at 10 a.m. Lots 501-847 Oriental Rugs Lots 598-627, 739-767 Clocks Lots 529, 708-713 Also Paintings, Prints & Multiples, Sculpture and Furniture

126

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501.

IRISH QUEEN ANNE TRAY-TOP TEA TABLE Mid-18th Century In mahogany, with molded-edge top and cabriole legs ending in hooved feet. Height 26”. Top 29” x 18.5”. 2,000/3,000

501

502.

ENGLISH DROP-LEAF STAND Early 18th Century In oak, with oval top, turned legs and stretcher base. Height 18”. Length 9.5” plus two 7.5” demilune drop leaves. Width 20”. 600/800

502

503.

ATTRIBUTED TO JOSEPH MOSELEY BARBER England, 1757-1811 A young woman with a basket. Signed faintly lower left “J.M. Barber”. Oil on canvas, 12” x 10”. Framed 23” x 21”. 400/600

503

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125


504, pair

504.

EDWARD ALGERNON STUART DOUGLAS United Kingdom, 1848-1918 Pair of hunting scenes. Both signed lower right “E.A.S. Douglas”. Watercolors on paper, 8” x 12.5” sight. Framed 14” x 18.5”. 500/1,000

506.

505, pair

505.

EDWARD ALGERNON STUART DOUGLAS United Kingdom, 1848-1918 Pair of hunting scenes. Both signed “E.A.S. Douglas”, one lower left and the other lower right. Watercolors on paper, 8” x 12.5” sight. Framed 14” x 18.5”. 500/1,000

ENGLISH WALNUT TEA CADDY 19th Century Stepped lift top with brass bail handle. Fitted interior. Brass ball feet. Height 6.5”. Width 9”. Depth 5”. 200/300

506

507.

ENGLISH SATINWOOD AND FRUITWOOD INLAID TEA CADDY 19th Century Octagonal, with lift top and fitted interior. Height 4.75”. Width 7.5”. Depth 4.75”. 350/450

507

126

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508

508.

ENGLISH TIGER MAPLE AND FRUITWOOD INLAID TEA CADDY 19th Century Lift top and front with oval floral inlay. Compartmented interior. Height 6”. Width 11.5”. Depth 5.75”. 350/450

509

509.

511.

ENGLISH BLACK LACQUER OVAL TEA CADDY Inset with glass beads in a geometric design. Lift top and fitted interior. Height 5”. Width 6”. Depth 3.5”. 200/300

510

510.

ENGLISH BONE, ABALONE AND SILVER PLATED OVAL TEA CADDY 19th Century With lift top and fitted interior. Height 4.25”. Length 5”. Width 3.5”. 500/700

FINELY CARVED ENGLISH GENTLEMAN’S CHAIR 19th Century In oak, with brown faux leather upholstery. Arms heavily carved in a fruiting vine design. Bold bulbous tapered legs fitted with brass casters. Back height 44”. Seat height 19.5”. Width across arms 32”. 800/1,200

511

512.

MANNER OF ADAM WILLAERTS Continental A busy Dutch shore scene. Unsigned. Oil on panel, 15.25” x 31.75”. Framed 22” x 38”. 3,000/5,000 512

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127


513

514

516

515

513.

514.

128

ATTRIBUTED TO JEAN-BAPTISTE-CAMILLE COROT France/Italy, 1796-1875 Italian landscape. Signed lower left “Corot”. Label verso for restorer Paul Kiewert, Bruxelles, 1841. Oil on canvas, 10.5” x 13.75”. Unframed. 3,000/5,000

KARL DAUBIGNY France, 1846-1886 Figures by the water’s edge. Signed lower left “Karl Daubigny”. Oil on panel, 24” x 17.5”. Framed 29.5” x 23.5”. 1,000/1,500

515.

DAVID DAVIDOVICH BURLIUK New York/Russia/China, 1882-1967 “Winter Woodland”. Signed and dated lower left “Burliuk 1962”. Inscribed lower right “L.I. NY 16 XII”. Oil on canvas, 16” x 12”. Framed 23” x 19”. 2,500/3,500 Provenance: Private Collection, Connecticut. Shannon’s Fine Art Auctions, October 25, 2018, Lot #213.

516.

LASZLO NEOGRADY Hungary, 1896-1962 A winter stream. Signed lower left “Neogrady Laszlo”. Oil on canvas, 16” x 20”. Framed 20” x 25”. 1,000/1,500

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517.

ENGLISH CAMPAIGN CHAIR 19th Century In tiger maple with green upholstery. Back height 38.5”. Seat height 17”. 2,500/3,500

517

518.

ENGLISH REGENCY DRUM TABLE 19th Century In mahogany and mahogany veneer, with fruitwood string inlay. Inset red leather top. Apron fitted with four working drawers and four faux drawers, all with circular brass pulls. Turned pedestal raised on brass-capped lion’s-paw feet on casters. Height 31”. Diameter 41.5”. 1,500/2,000 518

519.

1537 COPY OF HOMER’S ODYSSEY Homeri poetae clarissimi Odyssea, Andrea Diuo Iustinopolitano interprete, ad uerbum translata. Eiusdem Batrachomiomachia, id est, Ranarum & murium pugna, Aldo Manutio Romano interprete. Eiusdem Hymni deorum XXXII Georgio Dartona Cretense interprete. Venice: Melchiorre Sessa, 1537. O. Velum binding with hand-written title. Title page with ink marginalia. Scattered stains. Cover partialy disbound. Apparently complete. 300/400

519

520.

MINIATURE BIEDERMEIER SWELL-FRONT DRESSER BOX 19th Century In walnut with extensive fruitwood inlay. Turned feet. Height 6”. Width 9”. Depth 5”. 500/700

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520

129


521.

CONSTANT TROYON France, 1810-1865 Woman and child with livestock on a rural path. Signed lower left “C. Troyon”. Charcoal on board, 20” x 16”. Framed 25” x 20”. 700/1,000

522.

ORVILLE HOYT ROOT France, 1865-1929 “On the Patio”. Signed lower right “O.H. Root”. Dated France, 1911. Oil on canvas, 26” x 32”. Framed 32” x 39”. 500/1,000

521

522

130

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523

523.

BENJAMIN D. KOPMAN United States/Russia, 1887-1965 “The Old Artist”. Signed upper right “Kopman”. Signed, titled and dated 1949 verso. Oil on canvas, 20” x 16”. Framed 25” x 29”. 800/1,200

524.

BELA DETIREFORT New York/Florida, 1894-1993 Bow Bridge, Central Park, New York, with the Carlyle Hotel in the background. Signed and dated lower right “deTirefort ‘60”. Oil on canvas, 24” x 30”. Framed 31” x 37”. 1,500/2,500 Provenance: Collection of Theodorus Gerardus Vanthoff, of Haarlem, Netherlands. Then to current owner.

524

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131


525

525.

CLARICE SMITH Virginia/Washington, D.C., b. 1933 “Triptych with Chinese Vase and Flowers 1996”. Signed and dated lower right “Clarice Smith ‘96”. Titled on frame plaque. Oil on canvas triptych, central section 29.5” x 27.75” sight and flanking sections 25.5” x 19.75” sight. Framed 27.75” x 76.5”. 12,000/18,000 Provenance: Kennedy Galleries, New York (label verso).

132

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526

526.

527.

DROP-LEAF SOFA TABLE ATTRIBUTED TO J. & J.W. MEEKS Late 19th/Early 20th Century In highly figured walnut veneer, with two half drawers in apron, rope-turned supports and stretcher, and arched legs fitted with brass casters. Height 30”. Width 35.5” plus 10” drop leaves. Depth 27.5”. 500/700

CLASSICAL ONE-DRAWER DROP-LEAF TABLE America, Circa 1840 In mahogany and mahogany veneer. Carved pedestal raised on lion’s-paw feet fitted with brass casters. Height 29”. Length 23” plus two 13.5” drop leaves. Width 48”. 300/500

527

528.

HUDSON RIVER SCHOOL PICTURE FRAME 19th Century Classic fluted cove frame with raised foliate molded edge. 32” x 38”. Aperture 17.5” x 23.5”. 400/600

529.

NEOCLASSICAL FIGURAL PARCEL-GILT BRONZE MANTEL CLOCK Circa 1820 Base possibly French, cast as a kneeling Atlas holding the globular clock case. Eight-day single fusee movement. Dial and works marked “Bentley & Beck Royal Exchange London”. Enameled dial with Roman numerals, blued steel spade-form hands and numbered 1297. Includes pendulum and key. Height 14”. 2,000/3,000

529

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133


Alexandre Yevgenievich Yakovlev Russian Federation, 1887-1938 Lots 530-533

530

530.

ALEXANDRE YEVGENIEVICH YAKOVLEV Russian Federation, 1887-1938 “Camden, 1925” . Titled, signed and dated lower center. Watermark lower right. Arches watermark at left margin. Charcoal, pastel and pencil on paper, 26” x 19” Framed 31” x 23”. 10,000/20,000 Provenance: Purchased from Alexandra Yakovleva (1889-1979) in Paris, 1978. The estate of a Rhode Island gentleman.

531

531.

ALEXANDRE YEVGENIEVICH YAKOVLEV Russian Federation, 1887-1938 Portrait of a young Bando woman. Unsigned. Arches watermark at left margin. Pencil notations “No. 13” and “reduce to 4” w” verso. Charcoal, pastel and pencil on Arches paper, 25.5” x 19”. Framed 31” x 22”. 10,000/20,000 This portrait is similar to one sold at Aguttes Auctions, April 29, 2011, Lot #124. Provenance: Purchased from Alexandra Yakovleva (1889-1979) in Paris, 1978. The estate of a Rhode Island gentleman.

Between 1924 and 1925, Alexandre Yakovlev took part in an African expedition sponsored by Andre Citroen, referred to as the “Black Cruise”, or “Croisière Noire”. His depictions of the people, the landscape and the culture were a big success, and as a result Yakovlev was awarded the Legion of Honor by the French government in 1926.

134

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Alexandre Yevgenievich Yakovlev Russian Federation, 1887-1938 Lots 530-533

532.

ATTRIBUTED TO ALEXANDRE EVGENIEVICH YAKOVLEV Russian Federation, 1887-1938 Mountainous landscape. Signed with the artist’s Chinese seal lower right. Illegibly inscribed on backing “...chou” and “No. 2 reduce to 4” w”. Possibly from the “Yellow Cruise” or the “Mission Central Asia”, sponsored by Citroen, where Yakovlev was the official painter of the expedition. Charcoal on paper, 28.5” x 21.5”. Framed 32” x 25.5”. 4,000/6,000

532

533.

ALEXANDRE YEVGENIEVICH YAKOVLEV Russian Federation, 1887-1939 The Dance Hall. Signed verso on frame and stretcher and inscribed “Charleston, S.C., USA”. Oil on canvas, 26” x 20”. Framed 32” x 24”. 10,000/12,000 Provenance: The estate of a Rhode Island gentleman.

533

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135


534.

CYRIL POWER United Kingdom, 1872-1951 “Corps de Ballet”, depicting seven abstract dancers. No. 1 EP, 2nd State special copy. From the London Underground Railway series circa 1930. Linocut on Japan paper, 12.75” x 12.75”. Framed 17.75” x 17.5”. 4,000/6,000

534

535.

JOSEPH KAPLAN New York/Massachusetts/ Russian Federation, 1900-1982 Pier scene. Signed lower right “Joseph Kaplan”. Gouache, 15” x 22” sight. Framed 24” x 31”. 700/1,000

535

536.

GEORGE BENTLEY NICK Massachusetts, b. 1927 “West 81Street” (New York City), 1994. Titled and dated on label for Fischbach Gallery, New York. Label on frame, which is not presently housing the painting. Frame also with artist’s palette. Oil on canvas, 20” x 30”. Unframed. Accompanying frame 20” x 30”. 800/1,000

536

136

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Ernest Fiene New York/Germany, 1894-1965 Lots 537-554 Provenance: Descended in the consignor’s family through Jeanette Fiene, Ernest Fiene’s wife from 1921 to 1945.

537.

537, two

Two unframed works depicting white roses in a vase: 1) White Roses (untitled). 1928. Edition 10, #9. Pencilsigned lower right “Ernest Fiene 28”. Lithograph on paper, image 13.75” x 9”. Sheet size 16” x 11.5”. 2) White Rose in a Vase (untitled). Unsigned proof, 1927. Lithograph on Japan paper, 13.38” x 8.63”. Paper size 14.5” x 10.25”. 400/600

538

538.

Town with railroad bridge. Untitled. Signed lower right “Ernest Fiene”. Watercolor and gouache on paper, 13” x 19”. Unframed. 200/300

539.

Two unframed portrait sketches: 1) “Self Portrait”. Signed and titled lower right “Ernest Fiene ‘61 Self Portrait”. Pencil on paper, 17” x 12.75”. 2) Portrait of a girl. Signed lower right “Ernest Fiene”. Pencil on paper, 16.25” x 12.5”. 200/300 539, two

540.

“Old Houses, San Miguel de Allende, Mexico”. Signed lower right. Titled, signed and dated verso “Ernest Fiene 1961”. Watercolor on watercolor board, 15.5” x 22.75”. Unframed. 300/500

540

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137


works by ernest fiene

541

542

543

544

546, two

547, two

549, three

551 138

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541.

Study for portrait mural of Thomas Jefferson. Signed lower right “Ernest Fiene”. Inscribed verso “Study for portrait mural. Auditorium Abraham Lincoln Highschool [sic] Brooklyn. Thomas Jefferson signing the Declaration of Independence. Artist Ernest Fiene. Medium, Casein. Size 4 x 12 feet. The British flag is brown because the color scale has been limited to three colors: burnt sienna, yellow ochre, ultramarine blue and white”. Casein on cold pressed board, image 26.13” x 9.5”. Board 33.25” x 15.5”. Unframed. 400/500

548.

Four unframed lithographs: 1) “New England Street”. Edition 30, #30. Pencil-signed lower right “Ernest Fiene 28”. Image size 12.38” x 9”. Paper size 15.75” x 11.25”. 2) “Spring”. First state proof. Edition 6, #6. Pencil-signed lower right “Ernest Fiene 30”. Image size 11” x 10.38”. Paper size 16” x 12”. 3) “Cloudburst”. Edition 30, #9. Pencil-signed lower right “Ernest Fiene 28”. Image size 11” x 17.38”. Paper size 16” x 22.25”. 4) “Cattle Round Up”. Unnumbered, unsigned. Image size 17.5” x 14”. Paper size 21” x 16”. 300/500

542.

