2022 Summer Sale

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The Summer Sale JULY 26-27, 2022

THE SPRING SALE APRIL 7-8, 2022

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THE SUMMER SALE Tuesday and Wednesday, July 26-27, 2022 Both sessions starting at 9:30 a.m. Eastern Location:

Headquarters: 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com I MA Lic. #155

Preview:

Monday, July 25 from 10 a.m. to 4:30 p.m., the sale days starting at 8:45 a.m., and by appointment

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IMPORTANT NOTICES Bidding Options In-person, online, phone and absentee bidding available. To register for absentee and telephone bidding, please visit our website or call 508-385-3116. Online bidding available through www.eldreds.com. Terms A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 25 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000. We accept checks, cash, money orders, wire transfers and major credit cards for payment. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. 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. Condition Reports Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is. All dimensions are approximate.

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S TA F F D I R E C T O R Y ANTIQUES & FINE ART SPECIALISTS

PRODUCTION & ADMINISTRATIVE STAFF

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

Mara Alvarado Assistant Photographer malvarado@eldreds.com Wendy A. Dunford Treasurer wendy@eldreds.com

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

Susan Eastman Client Services seastman@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 Katie Lingoes Shipping klingoes@eldreds.com

Christine Berlane Prints and Multiples cberlane@eldreds.com

Beth McGoldrick Administrative Assistant bmcgoldrick@eldreds.com

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

Angela R. McParland Executive Assistant amcparland@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Madison Morris Head of Photography mmorris@eldreds.com

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

Kathleen Morse Auction Coordinator kmorse@eldreds.com Megan Nichols Shipping Coordinator mnichols@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

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

Jennifer Lacker Mystic Representative Mary M. Kuhrtz and Christine Leofanti Gallery Assistants

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

Al Gray and Jim Moynihan Shipping and Inventory Assistants Breyana Newton Photography Intern

OFFICES Headquarters I 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com I MA Lic. #155 Connecticut Gallery I 5 Roosevelt Ave., Mystic, Ct. I 860-912-8169 I info@eldreds.com

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C E L E B RAT I NG O U R 7 5 T H A N N I V E RS A RY

When my grandfather first wielded the gavel way back in 1947, I am guessing he was hoping to just survive his first year in business, and the thought of Eldred’s lasting 75 years did not cross his mind. Yet, here we are, three-quarters of a century later, with continuous family ownership and the same charming location along on Cape Cod’s historic Route 6A. While Bob Eldred, Sr. would be amazed by the changes the business has undergone since his first auction, from phone and online bidding to digital photography and virtual auctions, I think he would be extraordinarily proud of how little has actually changed: Just like 75 years ago, we pride ourselves on personal service, honesty and hard work. While we have grown from our humble roots as an estate auctioneer to a multi-department specialty house, we have not lost touch with our roots. An actual person answers the phone when you call, you may be greeted the wagging tail of one of our many four-legged friends when you walk in the door, and our summer auctions are still held outside under a tent in the salty Cape Cod breeze. Our goal is to offer the sophistication and quality merchandise of the largest auction houses but with the personalized service of your local auctioneer. Reaching 75 years in business is an accomplishment to be celebrated, but it is one we recognize could not have happened without so many people throughout our history. To everyone who has worked here over the years, and the thousands of consignors and buyers who have entrusted us with their business, THANK YOU for helping us reach this incredible milestone. I don’t know what the next 75 years will be bring, but I promise that as long as I am running things, we will continue to adapt with the times but will always remember our history -- we’ll continue to offer wonderful treasures and exciting discoveries with a smile and a handshake (real or virtual).

Josh Eldred

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PROPERTY FROM

An Important New England Collection The Estate of Antoine Volkoff The Estate of Rev. Trevor Thomas Descendants of Revolutionary War General Benjamin Lincoln The Collection of Robin and Laurie Young Collection of Dr. Donald W. Sample of Annapolis, Maryland A New Hampshire Collection A Greenwich, Connecticut Collection A Massachusetts Collection The Kelton Collection of Marine Art & Artifacts And Numerous Other Estates and Collections

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INDEX Index of Artists Page 6-7 Session I

Lots 2001-2377

Session II

Page 2501-2895

Bidder Information Page 283 Conditions of Sale Page 284 Absentee and Phone Bid Form Page 285 Previews

Pages 286-287

List of Illustrations Page 287

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INDEX OF ARTISTS AHRENS, RICHARD VAN WICKLEN “WICK” ALLEN, CHARLES CURTIS ALLSTON, WASHINGTON (attr.) AMAR, JOSEPH AMUNDSEN, C. HJALMAR "CAPPY" ARRIOLA, FORTUNATO AUSTRIAN, BEN (manner of) BALABAN, RON BALLARD, BRIAN BARRY, WILLIAM GERARD BEAUCHAMP, ROBERT BECKER, FREDERICK WILLIAM (attr.) BEMELMANS, LUDWIG BENJAMIN, GERSHON BERNATH, SANDOR BERNSTEIN, THERESA FERBER BIRCH, WILLIAM RUSSELL BLASHFIELD, EDWIN HOWLAND BLUM, ROBERT FREDERICK (attr.) BLYTH, BENJAMIN (attr.) BLYTH, BENJAMIN (follower of) BOGDANOVE, ABRAHAM JACOB BOLMER, M. DEFOREST BOWERS, GEORGE NEWELL BOWMAN, GEORGE L. BRECKENRIDGE, HUGH HENRY BREWSTER, ANNA MARY RICHARDS BRILLINGER, FLORENCE EMMA (PFEIFFER) BROWN, HARRISON BIRD BROWN, JOHN GEORGE BROWN, MANNER OF WILLIAM MASON BROWNE, GEORGE ELMER BROWNELL, CHARLES DEWOLF BRUSH, GEORGE DE FOREST BURLIUK, DAVID DAVIDOVICH BUTLER, HOWARD RUSSELL BUTMAN, FREDERICK A. CAHOON, CHARLES DREW CAHOON, JR., RALPH EUGENE CAHOON, MARTHA FARHAM CARDINAL, ROBERT CARLES, JR., ARTHUR BEECHER CARLSON, JOHN FABIAN CARLSON, MARGARET GODDARD CARR, BYRON CARR, SAMUEL S. CARTER, CLARENCE HOLBROOK CASS, GEORGE NELSON CHAFFEE, JR., OLIVER NEWBERRY CHAMPNEY, BENJAMIN CIKOVSKY, NICOLAI S. (NICOLA) CLIME, WINFIELD SCOTT COULTER, MARY JENCQUES (JENKS) COUPER, CHARLES ALEXANDER CRAMER, KONRAD CRANCH, CHRISTOPHER PEARSE CURTIS, EDWARD SHERIFF DAVIES, ARTHUR BOWEN DAVIS, WILLIAM R. DAVOL, JOSEPH BENJAMIN DE GRAILLY, VICTOR (attr.) DE GROOT, NANNO DE LONGPRE, RAOUL MAUCHERAT DEL DEO, SALVATORE 8

2836, 2837 2680 2602 2131 2664 2523 2259 2351, 2352 2119 2703 2141, 2797 2305 2125 2114, 2115 2847 2688 2209 2126 2708 2210 2520 2689-2691 2542 2817 2699 2631 2633 2759 2526 2638 2613 2855, 2856 2538 2243 2118 2719 2544 2853 2870-2875 2869 2802, 2803 2121 2718 2678 2541 2572,2573 2603 2546 2737 2547 2116 2683 2811 2795 2107 2529 2308 2102 2889-2893 2657 2524,2525 2787,2788 2050 2810

DEMONT, ADRIEN LOUIS DER GARABEDIAN, GIRAGOS DIEHL, ARTHUR VIDAL DOWD, JOHN DOYLE, WILLIAM M.S. (attr.) DUNBAR, HAROLD C. DURAND, ASHER BROWN (school of) EATON, CHARLES WARREN EDOUART, AUGUSTE ELDRED, LEMUEL D. ENNEKING, JOHN JOSEPH ETHE, SOLOMON EULER, EDWIN REEVES FARNDON, WALTER FARNHAM, ALEXANDER FARNUM, HERBERT CYRUS FILARDI, DEL FRAME, ROBERT AARON FROST, GEORGE ALBERT GALLAGHER, SEARS GERRY, SAMUEL LANCASTER (attr.) GERRY, SAMUEL LANCASTER GIGNOUX, REGIS FRANCOIS GILL, MARIQUITA GOLDBERG, JIM GONZALEZ, XAVIER GORE, KEN GORSON, AARON HARRY GRAVES, ABBOTT FULLER GREENE, ALBERT VAN NESSE GREGORY, DOROTHY LAKE GRIGGS, SAMUEL W. GRUPPE, EMILE ALBERT HACKETT, MARY MOFFETT HARDING, CHESTER (attr.) HARE, WILLIAM HARPIGNIES, HENRI-JOSEPH HARRIS, CHARLES GORDON HARRISON, MYRNA HART, WILLIAM HARVEY, ELI HASSAM, CHILDE HELLEU, PAUL CESAR (manner of) HENRY, EDWARD LAMSON HENSHAW, GLENN COOPER HERTER, ALBERT HIGGINS, EUGENE HILDEBRANDT, HOWARD LOGAN HILLIARD, WILLIAM HENRY HODGIN, MARSTON DEAN HOLTY, CARL HONDIUS, GERRIT HOUDON, JEAN-ANTOINE (after) HOWES, JEROME HOWLAND, ALFRED CORNELIUS HUNTER, ROBERT DOUGLAS INNESS, GEORGE (manner of) ISRAELS, JOSEF HART, JAMES MCDOUGAL (attr.) KAELIN, CHARLES KHMELUK, VASYL KIRKPATRICK, WILLIAM ARBER BROWN KNIGHT, DANIEL RIDGWAY KUWASSEG, CHARLES EUPHRASIE

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2064 2685 2730-2736 2812-2814 2204 2861-2865 2530 2709 2233 2851 2658 2137 2123 2859, 2860 2879,2880 2729 2806 2113 2303 2673-2675 2533 2531, 2553-2555 2578 2852 2130 2777-2780 2700 2604 2627-2629 2353 2762, 2763 2534 2692, 2693 2794 2521 2522 2047 2684 2796 2585 2254 2668 2063 2630 2634 2106 2127 2714 2550 2775 2136 2761 2073 2887, 2888 2256 2881, 2882 2610 2059 2537 2665, 2666 2112 2676 2605 2049


INDEX OF ARTISTS L’ENGLE, JR., WILLIAM JOHNSON L’ENGLE, LUCY STELLE BROWN LAZELL, BLANCHE LECHAY, JAMES LEVER, HAYLEY LEWANDOWSKI, EDMUND D. LINDENMUTH, TOD LITTLEFIELD, WILLIAM HORACE LOEB, DOROTHY LUKS, GEORGE BENJAMIN MAAR, DORA MACKNIGHT, DODGE MACY, WENDELL MACY, WILLIAM FERDINAND MADDEN, FRED MALICOAT, PHILIP CECIL MARCHETTI, LUDOVICO MARTINO, ANTONIO PIETRO MATTER, MERCEDES CARLES MCCONNELL, GEORGE MCGURL, JOSEPH MCNEIL, GEORGE MEESER, LILLIAN BURK MEIERHANS, JOSEPH METCALF, CONGER A. MILLER, RICHARD E. (attr.) MILLET, FRANCIS DAVIS MOFFETT, ROSS E. MORSE, JONATHAN BRADLEY MOVALLI, CHARLES J. MUMFORD, ELIZABETH MURPHY, JOHN FRANCIS MUSICANT, TOBIAS NEWHALL, KATE WHITE NEWMAN, JOSEPH NICHOLAS, T. M. NICHOLSON, BEN NOYES, GEORGE LOFTUS ORDWAY, ALFRED T. OWEN, ROBERT EMMETT PACHT, VILHELM PACKARD, ANNE PALIZZI, ATTRIBUTED TO FILIPPO PARTON, ARTHUR PASKELL, WILLIAM FREDERICK PATTERSON, AMBROSE MCCARTHY PERCY, SIDNEY RICHARD PEREZ, ALFONSO (ALONSO) PEYRAUD, FRANK CHARLES PFEIFFER, HEINRICH HERMAN R. PICASSO, PABLO PLAS, NIEK VAN DER PLUMMER, WILLIS HENRY PRENDERGAST, MAURICE BRAZIL (manner of) QUARTLEY, ARTHUR RICE, BILL J. (Connecticut b. 1952) RICE, HENRY WEBSTER RICHERT, CHARLES HENRY RICKUS, JANET RIZK, ROMANOS ROBERTS, EDWIN THOMAS ROGERS, WENDELL ROSS, ARTEMUS E. ROTCH, BENJAMIN SMITH (attr.)

2738-2748 2749-2752 2770-2772 2132, 2133 2669-2672 2848-2849 2753, 2754 2791-2793 2755, 2756 2342 2143, 2144 2716, 2717 2819 2818 2807 2774 2072 2686, 2687 2122 2535, 2548 2883 2786 2728 2138-2140 2877 2109 2599 2757 2656 2701 2878 2584 2142 2661 2694-2696 2697, 2698 2134, 2135 2667 2539 2721-2726 2062 2815, 2816 2048 2582 2581 2647 2056 2061 2704 2764-2769 2128 2884 2576 2710 2655 2261-2263 2727 2705 2894, 2895 2808, 2809 2055 2876 2260 2528

ROTCH, BENJAMIN SMITH ROTHSCHILD, JUDITH ROUSSEAU, THEODORE (attr.) RUYSCH, RACHEL (manner of) SAWYER, PHIL SCHARY, SAUL SCHOUTEN, HENRY SCHWENDY, ALBERT SCHWENNINGER, CARL SCOTT, JOHN WHITE ALLEN SHAPLEIGH, FRANK HENRY SHATTUCK, AARON DRAPER SHAW, CHARLES GREEN SHEEHAN, DENNIS SHINN, EVERETT SILVA, FRANCIS AUGUSTUS SLOAN, JOHN FRENCH (attr.) SLOANE, ERIC SMITH, JOHN RUBENS (attr.) SMITH, FRANCIS HOPKINSON SMITH, HENRY PEMBER SMITH, RUSSELL SMITH, VERNON B. SOPEL, LYLE SPEIGHT, FRANCIS SPENCER, J.C. STARKWEATHER, WILLIAM STEED, CLINTEL STEVENS, WILLIAM LESTER STOCKS, LINDA NELSON STODDARD, ALICE KENT STUART, JAMES EVERETT SWAN, PAUL SWOPE, H. VANCE SWORD, JAMES BRADE SYKES, ANNIE SULLINGS GOODING THOMPSON, ALBERT TRIEFF, SELINA TUCKER, ALLEN VAN LAER, ALEXANDER THEOBALD VAUGHAN, WALTER A. VEDDER, ELIHU (attr.) VEVERS, TONY VINCENT, HARRY AIKEN VON LANGER, JOSEPH ROBERT VYTLACIL, VACLAV WALKER, HAROLD E. WALTER, MARTHA WEBBER, WESLEY ELBRIDGE WEIRS, PERSIS CLAYTON WENDT, WILLIAM (manner of) WHITESIDE, FRANK REED WHITNEY, HELEN REED JONES WHORF, JOHN WHORF, NANCY WIGAND, OTTO CHARLES WOLEVER BAXTER, ADELEINE WOODBURY, CHARLES HERBERT WOODWARD, MABEL MAY YATER, GEORGE DAVID ZAMPIGHI, EUGENIO EDOUARDO ZUMMO, LORI

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2527 2800, 2801 2046 2070 2344, 2345 2110 2057 2068, 2069 2071 2545, 2552 2540 2551 2124 2885, 2886 2105, 2857, 2858 2660 2639 2702 2231 2601 2583 2536 2773 2301 2120 2257 2681 2846 2679 2357-2359 2760 2609 2711 2715 2607 2707 2255 2805 2636, 2637 2612 2682 2611 2798, 2799 2663 2023 2866-2868 2758 2108, 2854 2659 2299 2117 2253 2635 2781-2785 2804 2706 2348 2712, 2713 2677 2789, 2790 2060 2776

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SESSION I Tuesday, July 26, 2022 The Estate of Antoine Volkoff The Estate of Rev. Trevor Thomas English & Continental Fine and Decorative Art Chinese & Chinese Export Porcelain Silver Contemporary Art American Art & Design Sporting Art Ethnographic & Western Art Americana & Furniture The Collection of Robin & Laurie Young Oriental Rugs

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From the estate of Antoine Volkoff former Counsel General of the Imperial Russian Government in Chicago in the 1930s Lots 2001-2018