Study of three nudes. Signed and dated lower right “Ernest Fiene ‘53”. Pastel and charcoal on paper laid down on stiff board, image 25.5” x 19.25”. Board 30” x 23.5”. Unframed. 200/300

549.

543.

Study of a ballerina. Signed lower right “Ernest Fiene”. Charcoal and pastel, 20.25” x 13.25”. Unframed. 200/300

Three unframed lithographs on paper: 1) “Snug Harbor”. Edition 50, #24. Pencil-signed lower right “Ernest Fiene 28”. Image size 11.38” x 13.88”. Paper size 16” x 22.5”. 2) “Along the Hudson”. On Rives paper. Image size 10.38” x 16.88”. Paper size 16” x 22.75”. 3) “Regatta”. Edition 30, #9. Pencil-signed lower right “Ernest Fiene 28”. Downtown Gallery inventory date stamp verso “Jan 16 1929”. Image size 11.75” x 17.25”. 400/600

544.

Portrait of a woman looking right. Edition 12, #9. Pencil signed lower right “Ernest Fiene 27”. Aquatint and etching, 8.75” x 6.5”. Paper size 12.75” x 9.25”. Unframed. 200/300

550.

545.

Five unframed works: 1) Seated female nude. Signed lower left “Ernest Fiene”. Ink and wash on paper, 20” x 13”. 2) Study of a female nude. Signed middle right “Ernest Fiene 25”. Ink on paper, 12.5” x 16.25”. 3) Standing female nude. Signed in pencil lower right “Ernest Fiene”. Photolithograph, 19” x 12”. 4) Abstract interior scene with two nudes. Possibly signed middle left “JO”. Woodblock print, image size 10.75” x 13.5”. Paper size 15.25” x 12”. 5) Farmhouse near hills. Signed in pencil lower right “Ernest Fiene”. Pencil on paper, 12.5” x 16.25”. 300/400

Three unframed lithographs on paper: 1) “Snug Harbor”. Edition 50, #39. Pencil-signed lower right “Ernest Fiene 28”. Downtown Gallery inventory date stamp verso “Jan 31 1933”. Image size 11.38” x 13.88”. Paper size 15.5” x 18”. 2) “Along the Hudson”. Edition 30, #27. Signed lower right “Ernest Fiene 28”. Downtown Gallery inventory date stamps verso “Dec 2 1930” and “Jan 31 1933”. On Rives paper. Image size 10.38” x 16.88”. Paper size 16” x 21”. 3) “Regatta”. Unnumbered. Pencilsigned lower right “Ernest Fiene 28”. On BFK/France paper. 11.75” x 17.25”. 500/700

551.

“Regatta”. Edition 30, #1. Pencil-signed lower right “Ernest Fiene 28”. Lithograph on Rives paper, image size 11.75” x 17.25”. Paper size 16” x 23”. Unframed. 300/400

552.

Three unframed lithographs on Japan paper: 1) “Regatta”. Edition 30, #28. Pencil-signed lower right “Ernest Fiene 28”. Image size 11.75” x 17.25”. Paper size 14.5” x 21”. 2) “New England Church”. Edition 40, #32. Pencil-signed lower right “Ernest Fiene 28”. Image size 15” x13.5”. Paper size 21” x 14.5”. 3) “Village”. Edition 50, #30. Signed lower right “Ernest Fiene 1927”. Image size 10” x 14. Paper size 14.5” x 21.25”. 300/400

553.

Five unframed lithographs on paper: 1) “New England Church”. Edition 40, #18. Pencil-signed lower right “Ernest Fiene 28”. Exhibit and inventory date stamp verso “The Downtown Gallery, Jan 23 1934, Oct 4 1935”. Image size 15” x13.5”. Paper size 22.5” x 16”. 2) “New England Church”. Edition 40, #19. Pencil-signed lower right “Ernest Fiene 28”. Image size 15” x 13.5”. Paper size 22.75” x 16”. 3) “New Snow”. Unnumbered. Pencilsigned lower right “Ernest Fiene 46”. Image size 9.25” x 13”. Paper size 12” x 16”. 4) “Snug Harbor”. Ed. 50, #27. Pencil-signed lower right “Ernest Fiene 28”. Downtown Gallery inventory date stamp verso “Jun 4 1935”. Image size 11.38” x13.88”. Paper size 16” x 20.5”. 5) “Newtown Church”. Unnumbered, untitled, unsigned. Image size 8” x 5.5”. Paper size 12” x 7.5”. 300/400

546.

Two unframed lithographs of female nudes: 1) Untitled. Edition 30, #7. Pencil-signed lower right “Ernest Fiene 28”. Stamped verso lower left “The Downtown Gallery”, “Nov 7 1932” and “Oct 4 - 1935”. Image size 11.25” x 7.75”. Paper size 16” x 11.5”. Matted. 2) “Bather”. Edition 60, #47. Pencil-signed lower right “Ernest Fiene 31”. Image size 11.25” x 10.13”. Paper size 15.75” x 11.25”. 400/600

547.

Two unframed lithographs: 1) “Bather”. Edition 60, #33. Pencil-signed lower right “Ernest Fiene 31”. Image size 11.25” x 10.13”. Paper size 11.35” x 16”. 2) “Asleep”. Edition 30, #27. Pencil-signed lower right “Ernest Fiene 30”. Image size 8” x 12.94”. Paper size 11.35” x 16”. 300/500

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139


554.

555

ERNEST FIENE New York/Germany, 1894-1965 Six unframed lithographs on paper: 1) “Old Church, Connecticut”. Unnumbered, edition unknown. Pencilsigned lower right “Ernest Fiene”. Image size 6.63” x 8.5”. Paper size 8.5” x 11.25”. 2) “Newtown Church”. Unnumbered. Titled lower left. Pencil-signed lower right “Ernest Fiene”. Image size 8” x 5.5”. Paper size 7.75” x 11.75”. 3-4) “Old Church, Connecticut” and “Newtown Church” on one uncut sheet. Untitled, unnumbered, unsigned. 5) “Colonial Church [2] Stepney, Conn.”. Trial proof edition 10, #5. Signed lower right “Ernest Fiene 49”. Image size 8.63” x 13”. Paper size 12” x 16”. 6) “New Snow”. Unnumbered. Pencil-signed lower right “Ernest Fiene 46”. Image size 9.25” x 13”. Paper size 12” x 16”. 400/600 Provenance: Descended in the consignor’s family through Jeannette Fiene, Ernest Fiene’s wife from 1921-1945.

555.

JAMES ABBOTT MCNEILL WHISTLER Massachusetts/England/France, 1834-1903 “The Rag Pickers, Quartier Mouffetard, Paris”. Signed and dated in plate “Whistler 1858”. MacDonald’s fifth state (of 5). Kennedy 23; Glasgow 29. Plate 6” x 3.5”. Sheet 8.25” x 5.875”. Unframed. 500/700

556

556.

JAMES ABBOTT MCNEILL WHISTLER Massachusetts/England/France, 1834-1903 “The Tiny Pool”. Unsigned. Kennedy 173. Unknown state. Etching and drypoint, 7.25” x 5.25” sight. Framed 15.5” x 13”. 300/500

557.

FELIX VALLOTTON Switzerland/France, 1865-1925 “Le Mont-Blanc”, 1892. Signed in plate “FV”. Woodcut on paper, sheet size 13.5” x 10.125”. Unframed. 2,000/3,000

557

140

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558.

MARTIN LEWIS New York/Connecticut/Maine/Australia, 1881-1962 “Boss of the Block”. Signed lower right “Martin Lewis”. Etching and aquatint on wove paper, 11” x 7.5” to the plate line. Framed 22” x 18”. 800/1,000

558

559. ROGER NORMAN MEDEARIS California/Missouri, 1920-2001 “Tom Benton Painting a Portrait - 1939”. Signed and inscribed in pencil lower right “Roger Medearis 1992 color added by hand”. Titled in pencil lower left. Numbered 82/100. Hand-touched lithograph on paper, 15.75” x 11.75”. Framed 21.75” x 17.75”. 500/700

559

560.

GENE KLOSS New Mexico/California, 1903-1996 “December Afternoon” (1944 edition). Titled lower left. Signed in pencil lower right “Gene Kloss”. Artist’s proof. Also titled and numbered C46793 on label verso for Doll & Richards, Inc., Boston. Etching (signed), 7.25” x 9” to the plate line. Framed 11.5” x 13.5”. 500/1,000

560

561.

DOUGLAS WARNER GORSLINE New York/France, 1913-1985 “Express Stop 1948”. Signed in pencil lower right “Douglas W. Gorsline”. Sheet size 9.75” x 8.75”. Unframed. 300/500

561

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141


562.

ELLISON HOOVER Ohio/New York, 1888-1955 Four lithographs: “Ah, Blind Science”, “Corsican Morning”, “Fair and Colder” and “Rue Mabillon”. All signed lower right “Ellison Hoover”. Largest 9.5” x 15.25” sight. Two unframed, two framed. 700/1,000

563.

PEGGY BROOK BACON New York/Maine/Connecticut, 1895-1987 Three unframed works, all signed in pencil lower right “Peggy Bacon”: 1) “The Rival Ragmen”. Etching on paper, sheet size 10.25” x 12.5”. 2) “The Sights of The Town”. Lithograph on paper, 9.25” x 11” sight. 3) “We Are Perfect Warfs”. Ink on paper, 7.5” x 5.75” sight. 400/600

562, four

565, two 564, three

564.

142

STOW WENGENROTH New York/Massachusetts, 1906-1978 Three lithographs: “North Harbor, Kennebunkport, Me”, “My House” and “Early Summer”. All signed in pencil lower right “Stow Wengenroth”. Sheet sizes 12.5” x 19”, 13.75” x 20” and 11.75” x 16”. 700/1,100

565.

STOW WENGENROTH New York/Massachusetts, 1906-1978 Two lithographs: “The Church” and “Elms” (artist’s proof ). Both signed in pencil lower right “Stow Wengenroth”. Sheet sizes 18.75” x 12.5” and 20” x 15.5”. 400/600

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566

566.

GEN PAUL New York/France, 1895-1975 “Moulin Rouge”. Signed upper left “Gen Paul”. Gouache on paper, 19” x 25”. Framed 33” x 38”. 2,000/3,000

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143


Peter Finkelstein Max New York, b. 1937 Lots 567-568

567.

Floral still life. Signed upper right “Max”. Acrylic over serigraph, 31” x 23”. Framed 43” x 36”. 3,000/5,000

568. 567

Two women. Signed upper right “Max”. Acrylic over serigraph, 29.5” x 39”. Framed 33.25” x 43.25”. 3,500/5,500

568

144

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569.

ITZCHAK ISAAC TARKAY Israel, 1935-2012 Portrait of a seated woman. Signed lower left “Tarkay”. Oil on canvas, 27.5” x 19.5”. Framed 35” x 27”. 3,000/5,000

569

570.

MARGARET KEANE California, b. 1927 Big Eyes on the beach, circa 1960. Signed lower right “Keane”. Label verso for Flax. Co. artist materials, Oakland, California. Oil on masonite, 13.75” x 10”. Framed 19.25” x 15.25”. 8,000/10,000

570

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145


571

571.

146

JOAN MIRÓ Spain, 1893-1983 Poster for the opening of the Mourlot Atelier in New York, (M. 512.), 1967. Signed in pencil lower right and numbered lower left 21/60. Printed and published by Mourlot, Paris. Color lithograph on Rives paper, 28.25” x 21”. Framed 33” x 26”. 6,000/9,000 Provence: Property of an East Hampton, New York Collection. Doyle New York.

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572, three

572.

PAUL JENKINS New York/Kansas/Missouri/France, 1923-2012 Three colorful abstracts, circa 1965. Each inscribed “Epreuve d’Artiste” and signed lower right. Serigraphs on paper, 17” x 11.5” sight. Framed 23.5” x 17”. 2,000/3,000 573.

ALEXANDER SEMEONOVITCH LIBERMAN Russia/United States, 1912-1999 Abstract. Signed and dated lower right “Liberman 90”. Acrylic on paper, 42” x 62”. Framed 46” x 66”. 5,000/7,000

573

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147


John Grillo Massachusetts, 1917-2014 Lots 574-575

575

574

574.

148

The Ringmaster. Signed lower right “Grillo ‘93”. Mixed media en grisaille, 33” x 26” sight. Framed 42” x 33”. 5,000/7,000

575.

“Fat Lady”. Artist’s proof. Signed and dated lower right “Grillo ‘93”. Hand-colored etching, 30” x 22”. Framed 41” x 32”. 5,000/7,000

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576.

MICHAEL MCGUIRE Massachusetts, b. 1953 White house, orange sky. Monogrammed lower right. Signed verso. Oil on canvas, 30” x 30”. Framed 32.5” x 32.5”. 1,000/2,000

577.

TOSCA (BARTEAU) OLINSKY Connecticut/New York/Italy, 1909-1984 Girl at the window. Signed lower right “Tosca”. Gouache on paper, 20” x 16”. Framed 27” x 23”. 2,000/3,000

578.

FLETCHER MARTIN California/Colorado, 1904-1979 Portrait of a woman. Signed upper left “Fletcher Martin”. Oil on board, 19” x 12”. Framed 23” x 16”. 800/1,200

577

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576

578

149


Charles Green Shaw New York, 1892-1974 Lots 579-582

579

579.

“Montage”. Signed and titled verso. Note verso inscribed “Transformation Cards & Gaming Counters on Old Fabric”. Collage, 13” x 10.5” sight. Framed 15” x 12”. 700/900

580.

Geometric shapes. Signed lower right “Shaw”. Dated 1936 verso. Oil on canvas, 22” x 20.75”. Unframed. 5,000/7,000

580

150

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Charles Green Shaw New York, 1892-1974 Lots 579-582

581

581.

Abstract in red, white and black. Signed lower left “Shaw”. Oil on canvas, 30” x 18”. Framed 39” x 26”. 3,000/5,000 Exhibited: Riverside Museum, New York.

582.

“Curve of Space 1964”. Signed lower right “Shaw”. Titled verso. Oil on canvas, 48” x 36”. Framed 49” x 37”. 8,000/12,000

582

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151


Max Weber New York/France, 1881-1961 Lots 583-585

583

583.

“Dyckman at Night”. Signed in pencil lower right “Max Weber”. Lithograph on paper with watercolor highlights, 7.75” x 10.25”. Matted. 500/700

585.

584

584.

“Sabbath”. Signed in pencil lower right “Max Weber”. Lithograph on paper, 8.25” x 7”. Matted. 800/1,200

Standing female figure, 1915. Signed, dated and with a rooster on the underside. Together with a GreccoRoman-style terra cotta votive figure of a ram. Polychrome-painted plaster, height 9.75”. 700/1,000

585

152

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586

586.