2002, eight

2001. CASED COLLECTION OF EIGHT ANTIQUE EUROPEAN GOLD COINS Mostly 19th Century “The Royal Gold Collection”. Includes an Austrian 20 corona from 1915, Belgian 20 francs from 1875, French 20 francs from 1859, German 20 marks from 1904, British sovereign from 1887, Dutch 10 guilden from 1895, Italian 20 lire from 1857 and a Russian 10 roubles from 1899. All ungraded. Approx. 36.80 dwt. 3,000/5,000

2002. EIGHT RUSSIAN ALEXANDER II 5 ROUBLE GOLD COINS Late 19th Century Two 1888, five 1889 and one 1890. Ungraded, though mostly in good to very good condition. Approx. 33.09 dwt. 2,400/3,600

2003. TWO RUSSIAN DOUBLE-EAGLE 5 ROUBLE GOLD COINS 19th Century One 1849 Nicholas I in fair to good condition and one 1877 Alexander II in excellent condition. Ungraded. Approx. 8.34 dwt. 600/900

2004. THREE RUSSIAN 10 ROUBLE GOLD COINS 19th Century One 1894 Alexander II in good to very good condition. Two 1894 Nicholas II, one in good to very good condition and the other very good to excellent. Ungraded. Approx. 19.19 dwt. 1,400/1,800

2005. THREE RUSSIAN NICHOLAS II 15 ROUBLE GOLD COINS All 1897. Ungraded, but two in good to very good condition and one excellent to near-mint. Approx. 24.86 dwt. 1,800/2,400

2006. FOUR RUSSIAN NICHOLAS II 7.5 ROUBLE GOLD COINS All 1897. Ungraded but all in good to very good condition. Approx. 16.57 dwt. 1,200/1,800

2007. TEN RUSSIAN NICHOLAS II 5 ROUBLE GOLD COINS Two 1898 and eight 1899. All ungraded but ranging from good to excellent condition. Approx. 27.47 dwt. 2,000/3,000

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From the estate of Antoine Volkoff

2008. RUSSIAN IMPERIAL ORDER OF SAINT STANISLAUS GOLD MEDAL Late 19th/Early 20th Century 14kt rose gold cross, the front embellished with burgundy red enamel panels and a green enamel wreath surrounding a central porcelain plaque marked with a conjoined “SS”. Faint indiscernible mark on reverse. 2” x 2”. 1,500/2,500

2008

2009

2009. CASED IMPERIAL RUSSIAN FABERGE SILVER FLATWARE SET FOR 24 Late 19th Century In a fiddle-shaped pattern. Complete service for 24 (minus one knife and three demitasse spoons), including serving pieces, for a total of 143 pieces. All pieces with Imperial Russian Faberge marks; many with maker’s marks for Pavel Ovchinnikov (Moscow, 1853-1916) and date marks for 1896. Within its original fitted oak case with the House of Faberge mark on the interior. Approx. 182.6 troy oz. 12,000/16,000

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2010. IMPERIAL RUSSIAN FABERGE SILVER TEA CUTLERY SET IN ORIGINAL BOX 19th Century Marks of Karl Faberge in Cyrillic with Imperial warrant and an untraced maker’s mark. French Empire style with cornucopia and swan decoration. Includes a tea strainer, length 6.75”, a pair of tongs and a small fork. Lacking one small spoon. Original fitted box with Faberge mark on the satin-lined interior. Box height 1.75”. Width 8.25”. Depth 5.25”. Approx 4.4 troy oz. 600/1,000

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2011. IMPERIAL RUSSIAN FABERGE SILVER FLATWARE SET Late 19th Century In a fiddle-shaped pattern with tapered edges. Marks of Karl Faberge; many also with maker’s mark “A.A” and the date 1896. Total of 77 pieces, ten of which are not Faberge but are Russian with maker’s mark “MK”. Consists of: 12 8.25” dinner forks 17 6.5” luncheon forks 9 8.875” tablespoons 13 10” dinner knives 12 8.125” luncheon knives 14 5.875” teaspoons Approx. 93.0 troy oz. 4,000/6,000

2011

2012. ORNATE PORTUGUESE SILVER SAMOVAR AND SALVER TRAY 19th Century In the manner of D. Joao V. The samovar marked for Lisbon, with unidentified maker’s initials. Hinged stand and fixed burner assembly, and a removable cap. Wonderfully detailed to include a duck’s-head spout, mermaid figural ebony swing handle, and bold floral repoussé designs throughout. The salver marked for Portugal (crown over “P”), with unidentified maker’s initials. Octagonal, with fenestrated edge, paw feet and floral chased decoration. Samovar height to top of handle 16”. Diameter 9”. Salver tray height 1.75”. Diameter 13.25”. Both pieces contained within a fitted oak box bearing an interior label for the House of Faberge, Russia. Approx. 150.0 troy oz. (inclusive) 4,000/6,000 2012

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From the estate of Antoine Volkoff

2013. PORTUGUESE SILVER WATER PITCHER AND TRAY 19th Century Both pieces marked for Porto, with untraced maker’s marks. Pitcher with ornate floral repoussé decoration and scrolled handle. Oval melon-ribbed tray with floral edging and a handchased central cartouche with script monogram. Pitcher height 16.25”. Tray height 1.5”. Length 21”. Width 15”. Both pieces contained within a fitted oak box. Approx. 104.4 total troy oz. 2,000/3,000

2014. FINE RUSSIAN ICON OF CHRIST PANTOCRATOR Early 19th Century Ornate repoussé silver riza with a gilded halo. Silver marks for St. Petersburg, 1836, maker’s mark “AC”, and assayer’s mark for Dimitry Ilyich Tverskoy. Set within a wooden frame within a glass-fronted wooden shadow box. Icon 10.5” x 8.5”. Shadow box 14.5” x 12.5” x 3.125”. 1,600/2,200

2014

2015. FINE RUSSIAN ICON OF MARY AND THE CHRIST CHILD 19th Century Detailed chased and gilded silver riza with raised halos. Illegible Russian hallmarks. Set within a wooden frame inside of a glass-fronted wooden shadow box. Icon 10.5” x 8.75”. Box height 14.75”. Width 13”. Depth 3”. 1,400/2,000

2016. RUSSIAN ICON OF CHRIST PANTOCRATOR 19th Century Highly detailed engraved silver riza bearing Russian hallmarks and an unidentified maker’s mark. Icon housed within a glassfronted shadow box frame with a hinged door and a gilt interior frame surmounted with the Dove of Peace. Icon probably not original to the case. Icon 8.75” x 7”. Shadow box height 21.5”. Width 17”. Depth 3.5”. 1,200/2,000

2017. ENAMELED RUSSIAN ICON OF CHRIST PANTOCRATOR 19th Century Highly detailed gilded copper riza with a multicolored enameled halo. Unidentified Russian maker’s mark, and assayer’s mark dated 1876. Height 12.5”. Width 10.5”. Depth 1.25”. 600/900

2018. EASTERN ORTHODOX SILVER ICON OF FOUR SAINTS Probably Russia, 19th Century Enameled gold crucifix surmounted by an image of Christ Pantocrator in the clouds and flanked by angels. Unmarked other than the names of the saints etched into their halos. Height 12”. Width 10”. Depth 1.25”. 1,000/2,000 2015

conclusion of the collection

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2019

2019. CONTINENTAL SCHOOL 16th Century or Earlier A woman comforting Jesus. Unsigned. Oil on panel, 18” x 13.25”. 10,000/15,000

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2020. 17TH CENTURY FRENCH COIN SCALE Circa 1680 Signed on the pans “SBOVTOVDO” surrounding an anchor, and marked with crests on each of the counterweights. Handheld balance with tassel and metal indicator arm, as well as the hanging weight pans, in brass. Includes a set of six brass counterweights. Housed in a gold tooled black leather case. Case length 8”. Width 2.5”. 1,500/2,500 Provenance: The Harriet Wynter Collection, South Kensington, London. Sotheby’s, London, Auction #LN4594, December 1994. The Kelton Collection of Marine Art & Artifacts.

2020

2021. CONTINENTAL INLAID BOX Possibly 17th Century Geometric patterns formed from inlaid bone, ebony and other mixed woods. Fitted with three side-by-side drawers over a full-width drawer. Height 8”. Width 11.5”. Depth 8”. 2,500/3,500

2021

2022. CONTINENTAL SCHOOL 18th Century “Cattle by the Lake”. Unsigned. Oil on canvas, 23.75” x 32”. Framed 30” x 38.5”. 2,000/3,000

2022

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2023. JOSEPH ROBERT VON LANGER Germany, 1783-1846 Interior scene. Signed lower left “R v Langer”. Oil on canvas, 24” x 20”. Framed 29” x 25”. 4,000/6,000

2023

2024

2024. DUTCH WRITING DESK Mid-18th Century In walnut with chestnut secondary woods. Serpentine top. One full-width drawer with a mahogany drawer front. Carved and molded skirt. Accentuated cabriole legs end in pad feet. Stamped on underside of drawer “CTE Amelot”. Height 30”. Width 45”. Depth 25”. 1,500/2,500 Provenance: Count of Nassau Friesland, The Netherlands.

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2025. TALL-CASE CLOCK BY THOMAS READ Ipswich, England, First Half of the 18th Century Mahogany case. Bonnet with coffin-style top. Brass eagle and turned steeple-top finials supported by fluted plinths with brass stop fluting. Arched glazed dial door flanked by full fluted columns with brass stop fluting. Trunk with arched molded pendulum door and chamfered fluted corners with brass stop fluting. Engraved burnished steel dial with Roman numerals, second sweep, calendar dial and moon phase. Face dated 1737. Musical works with eight graduated bells and a strike bell. Height 98.5”. Width 20.25”. Depth 9”. 4,000/6,000

2026. GEORGIAN LIFT-TOP MAHOGANY BOX Mid-18th Century With molded cover, shaped corners and original brass willow escutcheon. Height 6”. Width 19.5”. Depth 10”. 500/800

2027. GEORGIAN POLE SCREEN London, Circa 1760 In mahogany. Rectangular fabric-covered screen. Pole with ring turnings and spiral carvings. Acanthus leaf-carved cabriole legs end in elongated padded slipper feet. Height 60.5”. 600/900

2028. FOUR HAND-COLORED BOTANICAL PRINTS Late 18th/19th Century 1) “Bremus Hirsutus”, Franciscus Sansom, engraver. 17.5” x 7.25” sight. 2) “Melina Nutans”, S. Edwards, engraver, after Franciscus Sansom. 17.5” x 7.25” sight. 3) “Panicum Viride”, engraver unknown. 17.5” x 7.25” sight. 4) “Iberia Nudicautis”, engraver unknown. 7.25” x 4.75” sight. Each framed 24.5” x 17.25”. 250/350

2029. GILT LOOKING GLASS Late 18th Century Probably French. Crest with garlands and an oval medallion depicting a sheaf of wheat surrounded by stars and leaves. Garland at base. Height approx. 34”. Width 18.25”. 500/800

2025

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2030

2030. GEORGIAN QUILLWORK (ROLLED PAPER) TEA CADDY Circa 1790 Elongated hexagonal form. Quillwork panels, in floral and cornucopia designs, under glass. Hinged lid with metal bail handle, opens to reveal a liftout lid with small knob. Wooden front panel and wooden edges of case with line inlay. Height 6”. Width 9”. 1,000/1,500

2031

2031. GEORGIAN QUILLWORK (ROLLED PAPER) TEA CADDY Circa 1790 Elongated hexagonal form. Quillwork in floriform and scroll patterns. Hinged lid with metal bail handle, opens to reveal a lift-out lid with brass knob. Front with a threadwork monogrammed panel beneath bull’s-eye glass. Height 6”. Width 7.5”. 700/900

2032. OCTAGONAL SHELL TEA CADDY Early 19th Century Domed cover. Signed “Lund. Estab. 1796 55-56 Chornhill ...”. Height 5”. 1,000/1,500

2032

2033. MELON-SHAPED FRUITWOOD TEA CADDY Early 19th Century Hinged lid with naturalistic knop. Ribbed body. Height 4.5”. 1,500/2,000 2033

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2034. CHINESE PORCELAIN UMBRELLA OR CANE STAND Circa 1850 Gilt rim. Ribbed sides with orange and sepia scenic decoration. Height 24”. 800/1,200

2035. CHINESE PORCELAIN VASE First Half of the 19th Century Intricate paneled mandarin decoration and Greek key borders in orange and sepia with gilt highlights. Height 23.5”. 1,000/1,500

2034

2035

2036. CHINESE EXPORT LACQUERED SEWING BOX 19th Century Figural landscape and butterfly decoration. Hinged paneled lid opens to reveal a fitted interior containing various sewing implements. Single drawer below. Paw feet. Height 6”. Width 14”. Depth 10”. 800/1,200 2036

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2037. CHINESE EXPORT CANTON PORCELAIN PLATTER 19th Century Blue and white figural village decoration. Diameter 18”. 400/700

2037

2038. TWO EXCEPTIONAL CHINESE EXPORT ROSE MEDALLION PORCELAIN HEXAGONAL GARDEN SEATS Mid-19th Century Nearly identical paneled decoration of figures, gamecocks, butterflies, exotic birds, fruit, flowers, etc., interspersed with raised gold buttons and pierced medallions. Heights approx. 19”. Widths 12”. 3,000/4,000 2038, two

2039. CHINESE EXPORT ROSE MANDARIN PORCELAIN COVERED TUREEN Mid-19th Century Applied twist handles. Gilt ground. Height 9.5”. Length 12.75”. 800/1,200

2039

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21


2040. CHINESE EXPORT PORCELAIN SIX-PIECE GARNITURE SET 18th Century Three larger vases and three smaller, with famille rose and flower vase decoration and cobalt blue trim. Heights to 11.5”. 1,500/2,000

2040, six

2041. TWO CHINESE EXPORT ROSE MANDARIN PORCELAIN SERVING ITEMS Second Quarter of the 19th Century An oval platter, length 11”, and a rectangular shallow dish, both with central mandarin decoration and gilt highlights. 500/1,000 2041, two

2042. PAIR OF CHINESE EXPORT MANDARIN AND FAMILLE ROSE PORCELAIN TAZZE Second Quarter of the 19th Century Paneled decoration. Heights 4”. Diameters 11”. 600/900

2042, pair

2043. CHINESE EXPORT CELADON PORCELAIN CHARGER Mid-19th Century Floral decoration at center, and insect and foliate decoration around border. Diameter 13.25”. 400/600

2044. CHINESE EXPORT CELADON PORCELAIN CHARGER Mid-19th Century Mandarin decoration at center, and animal, flower and insect decoration around border. Diameter 13.5”. 400/600 2043

2044

22

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2045

Jean-Antoine Belleteste came from one of the foremost families of carvers in France, active in Dieppe in the Late 18th and Early 19th Centuries. He is perhaps best known for producing a set of Four Seasons statuettes for Marie Antoinette.

2045. EXQUISITE CARVING ATTRIBUTED TO JEAN-ANTOINE BELLETESTE France, Late 18th/19th Century Foliate and floral carvings surround an oval aperture depicting a highly detailed scene of figures, animals and trees. Housed in an octagonal gilt shadow box. Shadow box 10.75” x 10.75”. 15,000/20,000

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2046

2047

2046. ATTRIBUTED TO THEODORE ROUSSEAU France, 1812-1867 Barbizon landscape. Unsigned. Old label verso with handwritten inscription “Theodore Rousseau 1812-1867 Barbizon Landscape Collection Samuel P. Avery”. Accompanied by a digital copy of a letter written by Mr. B. Wolf on Hammer Galleries letterhead stating the painting was from the collection of William Randolph Hearst. Oil on canvas, 15.5” x 19.5”. Framed 20” x 25”. 5,000/10,000

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2047. HENRI-JOSEPH HARPIGNIES France, 1819-1916 Coastal landscape. Signed lower right “HJ Harpignies”. Oil on canvas, 15” x 18”. Framed 20” x 23”. 3,000/5,000

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2048. ATTRIBUTED TO FILIPPO PALIZZI Italy/France, 1818-1899 Shepherd boy. Unsigned. Oil on board, 16” x 12.25”. Framed 24” x 19.5”. 1,500/2,500

2049. CHARLES EUPHRASIE KUWASSEG France, 1833-1904 River town. Signed lower left “C. Kuwasseg”. Oil on canvas, 7.5” x 10.5”. Framed 16.5” x 19.5”. 1,000/1,500

2050. RAOUL MAUCHERAT DE LONGPRE France, 1843/59-1911 Still life of lilacs. Signed lower right “Raoul de Longpre”. Gouache on canvas, 21” x 14”. Framed 28” x 21”. 1,500/2,500 2048

2049

2050

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2051. 18TH CENTURY FRENCH SURVEYOR’S BRASS SEMICIRCLE Paris, Circa 1760 Signed on the sighting arm “Martin au Temple - Paris”. Graphometer with divided semicircle pierced and engraved with scrolls and inset with a glazed compass. Pivoted alidade with slit sights and vernier reading to the nearest minute of arc. Ball and socket joint. Includes original fitted leather-covered case. Displayed on a later box stand painted black. Height not including stand 9”. Diameter of arc 12”. 800/1,200 Provenance: Christie’s New York, Scientific Instruments Auction, 1986. The Kelton Collection of Marine Art & Artifacts. Exhibited: Pacific Asia Museum at U.S.C., Trade and Treasure Exhibition, 1987.