SPYROS VASSILIOU Greece, 1902-1985 “Athens, 1965”. Signed lower right. Titled on label verso. Oil on canvas wrapped over board, 31” x 45”. Framed 33” x 47”. 8,000/12,000

586A. WHITE MARBLE FIGURE OF NUDE FEMALE TORSO Indian, age unknown. Height 25”. 800/1,200

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153


Henry Spencer Moore United Kingdom, 1898-1986

587.

“Divided Head”. Signed and numbered on base “Moore 2/9”. Bronze, height 13.75”. Total height including marble base 20.75”. 50,000/100,000 Provenance: The estate of a Rhode Island gentleman.

Arguably one of the most celebrated sculptors of the 20th Century, Henry Spencer Moore is renowned for semi-abstract bronzes, many of which are monumental installations. Moore was born in a small mining town in Yorkshire. He trained to be a teacher and served in the British Army before studying at Leeds School of Art and the Royal College of Art in London. His works are typically abstractions of the human figure, often pierced or containing hollow spaces. The undulating, organic shapes take inspiration from the Yorkshire countryside and objects found in nature, like bones, rocks, shells and twisted tree roots. His forms also reference the bold figural sculptures of ancient Egypt, Africa and the Americas. By the mid-20th Century, Moore was a global celebrity and considered the most influential sculptor of his generation. His work is seen in prominent public spaces around the globe, including the commissioned works at the UNESCO building in Paris, the University of Chicago and College Green, London.

154

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587

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155


588.

REUBEN NAKIAN New York/Connecticut, 1897-1986 Europa and the Bull. Signed at left. Bronze, diameter 17”. 1,500/2,500 Provenance: Gift from the artist to the consignor, a private Cape Cod, Massachusetts collector.

588

589.

DANIEL RHODES Iowa/California/New York, 1911-1989 Monumental sculpture. Apparently unsigned. Hand-built stoneware, height 70”. Width 28”. Depth 14”. In two parts. 2,000/4,000 Provenance: Rhodes gifted the sculpture to Philip Secrest, a ceramicist who studied under Rhodes at New York State College of Ceramics, Alfred University, Alfred, New York. Thence by descent in the Secrest family. 589

590.

590

156

BETTY WOODMAN New York/Colorado/Italy, 1930-2018 Studio pottery vase, circa 1967. Impressed “Woodman” near base. Glazed earthenware, height 11.25”. 1,000/1,500 Provenance: Woodman gifted the vase to the mother of the present owner in 1967, when the two struck up a lifelong friendship that began when they rented the same Tuscan villa for consecutive years.

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591 592

591.

593.

ZAO WOU-KI China/France, 1920-2013 “Ciel de Paris”. Numbered in pencil lower left 22/60. Signed and dated 1954 in pencil lower right. Lithograph, image size 17.25” x 22.5”. Framed 25.5” x 30.75”. 2,000/3,000

592.

ZAO WOU-KI China/France, 1920-2013 Untitled. Numbered in pencil lower left 6/140. Signed and dated 1960 in pencil lower right. Lithograph, image size 22.5” x 16”. Framed 30.75” x 23.75”. 1,500/2,500

JOSEPH NORMAN United States, b. 1957 “Tropical Lust”. Unsigned. Titled on note verso. Two watercolors en grisaille on paper, both 38” x 24” sight. Framed together 48” x 61”. 900/1,200

593

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157


594

594.

DONALD SULTAN New York/North Carolina, b. 1951 “Smoke Ring, Oct 19, 2008”. Titled, initialed and numbered 41/75 within the matrix. Digital print, sheet size 33.75” x 33.5”. Framed 44” x 44”. 3,000/4,000

595.

DONALD SULTAN United States, b. 1951 “Smoke Ring, Oct 20, 2008”. Titled, initialed and numbered 41/75 within the matrix. Digital print, sheet size 33.75” x 33.5”. Framed 44” x 44”. 3,000/4,000

595

596.

TWO “WASSILY” MODEL B3-STYLE CHAIRS DESIGNED BY MARCEL BREUER Mid-20th Century Unmarked. Both with black leather straps. One with white stitching, the other black. Heights 29”. Widths 30.5”. Depths 25.5”. 800/1,200

596, pair

597.

DAVE JORDANO United States, Contemporary “Duck Blind #12”, 2008. Identified on label verso for Clark Gallery, Lincoln, Massachusetts. Inkjet print, 16” x 21.25” sight. Framed 24.75” x 30.75”. 1,200/1,800

597

158

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600

598

598.

599.

ORIENTAL RUG: AFSHAR 5’0” x 9’9” Navy blue field with staggered rows of geometric medallions and stylized blossoms in shades of red, blue, bright gold, pale green, ivory and salmon red. Small animal figures about the perimeter. Dark red and ivory borders with colorful elements throughout. 700/1,000

600.

ORIENTAL RUG: HERIZ 2’7” x 9’4” Blue field contains two aqua and two brick red geometric medallions filled and surrounded by a variety of small pink, gold, blue and red stylized blossoms. Narrow red and blue borders. 500/700

601.

ORIENTAL RUG: HAMADAN 4’7” x 7’10” Ivory central medallion bordered by a perimeter of golden serrated leaves contains an elaborate array of red, green, yellow, brown and blue flowers. Red field sparsely populated by bird and human figures. Narrow ivory main border contains blossoms that complement medallion. 200/300

ORIENTAL RUG: KURD HAMADAN 4’2” x 6’5” Dark blue field with a red, green, blue and ivory Herati pattern. Red and ivory borders with meandering vines and stylized elements throughout. 100/200

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159


602.

ORIENTAL RUG: OUSHAK 11’7” x 13’3” Green and gold geometric medallion contains pink, red and green stylized flowers and serrated leaves. Gold and green flowering branches surround medallion. Red field with perimeter of green and gold flowers and stems. Narrow gold and pale green guard borders flank a broad green main border with similar elements in similar colors to those in medallion. 500/1,000

603.

ORIENTAL RUG: TURKOMAN ENGSI 3’9” x 4’8” Geometric panels and mihrab featuring traditional stylized motifs are surrounded by traditional dark blue, rust red, ivory and green stylized branches against a red field. 150/250

602

604.

ORIENTAL RUG: BIDJAR DESIGN 9’0” x 12’0” Parallel columns of delicate garrus vines in ivory, blue, gray and green, and stylized blossoms in pink, tan, ivory and navy blue cover a brick red field. Borders with motifs and colors echoing the field. 800/1,200

605.

ORIENTAL RUG: BIBIKIBAD 5’3” x 8’0” Navy blue field with bright ivory medallion and pendants, a red subfield and small light blue spandrels, with red, green, blue and pink Herati pattern throughout. 550/750

604

160

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606.

ORIENTAL RUG: TABRIZ DESIGN 9’0” x 12’0” Dark red central medallion is outlined with a gold garrus vine and is surrounded by a delicate red and green meandering vine bearing blue, green, red and gold blossoms on an ivory field. Salmon red and light blue spandrels. Broad dark red border. 1,200/1,600

607.

ORIENTAL RUG: BIDJAR MAT 2’7” x 3’8” Navy blue floral medallion containing pink, green, blue and ivory elements rests at the center of red field above a marine blue subfield featuring a colorful Herati pattern. Navy blue border features a garrus vine. 250/450

606

608.

ORIENTAL RUG: BAKHTIARI DESIGN 9’2” x 12’3” Colorful contiguous medallions contain bold blossoms rendered in bright shades of blue, ivory, yellow, rust red, burgundy and light green. Bright yellow, rust red and light blue borders. 1,400/1,800

609.

ORIENTAL RUG: SARABAND 5’2” x 9’8” Multiple staggered rows of tiny light blue, dark blue and ivory boteh on a red field. Traditional red meandering vine throughout ivory spandrels and ivory main border. 300/500

608

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161


610.

ORIENTAL RUG: HERIZ 6’4” x 8’2” Linear blue vines bearing a variety of leaves in faded shades of green, pink and tan cover a faded red field. Navy blue border with repeating blossoms and serrated leaves. 400/600

618. TWO ORIENTAL RUGS: SAROUKS 2’1” x 4’1” and 1’11” x 2’6” Both with elaborate quatrefoil floral elements flanked by sumptuous flowering branches, all rendered in blues, green, gold, ivory and subtle pink on dark red fields. 300/400

611.

ORIENTAL RUG: HERIZ 11’2” x 15’0” Red, blue and ivory gabled medallion suspending navy blue pendants rests at the center of a dark red field over an ivory subfield with red and blue spandrels. Navy blue main border. Traditional flowering vines throughout. 500/1,000

619.

ORIENTAL RUG: AFSHAR 5’4” x 6’7” Three ivory medallions with red latch hook perimeters contain and are surrounded by a variety of stylized blossoms, leaves and figures of birds and animals on a navy blue field. Ivory and marine blue borders. 400/600

612.

ORIENTAL RUG: BOUKARA 3’5” x 4’4” Red field with three columns of midnight blue, red, ivory and faded salmon red tekke guls. Ivory main border with blue stylized elements. 100/200

620.

ORIENTAL RUG: HERIZ 4’8” x 6’1” Small central light blue and navy blue gabled medallion contains a red and gold floral element. Red field traversed by pink, blue, green and gold flowering branches. Light blue guard borders. Navy blue main border. 300/500

613.

ORIENTAL RUG: HERIZ 8’5” x 11’5” Brick red field contains bold light blue and tan scrolling acanthus leaves surrounded by a variety of pink, blue, tan and ivory stylized blossoms. Tan main border. 500/800

621.

ORIENTAL RUG: BIDJAR DESIGN 6’3” x 8’10” Dark gray field filled with light gray palmettes and blossoms emanating from traditional garrus vines. Dark gray flowers and vines repeat throughout light gray borders. 650/850

614.

ORIENTAL RUG: QASH QAI 4’3” x 4’8” Field composed of red, blue and brown contiguous diamonds, each containing an elaborate red, brown, green and blue flower blossom. Dark red, dark blue and ivory borders. 300/400

622.

ORIENTAL RUG: PEREPEDIL RUNNER 2’9” x 9’10” Ivory, salmon pink, light blue, amethyst and subtle green geometric medallions are surrounded by stylized red and tan vines on a blue field. Bright ivory and red borders. 350/550

623.

ORIENTAL RUG: BIDJAR 8’4” x 11’9” A bold red, gold and aqua garrus vine bearing delicate flower blossoms traverses a navy blue field. Light blue guard borders. Broad red main border. 3,500/4,500

624.

ORIENTAL RUG: KAZAK 5’1” x 7’10” Red field with traditional geometric medallions containing and surrounded by a variety of stylized elements and animal figures rendered in traditional reds, blues, ivory and deep forest green. Bright ivory main border. 500/800

615.

ORIENTAL RUGS: CONJOINED SOUMAC SADDLEBAGS 2’0” x 4’2” Field composed of a grid of geometric medallions rendered in blues, red and bright ivory. Chevrons and stylized knot motifs throughout borders in colors matching the fields. 150/200

616.

ORIENTAL RUG: CAUCASIAN 3’7” x 5’1” Scrolling red, ivory, orange and faded gold stylized elements and bird figures throughout navy blue field. Red, ivory and blue borders. 150/250

617.

ORIENTAL RUG: KARAJA RUNNER 3’4” x 13’9” A column of traditional ivory, slate blue, charcoal, light blue and brassy gold geometric medallions contain and are surrounded by various stylized floral elements on a red field. Multiple colorful narrow borders. 500/1,000

162

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623

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163


625

625.

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

626.

ORIENTAL RUG: SERAPI DESIGN 5’10” x 9’0” Rust red field with traditional elements are arranged in a quatrefoil motif and are surrounded by gold and aqua garrus vines. Pale gold guard borders. Ivory main border with turtle motif. 500/800

627.

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

627

164

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Burton Shepard Boundey California/Wisconsin, 1879-1962

628

628.

Burton S. Boundey studied at the Art Institute of Chicago and in New York with Robert Henri and George Bellows. In 1927, he moved to Monterey, California and founded a studio that quickly became a local institution. He would go on to teach at the Carmel Art Institute and was a president of the Carmel Art Association.

The boat launching. Signed lower left “Burton S. Boundey”. Oil on canvas board, 20” x 30”. Framed 27.5” x 37.5”. 3,000/5,000 Provenance: William Karges Fine Art, Carmel, California. Private Collection, Florida. Shannon’s Fine Art Auctioneers, Milford, Connecticut. Private Collection, Maine.

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165


629.

629

630.

ARTHUR J. HAMMOND Massachusetts/California, 1857-1947 Seven harbor views. All signed lower left or right “A.J. Hammond”. One titled verso “Gloucester”. Pastels and mixed media, the largest 5.75” x 7.5”. Framed 7” x 9”. 1,000/1,500

630, seven

166

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EMILE ALBERT GRUPPE Massachusetts, 1896-1978 “Mt. Overlook, Woodstock, N.Y. 1926”. Signed lower right “Emile A. Gruppe”. Titled verso. Oil on board, 12” x 16”. Framed 20” x 24”. 2,000/3,000


631

631.

PAUL STRISIK Massachusetts, 1918-1998 Cape Ann coast overlooking Thacher Island’s twin lighthouses. Signed lower right “Strisik”. Oil on board, 24” x 36”. Framed 30” x 43”. 3,000/4,000

632.

JEFF WEAVER Massachusetts, 20th Century “House in Kittery, ME”. Signed lower right “J. Weaver”. Titled verso. Oil on canvas, 22” x 26”. Framed 29” x 33”. 2,500/3,500

632

633

633.

DONALD ALLEN MOSHER Massachusetts, 1945-2014 Autumnal New England scene with a chuch, red barn and cattle. Signed lower left “Donald Allen Mosher”. Oil on canvas, 20” x 24”. Framed 29” x 33”. 1,500/2,500

634.

DONALD ALLEN MOSHER Massachusetts, 1945-2014 Pigeon Cove. Signed lower left “Donald Allen Mosher”. Oil on canvas, 20” x 24”. Framed 28” x 32”. 2,000/3,000

634

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167


Laura Coombs Hill Massachusetts, 1859-1952

635

635.

Pink roses on a trellis. Signed lower right “Laura Hill”. Pastel, 25” x 21”. Framed 27” x 23”. 6,000/8,000 Provenance: Directly from the artist, through family descent. Private Collection, Cape Cod, Massachusetts.

168

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636

637

636.

CHARLES HERBERT WOODBURY Massachusetts/Maine, 1864-1940 Waves crashing against a rocky coast. Signed lower right “Chas. H. Woodbury”. Oil on canvas, 20” x 27.25”. Framed 25.5” x 32.5”. 5,000/7,000

637.

MAX KUEHNE New York/Germany, 1880-1968 “Church, Gloucester”. Estate stamped lower left “Kuehne”. Titled on gallery label verso. Oil on board, 24” x 30”. Framed 30” x 36”. 7,000/10,000 Provenance: The artist’s estate. Hirschl & Adler, New York. Private Collection, Maine.

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169


638

639

640

638.

JOHN PRENTISS BENSON Maine/Massachusetts, 1865-1947 Ship at sea. Signed lower left “John P. Benson”. Oil on canvas, 20” x 25”. Framed 22.5” x 27.5”. 2,000/3,000

639.

JOHN PRENTISS BENSON Maine/Massachusetts, 1865-1947 “Our House at Warwick, Bermuda”. Unsigned. Inscribed in pen on backing paper “By John P. Benson Our House at Warwick, Bermuda 1923 (Dec.)”. Oil on board, 18” x 13”. Framed 22” x 16”. 3,000/5,000

641

640.

EDWARD A. PAGE Massachusetts, 1850-1928 Beached vessels, North Shore of Massachusetts. Signed lower right “E.A. Page”. Oil on canvas, 20” x 30”. Framed 24” x 35”. 1,500/2,500

641.

FRANK VINING SMITH Massachusetts, 1879-1967 “The Outer Ledges”. Signed lower right “Frank Vining Smith”. Titled verso. Oil on board, 15” x 19.75”. Framed 22.75” x 26.75”. 700/1,000

Exhibited: Portsmouth Atheneum: A Retrospective Exhibition: The Artistic Legacy of John Prentiss Benson, June 15- October 7, 2004.

170

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642

643

644

645

642.

PHILIP G. SHUMAKER Pennsylvania, 1921-1967 Waves crashing against rocks. Signed lower right “Shumaker”. Oil on canvas, 30” x 46”. Framed 37” x 53”. 2,500/3,500

644.

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

643.

HENRY MARTIN GASSER New Jersey, 1909-1981 A farmer navigates a rural path. Signed lower left “H. Gasser”. Oil on board, 10” x 14”. Framed 15” x 18”. 800/1,200

645.

HARRY LESLIE HOFFMAN Connecticut, 1871-1964 “January Mist”. Unsigned. Identified and titled on Lyme Art Assocition label verso. Oil on canvas, 24” x 26”. Unframed. 500/1,000

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171


Kenneth J. Knowles Massachusetts, b. 1968 Lots 646-650

646

646.

“Springtime Sparkle in Annisquam”. Signed lower right “Ken Knowles”. Titled and dated 2010 verso. Oil on canvas, 36” x 40”. Framed 42” x 46”. 3,000/5,000

647

Ken Knowles, who resides and has a studio in Rockport, Massachusetts, began studying with renowned artist Stapleton Kearns when he was just 15 years old. Knowles is known for his rich depictions of the historic and beautiful Cape Ann area of Massachusetts that continue

647.

172

“Sugaring in Vermont”. Signed lower left “Ken Knowles”. Titled verso. Oil on canvas, 24” x 30”. Framed 31” x 37”. 1,500/2,500

the legacy of American impressionism. His award-winning works are part of public and private collections around the world and he is a member of several art associations.

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Kenneth J. Knowles Massachusetts, b. 1968 Lots 646-650

648.

“High Street, Rockport”. Signed lower right “K. Knowles”. Titled verso. Oil on canvas, 16” x 20”. Framed 23” x 27”. 1,200/1,800

648

649.

“View of Gloucester Harbor”. Signed lower left “Ken Knowles”. Titled and dated 2003 verso. Oil on canvas, 20” x 24”. Framed 27” x 31”. 2,500/3,500

649

650.

“Late Afternoon Autumn in Lanesville”. Signed lower left “Ken Knowles”. Titled verso. Oil on canvas, 30” x 30”. Framed 36” x 36”. 2,500/3,500

650

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173


651.

CULLEN YATES New York/Pennsylvania/Ohio, 1866-1945 Rocky coastal inlet. Signed lower left “Cullen Yates”. Oil on board, 6” x 8.75”. Framed 8” x 10.5”. 700/1,000

652.

AMERICAN SCHOOL Early 20th Century A barge off a harbor. Unsigned. Oil on board, 8” x 12”. Framed 9” x 13”. 250/350

653.

CHARLES GORDON HARRIS Rhode Island, 1891-1963 “Snug Harbor”. Signed lower left “C. Gordon Harris”. Signed and titled verso. Oil on board, 11.5” x 13.25”. Framed 17” x 19”. 400/600

654.

HORACE BURDICK Massachusetts/Rhode Island/Connecticut, 1844-1942 Old cart path, Rhode Island. Signed and dated lower right “H.R. Burdick 1910”. Housed in a custom Guido frame. Oil on board, 9.25” x 13.25”. Framed 14.5” x 18.5”. 800/1,200

651

652

653

654

174

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655

655.

SHERATON TWO-PART SECRETARY ATTRIBUTED TO THOMAS SEYMOUR Boston, Circa 1805 In mahogany and other veneer. Simplistic pediment with three period brass finials, the central in the form of an American eagle and the sides with steeple tops. Upper case with two arched glazed doors, each glazed panel separated by a delicate carved stem topped with an acorn. Satinwood veneer panels at lower parts of doors with cuasarina wood perimeter; Seymour was known to use this exotic wood. Upper case interior with single shelf, drawers and pigeonholes. Lower case with fold-out writing surface over four graduated full-width drawers with cock-bead molding and inlaid shield-form escutcheons. Three-quarter reeded columns at sides of case terminate in turned legs. Height 79.25”. Width 42”. Depth 21”. 2,500/3,500

656.

SHERATON ONE-DRAWER STAND ATTRIBUTED TO THOMAS SEYMOUR Boston, Circa 1805 In mahogany. Porringer top. Drawer with bird’s-eye maple facing and brass pull. Slightly tapered reeded legs. Height 26.5”. Width 21.5”. Depth 16.5”. 400/600

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175


657.

FEDERAL TILT-TOP BREAKFAST TABLE Boston, Circa 1820 In mahogany. Rectangular top with molded edge. Turned pedestal raised on four arched molded legs ending in brass-capped paw feet fitted with casters. Height 29”. Top 37.75” x 27.75”. 1,500/2,500

657

658

659.

658.

HEPPLEWHITE CARD TABLE ATTRIBUTED TO JACOB FOSTER Charlestown, Massachusetts, Circa 1790 In mahogany. Top with ovolo corners. Conforming apron with sprig inlay on front panel. Tapered legs with bellflower inlay to fronts and exterior sides. Inlay exhibited here is typical of Foster’s work. Height 28”. Width 36.5”. Depth 18”. 800/1,200

HEPPLEWHITE LOLLING CHAIR Salem, Massachusetts Area, Circa 1790 In cherry, with earth-tone printed upholstery. Back with serpentine crest. Legs with dark and light banded inlay. Back height 41.75”. Seat height 15.5”. 1,200/1,800 659

176

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660.

CHIPPENDALE LOLLING CHAIR North Shore of Massachusetts, Circa 1780 In hardwood with cream-colored damask upholstery. Serpentine crested back. Linenfold front legs joined by H-stretcher. Back height 45”. Seat height 15”. 1,500/2,500

660

661.

CHIPPENDALE BUREAU North Shore of Massachusetts, Circa 1785 In mahogany. Serpentine front. Four graduated drawers with string inlay, cock-bead molding and original hardware. Flat bracket feet. Height 35.75”. Width 41”. Depth 23.75”. 2,500/3,500

661

662

662.

SHERATON CARD TABLE North Shore of Massachusetts, Circa 1805 In mahogany. Serpentine front and sides with select bird’s-eye veneer panels. Light and dark banded inlay along edge of top. Delicate tapered reeded legs. Height 30”. Width 34.5”. Depth 19”. 2,500/3,500

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177


663

664

665

663.

666

WILLIAM HENRY HILLIARD 665. SCOTT (NICHOLAS WINFIELD) LEIGHTON New York/Massachusetts, 1836-1905 Maine/Massachusetts, 1849-1898 A boy fishing by an old mill. Signed lower right “W.H. Barnyard scene with hen and chicks. Signed lower right “Scott Hilliard”. Oil on canvas, 18” x 30”. Framed 31.5” x 43.5”. Leighton”. Oil on canvas, 10” x 12”. Framed 16” x 18”. 1,200/1,800 800/1,200 Born in New York, William Henry Hilliard moved to Boston in 1878 and became known for his New England landscapes and still lifes.

664.

178

HORACE GREELEY HEWES Maine/Massachusetts, 1849-1927 A boy fishing by a stone bridge. Signed and dated lower right “H.G. Hewes 1885”. Oil on canvas, 30” x 42”. Framed 35” x 47”. 700/1,000

666.

SCOTT (NICHOLAS WINFIELD) LEIGHTON Maine/Massachusetts, 1849-1898 “At the Watering Trough”. Signed lower right “Scott Leighton”. Titled verso. Oil on canvas, 8” x 10”. Framed 15” x 17”. 800/1,200

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667.

EXCEPTIONAL QUEEN ANNE BONNET-TOP HIGHBOY North Shore of Massachusetts, Circa 1760 In black walnut. Broken arch pediment with three urn and spiral-twist finials on plinths. 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. Drawers with original hardware. Retains original drops at skirt. Cabriole legs end in pad feet. Case moldings attached with wooden pegs. Height 86”. Width 39.5”. Depth 20.75”. 20,000/25,000

667

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179


668

668.

AMERICAN SCHOOL 19th Century Mt. Vernon and the Potomac River. Unsigned. Oil on canvas, 24” x 32”. Framed 30” x 38”. 1,500/2,500

669

669.

180

QUEEN ANNE LOWBOY North Shore of Massachusetts, Circa 1760 In walnut. Molded-edge top over a full-width drawer over three side-by-side drawers, the central with fan carving. Cabriole legs end in pad feet. Height 29.5”. Width 34.5”. Depth 19”. 4,000/6,000

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670.

CHIPPENDALE HANDKERCHIEF TILT-TOP TEA TABLE ATTRIBUTED TO NATHANIEL GOULD Salem, Massachusetts, Circa 1780 In mahogany, with molded-edge top, baluster-form pedestal and cabriole legs ending in claw & ball feet. Height 27.75”. Top 32.75” x 32.75”. 600/800

670

671.

AMERICAN SCHOOL 19th Century American landscape, likely the Adirondacks. Signed illegibly lower left. Oil on canvas, 18” x 33.5”. Framed 25” x 42”. 2,500/3,500

671

672.

CHIPPENDALE WING CHAIR North Shore of Massachusetts, Circa 1785 In walnut, with light blue damask upholstery. Block front legs joined with H-stretcher. Back height 42”. Seat height 16.5”. 600/800 672

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181


673.

673

674.

182

SHERATON TALL-POST BED ATTRIBUTED TO SAMUEL MCINTIRE, SR. Salem, Massachusetts, Circa 1790 In mahogany, with a deep rich finish, possibly original. Posts with reeded upper sections, beautifully carved central urn sections with acanthus, drape and swag, and beadwork designs, and bold spade feet. Headboard with central urn finial. Height 96.5”. Width between bolt holes 55.75”. Rail lengths 74.5”. 4,000/6,000

HEPPLEWHITE TWO-PART TAMBOUR SECRETARY BY THOMAS NEEDHAM Salem, Massachusetts, Circa 1790 In mahogany with extensive banded inlay. Upper case with tambour doors flanking a central cupboard, with a hinged fold-out writing surface below. Tambours and cupboard enclose interior letter slots and drawers. Lower case with three graduated full-width drawers, the lowest drawer with an elongated exotic wood oval panel. Drawers retain original scenic molded brass pulls. French splayed bracket feet. Thomas Needham paper label applied to bottom of one interior drawer. Height 45.25”. Width 38”. Depth 20.5”. 2,500/3,500

674, headboard

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675

676

677

675.

JOHN HENRY DOLPH New York/Ohio, 1835-1903 Cat with kittens. Signed lower right “J Dolph”. Oil on canvas, 9” x 12.25”. Framed 16” x 19”. 2,000/3,000

676.

ATTRIBUTED TO JOHN JOSEPH ENNEKING Massachusetts/New York/Maine/Ohio, 1841-1916 “Twilight through the Trees”. Unsigned. Titled verso. Oil on canvas, 24” x 30”. Framed 32” x 38”. 3,000/5,000

678

677.

ATTRIBUTED TO WILLIAM MATTHEW PRIOR Massachusetts/Maine, 1806-1873 European landscape at sunset. Inscribed in block stencil lettering verso “Painting Garret No 36 Trenton St. East Boston W.M. Prior”. Oil on canvas, relined, 19” x 25”. Framed 23” x 29”. 800/1,000

678.

EDMUND AYLBURTON WILLIS New York, 1808-1899 Genre scene with two young women standing by a white horse. Signed lower right “A.V. Willis”. Oil on canvas, 16” x 20”. Framed 21” x 25”. 1,500/2,000

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183


679

679.

184

RARE CHIPPENDALE BAKER’S TABLE Ipswich, Massachusetts, Circa 1780 In mahogany, with molded-edge top, single drop leaf at rear, and cabriole legs ending in elongated claw & ball feet. Old, rich finish. Height 28”. Width 32.5”. Depth 17.75” plus a 12.25” drop leaf. 20,000/25,000

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680

680.

681.

HERMANN OTTOMAR HERZOG Pennsylvania/California/Germany, 1832-1932 An active river scene with snow-covered mountains in the distance. Signed lower left “H. Herzog”. According to the consignor this work hung for many years at Odd Fellows Hall, Boston. Oil on canvas, 19” x 28.25”. Framed 27” x 36”. 2,500/3,500 Provenance: Newman Galleries, Philadephia. Private Collection, Florida.

HEPPLEWHITE BOWFRONT SIDEBOARD Wenham, Massachusetts, Circa 1790 In mahogany and select flame-grained mahogany veneer. Shaped top with considerable overhang at sides and back, and banded inlay along edge. Case with three drawers across top over cupboards flanking a central stack of two graduated drawers. Tapered legs with string inlay. According to accompanying copies of 1910 papers, this piece descended in the Moulton family of Wenham, Massachusetts. Height 43”. Width 63.25”. Depth 25.5”. 8,000/10,000

681

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185


Lemuel D. Eldred Massachusetts, 1848-1921 Lots 682-683

682

683

682.