2051

The graphometer is a basic surveying instrument for measuring angles or bearings between two points. More than one sight can be taken to obtain a position by a fix or triangulation. This information can then be drawn on a chart or charted information can be compared to the visual sighting. The graphometer can also be used vertically to measure altitudes. To facilitate this use the instrument has a ball and socket joint to its mount. The graphometer was first described by Philippe Danfrie (d.1616) in Paris about 1597. It remained in use for more than 200 years. It was frequently carried on ships for hydrographic surveying on landfalls. This is the type of instrument George Washington could have used as a young surveyor.

2052. 19TH CENTURY FRENCH SYMPIESOMETER Circa 1873 Essentially a compact alcohol barometer. Signed “Brevete S.G.D.G.” on the face below the thermometer. Brass-bound paper scales marked “Thermometre Centigrade” and “Hauteurs Barometriques”, and entitled “Barometre Absolu H.H. -- Preseute a la Academie des Sciences Juil’Pet 1873 --F.F.”. Housed in a solid hardwood case with a decoratively carved bamboo motif frame. Large legible paper label on the sliding back panel is titled “Mode D’emploi” and describes the use of the instrument’s barometer and thermometer functions. Inscribed at the bottom with the name and the address of the printer “Paris-Imprimerie Silvain Dennery, 40 rue des Blancs-Monteaux”. Reverse further marked with instructions on another label “Réglage du Baromètre (Regulating the Barometer)”. By sliding down this back panel, which has ornate brass hangers, the interior mechanisms are revealed. At the top is a chart listing the altitudes of 50 various cities in France, entitled “Altitudes de quelques villea (France)”. Below this is a mercury thermometer and then the snaking barometer tube. In the middle is a chart similar to the one found at the top for “Belgique” and areas of “Alsace Lorraine” and “Bruxellea”. At the bottom is the sliding altitude scale adjustment “Pour regler le Barometre Altitude”, which is marked in meters from 0-500. Height 13”. Width 10.25”. 800/1,200 2052

Provenance: West Sea Company, Old Town San Diego, California, 2001. The Kelton Collection of Marine Art & Artifacts.

The sympiesometer, invented by Scotsman Alexander Adie in 1818, is fitted with a large bulb mercury thermometer with built-in mechanical adjusting features to compensate for the observer’s altitude and temperature in order to ascertain an accurate barometric reading. The reading so obtained is in centimeters of mercury with the additional read-out (by means of a clever plumb-bob) indicating weather trends such as “Tres Sec, Variable, Tempete (Very Dry, Variable, Stormy)”. Sympiesometers are often combined with other marine instruments. This instrument is in working condition and is extremely rare, especially considering its French origin and manufacture.

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2053. EDWARDIAN WALL-MOUNTED BANJO BAROMETER London, Circa 1900 Signed “Cox, 128 Holborn Hill London” at the bottom around the level. Mahogany case with decorative molded edges. Fitted with a hygrometer, thermometer, aneroid barometer and level, each of the instruments with a silvered face with blackened Arabic numerals. Hydrometer and barometer with brass bezels. Access and calibrating instructions on the back. Height 42”. Diameter 14”. 800/1,200

2054. THREE GILT-DECORATED COBALT BLUE GLASS LIQUOR BOTTLES First Half of the 19th Century Probably English. Marked “Hollands”, “Rum” and “Brandy”. Stoppers with coordinating letters. Heights to 9.75”. 250/350

2055. EDWIN THOMAS ROBERTS England, 1840-1917 “Naval Manoeuvres”. Signed lower right “Edwin Roberts”. Titled on frame plaque. Oil on canvas, 28” x 26”. Framed 34” x 42”. 3,000/5,000 Provenance: Christie’s, London, March 19, 1998, Lot #62. Private Collection, Florida.

2053

2055

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27


2056. SIDNEY RICHARD PERCY England, 1821-1886 Landscape with sheep and a boy fishing. Signed lower right “S.R. Percy”. Oil on canvas, 14.75” x 23”. Framed 22” x 31”. 4,000/6,000

2056

2057. HENRY SCHOUTEN Belgium/Indonesia, 1859/1867-1927 A setter on point. Signed lower right “H. Schouten”. Oil on canvas, 12” x 16”. Framed 19” x 23”. 1,200/1,800

2057

2058. SET OF EIGHT CONTINENTAL LEATHER-UPHOLSTERED SIDE CHAIRS Late 19th Century In mahogany. Finials carved in the form of differing male figural busts, all wearing unusual headgear. Acanthus-carved legs fitted with brass casters. Back heights 40”. Seat heights 18”. 1,000/2,000

2058, two of eight

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2059. JOSEF ISRAELS The Netherlands, 1824-1911 Mother and daughter in an interior. Signed lower left “Josef Israels”. Oil on canvas, 13” x 15”. Framed 22” x 24”. 5,000/7,000

2059

2060. EUGENIO EDOUARDO ZAMPIGHI Italy, 1859-1944 Interior scene of people playing a card game. Signed lower right “E. Zampighi”. Oil on canvas, 12” x 16”. Framed 17” x 21.5”. 3,000/5,000

2060

2061. ALFONSO (ALONSO) PEREZ Spain, 1881-1914 “The Farewell”. Signed lower right “AlonsoPerez”. Titled on frame plaque. Oil on beveled panel, 29” x 37”. Framed 40” x 48”. 3,000/5,000 Provenance: Christie’s, London, March 17, 1994, Lot #182. Private Collection, Florida.

2061

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2063

2062. VILHELM PACHT Denmark, 1843-1912 Wonderful composition of light and darkness in a room, showing a sculpture of cupid and the shadows of a kissing couple on the wall to the right of cupid. Signed and dated verso on upper stretcher bar “Vilhelm Pacht 1876”. Oil on canvas. Framed. 800/1,200

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2063. IN THE MANNER OF PAUL CESAR HELLEU New York/France/England, 1859-1927 Portrait of Jeanne Trouissant. Signed lower right “P. Helleu”. Housed in an elaborate gilt frame. Pastel on paper, 30.5” x 39”. Framed 46” x 57.5”. 8,000/10,000

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from the estate of

Reverend Trevor E.G. Thomas of Westerly, Rhode Island Lots 2064-2089

v

2064

2064. ADRIEN LOUIS DEMONT France, 1851-1928 Dramatic red sky at sunset. Signed lower left “Adrien Demont”. Oil on canvas, 43.5” x 53”. Framed 56.5” x 67”. 2,000/3,000

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2065. RUSSIAN ICON DEPICTING ST. NICHOLAS Early 20th Century Brass riza. Depicts St. Nicholas gesturing Christ’s initials with one hand and holding a Bible in his other hand. Set within a shadow box. Oil on wood panel, 10” x 8.25”. Shadow box frame 13.5” x 12”. 600/800

2065

2066. PAIR OF GRAND TOUR-ERA ANGELS AFTER FRA ANGELICO Italy, 19th Century Hand-painted angels on a gilt background housed in ornate gilt Gothic-style frames. Labels verso for “Gallery C. Le Romoli Florence”. Panels 16.5 x 6”. Framed 28” x 10”. 700/1,000

2067. LARGE LOT OF CHINESE EXPORT PORCELAIN 19th Century Includes: 1) A rose medallion bowl. Diameter 11.5”. 2-13) Twelve rose medallion plates. Diameters 8.25”. 14-19) Six two-handled cups. 20-21) Two rose medallion bowls. Diameters 4.75” and 6”. 22) A rose mandarin spoon. 23) A small rose medallion teapot with entwined handle. Height 4.25”. 24-27) Four rose medallion saucers. Diameters 4”. 28-31) Four plates with butterfly decoration. Diameters 8.5”. 32) A rose medallion leaf-form tray. Length 7.5”. 33) A rose medallion cut-corner square dish. 8” x 8”. 34) A rose medallion plate. Diameter 7”. 35) A rose mandarin two-handled squat bowl with nonconforming cover. Diameter 9”. 600/800

2066, pair

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Estate of Reverend Thomas of Westerly

2068. ALBERT SCHWENDY Germany, 1820-1902 View of St. Pierre, Normandie, France. Signed and dated lower left “A. Schwendy 1859”. Oil on canvas, 31” x 24.75”. Framed 33” x 27”. 1,500/2,500

2068

2069. ALBERT SCHWENDY Germany, 1820-1902 European city, possibly Paris. Signed and dated lower right “A. Schwendy 1859”. Oil on canvas, 30.5” x 24.75”. Framed 33” x 27”. 1,500/2,500

2069

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33


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2070. IN THE MANNER OF RACHEL RUYSCH The Netherlands, 19th Century or Earlier Floral still life. Unsigned. Frame plaque marked “Rachel Ruysch 1693”. Oil on cradled board, 19.5” x 14.75”. Framed 24.75” x 20.25”. 1,500/2,500

2071. CARL SCHWENNINGER Austria, 1818-1887 The conversation. Signed lower left “C. Schwenninger”. Oil on board, 13.5” x 10.75”. Framed 18.25” x 15.5”. 1,500/2,500

2070

2072. LUDOVICO MARCHETTI Italy, 1853-1909 The duel. Signed and dated lower right “L.Marchetti 1932”. Oil on artist board, 11.25” x 18”. Framed 16” x 22.75”. 2,000/3,000

2072

2071

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Estate of Reverend Thomas of Westerly

2073. AFTER JEAN-ANTOINE HOUDON 19th Century Bust of Benjamin Franklin. A later plaster cast after the original 1778 version by Houdon. Height 19.5”. Diameter of base 12”. 1,000/1,500

2074. WEDGWOOD QUEENSWARE PARCEL-GILT MANTEL CLOCK Late 19th Century Architectural Queensware case with floral and vine decoration, a globe finial and a pediment inscribed “Eheu! Fugaces Labuntur Anni” (Alas! The Fleeting Years Slip By). Unmarked white porcelain dial with black Roman numerals and a brass center with sunburst decoration. Height 12.75”. 500/700

2075. SETH THOMAS CORSAIR MODEL 1004-000 SHIP’S BELL CLOCK America, Mid-20th Century Signed “Seth Thomas” below the center. Brass case with hinged bezel. Silvered face with Arabic numerals. Bezel diameter 5.25”. 250/350

2073

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2076

2076. GORHAM STERLING SILVER COVERED TUREEN America, Circa 1831 Length 13”. Appox. 61.6 troy oz. 700/1000

2078. GORHAM "OLD COLONY" STERLING SILVER FLATWARE SERVICE America, Circa 1926 Approx. 109.3 troy oz. 1,500/2,500

2077. SIX GORHAM WEIGHTED STERLING SILVER CANDLESTICKS America, 20th Century All marked “Gorham”. Heights 3.5” and 10”. 400/600

36

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Estate of Reverend Thomas of Westerly

2079. STERLING SILVER TAZZA Early to Mid-20th Century Chased foliate and floral design around rim and base. Unidentified maker’s mark on underside. Height 4”. Diameter 8”. Approx. 12.8 troy oz. 250/350 2079

2080. GEORG JENSEN STERLING SILVER FOOTED BOWL #197B Denmark, Early 20th Century Hammered bowl on an openwork foliate base. Height 4.5”. Diameter 5.75”. Approx. 9.0 troy oz. 600/800

2081. GEORG JENSEN STERLING SILVER PEDESTAL BOWL #364 Denmark, Circa 1920 Marked on base. Height 3.875”. Diameter 5.25”. Approx 7.6 troy oz. 500/700

2080

2082. FIVE PIECES OF GEORG JENSEN STERLING SILVER Denmark, 20th Century A knife, a ladle, a soup spoon and two forks. Approx. 4.2 troy oz. weighable 400/600 2081

2083. GEORG JENSEN STERLING SILVER "BLOSSOM" PATTERN SAUCE BOAT AND SPOON #177 Denmark, Early 20th century Hand-hammered, the sauce boat with a scrolled and beaded handle and hand-chased foliate band. Height 5”. Length 8”. Width 3.75”. Spoon length 7.5”. Approx. 14.0 total troy oz. 800/1,200

2083

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2084

2087

2084. GEORG JENSEN STERLING SILVER CIGARETTE BOX #507B Denmark, Circa 1920 Lid with Art Nouveau design. Interior lined in velvet. Marked on underside by Gundorph Albertus for Georg Jensen. Height 1.5”. Length 5.5”. Depth 3.75”. Approx. 9.0 troy oz. 600/800

2085. TIFFANY & CO. CARRIAGE CLOCK WITH REPEAT France, Mid-20th Century Brass case with beveled glass panels. White enameled face with black Arabic numbers. Dial marked “Tiffany & Co. France”. Eleven-jewel movement. Height exclusive of handle 5”. 600/800

38

2086. THREE TIFFANY & CO. STERLING SILVER ITEMS New York, 20th Century A pair of vegetable dishes, lengths 8.75”, and a reproduction Paul Revere porringer, length 8.75”. All marked “Tiffany & Co.” on base. Approx. 37.2 total troy oz. 500/700

2087. KALO SHOPS HAND-WROUGHT SILVER FLORIFORM TRAY Chicago, Early 20th Century Raised monogram “EE”. Diameter 13.25”. Approx. 26.6 troy oz. 400/600

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Estate of Reverend Thomas of Westerly

2088. PATRICK NORDSTROM FOR ROYAL COPENHAGEN COVERED STONEWARE VESSEL Denmark, 1920 Glazed stoneware vessel with raised ribbed panels. Conforming brass top with etched border. Glazed signature on base with three-line wave mark and artist’s initials. Dated “5.7.20”. Height 7.25”. 700/1,000

2088

2089. TIFFANY STUDIOS DESK LAMP New York, Circa 1910 Base marked “Tiffany Studios New York 613”. Favrile glass shade appears to be of the period but is unmarked and possibly a replacement. Height 19”. 700/1,000

conclusion of the collection

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2089

39


2090. RARE BOOK THE ARTWORK OF LOUIS C. TIFFANY, 1914 Garden City, New York: The Country Life Press, 1914. Numbered 110 from the edition of 492. Printed on Japan paper. Front free endpaper inscribed to Dr. Frederick S. Dennis, with the best wishes of Louis C. Tiffany, June 1916. Embossed gilt boards. 12.5” x 10”. 2,000/3,000

2090

2091. LOUIS COMFORT TIFFANY BLUE FAVRILE GLASS CANDLE LAMP New York, Early 20th Century Base with twist design, signed “L.C.T. Favrile”. Shade signed at collar “L.C. Tiffany Favrile”. Height 12”. Diameter of shade 8”. Diameter of base 3.75”. 800/1,200

2092. LOUIS COMFORT TIFFANY BLUE FAVRILE GLASS BOWL New York, Early 20th Century Ribbed circular form. Signed with typical etched signature “L.C.T. Favrile”. Height 3”. Diameter 6.5”. 500/800 2091

2093

2093. TIFFANY STUDIOS GRAPEVINE TEN-PIECE DESK SET Early 20th Century Green slag glass and bronze. Includes a letter holder, a small box, four blotter corners, a frame, a calendar holder, a pen tray and a letter opener. Lengths from 5.5” to 10”. 2,000/3,000

40

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2097

2095

2094

2096

2094. HANDEL FLOOR LAMP Early 20th Century Paneled green slag glass shade, the lower edge panels with molded tree and landscape design. Bronze base with four sockets, acorn-form pulls and a leaf and petal design on foot. Molded on underside of base “Handel”. Height 65”. Shade 25” x 25”. 2,500/3,500

2095. HANDEL TABLE LAMP First Quarter of the 20th Century Paneled multicolored slag glass shade with bronze overlay in an elaborate tropical landscape design. Height 23.75”. Shade diameter approx. 18.5”. 1,800/2,500

2096. HANDEL TABLE LAMP First Quarter of the 20th Century Maize-colored and cobalt blue slag glass shade in a basketweave design. Bronze base with two sockets and acorn-form pulls. Both shade and base signed. Base height 25.5”. Shade diameter 19”. 1,500/2,500

2097. HANDEL TABLE LAMP First Quarter of the 20th Century Green and blue slag glass shade with bronze overlay in brick design, the lower panels with a tree-filled landscape. Base with sockets and acorn-form pulls. Height 28.5”. Shade diameter approx. 20”. 1,500/2,500

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2098. RARE TIFFANY & CO. STERLING SILVER BABY SET New York, Circa 1930 A cup, a bowl, a plate, a fork and two spoons, with etched decoration of squirrels and oak leaves and with “Mary Elizabeth” in block lettering. Stamped on base “Tiffany & Co. 18080D Makers Sterling Silver”. Plate diameter 7.5”. Approx. 28.4 troy oz. weighable 1,800/2,200

2098

2099. TIFFANY & CO. STERLING SILVER TEN-PEICE DRESSER SET New York, Early 20th Century Two brushes, a hand mirror, a glass perfume bottle, four covered jars, a lint brush with undertray and a shoe horn. Approx. 27.8 troy oz. weighable 800/1,200

2100. UNUSUAL PAIR OF URN-FORM KNIFE BOXES Late 19th/Early 20th Century In walnut and walnut veneer. Heights 24”. 600/800

2101

2101. PAIR OF R.F.H. CLANCEY BRASS DOG-FORM ANDIRONS Needham, Massachusetts, Circa 1910 Seated Labrador retrievers in profile, the heads and bodies accurately rendered. The only example of this form we have encountered. Signed on backs “Richard F.H. Clancey South St. Needham, Mass.”. Wonderful patina. Heights 15”. Depths 20.5”. 500/1,000

2102. ARTHUR BOWEN DAVIES New York/California/Italy, 1862-1928 Man with a goat. Signed lower left “Arthur B. Davies”. Mixed media, 24” x 17”. Framed 33.6” x 26.5”. 1,200/1,800 2102

42

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2104

2103. INTERNATIONAL "ROYAL DANISH" STERLING SILVER FLATWARE SERVICE Not monogrammed. Consists of: 9 7” forks 8 6.5” forks 8 soup spoons 8 tablespoons 9 teaspoons 8 8.75” knives (stainless steel) 8 hollow butter spreaders with sterling silver blades Approx 60.8 troy oz. weighable 1,200/1,500

2104. RARE AND WONDERFULLY WHIMSICAL HAND-CARVED BICYCLE Circa 1900 The body shaped as a seahorse or dragon, the seat and pedals in fish form, the handlebar with bird’s-head grips and the spokes formed as hooved legs. Painted gold. Purportedly this was a movie prop in the 1902 George Méliès film “Le Voyage dans la Lune (A Trip to the Moon)”. Another example is in the collection of Heritage Museums & Gardens, Sandwich, Massachusetts. Mounted on a contemporary stand. Bicycle height 33”. Height on stand 45.5”. Length 48”. 7,000/10,000 Provenance: Purchased by the current owner from a New York dealer.