186

Hauling nets off a rocky coast. 683. Signed lower right “L.D. Eldred”. Oil on canvas, 7” x 11”. Framed 12.5” x 16.5”. 1,500/2,500

Sunset in the mountains. Likely the Presidential range in New Hampshire’s White Mountains. Signed and dated lower left “L.D. Eldred 1874”. Oil on canvas, 16” x 26”. Framed 24” x 34”. 4,000/6,000

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684.

CLEMENT SWIFT Massachusetts, 1846-1918 Moonlit scene of a sailboat by the shore. Signed lower left “Clement Swift”. Oil on canvas, 16” x 26”. Framed 20.75” x 30.25”. 450/550

684

685.

WILLIAM H. WEISMAN Massachusetts/Pennsylvania/New Hampshire, 1840-1922 Coastal sunset. Signed and dated lower left “W.H.W. 1873”. Oil on board, 10.5” x 17”. Framed 15.5” x 23”. 1,500/2,500

685

686.

AMERICAN SCHOOL 19th Century “Swampscott Beach Mass”. Unsigned. Faintly inscribed in pencil on upper stretcher bar. Oil on canvas, 6.5” x 10.5”. Framed 12” x 16”. 700/1,000

686

687.

JOSEPH LYMAN Ohio/Connecticut, 1843-1913 Rocky coast, possibly Newport, Rhode Island. Signed lower left “Jos. Lyman”. Oil on canvas, 14” x 21”. Framed 17” x 25”. 2,000/3,000

687

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187


Charles Henry Gifford Massachusetts, 1839-1904

688

688.

188

New Bedford Harbor with Palmer Lighthouse and Fort Phoenix, Fairhaven, circa 1868. Signed and dated lower right “C.H. Gifford ‘68”. Oil on canvas, 25.5” x 35.5”. Framed 35” x 44.5”. 20,000/30,000

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Edward Mitchell Bannister Massachusetts/Rhode Island/Canada, 1828-1901

689

689.

A dog leading cattle down a path. Signed and dated lower right “E.M. Bannister 83”. Oil on canvas, 21.25” x 33”. Unframed. 20,000/30,000

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189


690

690.

SCHOOL OF BENJAMIN CHAMPNEY 19th Century A view of Mount Washington, New Hampshire. Unsigned. Oil on canvas, 13” x 19”. Framed 16” x 22”. 800/1,200

691.

AMERICAN SCHOOL 19th Century A farmhouse below a majestic mountain. Signed and dated lower right “J.H. Johnson 1878”. Oil on canvas, 34” x 27”. Framed 45” x 37”. 1,000/2,000

691

692

692.

ATTRIBUTED TO CHARLES HENRY MILLER New York/Germany, 1842-1922 Farm scene. Unsigned. Oil on canvas, 21.5” x 26.25”. Framed 26” x 32.5”. 1,500/2,500

693.

PAUL RITTER I Vermont/Germany, 1829-1907 Androscoggin Valley, New Hampshire/Maine. Signed lower right “PR”. Oil on canvas, 22” x 36”. Framed 31” x 45”. 1,500/2,500

693

190

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694

694.

JOHN BUNYAN BRISTOL New York/Massachusetts, 1826-1909 View of Lake Champlain, Vermont. Signed lower right “J.B. Bristol”. Location identified on label verso. Oil on canvas, 18” x 30”. Framed 22.5” x 33.5”. 4,000/6,000

695.

MERRILL GREENE WHEELOCK Vermont/Massachusetts/New Hampshire, 1822-1866 Two White Mountain views: Mt. Madison from the Androscoggin Valley and the White Mountains from Jefferson Hill. One signed and dated lower right “M.G.W. 62”. Watercolors and gouaches, 15” x 27” sight. Framed 23” x 35”. 1,200/1,800

695, two

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191


696

696.

192

HOMER DODGE MARTIN New York/Minnesota, 1836-1897 Preston Pond near Lake Sanford, Adirondacks, circa 1867. Signed and dated lower left “H.D. Martin 1875”. Oil on canvas, 20” x 30.25”. Framed 31.5” x 41.5”. 10,000/15,000

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697

698

699

700

697.

SANFORD THAYER New York, 1820-1880 “Eagle’s Nest”. Signed lower right “Sanford Thayer”. Titled on stretcher. Oil on canvas, 13” x 19”. Framed 18.5” x 25”. 1,000/2,000

699.

GEORGE GUNTHER HARTWICK New York, 1817-1899 “Summer”, a Hudson River landscape. Signed “Hartwick” and titled on stretcher. Oil on canvas, relined, 16” x 20”. Framed 19” x 25”. 700/900

698.

HUDSON RIVER SCHOOL 19th Century Brilliant sunset over the wilderness, with figures setting up a campsite in the foreground and a winding river in the distance. Unsigned. Oil on canvas, 26” x 40”. Framed 34” x 48”. 1,000/1,500

700.

AFTER WILLIAM HENRY BARTLETT New Hampshire/United Kingdom, 1809-1854 “View from Fort Putnam” (West Point). Unsigned. Oil on canvas, 20” x 24”. Framed 26” x 30”. 800/1,200 Exhibited: Pelham Art Center: “Westchester: The Glory of Landscape”, 2008.

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193


701.

SAMUEL W. GRIGGS Massachusetts, 1827-1898 A busy day on a mountain lake, likely Lake George, New York. Signed and dated in composition on the log at lower right “S.W.G. ’78”. Oil on canvas, 22” x 36”. Framed 33” x 47”. 4,000/6,000

701

702.

NIKOLAY TYSLAND (TUSLAND) LEGANGER New York, 1832-1905 “Afternoon at Hague, Lake George, N.Y.”. Signed lower left “N.T. Leganger”. Titled and dated 1890 verso. Oil on canvas, 30” x 25”. Framed 35” x 30”. 3,000/5,000

702

703. ATTRIBUTED TO GEORGE LAFAYETTE CLOUGH New York, 1824-1901 Hudson River Valley landscape. Artist identified verso. Oil on board, 12” x 16”. Framed 21” x 24”. 1,000/2,000

703

194

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704

704.

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

705

705.

CHARLES HENRY TURNER Massachusetts, 1848-1908 Portrait of a young woman. Unsigned. Estate stamped verso. Oil on canvas glued to academy board, 15” x 13.5”. Framed 21” x 19.5”. 500/800

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706

706.

CHARLES CONSTANTINE HOFFBAUER Massachusetts/France, 1875-1957 “Je Suis des Opera de Carmen...”. Depicts an African American opera singer under stage lights. Signed lower left with an encircled monogram “CH”, part of a pencil inscription written in French. Housed in a Guido frame. Watercolor and gouache on paper, 5” x 3.5” sight. Framed 19” x 15.25”. 400/600

195


Jasper Francis Cropsey New York, 1823-1900

707

707.

“Sunset Over Lake Thrasemine”. Signed and dated lower right “J.F. Cropsey 1881”. Oil on canvas, 7.25” x 13”. Framed 14” x 20”. 30,000/50,000 Literature: Jasper Francis Cropsey Catalogue Raisonné, Vol. 2. Provenance: Ortgie’s & Co., New York, March 20, 1885, Lot #45. Private Collection, Phoenix, Arizona. Christie’s, New York, October 1, 1987, Lot #56. Spanierman Gallery, New York. Robert Quinn Auction Gallery, Lake Worth, Florida, July 1991.

196

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197


708

708.

198

FEDERAL TALL-CASE CLOCK Massachusetts, Circa 1810 Mahogany case. Bonnet with three plinths joined by pierced fretwork; retains two of three brass urn-form finials. Arched dial door flanked by partially fluted full columns. Molded pendulum door flanked by brasscapped fluted quarter columns. Base panel with patera inlay. Flat bracket feet. Painted Roman numeral dial with moon phase, second sweep and calendar dial. Unsigned. Height 90.75”. Width 19”. Depth 9.5”. 1,500/2,500

709

709.

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

710

710.

ENGLISH TALL-CASE CLOCK 18th Century Walnut and walnut veneer case. Bonnet with molded top, an inset reverse-painted panel in a foliate design above the dial door, and full fluted columns with brass stop-fluting flanking the dial door. Shaped pendulum door flanked by quarter columns. Engraved brass face with burnished Roman numeral dial signed “Martin Crosby”. Height 85”. Width 18”. Depth 9”. 700/1,000

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711.

AARON WILLARD FEDERAL BANJO CLOCK Boston, Circa 1825 Mahogany case with brass finial. Roman numeral dial signed and numbered 3877. Verre eglomise tablet depicts a castle beside a lake. Height 34”. 1,500/2,000

712.

SILAS HOADLEY PILLAR & SCROLL CLOCK Plymouth, Connecticut, 19th Century Mahogany and mahogany veneer case with three brass finials. Reverse-painted lower door panel depicts a stately home in a landscape. Painted Roman numeral wooden dial with gilt-highlighted berry decoration at corners. Retains original label on interior. Height 32”. Width 17”. Depth 4.5”. Includes weights and pendulum. 500/700

713.

SAWIN & DYER BANJO CLOCK Boston, 19th Century Mahogany case with gilt acorn-form finial, throat frame and presentation bracket. Reverse-painted throat and door glass with floral and scroll designs. Roman numeral dial. Face signed “Sawin & Dyer”. Height 41”. Width 10”. Depth 4”. 1,000/2,000

711

712 713

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199


Louis Comfort Tiffany New York/California, 1848-1933 Lots 714-716

715

714

716

200

714.

Orientalist scene of a seated man smoking a long pipe and a young boy in the background. Signed lower left “Louis C. Tiffany”. Watercolor on paper, 6.5” x 6”. Framed 11.25” x 9.5”. 3,000/3,500

715.

Figure on a shoreline and sailboats on the horizon. Signed lower right “Louis C. Tiffany”. Watercolor on paper, 3” x 8.25”. Framed 8” x 12.5”. 2,000/2,500

716.

Nile scene with tree in foreground and a boat in the distance. Signed lower right “Louis C. Tiffany”. Watercolor on paper, 5.25” x 7.25”. Framed 9” x 11.5”. 2,500/3,500

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Ernest Lawson New York/Connecticut/Canada/France, 1873-1939

717

717.

Pastoral landscape, likely France. Signed lower left “E.L. Lawson”. Oil on canvas, 25” x 30”. Framed 32” x 37”. 20,000/30,000

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201


718.

GEORGE HENRY BOUGHTON New York/England, 1833-1905 An English castle, likely Windsor. Signed lower right “G.H. Boughton”. Inscribed on old label verso “Painted by Geo. H. Boughton Ob England 1834”. Oil on canvas, 25” x 30”. Framed 37” x 42”. Frame depth 6”. 2,500/3,500

718

719.

RAOUL MAUCHERAT DE LONGPRE France, 1843-1922 Still life of lilacs and roses. Signed in pencil lower right “R.M. De Longpré”. Gouache on paper, 25” x 18.5” sight. Framed 30” x 23”. 2,000/3,000

719

720.

FREDERICK STUART CHURCH New York/Michigan, 1842-1924 Cupid imprisoned. Signed and dated lower left “Copyright F.S. Church, N.Y. 1884”. Likely an original used by Prang for greeting cards. Oil on panel, 20” x 24”. Framed 26” x 30”. 4,000/6,000

720

202

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721.

CHIPPENDALE HANDKERCHIEF TILT-TOP TABLE Newport, Rhode Island, Circa 1780 In mahogany. Top with shaped corners. Turned pedestal raised on cabriole legs ending in claw & ball feet. Height 27.5”. Top 31.75” x 31.75”. 400/700

721

722.

CHIPPENDALE SLANT-LID DESK ATTRIBUTED TO JOHN TOWNSEND Newport, Rhode Island, Circa 1780 In mahogany. Slant lid encloses stepped interior fitted with well-defined shaped letter slots, drawers, and a central compartment with recessed block and shell-carved door. Case with four graduated full-width drawers and flat bracket feet. Retains original hardware. Height 40”. Width 35.75”. Depth 19.25”. 2,000/3,000 A nearly identical example is illustrated in a volume on Townsend furniture.

723.

722

PAIR OF CHIPPENDALE SIDE CHAIRS Newport, Rhode Island, Circa 1770 In mahogany and pine. Pierced backs with carved ears. Slip seats with striped floral upholstery. Square molded front legs and raked rear legs joined by stretchers. Back heights 37”. Seat heights 18”. 2,000/4,000 A nearly identical chair to this pair is in the collection of Colonial Williamsburg and is illustrated in Barry A. Greenlaw’s New England Furniture at Williamsburg, p. 67, fig. 57. Provenance: Albert James Adams of Newport, Rhode Island.

723, pair

724.

CHIPPENDALE DROP-LEAF TABLE Newport, Rhode Island, Circa 1780 In mahogany, with nicely shaped skirt and corner returns, and cabriole legs ending in claw & ball feet. Height 27.5”. Length 17” plus two 15.5” drop leaves. Width 48”. 800/1,200

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724

203


726

725

725.

204

TALL CHEST America, Circa 1790 In birch and maple. Dentil-molded cornice over six graduated full-width drawers with brass bail handles. Shaped bracket base. Height 59.75”. Width 42.75”. Depth 20.5”. 800/1,200

726.

QUEEN ANNE HIGHBOY Connecticut, 18th Century Married. In cherry. Upper section with molded top and two half drawers over four graduated full-width drawers. Lower section with a full-width drawer over three side-by-side drawers, the central with fan carving. Cabriole legs end in pad feet. Height 74”. Width 37.5”. Depth 20”. 800/1,200

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727.

ATTRIBUTED TO ABBIE LUELLA ZUILL Massachusetts, 1856-1921 Still life of fruit. Unsigned. Inscription verso indicates a Vose Galleries provenance. Oil on canvas, 10” x 12”. Framed 14” x 12”. 1,500/2,500

727

728.

AMERICAN SCHOOL 19th Century Still life of grapes, apples, plums and berries. Unsigned. Oil on canvas, 12” x 16”. Framed 19.5” x 23.5”. 1,500/2,500

728

729.

MEYER STRAUS California/Illinois/Germany, 1831-1905 Tabletop still life of grapes, watermelon, pears and other fruit. Signed lower left “M. Straus”. Oil on canvas, 20” x 36”. Framed 26” x 42”. 800/1,200

729

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205


730.

JAMES BRADE SWORD Pennsylvania, 1839-1915 Toast among three men in a tavern. Signed lower left “J.B. Sword”. Oil on canvas, 30” x 25”. Framed 36” x 31”. 800/1,200 Provenance: Private Collection, Cape Cod, Massachusetts.

731.

SHERATON CARD TABLE New England, Circa 1810 In cherry and bird’s-eye maple veneer, with serpentine front and turned tapered legs. Height 28.5”. Width 37.5”. Depth 19”. 600/900

732.