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43


2105. EVERETT SHINN New York/Pennsylvania, 1876-1953 “Leda and the Swan”. Inscribed, signed and dated lower left “Stewart Walker from Everett Shinn 1910”. Label verso for Wildenstein & Co, Inc. Conte crayon and pastel on paper, 14.5” x 15” sight. Framed 25” x 25.5”. 4,000/6,000 Provenance: Collection of Irving Mitchell Felt, owner of Madison Square Garden, then descended through family.

2105

2106. ALBERT HERTER California/New York/France, 1871-1950 “Flowers in a White Ginger Jar”. Signed in upper left corner. Housed in a period frame, possibly the original. Oil on canvas, 30.25” x 25.25”. Framed 38” x 33”. 5,000/8,000 Albert Herter was born into the noted Herter family of craftsmen and artists. He was the son of Christian Augustus Herter, co-founder of Herter Brothers, interior designers and cabinetmakers for the Gilded Age millionaires of New York.

2106

44

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KONRAD CRAMER New York/Germany, 1888-1963

2107

2107. “Hollyhocks, 1928”. Signed and dated lower right “Konrad Cramer 1928”. Titled on gallery label verso. Oil on board, 20.75” x 13”. Framed 37.5” x 27.5”. 15,000/20,000 Provenance: Zabriskie Gallery, New York. Gerald Peters Gallery, New York. Meyer & Vivian Potamkin, Pennsylvania. Sotheby’s, New York, American Paintings, Drawings & Sculpture from the Collection of Meyer & Vivian Potamkin, May 21, 2003, Lot #41. Private Collection, Massachusetts.

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45


2108. MARTHA WALTER Massachusetts/Pennsylvania/France, 1875-1976 Floral still life. Signed lower right “Martha Walter”. Estate stamped verso. Oil on canvas, 21” x 26”. Framed 30.5” x 37”. 2,500/3,500

2108

2109. ATTRIBUTED TO RICHARD E. MILLER America, 1875-1943 An outdoor tea party. Unsigned. Oil on canvas, 25.5” x 30.25”. Framed 29” x 35.5”. 2,500/3,500

2109

2110. SAUL SCHARY New York/New Jersey, 1904-1978 “Mama’s Chocolatier & Peonies - New Milford Studio”. Signed lower right “Schary”. Titled verso. Oil on canvas, 24” x 20”. Framed 32” x 27.5”. 800/1,200

2110

46

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2111. IMPRESSIONIST SCHOOL 20th Century Mediterranean scene. Signed “MH” in oil lower right. Oil on canvas, 30” x 30”. Framed 36” x 36”. 2,000/3,000

2111

2112. VASYL KHMELUK Ukraine/France/Russian Federation, 1903-1986 “Fleurs les Chambs 1942”. Signed and dated upper right “V. Khmeluk 42”. Titled verso. Oil on canvas, 14” x 17”. Framed 18” x 22”. 800/1,200

2112

2113. ROBERT AARON FRAME California/United Kingdom, 1924-1999 Monterey coast. Signed lower left “R. Frame”. Inscribed verso “To Alice with Love 1961 Bob”. Oil on canvas, 26” x 40”. Framed 27” x 41”. 1,500/2,500 Provenance: Stewart Galleries, Palm Springs, California. Private Collection.

2113

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47


2114

2115

2114. GERSHON BENJAMIN New York/New Jersey/Romania, 1899-1985 “Dunking”. Signed lower left “Gershon Benjamin”. Titled verso. Watercolor on paper, 17” x 23.5” sight. Framed 23” x 30”. 2,500/3,500

48

2115. GERSHON BENJAMIN New York/New Jersey/Romania, 1899-1985 Yellow house in a landscape. Signed lower right “Gershon Benjamin”. Mixed media on paper, 11.5” x 17” sight. Framed 18.25” x 24.25”. 1,500/2,000

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2116

2117

2116. NICOLAI S. (NICOLA) CIKOVSKY New York/Russian Federation, 1894-1984 Cove landscape. Signed lower right “N. Cikovsky”. Oil on canvas, 22” x 32”. Framed 26” x 36”. 1,500/2,500

2117. IN THE MANNER OF WILLIAM WENDT California/Illinois, 1865-1946 Farmers in a landscape. Signed and dated lower right “William Wendt 1926”. Housed in a frame by Vandeuren, Los Angeles. Oil on canvas, 17” x 21.5”. Framed 23” x 28”. 2,000/3,000

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49


2118. DAVID DAVIDOVICH BURLIUK New York/Russian Federation/Ukraine/China, 1882-1967 Figures with livestock. Signed lower left “Burliuk”. Oil on board, 9” x 12” sight. Framed 14” x 18”. 1,200/1,800

2119. BRIAN BALLARD Ireland, b. 1943 Still life of an iron and a stack of books. Signed and dated lower right “Ballard 2003”. Oil on canvas, 12” x 16”. Framed 18” x 23”. 1,500/2,500 2118

2120. FRANCIS SPEIGHT Pennsylvania/North Carolina, 1896-1989 “Kings Mountain North Carolina”. Titled, and signed and dated in pencil verso “Francis Speight 1935”. Oil on board, 7.5” x 11”. Unframed. 800/1,200

2121. ARTHUR BEECHER CARLES, JR. Pennsylvania, 1882-1952 Two figural studies. One signed lower right “Arthur B. Carles” and the other unsigned. Crayons on paper, the largest 6.5” x 9.75” sight. Framed 14.5” x 18”. 800/1,200 Provenance: David David, Inc. 2119

2122. MERCEDES CARLES MATTER New York/Pennsylvania, 1913-2001 Three landscape drawings. Unsigned. Estate stamped verso. Charcoals on paper, 6” x 8” sight. Framed 8” x 10”. 800/1,200

2123. EDWIN REEVES EULER Massachusetts/Washington, D.C./Nevada, 1896-1982 Still life of a glass bottle and a square white bowl of apples. Signed lower right “Reeves Euler”. Oil on canvas laid on board, 12” x 14”. Framed 23” x 25”. 500/700 Provenance: Greenwich, Connecticut estate. 2120

50

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C H A R L E S G R E E N S H AW New York, 1892-1974

2124

2124. “Silent Night 1943”. Signed verso “Charles G. Shaw”. Titled and dated verso. Oil on canvas board, 24” x 19.75”. Framed 25” x 21”. 5,000/10,000 Provenance: The estate of the artist to Charles H. Carpenter.

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51


2125. LUDWIG BEMELMANS New York/France, 1898-1962 To the Tiger in the Zoo, Madeline just said “Pooh, Pooh”. Signed and numbered “Bemelmans 35/300” in pencil lower margin. Color lithograph on wove paper, image size 24” x 19.5”. Sheet size 29” x 24”. Unframed. 1,500/2,500

2126. EDWIN HOWLAND BLASHFIELD New York/Massachusetts, 1848-1936 “Carnegie Hall”, possibly an image of the Assumption. Unsigned. Inscribed verso “E H Blashfield Carnegie Hall”. Oil on board, 20” x 10”. Framed 24.5” x 14.5”. 800/1,200

2125

2127. EUGENE HIGGINS New York/Connecticut/Kansas/Missouri, 1874-1958 Restaurant interior. Signed lower left “Higgins”. Charcoal on paper, 12” x 16” sight. Framed 18” x 21”. 500/800

2127

2126

52

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2128. PABLO PICASSO Spain/France, 1881-1973 “Femme”. Madoura Studio ceramic pitcher with abstracted figure of a semi-nude woman, possibly inspired by the artist’s second wife, Jacqueline Roque. Decorated with thick brush strokes in a palette evoking the Mediterranean and the Cote D’Azur and highlighting the piece’s curving figure. Painted inscription “Edition Picasso” with the “Edition Picasso” and “Madoura Plein Feu” impressed backstamps. Height 13”. Diameter of base 3.5”. 5,000/7,000

2128

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53


2129. PAUL EVANS STOOL Circa 1970 Patinated metal base. Signed on base “PE 70”. Top with later blue floral upholstery. Height 19”. Width 24.5”. Depth 19”. 1,000/1,500

2129

2130. JIM GOLDBERG America, b. 1953 Untitled (“To my discomfort I am often considered a grand dame…”). From the “Rich and Poor” series, circa 1985. Gelatin silver print, sheet size 14” x 11”. Framed 16.25” x 14.5”. 1,000/1,500 Literature: Rich and Poor: Photographs by Jim Goldberg (N.Y.: Random House, 1985).

2130

54

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2131

2131. JOSEPH AMAR New York/Canada, 1954-2001 Abstract. Signed and dated lower right “Amar 78”. Mixed media on paper, 25.5” x 39.5” sight. Framed 32” x 46”. 1,500/2,500

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55


2132. JAMES LECHAY Massachusetts/Iowa, 1907-2001 “Three Part Landscape 1987”. Signed lower right “James Lechay”. Titled verso. Oil on board, 22” x 30”. Framed 24.5” x 34”. 1,500/2,000

2132

2133. JAMES LECHAY Massachusetts/Iowa, 1907-2001 Still life of fruit. Signed upper left “James Lechay”. Mixed media, 10” x 11.75” sight. Framed 11.25” x 13.25”. 800/1,200

2133

2134

2134. BEN NICHOLSON United Kingdom, 1894-1982 “Bird Form”, 1969. Signed “Nicholson” and dated 1969 in pencil lower right. Waddington Graphics, London, label on the frame back. Lafranca 112 (print). Drypoint worked on with pencil and wash, 7.75” x 10.75”. Framed 18” x 22”. 1,200/1,800

2135. BEN NICHOLSON United Kingdom, 1894-1982 “Two Sculptural Forms”, 1968. Signed “Nicholson” and dated 1968 in pencil lower right. Edition of 50. Published by Leslie Waddington Prints, London. Waddington Graphics label verso. Lafranca 89. Etching printed with tone with full margins, 12” x 11”. Framed 23.5” x 22”. 1,000/1,500 2135

56

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2136

2136. CARL HOLTY New York/France, 1900-1973 “Flying Dutchman”. Signed lower right “Carl Holty”. Titled in pencil verso. Watercolor on paper, 20” x 26” sight. Framed 24” x 30”. 4,000/6,000

2137. SOLOMON ETHE New York, b. 1924 Untitled. Signed and dated verso “Ethe ‘63”. Oil on canvas, 34” x 26”. Unframed. 3,000/5,000

2137

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57


JOSEPH MEIERHANS New York/Pennsylvania/North Carolina/Switzerland, 1890-1980

2138. Abstract. Signed lower right “Jos. Meierhans”. Mixed media, 11” x 15” sight. Framed 20” x 24”. 800/1,200

2139. Abstract. Signed lower right “Jos. Meierhans”. Oil on masonite, 24” x 32”. Unframed. 1,500/2,500

2140. Geometric abstract. Signed lower right “Jos Meierhans”. Oil on masonite, 32” x 28”. Framed 39.5” x 35.5”. 3,000/5,000

2138

2139 2140

58

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2141

2142

2143 2144

2141. ROBERT BEAUCHAMP New York/Massachusetts/Colorado, 1923-1995 “Male Head 2, 1977”. Signed lower right “Beauchamp”. Titled on gallery label verso. Oil on canvas, 16” x 11”. Framed 18” x 12.5”. 800/1,200 Provenance: David Findlay Jr., Inc., New York. Private Massachusetts Collection.

2142. TOBIAS MUSICANT New Jersey/New Brunswick, 1921-2004 Figural study. Signed upped right “Musicant”. Mixed media, 10.5” x 8” sight. Framed 18” x 16”. 800/1,200

2143. DORA MAAR France, 1907-1997 Abstract with blues and purples. Estate stamped lower right. Watercolor on paper, 10.25” x 16” sight. Framed 19” x 24.5”. 800/1,200

2144. DORA MAAR France, 1907-1997 Still life. Signed lower right “D. Maar”. Estate stamped lower left. Watercolor on paper, 11” x 8.25” sight. Framed. 800/1,200

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59


2145

2145. GABBEH RUG: 11’3” x 14’0” 21st Century Striated golden amber field features bold deep burgundy, amethyst, forest green and abrashed tan geometric shapes and random geometric borders. 1,500/2,500

60

2146. NORTHWEST PERSIAN RUG: 3’5” x 10’5” Late 20th Century Stylized brown and tangerine linear vines form a lattice containing stylized elements rendered in ivory, navy blue, brown, tangerine and pink. Abrashed blue main border with serpentine vine. 350/450

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2147. MAHAL DESIGN: 8’10” x 11’7” 21st Century Terracotta red field with three rows of bold stylized blossoms surrounded by smaller traditional stylized elements in shades of blue, tan, light green, ivory and subtle mulberry. Light green guard borders. Ivory main border with repeated geometric motifs. 1,500/2,000

2147

2148. SULTANABAD DESIGN: 12’0” x 14’10” 21st Century Smoke gray field with stylized blossoms and meandering vines in slate blue, green, gold, pink, ivory and dark red. Sand-colored guard borders. Broad ivory main border. 1,500/2,000

2148 see photos of all lots and view condition reports at www.eldreds.com

61


2149. KAZAK DESIGN RUG: 8’10” x 11’0” 21st Century Bold blue, ivory and red geometric medallions are flanked and surrounded by secondary medallions and stylized blossoms in blue, red, ivory and light green throughout a light red field. Blue and red guard borders. Crab motif throughout ivory main border. 1,000/1,500

2150. KAZAK DESIGN RUNNER: 2’7” x 9’9” 21st Century Light blue field with a single column of geometric medallions containing traditional stylized elements and bordered by latch hook perimeters, all rendered in shades of ivory, tangerine, light blue, pale yellow and red. Colorful traditional repeating motifs throughout borders. 450/650 2149

2151. HERIZ RUG: 9’9" x 13’6" Late 20th Century Dark charcoal, red and bright ivory gabled medallion with a brassy gold center suspends charcoal pendants at the center of a red field and is surrounded by stylized branches and blossoms in colors to match the medallion. Bright ivory subfield is anchored by red and slate blue spandrels. Gold and charcoal borders. 700/1,000

2152. CAUCASIAN RUG: 2’10” x 5’2” Early 20th Century Red, blue, ivory and tan geometric medallions with latch hook perimeters are flanked by similar smaller medallions throughout the length of a dark blue field. Eight-pointed stars repeat throughout the marine blue main border. 250/350

2151

62

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2153. BIDJAR RUG: 9’1” x 18’11” Circa 1900-1910 Blue medallion in subfield and ivory main field with traditional Herati pattern in marine blue, teal green, pink, faded yellow and dark red. Narrow blue and faded pink guard borders. Red main border with turtle motif. Unusual tertiary ivory border features blossoms and serrated leaves. 800/1,200

2154. SULTANABAD DESIGN RUG: 6’1” x 9’0” 21st Century Warm gray field contains a variety of stylized blossoms and subtle delicate vines in ivory, pale gold, rust red, blue and subtle pale lavender. Ivory guard borders. Warm gray main border with motifs echoing the field. 600/800

2155. SAROUK RUG: 2’1" x 4’3" Early 20th Century Rare dense and symmetrical arrangement of red, blue, gold and pink flowering branches along the center lines of a dark blue field. Narrow gold and red borders. 150/250

2153

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63


2156. WILLIAM MORRIS DESIGN RUG: 6’2” x 9’0” 21st Century Tan field with abundant pink curvilinear vines that suspend elegant gold and sage green leaves and gray bellflower blossoms embellished with brown polka dots. Narrow pink and gray striped guard borders. Broad and graceful main border with similar floral motif. 600/900

2157. WILLIAM MORRIS DESIGN RUG: 8’0” x 9’10” 21st Century Dark crimson field with four rows of graceful leaves and vasiform shapes enhanced with a variety of delicate blossoms and foliate elements, all rendered in pale gray, dark red, pink, forest green and tan. Multiple narrow guard borders and navy blue main border with matching motifs. 900/1,200

2158. SULTANABAD DESIGN RUG: 8’1” x 10’0” 21st Century Aquamarine field with a traditional array of stylized blossoms suspended from meandering vines, all rendered in shades of ivory, marine blue, salmon red, copper, pink, subtle lavender, moss green and tan. Dark gray guard borders with olive green edges. Broad ivory main border. 800/1,000

2156

2159. SERAPI DESIGN RUNNER: 2’8” x 18’2” 21st Century Light blue field with multiple khaki, light blue, dark blue, ivory and red gabled medallions interspersed between red and green bouquets. Ivory main border features a red and green turtle motif. 400/600

2160. CAUCASIAN RUG: 3’3” x 6’7” Early 20th Century Narrow corridors of a dark red field are revealed beneath colorful geometric medallions containing either bold central latch hook elements or neat arrays of repeating stylized blossoms. Brown and orange guard borders and a blue main border. 400/600

2157

64

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2161

2161. SERAPI DESIGN RUG: 13’5” x 10’1” 21st Century Blue and ivory gabled medallion with a red center occupies a rich red field above an ivory subfield. Traditional meandering vine, blossoms and serrated leaves throughout, rendered in red, blue, ivory and subtle tan. Marine blue, royal blue and ivory borders. 2,500/3,500

2162. HAMADAN RUG: 3’6” x 8’6” Second Quarter of the 20th Century Charcoal field with a red, pink, green, subtle peach and ivory Herati pattern. Red subfield. Charcoal and bright ivory borders. 250/350

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2163. TABRIZ RUG: 6’7” x 9’8” Late 20th Century Salmon red field contains a central garnet red pendant medallion with a bright ivory and dark blue center. Blue and ivory spandrels. Intricate array of colorful blossoming vines throughout. Ivory guard borders and a dark blue main border. 500/700

65


2164, pair 2166

2167

2165, pair 2168, pair

2164. PAIR OF CHINESE EXPORT IRON RED AND GILT CANTON PORCELAIN BALUSTER VASES Circa 1850 Gilt foo dogs at the flared necks and gilt serpents at the shoulders. Profuse decoration of figural and decorative objects amongst interior scenes framed within Greek key borders. Heights 25”. 2,000/4,000

2165. PAIR OF CHINESE EXPORT PORCELAIN PALACE VASES Circa 1850 Rolled rims. Necks with gilt foo dogs and scenic paneled decoration of court life. Bulbous bodies with gilt serpents at shoulders, and bird, butterfly, flower, fruit and Greek key decoration surrounding figural panels, two panels depicting sword fighting. Heights 24.5”. 2,500/3,500

2166. CHINESE EXPORT ROSE MANDARIN PORCELAIN COVERED WATER BOTTLE Circa 1850 In gourd form. Decoration of flowers, fruit, porcelains and figures surrounding two finely detailed gilt-framed oval panels depicting court scenes. Original cover. Height 17.5”. 1,000/1,500

66

2167. CHINESE EXPORT ROSE MANDARIN PORCELAIN BOTTLE VASE Mid-19th Century Two figural cartouches on one side and a blue and gilt landscape design on the other. Height 7.25”. 300/500

2168. PAIR OF CHINESE EXPORT ROSE MANDARIN PORCELAIN COVERED JARS First Quarter of the 19th Century Heights 8”. 800/1,200 Provenance: Polly Latham Asian Art, Boston. Nantucket, Massachusetts Collection.

2169. CHINESE EXPORT PORCELAIN THREE-PIECE GARNITURE SET Circa 1800 A covered jar with a foo dog-form finial, height 12.5”, and a pair of beaker vases, heights 10”, with cobalt blue and gilt floral paneled decoration on a chicken skin ground. 800/1,200

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2170. CHINESE EXPORT ROSE MANDARIN PORCELAIN PUNCH BOWL Circa 1840 Eight scenic panels depict robed mandarin figures, six panels depict birds, butterflies, flowers and fruit, and twelve smaller panels depict fruit, flowers and birds. Original gilt highlights. Height 6.25”. Diameter 14.75”. 1,500/2,000 2170

2171. CHINESE EXPORT PORCELAIN COVERED SOUP TUREEN AND UNDERPLATE Fourth Quarter of the 18th Century Floral decoration and finely diapered details. Cover with floral knop. Tureen with boar’s-head handles. Total height 10”. Underplate length 15”. 2,000/3,000 2171

2172. PAIR OF CHINESE EXPORT ARMORIAL FITZHUGH PORCELAIN PLATES Late 18th Century With the arms of Hill Dawe of Ditcheat House of Somerset. Diameters 9.75”. 1,000/1,500 2172, pair

Provenance: Polly Latham Asian Art, Boston. Nantucket, Massachusetts Collection.

2173. PAIR OF CHINESE EXPORT ARMORIAL FITZHUGH PORCELAIN PLATES Late 18th Century With the arms of Hill Dawe of Ditcheat House of Somerset. Diameters 7.75”. 800/1,200 2173, pair

Provenance: Polly Latham Asian Art, Boston. Nantucket, Massachusetts Collection.

2174. CHINESE EXPORT ARMORIAL FITZHUGH PORCELAIN SAUCEBOAT AND UNDERTRAY Late 18th Century With the arms of Hill Dawe of Ditcheat House of Somerset. Sauceboat height 3.5”. Length 7.5”. 800/1,400 Provenance: Polly Latham Asian Art, Boston. Nantucket, Massachusetts Collection.

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2174

67


2175. AMERICAN SCHOOL 17th Century Portrait of a young man, possibly Thomas Rolfe. Unsigned. Accompanied by a handwritten note “Thomas Rolfe son of Pocahontas age about 34. Painted about 1648 and attributed to Wm. Read of Boston. Rovert Abels 1942”, and inscribed in a different hand “Per Simon Parks 17th Century painting”. Oil on panel, 22.5” x 16.75”. Framed 30” x 23”. 1,000/2,000 Provenance: As listed in accompanying handwritten note: Purchased by Lenard L. Beans from Robert Abels in 1942. Edward Coyle.

2175

2176. WALLACE NUTTING PILGRIM-STYLE BLANKET CHEST Massachusetts, Early 20th Century In oak. Single full-width drawer below blanket compartment. Bun feet. Partial paper label on back. Height 32”. Width 46.5”. Depth 21”. 800/1,200

2176

2177. ELDRED WHEELER PIPE BOX Massachusetts, 20th Century In tiger maple. Shell-carved drawer. Eldred Wheeler brand and traces of paper label on back. Height 16.5”. Width 4.5”. Depth 4”. 250/350

2178

68

2178. HUTCH TABLE 19th Century In strongly figured tiger maple. Hutch with paneled sides. Ball feet fitted with casters. Height 30”. Diameter of top 41”. 800/1,200

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2179. WALLACE NUTTING PILGRIM-STYLE LADDER-BACK SETTEE AND THREE MATCHING SIDE CHAIRS Massachusetts, Early 20th Century In maple under a brown stain. Rush seats. Branded under rungs. Settee back height 49.5”. Seat height 18”. Length 42.5”. Depth 21”. Chair back heights 50”. Seat heights 18.5”. 1,400/1,800

2179

2180. WALLACE NUTTING TWO-PART PEWTER CUPBOARD Massachusetts, Early 20th Century In pine. Brand on back. Height 75”. Width 50”. Depth 18”. 800/1,200

2180

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69


2186

2181

2182

2181. QUEEN ANNE CANDLESTAND New England, Possibly Massachusetts, Circa 1760-1780 In walnut. Thin one-board top. Pedestal with ribbed carvings above a spiral-carved urn-form knop. Three arch-carved legs with carved knees and padded slipper feet. Height 27”. Diameter of top 17”. 2,000/3,000 Provenance: Chipstone Foundation Collection, illustrated in a volume on the collection.

2182. ELDRED WHEELER “NANTUCKET” TEA TABLE Massachusetts, 20th Century In tiger maple, with candle slides and cabriole legs ending in pad feet. Eldred Wheeler brand and paper label on underside. Height 26.5”. Length 28.25”. Width 18”. 1,000/1,500

70

2183. TWO NEAR-MATCHING QUEEN ANNE SIDE CHAIRS Massachusetts, Mid-18th Century In mahogany. Backs with vasiform splats. Slip seats, one with gold and one with floral upholstery. Cabriole legs joined with block and turned H-stretchers and end in pad feet. Back heights 38.5” and 40”. Seat heights approx. 17.5”. 500/1,000

2184. TRANSITIONAL QUEEN ANNE MIRROR Probably America, Circa 1740 Hardwood and hardwood veneer frame with gilt liner. Attached brass swingarm candle socket. Height 25”. Width 11”. 500/800

2185. ELDRED WHEELER TEA TABLE Massachusetts, 20th Century In tiger maple. Top with turret corners. Eldred Wheeler brand and paper label on underside of top. Height 25”. Length 25.5”. Width 17”. 300/500

2186. ELDRED WHEELER TEA TABLE Massachusetts, 20th Century In tiger maple. Shaped top. Eldred Wheeler stamp and brand on underside of top. Height 25”. Length 23.75”. Width 18.5”. 300/500

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2187. ELDRED WHEELER LOWBOY Massachusetts, 20th Century Red and black painted finish. Overhanging top inset with slate. One drawer with shell carving. Original Eldred Wheeler paper label inside a drawer. Height 30.5”. Width 31.5”. Depth 19.5”. 800/1,000 2187

2188. IMPORTANT EARLY AMERICAN SILVER CASTER BY JOHN COBURN OF BOSTON Circa 1750 Engraved with the crest of the Storrow Family of Boston. Height 5.5”. Approx. 3.2 troy oz. 800/1,000

2188

2189. RARE AMERICAN SILVER PRESENTATION FLAG HOLDER 18th Century Engraved “Presented by Perez Morton Esq. to the first Company in Dorchester”. Unmarked. Perez Morton (1751-1837) was a lawyer and revolutionary patriot in Boston. He served as Massachusetts Speaker of the House and as Attorney General. Length 5.5”. 500/1,000

2189

2190. FINE PICTORIAL NEEDLEWORK SAMPLER Dated 1772 Wrought by Hannah Stears, probably of New England. King Solomon and Queen Sheba and their court at center, abundantly surrounded by alphabets, verses, a seascape with ship, two figural landscapes, flowers, potted plants, animals, etc. 12.75” x 12” sight. Framed 16” x 15”. 5,000/8,000 Provenance: M. Finkel & Daughter, Philadelphia (label verso).

2190

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71


2191. CONNECTICUT NEEDLEWORK SAMPLER Dated 1797 “M... Morris’s Sampler Wrought January 30th 1797 Aged Eleven Years Wrought Mis. Hotchkin’s School New Haven[?]”. Upper third depicts a large white house flanked by trees and birds perched on a picket fence. Center third with multicolored alphabets and numerals. Lower third with verse, maker’s inscription and strawberry border. 12” x 11” sight. Framed 14” x 13”. 2,000/3,000

2191

2192. NEEDLEWORK SAMPLER, POSSIBLY A NANTUCKET MAKER Dated 1795 Wrought by Baker Congdon. Rows of alphabets and numerals in a variety of lettering styles. Verse below. 14.5” x 8” sight. Framed 19.5” x 12.5”. 1,000/1,500

2193. MASSACHUSETTS NEEDLEWORK SAMPLER Dated 1797 Wrought by “Rizpah Farmer born Sept. the 26, 1797 Aged 13 Years.”. Note verso indicates Farmer was born in Middlesex, Massachusetts. Depicts alphabets, a verse, flower blossoms, leaves, flowering trees, a basket of flowers and birds. Maker’s inscription within a pearl border. Sawtooth and a wide geometric vine border on three sides. 18.75” x 17.5” sight. Framed 21.25” x 20.25”. 2,000/3,000 2192

2194. FEDERAL POLE SCREEN Fourth Quarter of the 18th Century In mahogany. Shield-shaped needlework screen. Ring- and baluster-turned pole raised on three archcarved legs ending in pointed padded slipper feet. Height 57.5”. 500/800

2195. CHIPPENDALE MIRROR America, Last Half of the 18th Century Mahogany and mahogany veneer frame with gilt and pierced crest and gilt liner. Original mirror glass. Height 30.25”. Width 17.5”. 500/700

2193

72

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2196. PAIR OF ELDRED WHEELER ARMCHAIRS Massachusetts, 20th Century In strongly figured tiger maple. Shell-carved crest rails. Pierced splats. Unmarked. Back heights 39”. Seat heights 17.5”. 1,000/1,500

2196, pair

2197, two

2197. ELDRED WHEELER BONNET-TOP SECRETARY Massachusetts, 20th Century Together with a Queen Anne-style side chair. Secretary in tiger maple. Upper case with an urn-form finial, a broken arch pediment, carved sunburst and two paneled doors enclosing a fitted interior. Lower case with a slant lid over four graduated full-width drawers and ogee bracket feet. Slant lid conceals a fitted interior. Original Eldred Wheeler label inside a drawer. Height 91”. Width 35”. Depth 21”. 1,500/2,500

2198. CHIPPENDALE LOLLING CHAIR Eastern Massachusetts, Late 18th Century In mahogany. Back with cyma-curved crest. Shaped, carved and molded arms and arm supports. Square molded tapered legs joined by an H-stretcher. Striped off-white upholstery. Back height 43”. Seat height 17”. 700/1,000 Provenance: John C. Coffin, South Hampton, New Hampshire.

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2198

73


2199. TALL-CASE CLOCK Connecticut, Circa 1800 Cherry case. Bonnet with four urn-form finials and a broken arch pediment culminating in relief-carved sunflower blossoms. Glazed arched dial door. Trunk with arched pendulum door and extensive geometric inlay. Ogee bracket feet. Painted Roman numeral dial with floral decoration, second sweep and calendar dial. Includes pendulum and one weight. Height 96”. Width 19.5”. Depth 11.5”. 1,000/1,500

2202. EARLY AMERICAN PIPE BOX Late 18th/Early 19th Century In poplar. Tombstone-arched top over an open compartment over a drawer. Dovetail construction. Height 21.5”. 600/900

2203. OVAL BURLED MAPLE BOWL Circa 1780 Bail handle at one end. Shaped footed base. Wonderful old bleached finish. Height 4.5”. Length 16.5”. Width 13”. 800/1,200

2200. FOUR-DRAWER CHEST America, Late 18th or Early 19th Century In walnut. Simply molded top edge. Four graduated drawers with rudimentary beaded fronts and brass bail handles. Old, and possibly original, simple bracket feet. Height 33.25”. Width 41.25”. Depth 20.5”. 400/600

2203A. PAIR OF GOTHIC REVIVAL PRAYER STANDS Salem, Massachusetts, Mid-19th Century In walnut or oak. Angled tops with applied lips. Carved and shaped arch supports joined with a cross stretcher. Heights 38.75". Widths 51.75". Depths 14.5". 1,200/1,280

2201. BLANKET CHEST New England, Late 18th/Early 19th Century In pine. Original wrought iron hinges. Lift top opens to reveal a right-hand till. Full-width drawer below. Bootjack ends. Height 30”. Width 49.25”. Depth 17.5”. 500/700

2203A

74

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2204, pair

2204. ATTRIBUTED TO WILLIAM M.S. DOYLE Massachusetts, 1769-1828 Portraits of Joseph Olney Hopkins and Lydia Hazen Hopkins. Unsigned. Pastel paper laid on canvas, 16” x 12”. Framed 18.5” x 14.5”. 7,000/9,000 Provenance: By descent in the family. Exhibited: Cahoon Museum of American Art, Cotuit, Massachusetts: “His and Hers: Folk Portraits of Husbands and Wives”, April-June 2002.