QUEEN ANNE LOWBOY Connecticut, Circa 1760 In cherry. Molded-edge top over a full-width drawer over three side-by-side drawers, the central with fan carving. Cabriole legs end in pad feet. Height 31.75”. Width 33.75”. Depth 21.25”. 1,200/1,800

730

731

732

206

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733.

QUEEN ANNE DROP-LEAF TABLE Massachusetts, Circa 1760 In maple and curly maple, with demilune leaves and cabriole legs ending in pad feet. Height 28.5”. Length 13.75” plus two 14.25” drop leaves. Width 42.25”. 400/600

733

734.

FRANK HENRY SHAPLEIGH New Hampshire, 1842-1906 “Old Kitchen in Cohasset”. Signed and dated lower left “F.H. Shapleigh 1886[?]”. Signed and titled verso. Oil on canvas, 10” x 16”. Framed 14” x 20”. 1,500/2,500

734

735.

CHIPPENDALE TIGER MAPLE SLANT-LID DESK New England, Circa 1780 Interior fitted with pigeonholes, drawers and compartments. Case with four graduated full-width drawers and a flat bracket base. Oval brass drawer pulls. Height 45.25”. Width 44”. Depth 21.5”. 1,500/2,000

735

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207


736.

QUEEN ANNE HIGHBOY Connecticut, Circa 1760 In cherry. Upper case with a central pinwheel-carved drawer flanked by stacks of two narrow drawers, all over four graduated full-width drawers. Lower case with two half drawers over three side-by-side drawers, the central with fan carving. Cabriole legs end in pad feet. Retains replacement period hardware. Height 73”. Width 36.75”. Depth 20.5”. 2,000/3,000

737.

HEPPLEWHITE PEMBROKE TABLE Massachusetts, Circa 1790 In mahogany. Single drawer in apron. Tapered legs joined by an arched cross-stretcher. Height 28”. Width 20.5” plus two 8.75” drop leaves. Depth 30”. 200/400

738.

HEPPLEWHITE PEMBROKE TABLE Massachusetts, Circa 1785 In mahogany. Single drawer at one end of apron. Slightly tapered linenfold legs joined by crossstretcher. Retains label in drawer for C.L. Prickett. Height 28.5”. Width 21.5” plus two 10.25” drop leaves. Depth 29.5”. 200/300

736

208

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739.

ORIENTAL RUG: SERAPI DESIGN 11’8” x 15’4” Light blue, salmon red and midnight blue central medallion on a rust red field with a light blue subfield and red spandrels. Light green vines and colorful blossoms throughout. Light gold guard borders and broad black main border. 1,000/1,500

740.

ORIENTAL RUG: SULTANABAD DESIGN 8’0” x 10’2” Navy blue field with a traditional arrangement of rust red, brassy gold, pale gray, ivory, light blue and subtle celadon green vines, blossoms and palmettes. Red main border with turtle motif. 600/900

741.

ORIENTAL RUG: HERIZ 9’4” x 15’0” Navy blue gabled central medallion with an ivory center, a light blue perimeter and navy blue suspended pendants. Abrashed red field above a bright ivory subfield with green and blue spandrels. Gold, brown, blue and green vines, blossoms and leaves throughout. Abrashed yellow and blue borders. 700/1,000

739

742.

ORIENTAL RUG: NORTHWEST PERSIAN 4’4” x 10’5” Abrashed navy blue field with three red and pale yellow bold stylized medallions containing red and blue geometric elements. Red and navy blue abrashed borders. 450/650

743.

ORIENTAL RUG: SERAPI DESIGN 5’7” x 9’0” A blue and brown central element is surrounded by brown, red and tan stylized blossoms and branches on an ivory field. Ivory, blue, brown and red borders. 450/650

744.

ORIENTAL RUG: PAIR OF CONJOINED SOUTH PERSIAN BAGFACES 1’6” x 5’8” Piled faces feature traditional red, ivory, light blue and dark gold latch hook medallions on a navy blue field with ivory main borders containing colorful stylized meandering vines. Flatweave center panel with deep burgundy, gold, black and green stripes. 500/700

741

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209


745.

ORIENTAL RUG: KURD BIDJAR RUNNER 3’6” x 15’6” Staggered rows of boteh in light blue, dark blue, red and pink cross a red field. Abrashed green and pink floral borders. 800/1,200

746.

ORIENTAL RUG: AFSHAR 4’2” x 5’5” Several rows of ivory, red, blue, orange and yellow boteh cross a large navy blue geometric medallion on a field composed of red and blue stripes. Colorful stylized blossoms throughout navy blue main border. 200/300

747.

PAIR OF ORIENTAL RUGS: FEREGHANS Both 4’4” x 6’5” Both with two columns of Herati pattern rendered in faded shades of red, blue, green and yellow on navy blue fields, with faded orange guard borders and dark ivory main borders. 1,500/2,000

748.

ORIENTAL RUG: AFSHAR BAG FACE 1’9” x 2’11” Navy blue field with dark red, gold, marine blue and ivory Herati-like pattern. Stylized blossoms throughout ivory border. 500/700

749.

ORIENTAL RUG: KESHAN 4’3” x 6’5” Tree of life design in pile and flatweave. Camel-colored flatweave field with a pile-woven green tree bearing red, blue, ivory, pink, peach and magenta blossoms. Flatweave main border with pile-woven blossoms and palmettes. 500/800

750.

ORIENTAL RUG: BIDJAR 3’9” x 5’6” Pink, blue, brown, tan and subtle ivory Herati pattern throughout a navy blue field. Rich pink main border features traditional turtle motifs. 500/700

751.

ORIENTAL RUG: SEICHOUR DESIGN 4’1” x 6’9” Staggered columns of elaborate brown, midnight blue and subtle red geometric medallions on a dark ivory field. Well-rendered roosters at perimeter of field. Stylized elements throughout borders. 400/600

752.

ORIENTAL RUG: CAUCASIAN FLATWEAVE 4’6” x 5’5” Three bold geometric medallions in faded shades of salmon red, blue and green are surrounded by a variety of smaller medallions and stylized elements on a dark blue field. Red, blue and ivory borders. 400/600

745

210

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748 747, pair

750

749 751

752

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211


753.

ORIENTAL RUG: KARAJA DESIGN 8’0” x 10’0” Rust red field is traversed end-to-end by several columns of geometric medallions and other traditional motifs in pale shades of tan, gold, celadon green, rose red and navy blue. Navy blue serrated leaf border. 1,000/1,500

753

754.

ORIENTAL RUG: TABRIZ DESIGN 8’1” x 10’0” Ivory field is filled with delicate vines bearing graceful serrated leaves and bold blossoms, rendered in reds, blues, brown, gold, salmon red and pale green. Broad ivory main border with similar motifs. 1,400/1,800

754

755.

ORIENTAL RUG: HERIZ 7’1” x 10’5” Light blue, navy blue and rust red gabled medallion occupies an abrashed light red field. Light blue subfield, red spandrels and a navy blue main border. Traditional flowering vines throughout rendered in blues, gold, dark pink, ivory, green and maroon. 700/1,000

755

212

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756.

ORIENTAL RUG: SERAPI DESIGN 8’0” x 9’10” Salmon red, midnight blue and pale gold gabled medallion on an ivory field with a salmon pink subfield and gold spandrels. Traditional salmon red, pink, pale blue, green and gold meandering vines and blossoms throughout. Red, gold and blue borders. 1,000/1,500

756

757.

ORIENTAL RUG: ASYMMETRIC NEOCLASSICAL FOLIATE DESIGN 7’10” x 9’10” Bold gold foliate elements on a variegated dark red field. 600/900

757

758.

ORIENTAL RUG: SULTANABAD DESIGN 9’3” x 10’11” Abrashed light gray field with traditional red, light blue, light brown and pink graceful vines and bold blossoms. Broad light blue main border. 600/900

758

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213


759.

ORIENTAL RUG: BIDJAR DESIGN RUNNER 3’0” x 14’4” Red field with five pale gold and midnight blue medallions surrounded by a light blue, olive green, pink, brown and gold Herati pattern. Midnight blue main border. 600/900

760.

ORIENTAL RUG: HERIZ 7’10” x 10’4” Red, blue, dark gold, ivory and pink gabled medallion on a bright red field above an ivory subfield with red spandrels. Traditional stylized vines and blossoms in colors to match the medallion throughout. Navy blue main border features turtle motif. 500/700

761.

ORIENTAL RUG: TURKISH 3’7” x 5’0” Red and ivory geometric medallions containing red, gray and pale green chevrons are surrounded by stylized blossoms in similar colors on a red field with red and ivory borders. 250/350

762.

ORIENTAL RUG: TURKISH RUNNER 3’5” x 13’4” Dark blue field with a dense array of red and white flower blossoms surrounding three geometric ivory medallions containing red, blue, brown and yellow animal and human forms. Colorful borders contain geometric motifs rendered in gold, pale green, red, blue and ivory. 450/650

763.

ORIENTAL RUG: CAUCASIAN 4’1” x 5’4” Navy blue field with three ivory, blue and faded brown Lesghi stars. Traditional elements throughout borders in colors to match the stars. 150/250

764.

ORIENTAL RUG: TRIBAL FLATWEAVE 2’0” x 3’6” Face with flatwoven red and blue stripes alternating with bands of Soumac weave featuring red, blue, green, ivory and salmon pink elements. 150/200

765.

ORIENTAL RUG: SAROUK 4’0” x 6’5” Dark red field with a central floral quatrefoil motif flanked by traditional flowering branches, all rendered in dark gold, midnight blue, dark olive green and bits of subtle turquoise. Narrow brassy gold guard borders. Midnight blue main border. 350/550

766.

ORIENTAL RUG: KURD HAMADAN 5’3” x 11’0” Navy blue field with a column of oval floral stylized elements flanked by delicate red vines bearing brightly colored pink, yellow, ivory, blue and tan blossoms. 500/800

767.

ORIENTAL RUG: HAMADAN 4’0” x 6’5” Midnight blue field with a marine blue, pink, brown and ivory Herati pattern. Blue and dark red borders. 200/300

759

214

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Charles Drew Cahoon Massachusetts, 1861-1951 Lots 768-770

768.

Full moon over the dunes. Signed lower right “C.D. Cahoon”. Oil on canvas, 13” x 20”. Framed 16” x 23”. 2,000/3,000

769.

Autumnal Cape Cod scene. Unsigned. Oil on canvas, 10” x 13”. Framed 14” x 17”. 2,500/3,500 768

770.

“The Storm”. Signed lower right “C.D. Cahoon”. Titled in pencil verso. Oil on board, 9” x 15”. Framed 14” x 20”. 800/1,200

769

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770

215


771

772

771.

WILLIAM FERDINAND MACY Massachusetts/New York, 1852-1901 Shoreline, possibly Nantucket. Signed lower left “W. Ferdinand Macy”. Oil on canvas, 12.75” x 30.75”. Framed 22” x 41”. 700/1,000

772.

JOHN CUTHBERT HARE Massachusetts/Florida, 1908-1978 “A Provincetown Lane”. Signed lower right “John Hare”. Titled verso. Watercolor on paper, 8” x 6.75”. Framed 16.5” x 14.5”. 400/600

216

772

773.

FRED HAMILTON DANIELS Massachusetts/New York, 1872“At Boothbay Harbor, Maine, 1930”. Signed and dated lower right “F.H. Daniels 1930”. Titled verso. Oil on board, 12” x 16”. Framed 14” x 18”. 700/1,000

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774, three large panels

774.

MAXWELL MAYS Rhode Island, 1918-2009 Three scenes of a European town, originally the backdrop for a train set. Two signed and dated lower right “Maxwell Mays 1988-1989”. One signed and dated lower left “Maxwell Mays 1988-1989”. Oils on plywood, 30” x 96”, 30.25” x 71” and 30” x 68.5”. 2,000/3,000 Provenance: Commissioned by a prominent Rhode Island doctor, Mendell Robinson, for the backdrop of his train collection. Includes a photo of the original display with the train set and of Dr. Robinson.

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panels being used with train set

217


Arthur Vidal Diehl Massachusetts/New York/England, 1870-1929 Lots 775-779

775

Arthur Vidal Diehl was born in London but is closely associated with Cape Cod, where he summered from 1912 until his death in 1929. Part of an artistic family – his father was director of an opera company and his mother was a novelist – Diehl painted throughout Europe and exhibited at the Royal Academy before moving to the United States in 1891. To

775.

make ends meet, he worked as a singer, actor, musician,

A steam ship at sea. director and painted piecework. It’s believed through Signed and dated lower left “Arthur V. Diehl 1920”. his theatrical connections that he developed his ties to Oil on board, 13.5” x 26”. Framed 16” x 29”. Provincetown and the burgeoning art colony there. He 700/1,000

eventually set up a studio in town and was known to paint quickly – up to 25 pieces a day – while simultaneously engaging in conversations with customers and onlookers. In an impressionist style, Diehl painted scenes of Cape Cod, Boston, New York City, St. Augustine, Florida, and “old world” subjects like Morocco, England and Italy.

218

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Arthur Vidal Diehl Massachusetts/New York/England, 1870-1929 Lots 775-779

776

777

778

779

776.

Cape Cod dunes. 778. Venetian harbor scene. Signed and dated lower right “Arthur V. Diehl 1923”. Signed and dated lower left “Arthur Vidal Diehl 1919”. Oil on board, 7” x 9.5”. Framed 9” x 12”. 800/1,200 Oil on board, 11” x 16”. Framed 13.5” x 18.5”. 700/1,000

777.

“Mexican Courtyard”. 779. Moonlit coastal fishing scene. Signed lower left “Arthur V. Diehl”. Titled faintly in Signed lower right “Arthur V. Diehl”. pencil verso. Oil on board, 8” x 10”. Framed 11.5” x 13.5”. Oil on board, 16” x 20”. Framed 18” x 22”. 1,200/1,800 800/1,200

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219


John Whorf Massachusetts, 1903-1959 Lots 780-782

780

Although John Whorf was a competent postimpressionist oil painter, he is considered one of the finest American watercolorists from the Early 20th Century. His realistic depictions of urban and rural life done in a luminous painterly style are often compared to John Singer Sargent and Winslow Homer. Whorf turned increasingly toward watercolors as his career progressed, as he felt they better suited his expressive and aesthetic interests. He developed a confident yet spontaneous method of applying paint, interspersing sparkling transparent washes with areas of deep opaque color.

781

780.

220

“Poling the River”. 781. “Rainy Day, Provincetown”. Signed lower right “John Whorf ”. Watercolor on paper, Signed in pencil lower right “John Whorf ”. Watercolor 21” x 28” sight. Framed 32.5” x 39”. 5,000/7,000 on paper, 14.5” x 21” sight. Framed 22.5” x 29.5”. 3,000/5,000 Provenance: Private Collection, Massachusetts. Copley Fine Art Auctions, January 21, 2013, Lot #54.