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75


Items pertaining to Revolutionary War General Benjamin Lincoln

2205. IMPORTANT CHIPPENDALE SERPENTINE-FRONT BUREAU DESCENDED IN THE FAMILY OF REVOLUTIONARY WAR GENERAL BENJAMIN LINCOLN Boston, Circa 1760-1780 In mahogany with white pine secondary woods. Classic Boston form. Two-piece top with good overhang. Four graduated full-width drawers with beaded edges and original hardware. Blocked ends. Flat bracket feet fitted with casters. Inverted “V” chalk mark on back of each drawer. Height 31”. Width 36”. Depth 20.75”. 2,000/3,000 Provenance: Descended in the family of Benjamin Lincoln until time of consignment. Illustrated: Harbor & Home: Furniture of Southeastern Massachusetts, 17101860 by Brock Jobe, Gary R. Sullivan and Jack O’Brien (Lebanon, N.H.: University Press of New England, 2009), p. 177-178, plate 60. According to the book, Lincoln may have kept this bureau in the East Front Chamber of his home in Hingham, Massachusetts, and it was valued at $15 in a period appraisal.

2205

76

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2206. GENERAL BENJAMIN LINCOLN LETTER AND PORTRAIT Letter dated March 13, 1776, asking the militia of Dorchester and Milton to be called up for the protection of the harbor. Signed “B Lincoln”. Back of the letter inscribed “General Lincoln order to Sam Pierce 1776 March 13th”. Framed oil on canvas painting of Lincoln after Henry Sargent’s in The Life of Benjamin Lincoln by Francis Bowen. Letter 7.75” x 7”. Framed painting 27” x 23”. 700/1,000 2206

Benjamin Lincoln (1733-1810), born to a wealthy and influential family of Hingham, Massachusetts, served as a major general during the Revolutionary War and was notably involved in three major surrenders: the Battle of Saratoga, the Siege of Charleston and at Yorktown. He was involved in public service for most of his life, serving in his early adulthood as town constable and selectman and in the militia. As an elected member of the Massachusetts Provincial Congress in the 1770s, he sat on committees overseeing militia organization and supply, a uniquely beneficial experience once the Revolutionary War broke out. He was promoted to major general of the Massachusetts militia in 1776. Lincoln served as second in command to Washington during the Yorktown campaign. British commanding officer General Cornwallis did not attend the surrender ceremony and thus British Brigadier General Charles O’Hara would surrender his sword. He first attempted to give it to George Washington, who declined and motioned to Lincoln, who accepted it. Lincoln served as the first Secretary at War from 1781 to 1783, and in 1787 he was a member of the Massachusetts state convention that ratified the Constitution. He held various positions in state and federal government, including serving as Lieutenant Governor of Massachusetts and Collector of the Port of Boston.

2206

Despite the major role he played in the Revolutionary War and the fledgling United States, Lincoln is not as well-remembered as many of his contemporaries. However, several towns and counties are named in his honor, particularly throughout the south, and his lifelong home was declared a National Historic Landmark. He is buried in Hingham.

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77


2207. CHIPPENDALE SLANT-LID DESK WITH PROVENANCE PERTAINING TO THE BATTLE OF BUNKER HILL Second Half of the 18th Century Accompanying framed letter states the desk was made prior to 1775 by Benjamin Buswell of Amesbury, Massachusetts, who fought in the Battle of Bunker Hill and was rendered incapacitated until his death in August 1776. See additional provenance information below. In cherry. Slant lid encloses an assortment of drawers, pigeonholes and letter slides. Case with four graduated full-width drawers and a bracket base. Height 40.5”. Width 35”. Depth 15.5”. 800/1,200 Provenance: Benjamin Buswell (1733-1776), husband of Judith Moody, of Amesbury, Massachusetts. To his son, Dr. Benjamin Buswell (1767-1851), of Hopkinton, New Hampshire. It remained in his house until the death of the last of his twelve children. Purchased by August G. Chase, granddaughter of Dr. Buswell, remaining in her possession until her death July 11, 1906. Willed to Franklin Terry, another grandchild of Dr. Buswell.

2207

2208. AMERICAN SCHOOL 19th Century Portrait of Benjamin Franklin. Signed on left side illegibly. Watercolor, 3” x 2” sight. Framed 5.5” x 4.5”. 500/700

2208

2209. WILLIAM RUSSELL BIRCH Pennsylvania/United Kingdom, 1755-1834 Portrait of Mr. Blakely. Signed lower right “W.R. Birch”. Watercolor on paper, 8.75” x 7.5” sight. Unframed. 1,000/1,500

2209

78

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2210

2210. ATTRIBUTED TO BENJAMIN BLYTH Massachusetts, 1746-1786 Portrait of a man wearing a gray coat and vest. Unsigned. Inscribed on upper stretcher bar “Purchased by W. Eliot Fette, May 14th 1881 at auction of the effects of Wm. Makapeace, acsiduary legit will of Miss Betsy Hill”. Label upper right marked “Museum of Fine Art Lent by Mrs. Atherton Noyes T.L. 3563". Pastel on paper mounted on canvas, 22.5” x 17” sight. Framed 27” x 21.5”. 7,000/10,000 Provenance: Child’s Gallery, Boston. Nina Fletcher and Bertram K. Little. Northeast Auctions, Portsmouth, New Hampshire.

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79


2211. WILLARD PATENT BANJO CLOCK Massachusetts, Early 19th Century Case with brass eagle finial and banded inlay in varied woods. Reverse-painted throat and door glass, the throat with a geometric design and the door depicting a sailing vessel. Height 33.75”. Width 10”. 1,800/2,500

2212. ELDRED WHEELER HARVEST TABLE Massachusetts, 20th Century In maple. Eldred Wheeler paper label and brand on underside. Height 29”. Length 74”. Width 19” plus two 11.5” drop leaves. 800/1,200 2211

2212

2213. AMERICAN SCHOOL 19th Century Portrait of a woman wearing a Shaker bonnet, possibly Mother Ann Lee. Unsigned. Watercolor on paper, 3.75” x 1.75” sight. Framed 7” x 5”. 400/600

2213

80

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2214. LENOX, MASSACHUSETTS NEEDLEWORK SAMPLER, POSSIBLY SHAKER Dated 1802 “Fear Percivals Sampler Made In The 17th year of her age she was Born in Lenox July the 15th 1785 and died May 1815”. Rows of alphabets and numerals above maker’s inscription. List of additional children’s dates of birth and death below, probably her siblings. 8.25” x 9.5” sight. Framed 13.5” x 14.5”. 1,000/2,000

2214

2215. COVERED PAPER BAND BOX 19th Century Brown beaver decoration on top and sides. Blue background with additional brown decoration. Height 9”. Length 12.75”. 1,800/2,000 Provenance: Found in a Cape Cod barn clean-out in the early 1970s.

2215

2216. F.B. NORTON & CO. FOUR-GALLON STONEWARE BUTTER CHURN 19th Century Stamped “F.B. Norton & Co Worcester, Mass” and “4”. Cobalt blue slip decoration of a parrot on a leaf. Applied handles and incised lines around the neck. Height 16”. 700/1,000

2216

2217

2217. WALLACE NUTTING TAVERN TABLE Massachusetts, Early 20th Century In maple. Single drawer in apron. Bulbous turned stretcher base. Wallace Nutting brand in drawer. Height 30”. Length 50”. Width 30.25”. 800/1,200

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81


2218. ELDRED WHEELER TWO-PART CORNER CUPBOARD Massachusetts, 20th Century In tiger maple. Upper half with a twelve-panel glass door. Lower half with paneled doors and a shaped bracket base. Retains Eldred Wheeler paper label. Height 82”. Width 43”. Depth 16.75”. Takes a 18.5” corner. 2,500/3,500

2219. TWO STONEWARE CROCKS 19th Century 1) Three-gallon with cobalt blue decoration of a stylized flower. Triple-stamped “G.L. & A.K. Ballard”, forming a triangular pattern. Also stamped “Burlington, VT.” and “3”. Height 12.5”. 2) Six-gallon with cobalt blue stylized floral decoration. Stamped “Gillett Snow & Thayer Dealers In Dry Goods Crockery Groceries &C Westfield, Mass 6”. Height 13.5”. 500/700

2220. EAST MIDDLEBURY, VERMONT REDWARE POTTERY JUG 19th Century Unmarked. Height 9”. 500/700

2221. SIX D.R. DIMES WINDSOR CHAIRS New Hampshire, 20th Century Two armchairs and four side chairs. Antiqued green-painted finish. Stamped “D.R. Dimes”. Back heights 37”. Seat heights 18”. 1,000/1,500

2218

2221, six

82

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2224

2222. LARGE WHALE-SIDE SHELF 19th Century In mahogany and pine. Brown stained finish. Height 37”. Width 36”. Depth 9.5”. 700/1,000

2223. ELDRED WHEELER FULL-SIZE BED Massachusetts, 20th Century In strongly figured tiger maple. Eldred Wheeler brand and paper label on back of headboard. Includes rails and turned finials. Height 86”. Width between bolt holes 55”. Rail lengths 75.25”. 1,000/1,500

2224. RARE MAINE SAMPLER Dated 1824 “Wrought by Mary Plimpton Aged 8 years ... Under the instruction of Mrs. Amanda Pratt”. Accompanying provenance note indicates it was sewn at a schoolhouse on Tinkers Island, located off the coast of Mount Desert Island, Maine. Rows of alphabets and numerals above plants and trees, “Fear & Love God A Bove” and “Roses will fade and tulips wither But a virtuous mind will bloom forever.”. Lower panel with a moose and other animals, flowers and fruit urns. Strawberry vine border. 17” x 16” sight. Framed 20” x 19”. 2,000/3,000 Provenance: According to accompanying noteEmily Hopkins Wilbur (1795-1896), Ellsworth, Maine. Cora Louise Brown Reed (1863-1945), Ellsworth and Waldoboro, Maine. Lovina Augustus Reed Mark (1884-1949), Ellsworth and Waldoboro, Maine and George Mark. Rachel Maud Reed O’Keefe (1886-1970), Ellsworth, Maine and Arlington, Massachusetts. Louise Barbara O’Keefe Gleason (1912-1995), Dorchester and Everett, Massachusetts. John Peter Gleason (b. 1948), Everett, Massachusetts. Current consignor, circa November 2000.

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83


2225. PICTORIAL NEEDLEWORK SAMPLER Dated 1827 Wrought by “Emma Lee Aged 9 Years 1827”. Upper half with verse “See Israel’s gentle Shepherd stands ...” surrounded by potted plants, a butterfly and multi-pointed stars. Lower half with pastoral landscape depicting animals grazing in front of a large red house nestled amongst trees. Flower vine border. Vibrant colors. 18” x 17” sight. Framed 22” x 21”. 1,400/1,800

2225

2226. UNUSUAL NEEDLEWORK SAMPLER Dated 1833 Wrought by “Mary Pleasance. Dec 19th. 1833”. Four rows of alphabets and numerals above philosophers’ names. Additional rows of alphabets, strawberry and thistle vine borders and verse “We are sent to the ant for industry, to the lion for valor to the dove for innocene[sic], for humility unto God” below. Vine border. 11.75” x 11.25” sight. Framed 13.5” x 13.25”. 1,000/2,000

2226

84

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2227. ALBANY FEMALE ACADEMY NEEDLEWORK SAMPLER Dated 1826 “Eleanor Goverts Sampler Wrought in the 12th year of her age. Albany Female Academy May 24th AD 1826”. Upper half with verse “Tis sweet to see the opening rose ...” flanked by rose sprays. Lower half with verse “Grace is a plant of pure and heavenly root ...” above maker’s inscription and a floral garland. Floral vine border. 16.5” x 15.5” sight. Framed 20” x 19.25”. 1,000/1,500

2227

2228. NEEDLEWORK SAMPLER Dated 1823 Wrought by “Catharine J. Tallman aged 9 Years April 9 1823”. Bold alphabet, baskets of fruit and a potted flowering plant above. Landscape below with a brick house, a fence, an expansive lawn, trees, dogs, birds and butterflies. Strawberry vine border. 18” x 17” sight. Framed 23” x 22.5”. 1,000/1,500

2228

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85


2229. INTERESTING NEEDLEWORK SAMPLER Dated 1839 Wrought by Jane Purdy. Upper half with rows of alphabets and numerals above a verse. Lower half depicts Adam, Eve and the Tree of Knowledge surrounded by stags, trees, topiaries and a tall sunflower plant with a human-like face. 15.25” x 17” sight. Framed 20” x 21.5”. 1,000/2,000

2229

2230. WALLACE NUTTING FAN-BACK WINDSOR WRITING ARMCHAIR Massachusetts, Early 20th Century In maple. Paper label and brand on underside of seat. Back height 42.25”. Seat height 18”. Width 34”. Depth 32”. 800/1,200

2230

2231. ATTRIBUTED TO JOHN RUBENS SMITH New YorkPennsylvania/United Kingdom, 1775-1849 “Mr. Donaldson West Indies ... 1808”. Unsigned. Inscribed lower right “Mr. Donaldson West Indies ... 1808”. Artist identified as Smith on a Kennedy Gallery label. Watercolor on paper, 16.5” x 11.75”. Unframed. 800/1,200

2231

86

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2232. WALLACE NUTTING CHIPPENDALE-STYLE SLANT-LID DESK Massachusetts, Early 20th Century In mahogany. Slant lid encloses a fitted interior. Case with three graduated full-width drawers and a shaped flat bracket base. Wallace Nutting brand in top drawer. Height 40”. Width 31”. Depth 17”. 600/800

2232

2233. AUGUSTE EDOUART Louisiana/France, 1789-1861 Silhouette of Dr. Thacher. Seen in a penciled interior with a classical table, inkstand, bookshelves and other architectural details, and a landscape through the window. Signed lower left “Aug. Edouart. ficit 1841 Boston”. Housed in its original bird’s-eye maple frame with original finish and backboards. Label verso “From collection of Charles Allen Munn give me by Augusta Munn Tilney Dr Thacher?”. 10.5” x 7” sight. Framed 13.5” x 10”. 800/1,200 Charles Allen Munn was an art collector and patron who bequeathed some of his collection to the New York Historical Society and the Metropolitan Museum of Art.

2233

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87


2234. WALLACE NUTTING TWIN-BACK WINDSOR LOVESEAT Massachusetts, Early 20th Century In maple under a brown stain. Partial Wallace Nutting label on underside. Back height 40.5”. Seat height 18”. Length 49.5”. Depth 18”. 800/1,200

2234

2235. AMERICAN SCHOOL 19th Century Still life of cherries on a branch. Unsigned. Frame plaque attributes the work to William Sidney Mount. Oil on board, 6.75” x 5”. Framed 10” x 8.5”. 400/600

2235 2236

2236. ELDRED WHEELER TWO-DRAWER STAND Massachusetts, 20th Century In strongly figured tiger maple. Turned legs. Original Eldred Wheeler label inside one drawer. Height 32.5”. Width 20”. Depth 16.75”. 800/1,000

2237. COURTING MIRROR 19th Century Frame with eight hand-painted panels. Height 22”. Width 18.25”. 800/1,200

2237

88

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2238, pair

2238. AMERICAN SCHOOL Circa 1830 Important pair of portraits of a husband and his wife. The man is handsomely dressed, wearing a blue coat and a bold yellow vest, is seated in a painted yellow chair and is holding a quill pen. The woman is wearing a puffy-sleeved black bodice and a bonnet with yellow ribbons. Unsigned. Oils on canvas, 30” x 25”. Framed 37” x 31.5”. 12,000/18,000 Provenance: Wayne Pratt, Connecticut.

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89


2239

90

2239. AMERICAN SCHOOL 19th Century Still life of a compote overflowing with fruit. Unsigned. Oil on canvas, 22” x 30”. Framed 26” x 34”. 800/1,200

2242. PORTRAIT OF A HANDSOME YOUNG GENTLEMAN Circa 1820 Housed in a gilt molded frame. Oil on wood panel, 10.25” x 8.25”. Framed 14.75” x 12.75”. 800/1,200

2240. GRAIN-PAINTED BLANKET CHEST Maine, 19th Century In pine with a red and black grain-painted finish. One full-width drawer below blanket compartment. Height 37”. Width 38”. Depth 18.5”. 300/500

2243. GEORGE DE FOREST BRUSH New Hampshire/New York/Tennessee, 1855-1941 “Study of a Woman”. Signed lower right “George De Forest Brush”. Titled on gallery label verso. Pencil on paper, 18”x 11.5” sight. Framed 30” x 23.25”. 500/1,000

2241. SPIDER-LEG CANDLESTAND Connecticut, First Quarter of the 19th Century In cherry. Height 30.75”. Top 14.75” x 16”.

2244. TWO-PART CORNER CUPBOARD 19th Century In cherry. Upper half with a shaped cornice and a twelve-panel glass door. Lower half with two paneled doors and flat feet. Height 85.5”. Width 44”. Depth 23”. Takes a 27” corner. 800/1,200

300/500

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2245. AMERICAN SCHOOL Circa 1840 A young woman seated on a sofa. Unsigned. Watercolor on paper, 11” x 8”. Unframed. 500/1,000

2245

2246

2246. ELDRED WHEELER HARVEST TABLE Massachusetts, 20th Century In maple. Turned legs joined with a stretcher base and end in knob feet. Original Eldred Wheeler paper label and brand on underside. Height 29.75”. Length 73”. Width 36”. 1,000/1,500

2247. GILT METAL FULL-BODIED RUNNING HORSE WEATHER VANE Late 19th/Early 20th Century Copper body and zinc head, with traces of verdigris patina. Mounted on original stand that is affixed to a later painted wooden base. Height 18”. Length 27”. 600/900

2247

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91


2248

2249

2248. AMERICAN SCHOOL 19th Century Portrait of a gentleman. Unsigned. Oil on panel, 30” x 23”. Framed 33” x 27”. 1,000/2,000

92

2249. AMERICAN SCHOOL Mid-19th Century Portrait of a man with white stock. Unsigned. Oil on canvas, 25” x 21”. Framed 33” x 29”. 800/1,200

2250. D.R. DIMES HARVEST TABLE New Hampshire, 20th Century In maple and tiger maple. Top with breadboard ends. Stretcher base. Turned legs end in knob feet. Height 29.5”. Length 92”. Width 39.75”. 1,600/1,900

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2251. GILT METAL ROOSTER WEATHER VANE Circa 1900 Glass eyes. Hollow body. Height 22.5”. 1,000/2,000

2252. J.L. TREHARN & CO. CUSTOM-MADE TWO-PART CABINET Ohio, 20th Century In strongly figured tiger maple. Top half with a central stack of three shallow drawers flanked by paneled cabinet doors. Lower half with two paneled cabinet doors at center flanked by shallow drawers above cabinet doors. Original maker’s brand on back. Height 50”. Width 74.5”. Depth 19.5”. 3,000/5,000 2251

2252

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93


2253

2254

2255

2253. FRANK REED WHITESIDE Pennsylvania/Maine, 1866-1929 Cows on a path. Signed lower right “Frank Reed Whiteside”. Watercolor on paper, 12” x 17”. Framed 20” x 25”. 500/700

2255. ALBERT THOMPSON Massachusetts/Europe, 1853-1906 Cows on a path. Signed lower right “Albert Thompson”. Oil on canvas, 9” x 12”. Framed 11.75” x 15”. 800/1,200

2254. ELI HARVEY New York/California, 1860-1957 Pastoral scene with shepherd, a flock of sheep and haystacks. Unsigned. Unframed. 1,000/1,500

2256. ALFRED CORNELIUS HOWLAND America/Europe, 1838-1909 “Watering”, depicting cows drinking at a river. Signed lower left “AC Howland”. Titled and artist identified on frame plaque. Oil on board, 8” x 10”. Framed 14.5” x 16.5”. 1,000/1,500

Provenance: Spanierman Gallery, New York.

94

2256

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2258

2257

2259

2257. J.C. SPENCER New York, Mid-19th Century Still life of a basket of grapes and currants. Signed and dated lower left “J.C. Spencer 1909”. Oil on canvas, 12” x 18”. Framed 16.5” x 22.5”. 1,000/2,000

2258. AMERICAN SCHOOL 19th Century Two children picking berries. Unsigned. Oil on canvas, 8” x 10”. Framed 13” x 15”. 1,500/2,500

2260

2259. MANNER OF BEN AUSTRIAN America, 19th Century Study of chicks. Unsigned. Oil on canvas, 8” x 10”. Framed 12” x 14”. 800/1,200

2260. ARTEMUS E. ROSS Nevada/California, 1862-1947 Landscape study. Signed lower right “A.E. Ross”. Oil on board, 5” x 8.25”. Framed 9.25” x 13.25”. 700/900

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95


2261. BILL J. RICE Connecticut, b. 1952 “Cardinal Feather”. Signed in pencil lower right “Bill Rice”. Titled on gallery label verso. Carved and painted bass wood, length 4.5”. Framed 14.75” x 9.75”. 500/700

2262. BILL J. RICE Connectictut, b. 1952 “Hawk Feather”. Signed in pencil lower right “Bill Rice”. Titled on gallery label verso. Carved and painted bass wood, length 7.5”. Framed 17.5” x 10”. 500/700

2263. BILL J. RICE Connectictut, b. 1952 “Hen Coopers Hawk Feather”. Signed in pencil lower right “Bill Rice”. Titled on gallery label verso. Carved and painted bass wood, length 6.25”. Framed 16.5” x 10”. 500/700 2263

Provenance: Wally Findlay Galleries

2264. RARE AND IMPORTANT COFFIN GRIP BOWIE KNIFE Circa 1840 Stamped on left side of blade “M.Storey”. Burled walnut and silver coffin-form handle. Similar examples with many of the same characteristics of this knife are included in The Sea of Mud Knife by Dr. Gregg J. Dimmick; Dimmick refers to the knife as Bowie No. 1. Length of handle 4.25”. Total length 16”. 3,000/4,000

2264

96

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2265. * TWO SIDE-BY-SIDE SHOTGUNS 19th/20th Century 1) Von Lengerke & Detmold “The Knock About”: 16-ga., Serial #101155. Barrels choked M and IM. Length of pull 14.25”. Length of barrels 28”. Total length 44.5”. 2) J.P. Clabrough damascus barrel: 16-ga., Serial #5609. Length of barrels 28”. Total length 44.5”. 500/800

2268. BIEN EDITION CHROMOLITHOGRAPH AFTER JOHN JAMES AUDUBON “EIDER DUCK” Circa 1860 No. 6-2, Plate 405. On full folio sheet. 26” x 39”. Unframed. 1,000/1,500

2266. * FRANCHI DUCKS UNLIMITED EDITION SHOTGUN Modern 28-ga., Serial #DU970443. Vent ribbed barrel. Screw-in chokes. Receiver with quail and dove decoration. Length of pull 14.5”. Length of barrel 26”. Total length 46”. 600/1,000

2269. ROBERT AND VIRGINIA WARFIELD RUFFED GROUSE Jaffrey, New Hampshire, 20th Century Mounted on a driftwood base. Signed on base “Warfield”. Height 11”. Length 14”. 500/800

2267. MARKET GUNNER’S RECORD Dated 1702-1706 Notation on back mentions John Pierce, Dorchester, Massachusetts. Notes the number of brant killed, monies paid and dates. Used in the 1992 “Songless Aviary” exhibit at Heritage Museums & Gardens, Sandwich, Massachusetts. Sheet size 8” x 12.25”. Framed 12” x 17”. 300/500

2270. PAIR OF STAN SPARRE LEAST TERNS East Falmouth, Massachusetts, 1922-2011 Male, female and chick mounted together on a driftwood base. Height 18”. Length 24”. Width 16”. 400/600

2268

IMPORTANT NOTICE

Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer's License. Please be aware of license requirements and delivery regulations and bid accordingly. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith.

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97


2271

2271. MARTY COLLINS GOOSE DECOY Wareham, Massachusetts, 20th Century Hollow-carved. Glass eyes. Oval brand on underside. Length 28”. 800/1,200

2272. HOLGER SMITH LOON DECOY Massachusetts, 20th Century Glass eyes. Branded. Length 24”.

300/500

2273. THREE HOLGER SMITH CANADA GEESE Massachusetts, 20th Century Original paint. Branded. Lengths from 21” to 25”. 500/1,000

2274

2274. GEORGE STRUNK LIFE-SIZE WOODCOCK Glendora, New Jersey, b. 1958 Mounted on an oval chip-carved base. Stamped “Strunk” and signed in ink “G. Strunk”. Height 9”. 1,000/1,500

2275. ERIC KAISER LIFE-SIZE LEAST SANDPIPER Cotuit, Massachusetts, b. 1952 Dated 2006. Glass eyes. Exceptional carved and painted feather detail. Mounted on a mahogany base with faux sand top. Carved “Least Sandpiper Eric Kaiser 2006” on underside of base. Height 14”. 1,400/1,800 2275

98

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2276

2277

2276. MIKE BORRETT CARVED BROOK TROUT Wisconsin, b. 1960 Mounted on an oval pine backboard. Signed on back of backboard “Mike Borrett”. Trout length 20.5”. Backboard length 19.5”. 500/800

2277. MIKE BORRETT CARVED WOODEN STRIPED BASS Wisconsin, b. 1960 Glass eyes. Carved on reverse “Borrett”. Length 30”. 900/1,200

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99


2278

2278. NANTUCKET PLOVER DECOY Circa 1890 Maker unknown. Original paint, including painted eyes. Original bill. Carved wings. Hit with shot. Length 9.5”. 1,000/1,500

2279

2279. NANTUCKET PLOVER DECOY Circa 1900 Maker unknown. Glass eyes. Original paint. Hit with shot. Length 9”. 800/1,200

2280, pair

2280. PAIR OF NANTUCKET BLACK-BELLIED PLOVER DECOYS Circa 1890 Maker unknown. Hollow-carved. Original bills. Carved wings. Hit with shot. Lengths 11”. 800/1,200

100

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2281. RARE CANVAS-COVERED RED-BREASTED MERGANSER DRAKE DECOY Chatham, Massachusetts, Early 20th Century Maker unknown. Flat silhouette head with painted eyes. Original paint. Quandy brand twice on underside. Length 23.5”. 7,000/10,000 Illustrated: New England Decoys by John and Shirley Delph, p. 75. 2281

2282

2282. A. ELMER CROWELL BLACK DUCK DECOY East Harwich, Massachusetts, 1862-1952 Circa 1930. Glass eyes. Head turned slightly left. Traces of Iver Johnson supreme brand on underside. Length 17”. 1,500/2,500

2283. A. ELMER CROWELL BLACK DUCK DECOY East Harwich, Massachusetts, 1862-1952 Circa 1925. Glass eyes. Head turned left. Drilled at top of back for use as the base of a table lamp. Length 17”. 800/1,200 2283

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101


2284

2284. PAIR OF A.J. KING MINIATURE CANADA GEESE North Scituate, Rhode Island, 1881-1963 Mounted together on a burlwood base. Signed on side of base “A.J. King”. Height 4”. Length 5.5”. 1,000/2,000

2285. PAIR OF A. ELMER CROWELL MINIATURE CANADA GEESE East Harwich, Massachusetts, 1862-1952 Circa 1930. One in sleeping position. Both mounted on round bases. Rectangular stamps. Heights 3.5” and 4”. Lengths 4” and 5”. 2,000/3,000

2285, pair

2286. A. ELMER CROWELL MINIATURE CANADA GOOSE East Harwich, Massachusetts, 1862-1952 Circa 1925. Mounted on a round base. “Canada Goose” written in ink on underside. Height 4”. 1,500/2,000

2286

2287. CLEON CROWELL THREE-QUARTER-SIZE MALLARD DRAKE East Harwich, Massachusetts, 1891-1961 Dated “Aug 1961”. Head turned right. Glass eyes. Rectangular stamp, signed “C.S. Crowell” and dated on underside. Length 13.25”. 1,500/2,500 2287

2288. A. ELMER CROWELL MINIATURE MALLARD DRAKE East Harwich, Massachusetts, 1862-1952 Circa 1930. Mounted on an oval base. Rectangular stamp. Height 4”. 800/1,200

2288

102

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2289

2289. A. ELMER CROWELL LESSER YELLOWLEGS East Harwich, Massachusetts, 1862-1952 Circa 1930. In preening position with wing raised. Glass eye. Mounted on a painted oval base simulating a stone. Rectangular stamp on underside. Height 9”. Length 7”. 6,000/8,000

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2290

2293

2290. A. ELMER CROWELL MINIATURE SCARLET TANAGER East Harwich, Massachusetts, 1862-1952 Circa 1930. Mounted on an oval base. Rectangular stamp. Height 2”. 900/1,200

2291. PAIR OF A. ELMER CROWELL MINIATURE MALLARDS East Harwich, Massachusetts, 1862-1952 Circa 1928. Mounted together on a stepped oval base. Rectangular stamp. Height 4”. Length 5”. 1,500/2,000

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2291

2292

2294

2295

2292. A. ELMER CROWELL MINIATURE RED-BREASTED MERGANSER DRAKE East Harwich, Massachusetts, 1862-1952 Circa 1928. Mounted on a round base. Rectangular stamp. Height 3.25”. Length 6”. 1,000/1,500

2294. PAIR OF A. ELMER CROWELL MINIATURE MALLARDS East Harwich, Massachusetts, 1862-1952 Circa 1930. Mounted together on a kidney-shaped base. Rectangular stamp. Height 4”. Length 7”. 1,500/2,000

2293. A. ELMER CROWELL MINIATURE CANVASBACK DRAKE East Harwich, Massachusetts, 1862-1952 Circa 1928. Mounted on a round base. Rectangular stamp. Height 5”. Length 3”. 1,000/1,500

2295. RARE A. ELMER CROWELL MINIATURE WOOD DUCK HEN East Harwich, Massachusetts, 1862-1952 Circa 1935. Mounted on a round base. Rectangular stamp. Height 3”. 1,000/1,500

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2296. GROUP OF SEVEN JAMES J. AHEARN MINIATURE WATERFOWL Stamford, Connecticut, 1904-1963 Circa 1930. All in flying form. Includes a pair of baldpates, a pair of mallards, a pair of pintails and a green-winged teal drake. All but the pintail drake are signed under the wings “J Ahearn”. Lengths from 4” to 5.5”. 1,000/2,000

2296, seven

2297, pair

2297. PAIR OF GOLDENEYE DECOYS Quebec, Canada, 20th Century Glass eyes. Carved raised wings. Lengths 12.5” and 13.5”. 1,200/1,400

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105


2298

2298. LARGE PICTORIAL HOOKED RUG DEPICTING CAMDEN, MAINE Camden, Maine, Circa 1973 Hooked by Ruth Tolman (1899-1996). Depicts a coastal view of Camden with vessels in the various harbors along the coast and many identifiable historical vessels, buildings and areas of interest, including The Gov. Muskie ferry, the entrance of the harbor buoy, Red Sheds (originally boat-building sheds), the American Boat House that is now the Camden Yacht Building, the Congregational Church, the Patchwork Barn on Rt. 52, Lincolnville, Roakes Egg Farm of Mechanic Street, the striped lighthouse in Eastport, the Red Barn on Belfast Road and the White Lighthouse on Curtis Island. Signed with Tolman’s compass rose signature lower right. 9’8” x 6’7”. 5,000/10,000

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2299. PERSIS CLAYTON WEIRS Maine, 1942-2016 Otters. Signed and dated lower right “Persis Clayton Weirs 1985”. Oil on board, 14” x 18”. Framed 22” x 26”. 1,500/2,500

2299

2300. GRENFELL PICTORIAL HOOKED MAT Newfoundland/Labrador, 20th Century Depicts a map of Newfoundland, with a compass rose and various ship and animal figures throughout. 41” x 31”. 1,000/1,500

2300

2301. LYLE SOPEL British Columbia, Canada, b. 1951 Carved mottled green nephrite bear on a rockery base. Signed on base “Sopel C925”. Height 6.75”. 700/900

2301

2302. NORTHWEST COASTAL CARVED AND POLYCHROMED TOTEM 20th Century Carved with ten masks. Unsigned. Height 92”. 2,000/3,000

2302

2303. GEORGE ALBERT FROST Massachusetts/California, 1843-1907 “A Buriat Boy”. Signed in oil lower left “G A Frost”. Titled, inscribed and dated “E. Siberia from sketch 1885” in pencil verso. Oil on board, 10” x 7.75”. Framed 16” x 14.25”. 500/1,000 2303

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107


2304. N. CURRIER HAND-COLORED LITHOGRAPH "A CHECK ‘KEEP YOUR DISTANCE!’" 19th Century After the painting by A.F. Tait. Conningham 1021. On paper, 16.25” x 21” sight. Framed 23.5” x 28”. 2,000/3,000

2304

2305. ATTRIBUTED TO FREDERICK WILLIAM BECKER New York/Oklahoma, 1888-1974 “Hacienda”. Unsigned. Artist identified on frame plaque. Titled on label verso. Oil on canvas board, 16” x 20”. Framed 23” x 27”. 800/1,200

2306. CYNTHIA STARFLOWER SAN ILDEFONSO PUEBLO POTTERY JAR 20th Century Squat ovoid form with short neck. Matte and shiny brown glaze. Height 9”. 300/500 Provenance: Private Massachusetts Collection. 2305

2307. AMERICAN SCHOOL 19th Century A Native American fighting off a bear. Signed lower left “A. Weidenbeck”. Watercolor on paper, 9” x 13” sight. Framed 19” x 24”. 500/1,000

2307

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E D WA R D S H E R I F F C U R T I S Washington/California, 1868-1952

2308

2308. “Canyon de Chelly”, 1904. Curtis’s signature in the plate. Housed in the original Curtis frame. Orotone, 7.5” x 9.5” (191mm x 241mm). Framed 11.5” x 13.5”. 6,000/9,000

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The Collection of Robin & Laurie Young SOLD TO BENEFIT THE OSTERVILLE VILLAGE LIBRARY Lots 2310-2319

Mr. and Mrs. Young will donate all proceeds to the library and will match the donation up to an additional $25,000. The library, located at 43 Wianno Avenue in Osterville, Massachusetts, is the third oldest library on Cape Cod, established in 1873 in the dining room of its first librarian, Mrs. Thankful Ames. It moved to its own building in 1882 and was incorporated by the state in 1883 as the Osterville Free Library. In 1958 it moved again, to its current location, and the building underwent an extensive renovation in 2010, reopening in 2012.