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John Whorf Massachusetts, 1903-1959 Lots 780-782

782, obverse above and reverse below

782.

Double-sided work: A mother and child bathing on obverse and a house in a landscape on reverse. Signed lower right “John Whorf ”. Watercolor on paper, 14.25” x 22”. Framed 21.75” x 27.25”. 3,000/5,000

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221


783

222

783.

ELDRED WHEELER CHIPPENDALE-STYLE TALL CHEST Massachusetts, Late 20th Century In cherry and pine. Shaped cornice over six graduated drawers, the top drawer simulating three side-by-side drawers with central fan carving. Brass bail drawer pulls. Flat bracket feet. Original Eldred Wheeler paper label inside top drawer. Height 54.5”. Width 36.5”. Depth 19.5”. 1,400/1,800

784.

ELDRED WHEELER CHIPPENDALE-STYLE FOUR-DRAWER CHEST Massachusetts, Late 20th Century In cherry and pine, with molded-edge top, graduated full-width drawers with brass pulls, and flat bracket feet. Original Eldred Wheeler label inside top drawer. Height 33”. Width 35”. Depth 18.5”. 1,200/1,400

784

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786

785.

ELDRED WHEELER PENCIL-POST BED Massachusetts, 20th Century In tiger maple. Eldred Wheeler brand and original paper label. Width between bolt holes 56”. Includes rails. 600/900

786.

ELDRED WHEELER DUNLAP-STYLE HIGHBOY Massachusetts, Contemporary In tiger maple. Cornice with delicate basketweave and fan carvings. Upper case with five graduated full-width drawers, the upper drawer simulating three side-by-side drawers. Lower case with three graduated full-width drawers, the bottom drawer simulating three side-by-side drawers with central fan carving. Skirt with central scroll design flanked by carved shells. Cabriole legs end in pad feet. Retains Eldred Wheeler paper label. Height 78”. Width 37.5”. Depth 19”. 4,500/5,500

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223


787.

ELDRED WHEELER MEDIA CABINET Massachusetts, 20th Century In tiger maple, with shaped cornice, two paneled drawers over two half drawers, and an ogee bracket base. Interior with two adjustable shelves. Brass door and drawer hardware. Eldred Wheeler brand on interior. Height 66”. Width 42.25”. Depth 25.75”. 1,500/2,000

788.

ELDRED WHEELER MAPLE 789. ELDRED WHEELER BOOKCASE TWO-PART CORNER CUPBOARD Massachusetts, 20th Century Massachusetts, Late 20th Century With shaped cornice and four In tiger maple. Upper case with shelves. Eldred Wheeler brand shaped cornice and arched paneled and paper label. Height 76.75”. doors enclosing three interior shelves. Width 43.5”. Depth 13.75”. Lower case with rectangular paneled 800/1,000 doors, a single interior shelf, and a shaped bracket base. Retains original Eldred Wheeler label. Height 82”. Width 46”. Takes an 18” corner. 2,000/2,500

788

789

787

224

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790.

ELDRED WHEELER ONE-DRAWER WASHSTAND Massachusetts, 20th Century In strong tiger maple, with turned legs supporting a medial shelf. Drawer with circular brass pull. Eldred Wheeler brand and paper label inside drawer. Height 29”. Width 20”. Depth 17”. 800/1,000

791.

ELDRED WHEELER HARVEST TABLE Massachusetts, 20th Century In cherry, with square tapered legs. Eldred Wheeler paper label on underside. Height 29”. Length 74”. Width 19” plus two 11.5” leaves. 500/800

792.

TWO ELDRED WHEELER TIGER MAPLE TWIN BEDS Massachusetts, 20th Century With turned posts. Eldred Wheeler brand and paper label on back of headboard. Heights 47.5”. Widths 44”. 1,200/1,400

790

792, pair

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225


793, pair

796

226

793.

PAIR OF J.L. TREHARN & CO. REPRODUCTION TAVERN TABLES Youngstown, Ohio, 20th/21st Century Shaped tiger maple tops with porringer corners. Black-painted aprons, legs and feet. Height 26”. Top 30.75” x 19.25”. 400/600

794.

SET OF SIX WINDSOR-STYLE CONTINUOUS ARMCHAIRS ATTRIBUTED TO WARREN CHAIR WORKS Warren, Rhode Island, Late 20th Century Under a brown stain. Stamped on undersides “WCW”. Back heights 37”. Seat heights 18”. 1,000/1,500

795.

BENCH-MADE QUEEN ANNE-STYLE ARMCHAIR 20th Century In tiger maple, with rush seat and Spanish feet. Back height 43”. Seat height 18”. 250/350

796.

D.R. DIMES MEDIA CABINET New Hampshire, 20th Century In pine under a brown stain. Shaped cornice over two paneled doors that enclose three interior shelves. Shaped bracket base. Retains D.R. Dimes brand and original paper label. Height 54.75”. Width 36”. Depth 26”. 700/1,000

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797, set

797.

SET OF SIX D.R. DIMES MAPLE PUB-STYLE CHAIRS New Hampshire, 20th Century Four side chairs and two armchairs, with pierced backs and cabriole legs ending in pad feet. All with D.R. Dimes brand and paper label on underside of seat. Back heights 41.5”. Seat heights 18.5”. 2,500/3,000 798.

SET OF SIX D.R. DIMES WINDSOR-STYLE BOWBACK CHAIRS New Hampshire, 20th Century Two armchairs and four side chairs, with a brown stained finish. Branded on underside of seats “D.R. Dimes” in block lettering and “D.R. Dimes 5/88” in script lettering. Back heights 41”. Seat heights 17.75”. 800/1,200

798, set

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227


799.

BENCH-MADE WILLIAM & MARY-STYLE LOWBOY 20th Century In tiger maple, with three side-by-side drawers, a crossstretcher and bulbous feet. Height 30”. Width 32”. Depth 20”. 500/800

799

800.

BENCH-MADE WILLIAM & MARY-STYLE TABLE 20th Century In strong tiger maple. Top with breadboard ends. Apron fitted with two half drawers. Turned legs joined with stretcher and end in ball feet. Height 30”. Width 48”. Depth 24”. 600/900

800

801.

BENCH-MADE JACOBEAN-STYLE ONE-DRAWER TABLE 20th Century In maple under a red wash. Top with breadboard ends. Drawer with brass drop pulls. Shaped apron. Bulbous turned legs and stretchers. Ball feet. Height 26”. Width 28.75”. Depth 21.5”. 300/500

801

802.

BENCH-MADE HUTCH TABLE 20th Century In tiger maple. Shaped top. Base fitted with a single drawer with turned wooden knob. Cross-stretcher base. Half-round feet. Height 25.75”. Width 29”. Depth 24”. 300/500 802

228

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803

803.

BENCH-MADE WILLIAM & MARY-STYLE HIGHBOY 20th Century In strong tiger maple with pine secondary woods. Upper case with molded shaped cornice and two half drawers over three graduated full-width drawers. Lower case with three varied side-by-side drawers, a curved stretcher base and padded ball feet. Height 64.5”. Width 40”. Depth 21”. 1,000/2,000

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229


804, four

804.

FOUR NEAR-MATCHING BENCH-MADE QUEEN ANNE-STYLE ARMCHAIRS 20th Century Each in maple, with rush seats and Spanish feet. One with ornately carved crest rail and arms. Back heights from 40” to 43”. Seat heights from 16” to 18”. 400/600

805.

HEPPLEWHITE-STYLE SERPENTINE-FRONT SIDEBOARD Attributed to the Nathan Margolis Shop of Hartford, Connecticut. Quarter fan, string and other inlay throughout. Height 42”. Width 69.5”. Depth 29.5”. 2,500/3,500

805

230

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806

806.

CHARLES WYSOCKI California/Michigan, 1928-2002 “Waiting for the 7:20”. Signed lower right “Charles Wysocki”. Titled verso. Oil on canvas, 9” x 12”. Framed 14” x 17”. 2,000/3,000

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231


William R. Davis Massachusetts, b. 1952 Lots 807-811

807.

“Hyannis Light”. Signed lower left “William R. Davis”. Signed and titled verso. Oil on panel, 9” x 12” sight. Framed 12.5” x 15.5”. 2,500/3,500

808.

“Ghouls Gate”. Signed lower left “W. Davis”. Signed and titled verso. Oil on panel, 7” x 9” sight. Framed 10.75” x 12.5”. 1,500/2,500

809.

“Bird Island Light”. Signed lower left “W. Davis”. Signed and titled verso. Oil on panel, 8” x 10” sight. Framed 13” x 15”. 2,500/3,500

807

808

809

232

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William R. Davis Massachusetts, b. 1952 Lots 807-811

810

811

810.

“Winter Solitude”. 811. “Dusk Glow”. Signed lower left “W. Davis”. Signed and titled verso. Signed lower left “William R. Davis”. Signed and titled Oil on panel, 8” x 6” sight. Framed 14” x 12”. verso. Oil on panel, 8” x 10”. Framed 11.5” x 13.5”. 1,800/2,200 1,200/1,800 Please note: All proceeds from the sale of this lot will be donated to the Trevor Kuehn Kidney Fund. Cape Codder Trevor Kuehn is a 16-year-old boy in desperate need of a kidney transplant. Luckily, his father Andreas is a match and is heroically donating one of his kidneys to save his son’s life. The surgery is scheduled to occur before this lot is auctioned, but the family will still need funds to cover significant costs not covered by insurance. Artist Bill Davis has generously donated this painting to the cause, and Eldred’s is offering it with no associated seller’s commission or fees. The entire purchase price, including the buyer’s premium, will be donated to the Trevor Kuehn Transplant Fund. For more information, visit www.gofundme.com/f/wewyh-trevor039s-kidney-transplant.

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233


812.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Nantucket wharf scene featuring mermaids, sailors, the Rainbow Fleet, hot air balloons and Brant Point in the distance. Signed lower right “Jerome Howes”. Oil on masonite, 18” x 24”. Framed 22.5” x 28.5”. 1,000/1,500

813.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 The Rainbow Fleet. Signed lower right “J. Howes”. Oil on board, 8” x 30”. Framed 9.55” x 33.5”. 700/900

814.

MARIELUISE HUTCHINSON Massachusetts, b. 1947 Sesuit Farm, East Dennis, Massachusetts. Signed lower right “Marieluise”. Location identified verso. Oil on board, 17” x 20”. Framed 21” x 25”. 900/1,100

815.

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

812

813

814

815

234

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Joseph McGurl Massachusetts, b. 1958 Lots 816-817

816.

“Lifting Fog, Cuttyhunk”. Signed lower right “Joseph McGurl”. Titled verso. Oil on board, 16” x 20”. Framed 24” x 28”. 6,000/9,000

816

817. “Coastal Haze”. Signed lower right “Joseph McGurl”. Titled verso. Oil on board, 9” x 12”. Framed 16.5” x 19.5”. 3,000/5,000

817

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235


Susan O’Brien McLean Cape Cod, Contemporary Lots 818-820

818.

Two works: “A Beach Day”, signed lower left “S. McLean”, and “Rowing at Henley”, signed lower left “Susan O’Brien McLean”. Oils on board, 7” x 5”. Framed 12” x 10”. 300/400

818, two

819.

Sailboats moored in a harbor. Signed and dated lower right “Susan O’Brien McLean ‘91”. Oil on canvas, 14” x 18”. Framed 18” x 24”. 600/800

820.

“A July Day”. Signed lower right “Susan O’Brien McLean”. Titled and signed on stretcher. Oil on canvas, 12” x 20”. Framed 19” x 27”. 500/700

819

820

236

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821.

ROBERT R. BLISS Massachusetts, 1925-1981 Dune scene with a boy and a beached boat. Signed lower right “R. Bliss”. Oil on board, 15” x 25”. Framed 19” x 29”. 900/1,100

821

822.

LORETTA FEENEY Massachusetts, b. 1961 Quincy Market. Signed lower left “Feeney”. Oil on canvas, 22” x 28”. Framed 26” x 32”. 1,000/2,000 Provenance: Tree’s Place Gallery, Orleans, Massachusetts.

822

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237


Rowena Anderson Massachusetts, Contemporary Lots 823-824

823, three

824, two

823.

238

Three works: 824. Two works: “Harbor Cottage (#4525)”, “Lazy Afternoon (#3527)” “July Blooms (#3052)”, signed lower left, “Ocean Mists and “Rose Season (#3541)”. Signed lower right and left. (#3082)”, signed lower right. Both titled and numbered Oils on canvas, 6” x 8”. Framed 12” x 10”. 400/600 verso. Oils on canvas, 8” x 10”. Framed 12.5” x 14.5”. 400/600

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825.

SHERATON SOFA Philadelphia, Circa 1805 Similar lines to pieces made by cabinetmakers Henry Connelly and Ephraim Haines. Mahogany frame with acanthus-carved ears, molded arms, and turned, tapered and reeded front legs. Gold printed upholstery. Back height 36”. Seat height 18”. Length 74.5”. 800/1,200

826.

SHERATON TWO-DRAWER STAND Circa 1810 In mahogany and mahogany veneer. Top with carved turret corners. Rope-turned legs end in bun feet. Height 28.5”. Width 22.5”. Depth 20”. 250/350

827.

SHERATON TWO-DRAWER DROP-LEAF STAND Circa 1820 In mahogany. Drawers with circular brass pulls. Turned legs fitted with brass casters. Height 28.75”. Width 15.5” plus two 8.25” drop leaves. Depth 16.5”. 200/300

828.

HEPPLEWHITE PEMBROKE TABLE Circa 1810 In mahogany. Single drawer in apron fitted with a brass bail pull. Square tapered legs. Height 29”. Width 16” plus two 7.5” drop leaves. Depth 30”. 300/400

829.

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

825

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239


830.

SHERATON TILT-TOP CANDLESTAND ATTRIBUTED TO THE WORKSHOP OF DUNCAN PHYFE New York, Circa 1800 In mahogany. Shaped top set on a turned pedestal raised on reeded tapered legs ending in turned ball feet. Height 29”. Top 26” x 18”. 1,500/2,500 A similar example is featured in Charles Montgomery’s Federal Furniture at the Henry DuPont Winterthur Museum, #387.

831.

830

Provenance: William Popham of Scarsdale, New York. Popham family to Lewis C. Popham III of Oswego, New York.

831

832.

SHERATON TILT-TOP CANDLESTAND ATTRIBUTED TO THE WORKSHOP OF DUNCAN PHYFE New York, Circa 1795 In mahogany. Shaped top set on an urn-turned shaft raised on shaped legs ending in spade feet. Height 28.75”. Top 24.5” x 17.5”. 1,000/1,500

CHIPPENDALE SERPENTINE-FRONT CHEST Circa 1780 In cherry, with four graduated drawers and a shaped bracket base. Drawers fitted with brass pulls. Height 33.5”. Width 42”. Depth 22”. 1,400/1,800

832

833.

833

240

SHERATON BOWFRONT FOUR-DRAWER BUREAU Circa 1810 In mahogany and mahogany veneer under an old brown finish. Top with carved turret corners. Carved columns at sides of case terminate in turned legs. Drawers with brass floriform pulls. Height 38.75”. Width 41.5”. Depth 19.5”. 300/500

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834.

QUEEN ANNE TWO-PART HIGHBOY Circa 1780 In maple and tiger maple. Upper case with secret drawer in shaped cornice and four graduated fullwidth drawers. Lower case with a full-width drawer over three side-by-side drawers. Cabriole legs end in pad feet. Brass bail drawer pulls possibly original. Height 72.75”. Width 39”. Depth 21”. 1,500/2,500

834

835.

QUEEN ANNE HIGHBOY America, Circa 1750 In pine and maple, under a natural brown finish. Upper case with molded top and two half drawers over three full-width drawers. Lower case with three side-by-side drawers, a shaped apron, and cabriole legs ending in pad feet. Height 63”. Width 40”. Depth 20.5”. 600/900

835

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241


837

836

836.

242

PENNSYLVANIA CHIPPENDALE TALL CHEST Circa 1780 In mahogany. Shaped cornice. Three side-by-side drawers over two half drawers over five graduated full-width drawers, all with brass bail pulls. Shaped flat bracket base. Height 66.75”. Width 40”. Depth 22.5”. 700/1,000

837.

CHIPPENDALE TALL CHEST Pennsylvania, Circa 1780 In walnut and walnut veneer under an old finish, possibly original. Three side-by-side drawers over two half drawers over four graduated full-width drawers. Flat bracket feet. Height 58.5”. Width 39.5”. Depth 23”. 1,200/1,800

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838

838.

“LAZY SUSAN” COUNTRY KITCHEN TABLE Coastal Carolinas, First Quarter of the 19th Century Yellow pine top and apron on tapered turned ash legs. Height including lazy susan 33”. Diameter of top 58.5”. 3,000/4,000 839.

SET OF FOUR EARLY QUEEN ANNE SIDE CHAIRS Southeastern United States, Early 18th Century In black walnut with an old rich finish. Backs with shaped crest rails and vasiform splats. Plank seats. Boldly turned front legs with double side stretchers. Back heights 41”. Seat heights 17.5”. 4,000/6,000

839, set

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243


840

840.

841

EARLY TWO-TIER CHEST OF DRAWERS, POSSIBLY PILGRIM 17th Century In oak and maple, with four panel-molded drawers and turnip feet. Height 38.75”. Width 41”. Depth 25”. 500/800

841.

WILLIAM & MARY CHEST OF DRAWERS Probably English, Early 18th Century In walnut, with two half drawers over three full-width drawers, and turned bun feet. Height 36.75”. Width 38.5”. Depth 21”. 500/700

843

842

842.

244

CHIPPENDALE SLANT-LID DESK Circa 1760 In maple. Shell-carved slant lid encloses interior fitted with pigeonholes and drawers, including a central fan-carved drawer. Case with four graduated molded-edge full-width drawers and a high flat bracket shaped base. Brass bail pulls on drawers and at sides of case. Height 44.5”. Width 39.5”. Depth 21”. 1,000/2,000

843.

QUEEN ANNE TILT-TOP TABLE 18th Century In tiger maple, with a turned pedestal and cabriole legs ending in pad feet. Height 28”. Diameter of top 31”. 400/600

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844 845

846

844.

SHERATON TWO-DRAWER DROP-LEAF STAND Circa 1810 In mahogany, with tiger maple veneer drawer fronts and panels. Drawers fitted with brass floriform pulls. Rope-turned legs fitted with brass casters. Height 28”. Width 18.5” plus two 9” drop leaves. Depth 18.75”. 500/700

845.

QUEEN ANNE DROP-LEAF TABLE Late 18th Century In maple, with tapered legs ending in pad feet. Height 27”. Length 13” plus two 14” drop leaves. Width 41.75”. 400/500

846.

QUEEN ANNE CANDLESTAND 18th Century In cherry under a brown finish. Circular top set on an urn- and ringturned shaft raised on cabriole legs ending in pad feet. Height 26.5”. Diameter of top 18.25”. 400/600

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847

847.

QUEEN ANNE DISH-TOP CANDLESTAND Circa 1800 In tiger maple and chestnut, with a turned pedestal raised on cabriole legs ending in pad feet. Height 25.75”. Diameter of top 16.5”. 400/600

245


BIDDER INFORMATION

ADVICE TO BIDDERS 1. Carefully read the Conditions of Sale. 2. Pre-sale estimates are provided by the auctioneers for the convenience of our customers. They are not meant to be taken as a guide to the value of an item, but as a guide to its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision. 3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form. 5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 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 through Eldred’s Live! at www.eldreds.com, powered by Invaluable.com with a 25% buyer’s premium. Prospective bidders must register and be approved prior to placing bids or bidding live online. 7. Eldred’s reserves the right to refuse to issue, or to revoke, bidding credentials, or to reject any bid, if deemed necessary and proper in its sole discretion, for the conduct of the auction process, and to insure fairness to consignors and other bidders.

THE PROPERTY LISTED IN THIS CATALOG WILL BE OFFERED AND SOLD SUBJECT TO THE TERMS AND CONDITIONS LISTED IN THIS CATALOG.

246

SHIPPING INFORMATION We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale. If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready. We provide shipping services directly from our gallery for select merchandise including small items, small paintings and rugs. We do not ship glass items or items framed under glass. Our staff can assist with determining if your items qualify for in-house shipping. Shipments from our gallery may take four to six weeks from receipt of payment. You will be charged for the shipping or carrier fees, packing and handling fees, and required insurance. There is a minimum handling charge of $15.00 for all shipments. Depending on the carrier, insurance limits may exist (i.e., Federal Express will only insure up to $500). If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent. We require seven to ten business days for your payment to clear our banking system before releasing purchases to your chosen shipping agent. Shipping estimates can be provided only AFTER we receive payment for your invoice.

BIDDING INCREMENTS $0-$49: $5 $50-$199: $10 $200-$499: $25 $500-$999: $50 $1,000-$2,999: $100 $3,000-$4,999: $250 $5,000-$9,999: $500 $10,000-$29,999: $1,000 $30,000-$49,999: $2,500 $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

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

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CONDITIONS OF SALE 1. CORRECTNESS OF DESCRIPTION: Robert C. Eldred Co., Inc. (hereinafter referred to as Eldred’s) has exercised reasonable care to catalog and describe correctly the property to be sold, but neither Eldred’s nor its consignors warrant the correctness of description, attribution, authenticity, or condition of said property. No statements shall be deemed such a warranty or representation or an assumption of liability with respect thereto, but are to be construed as opinions only. Bidders are encouraged to personally examine all property to be sold prior to the beginning of the auction. 2. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered. 3. Eldred’s reserves the right to withdraw any property before the sale. 4. DETERMINATION OF HIGHEST BIDDER: The highest bidder accepted by the auctioneer shall be the buyer. In the event of any dispute between bidders, the auctioneer may determine who is the successful bidder or the auctioneer may re-offer the article in dispute and his decision shall be final. 5. REJECTION OF BIDS: The auctioneer reserves the right to reject any nominal raise or any bid or raise which, in his opinion, is not commensurate with the value of the article being offered. At his discretion, he may also reject any nominal raise or any bid that he may determine as having a detrimental effect on the item in question or the sale as a whole. Eldred’s may refuse to issue bidding privileges to any person not in good credit standing with Eldred’s, or to any person who is deemed by Eldred’s in its sole discretion, to be disruptive of or harmful to established auction practices, either before or after the acceptance of bids or the fall of the hammer. 6. TITLE: Except as herein otherwise provided, title will pass to the highest bidder as determined by the auctioneer, and the property is thereafter at the purchaser’s sole risk and responsibility. 7. PAYMENT: On title passing to the highest bidder acknowledged by the auctioneer, and subject to all the conditions set forth herein, such bidder will thereupon pay the full purchase price. Payment in full is due at the time of sale. Any bills not paid in full within 25 days of the date of the sale will accrue interest at a rate of 1.5% per month. In addition, the purchaser may be subject to one or more of the following actions: a) Any and all legal remedies available to Eldred’s and its consignors by law including without limitation the right to hold the purchaser liable for the total purchase price; b) Immediate cancellation of the sale, with Eldred’s retaining as liquidated damages all payments made by the purchaser; c) Resale of the property at public auction, wherein the original purchaser shall be liable for any deficiency, costs, and Eldred’s commission on both sales. At Eldred’s option, payment will not be deemed to have been made in full until Eldred’s has collected funds represented by checks, or in the case of bank or cashier’s checks, their authenticity has been confirmed. A buyer’s premium will be added to the hammer price to be paid by the buyer as part of the purchase price. 8. ORDER BIDS: Subject to these Conditions of Sale and to such terms and conditions as it may prescribe, but at no charge to the customer, Eldred’s will undertake to execute all order bids submitted to it by a customer who has established credit with said company. Requests for such bidding must be given in writing with such clearness as to leave no room for misunderstanding as to the amount to be bid and must state the catalog number and the name or title of the article to be bid on. Telephone bids must be confirmed in writing or by cable. All bids are kept in strict confidence. In the event of identical bids, the earliest received by Eldred’s will take precedence. Eldred’s shall not be held responsible for errors or failure to execute bids. A deposit of 10% of the total amount bid is required. TELEPHONE BIDS: While the sale is in progress, bidding by telephone may be allowed by the auctioneer at his discretion. A deposit of 10% of the anticipated top bid is required. Eldred’s shall not be held responsible for any failure to properly execute

such a bid whether it be due to equipment failure, loss of connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder. 9. CONDITION: If for any cause whatsoever any article sold cannot be delivered, or cannot be delivered in as good condition as the same may have been at the time of sale, due to a failure or damage on the company’s part, the sale will be cancelled, and any amount that may have been paid on account of the sale will be returned to the purchaser. EXCEPTION: Eldred’s will not be held responsible for damage to picture frames or lampshades. 10. SALES TAX: All purchases are subject to the Massachusetts sales tax (currently 6.25%) unless the purchaser: A) possesses a Massachusetts sales tax exemption or resale number and registers that number with the company, B) is an out-of-state vendor who meets all the requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89-10 and registers with the company prior to each purchase, or C) has purchases shipped out of state (with the exception of Connecticut and New York) directly from Eldred’s by a bona fide shipping agent. Connecticut residents picking items up in our Mystic branch or having purchases shipped to their Connecticut address are responsible for CT state sales tax (currently 6.35%). New York residents having purchases shipped to their New York address are responsible for NY state sales tax (currently 4.0%). Due to the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair, residents of other states may be required to pay their state sales tax on purchases as we meet each state’s nexus requirements. Dealers, museums, etc. can apply for a Massachusetts number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, MA 02204. 11. RESERVES: Unless advertised as an “Unreserved Auction”, all sales may have items subject to reserve (an agreed upon price between the auctioneer and the consignor, below which the article will not be sold). 12. COLLECTION OF PURCHASES: Delivery or shipping arrangements must be made within seven (7) days from the close of the auction for all purchases. All items must be removed from Eldred’s facilities within fourteen (14) days of the end of the auction. All items remaining after fourteen days may be subject to a $5/per item/perday storage fee. No items will be released unless storage fees are paid in full. Items remaining over thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees. 13. PACKING: Purchasers are advised that packing and/or handling by Eldred’s employees is undertaken solely as a courtesy for the convenience of customers. In the case of fragile articles, it will be undertaken at the sole discretion of the company. Handling and packing by Eldred’s is at the risk of the purchaser. SHIPPING: When requested, Eldred’s may arrange shipment of paid purchases. Eldred’s will not be responsible for damage or loss once the item has been received by the shipper. In the case of fragile articles, shipping will be undertaken at the sole discretion of the shipper. Please refer to our Advice to Bidders for details. 14. These Conditions of Sale cannot be altered except in writing by Eldred’s or by public announcement by the auctioneer at the time of the sale. 15. Bidding on any article(s) indicates acceptance of the terms set forth above. 16. These Conditions of Sale and any suits arising thereunder shall be construed and governed by the laws of Massachusetts.

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

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

Phone:

Company:

Alternate Phone:

Address:

Email:

City:

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

Resale #: State:

ZIP:

FINANCIAL REFERENCES

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

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

SIGNATURE (required):

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

PLEASE SUBMIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 www.eldreds.com

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info@eldreds.com

Phone: 508-385-3116

Fax: 508-385-7201

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


ABSENTEE/TELEPHONE BID FORM 1. Clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow our standard bidding increments. 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. 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. 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. 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.

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. There is a 2% buyer’s premium discount for payment made in full via cash, check, money order or wire transfer within ten (10) days of the invoice date. 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. Mixed payment methods are not eligible for the buyer’s premium discount. We reserve the right to hold goods until payment has cleared. 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. The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.

SALE TITLE: SALE DATE:

NAME:

Lot #

Item Description

Maximum Bid or “phone” for Telephone Bid

ADDRESS: check if change in address

PHONE: ALTERNATE PHONE: EMAIL: Signature (required): By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc. 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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T H E K E LTO N C O L L E C T I O N Eldred’s is pleased to announce it will be offering maritime art and artifacts from the Kelton Collection over a series of auctions this year.

Portrait of a sailmaker by Isaac Heard (United Kingdom, 1804-1869) part of the Marine Sale, August 13-14, 2020.

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


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

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Invitation to Consign Now accepting consignments for upcoming auctions. To speak with a specialist, call 508-385-3116 or email info@eldreds.com

The Nantucket Auction I July 17 The Summer Sale I July 30-31 The marine Sale I August 13-14 Contemporary Paintings I August 20 Asian Art Week I September 16-18

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


an important

New Hampshire Collection

h

part of the Summer Sale I July 30-31, 2020

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

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Illustrations

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Front Cover Lot 752

Pages 6-7 Lot 695

Back Cover Lot 587

Page 8 Lot 244

Page 3 Lot 532

Page 124 Lot 674

Page 5 Lot 170

This Page Lot 814

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


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

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Profile for Eldred's Auction

Spring Sale Catalog  

Spring Sale Catalog