2309

2309. ELDRED WHEELER HUNTBOARD 20th Century In maple and tiger maple, with three side-by-side drawers and tapered legs. Eldred Wheeler paper label inside a drawer. Height 36.25”. Width 66.5”. Depth 20.25”. 1,200/1,800

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2310. ELDRED WHEELER QUEEN ANNE-STYLE CHEST-ON-FRAME 20th Century In maple and tiger maple. Upper case with five graduated full-width drawers, the top drawer simulating three side-by-side drawers with central fan carving. Frame with Dunlap-style scroll and shell carvings. Cabriole legs end in pad feet. Eldred Wheeler paper label in upper drawer. Height 62.5”. Width 36”. Depth 19.25”. 1,500/2,000

2310

2311

2311. ELDRED WHEELER QUEEN ANNE-STYLE LOWBOY Massachusetts, 20th Century In maple and tiger maple, with a molded-edge top, two drawers, acorn drops at skirt and cabriole legs ending in pad feet. Eldred Wheeler label in one drawer. Height 27.5”. Width 32”. Depth 19”. 700/1,000

2312. CHELSEA SHIP’S BELL CLOCK 20th Century Bell metal case on presentation bracket. Burnished steel dial. Movement numbered 96872. Retains original key. Case height 10”. Crystal diameter 5.5”. 800/1,200 2312

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The Robin & Laurie Young Collection

2313, pair

2313. PAIR OF ELDRED WHEELER QUEEN ANNE-STYLE TABLES Massachusetts, 20th Century Curly maple cut-corner tops. Olive green painted bases with cabriole legs ending in pad feet. Both with Eldred Wheeler labels on undersides. Heights 26.25”. Lengths 23.75”. Widths 18.5”. 600/1,000

2314. ELDRED WHEELER CHIPPENDALE-STYLE BUREAU Massachusetts, 20th Century In maple and tiger maple, with a molded-edge top, four graduated full-width drawers and flat bracket feet. Eldred Wheeler paper label in upper drawer. Height 33.25”. Width 36.5”. Depth 19”. 1,000/1,500

2314

2315, pair

2315. PAIR OF ELDRED WHEELER SIDE TABLES Massachusetts, 20th Century In maple, with porringer tops and tapered straight legs ending in diminutive pad feet. Both with Eldred Wheeler labels on undersides. Heights 25.25”. Lengths 25.5”. Widths 17.25”. 1,000/1,500

2316. ELDRED WHEELER QUEEN ANNE-STYLE DROP-LEAF TABLE Massachusetts, 20th Century In maple. Eldred Wheeler label on underside of top. Height 29.75”. Length 18” plus two 18” drop leaves. Width 43”. 800/1,200

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2316

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SOLD TO BENEFIT THE OSTERVILLE VILLAGE LIBRARY

2317

2319

2318

2317. ELDRED WHEELER CHIPPENDALE-STYLE TALL CHEST Massachusetts, 20th Century In maple and tiger maple. Four small drawers flank a central deep fan-carved drawer. Five graduated full-width drawers below. Ogee bracket feet. Eldred Wheeler paper label inside the fan-carved drawer. Height 56”. Width 36.75”. Depth 19.5”. 1,500/2,500

2318. ELDRED WHEELER QUEEN ANNE-STYLE CHILD’S CHEST-ON-FRAME Massachusetts, 20th Century In cherry. Upper case with five graduated full-width drawers, the top drawer simulating three side-by-side drawers with central fan-carving. Frame with scrolled skirt and cabriole legs ending in pad feet. Eldred Wheeler label in upper drawer. Height 41.5”. Width 22.5”. Depth 14.25”. 1,000/1,500

2319. ELDRED WHEELER CHIPPENDALE-STYLE TALL CHEST Massachusetts, 20th Century In maple and tiger maple. Six graduated full-width drawers, the top drawer simulating three side-by-side drawers with central fan carving. Flat bracket feet. Height 54.5”. Width 36.5”. Depth 19.25”. 1,400/1,800

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113


2320. SAROUK RUG 10’3” x 13’1” Early 20th Century Clusters of red, blue, gold and light brown flowering branches are arrayed about the center lines of a rich red field. Design includes two pairs of unusual teal cypress trees that mirror each other across the central floral element. Red, gold and navy blue borders. 1,000/1,500

2320

2321. SULTANABAD DESIGN RUG: 10’2” x 13’2” 21st Century Dark blue field with bold blossoms on meandering branches, all rendered in shades of light blue, grass green, pale gray, lively salmon pink, bright red, subtle amethyst, tan and yellow. Light gray guard borders. Broad blue main border echoes the field. 1,200/1,800

2321

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2322

2323

2322. KESHAN RUG: 9’9” x 12’5” Last Half of the 20th Century Rich red field features a central blue and ivory medallion and pendants. Spandrels at corners echo the medallion. Colorfully rendered traditional sumptuous blossoming vines and serrated leaves throughout. Medium blue and ivory guard borders. Navy blue main border. 800/1,200

2323. SULTANABAD DESIGN RUG: 9’0” x 12’0” 21st Century Light gray field with traditional stylized blossoms and a meandering vine in shades of ivory, light moss green, salmon pink, brown and dark shades of blue. Periwinkle blue guard borders. Light plum main border. 900/1,200

2324. SERAPI DESIGN RUG: 9’0” x 12’1” 21st Century Traditional gabled medallion and pendants in shades of dark rust red, pale salmon pink, faded gold and blue. Ivory field, salmon subfield and gold spandrels. Pale green and slate blue guard borders. Rust red main border with turtle motif. 1,500/2,000

2324

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2325

2325. SERAPI DESIGN RUNNER: 2’8” x 25’7” 21st Century Navy blue field with multiple gold, red, blue and ivory gabled medallions between clusters of green stylized leaves and colorful blossoms. Dark red border with turtle motif. 800/1,200

2326. SULTANABAD DESIGN RUG: 7’10” x 9’10” 21st Century Bubblegum pink field contains an ivory vine bearing bold and colorful blossoms and leaves in bright ivory, light blue, dark red, seafoam green, yellow, teal green and brown. Light tangerine guard borders. Ivory main border. 800/1,000

2327. SAROUK RUG: 3’5” x 4’11” Early 20th Century Field composed of contiguous burgundy, navy blue and teal green geometric medallions that contain bold floral bouquets. Gold and blue guard borders. 350/550

2328. BOKHARA RUG: 4’7” x 6’1” Last Quarter of the 20th Century Red, black and bright ivory tekke guls on a red field. Multiple borders with traditional repeating stylized elements. 300/400

2329. KARAJA RUG: 4’10” x 6’4” Late 20th Century Three green, red and ivory geometric medallions occupy the center of a red field filled with a busy array of tiny, colorful stylized elements. Midnight blue main border contrasts with a narrow bright ivory exterior border. 300/500

2330. HERIZ RUG: 9’1” x 11’2” Third Quarter of the 20th Century Red field with a red and abrashed charcoal geometric medallion and typical stylized blossoms and leaves throughout. Spandrels in matching colors and motifs. Red, gold and charcoal borders. 600/900

2331. HERIZ RUG: 3’2” x 4’4” Second Half of the 20th Century Bright ivory medallion with blue center and outline rests at the center of a red field above an ivory subfield with red spandrels. Traditional stylized elements throughout. Pink and blue borders. 200/300

2332. HERIZ RUG: 8’2” x 12’0” Mid-20th Century Red field with a navy blue medallion and pendants outlined in pink and gold. Bright ivory spandrels. Colorful flowering vines throughout. Navy blue border with alternating blossom and serrated leaf design. 500/800

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2333

2333. PESHAWAR RUG IN SULTANABAD DESIGN: 14’1” x 19’10” Late 20th Century Antique ivory field is traversed by a variety of bold stylized flower blossoms and graceful scrolling vines bookended by a pair of elegant flower vases, all rendered in gold, ivory, dark red, dark blue and pale pink. Broad gold-colored main border with alternating branches and blossoms. Considerable variation of dye lots results in extensive abrashed effect. 2,000/3,000

2334. CAUCASIAN DESIGN RUG: 6’0” x 8’9” 21st Century Gray field with three columns of colorful geometric medallions and blossoms suspended on delicate linear vines. Multiple ivory, salmon red and blue-green borders feature a variety of traditional motifs. 600/900

2336. CAUCASIAN DESIGN RUG: 6’0” x 8’9” 21st Century Red field with various geometric medallions and stylized elements in light blue, dark blue, gold and salmon red. Dark blue guard borders. Ivory main border with geometric motifs to echo the field. 600/900

2335. TURKISH RUG: 6'6" x 10'1" Late 20th Century Small medallions and floral bouquets compose a central medallion on an otherwise empty cream-colored field. Quartered medallions echoing the center compose the spandrels. Main border consists of a garden of neatly arranged stylized elements. 400/600

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2337. FOUR REVERSE PAINTINGS ON GLASS 19th Century All depict figures smoking. Unsigned. Possibly from a tobacco shop. Housed in 20th Century frames. Oval, 17” x 14” sight. Framed 27” x 24”. 1,500/2,500

2337, four

2338. PENNY-FARTHING BICYCLE MADE BY SINGER & CO. England, Late 19th Century British racing green colorway. Retains original label. Includes cast iron stand. Height 57”. Length 62”. Width 20”. 1,500/2,500

2338

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2339. PAINTED WOODEN BARBER’S POLE 19th Century Turned base and top. Height 75”.

700/1,000

2340. PAINTED WOODEN "WHISKEY" SIGN Early 20th Century Black lettering on a white ground. Found on Cape Cod, Massachusetts and was used by the consignor’s father before and after Prohibition. 500/800

2341. POLYCHROME WOODEN GAME WHEEL Late 19th Century Painted in center “St Paul, Minn. Daily Mfg.”. Diameter 30”.

700/1,000

2342. GEORGE BENJAMIN LUKS New York, 1867-1933 “Sketch of Johnny Queenan”. Signed lower center “Sketch of Johnny Queenan by George Luks about 1928”. Pencil on paper, 6.25” x 4.75” sight. Framed 12” x 11”. 500/1,000 Provenance: Adelson Gallery, New York.

2343. ELDRED WHEELER QUEEN-SIZE BED Massachusetts, 20th Century In tiger maple. Posts with urn-form finials. Shaped headboard. Eldred Wheeler paper label and brand on headboard. Height including finals 86.5”. Width between bolt holes 59”. Rail lengths 80”. 1,600/2,000

2344. PHIL (PHILIPPE AYER) SAWYER Florida/Illinois/France, 1877-1949 Three landscape sketches. All signed “Phil Sawyer” or “Sawyer”. Oils on board, 6.5” x 8.75”. Unframed. 800/1,200

2339

2345. PHIL (PHILIPPE AYER) SAWYER Florida/Illinois/France, 1877-1949 Three figural studies. One signed lower left “Phil Sawyer”. Other two unsigned. Oils on board, the largest 9.25” x 7.5”. Unframed. 800/1,200 2340

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2346. CARVED AND PAINTED FIGURE OF UNCLE SAM 20th Century On a pedestal base. Antiqued finish. Height 48.5”. 400/600

2347. CARVED AND PAINTED BELLAMY-STYLE AMERICAN EAGLE PLAQUE America, 20th Century Painted gold. Outstretched wings. Polychrome American shield at its breast. Height 6”. Width 34.75”. 600/800

2349. RARE "GRAF ZEPPELIN" BROADSIDE Circa 1933 “From Germany via Brazil to ‘A Century of Progress’ Exposition in Chicago, Ill., U.S.A. and return to Europe”. 21.5” x 11.75” sight. Framed 23.5” x 13.5”. 500/800

2350. PAINTED TIN LEE TIRES SIGN Early 20th Century “Lee of Conshohocken Tires” in yellow, white and black lettering on a green ground. 72.5” x 24”. 700/1,000

Provenance: The Kelton Collection of Marine Art & Artifacts.

2348. ADELEINE WOLEVER BAXTER Massachusetts/Ontario, 1890-1946 “Illumination (The Boston State House), c. 1916”. Unsigned. Identified on a label verso for the Concord Annual Exhibition, Concord, Massachusetts, 1916. Titled on gallery label verso. Oil on board, 8” x 10”. Unframed. 300/500

2346

2349

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2350


2351 2352

2351. RON BALABAN America, Contemporary Portrait of a Hudson Super Six Convertible, likely a 1949 model. Signed lower right “Ron Balaban”. Oil on canvas, 24” x 36”. Framed 26” x 39”. 1,000/1,500

2352. RON BALABAN America, Contemporary Portrait of a late 1940s Chrysler Town & Country convertible. Signed lower right “Bob Balaban”. Oil on canvas, 30” x 30”. Framed 32” x 32”. 1,000/2,000

2353. ALBERT VAN NESSE GREENE Pennsylvania/District Of Columbia, 1887-1971 View of the Brooklyn Bridge, New York. Signed lower right “A.V. Greene”. Pastel on paper, 8.5” x 10.25” sight. Framed 17.75” x 19.5”. 1,000/1,500 2353

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2354

2354. TWO-PART CUPBOARD ATTRIBUTED TO ELDRED WHEELER Massachusetts, 20th Century In strongly figured tiger maple. Both sections with two sets of paneled doors. Shaped bracket feet. Height 76.5”. Width 55.5”. Depth 21.75”. 3,000/4,000

122

2355. AMERICAN SCHOOL 19th Century Five figural sketches. Four monogrammed “WW”. Watercolors on board, 10.5” x 5.75”. Unframed. 800/1,200

2356. ELDRED WHEELER QUEEN-SIZE BED Massachusetts, 20th Century In tiger maple. Posts with urn-form finials. Original Eldred Wheeler paper label and brand on back of headboard. Includes rails, bolts and finials. Height 84”. Width 64”. 2,000/2,500

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L I N D A N E LS O N STO C KS America, 1938-2011

2357. “Wallingford Mill Bridge 1832”. Signed and dated lower center “Linda Nelson Stocks 1987”. Titled within scene. Oil on canvas, 20” x 24”. Framed 24” x 28”. 1,200/1,800

2357

2358. A county fair. Signed lower left “Linda Nelson Stocks”. Oil on canvas, 20” x 24”. Framed 24” x 28”. 1,200/1,800

2358

2359. Barnyard scene. Signed and dated lower left “Linda Nelson Stocks 1998”. Oil on canvas, 20” x 24”. Framed 24” x 28”. 1,200/1,800

2359

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2360. SULTANABAD DESIGN RUG: 12’2” x 14’9” 21st Century Light gray field with traditional arrangement of bold blossoms and delicate vines in turquoise, dark blue, red, brassy gold, ivory and teal green. Modified wineglass and serrated leaf motifs throughout guard borders. Modified turtle motif throughout main border. 1,500/2,000

2361. MAHAL DESIGN RUG: 7’10” x 9’4” Late 20th Century Midnight blue field with a traditional arrangement of salmon red, blue, pale celadon green, ivory and gold vines and stylized blossoms. Blue guard borders. Salmon red main border. 500/700

2360

2362. MAHAL DESIGN RUG: 9’8” x 13’10” 21st Century Abrashed light red field with traditional blossoms and a delicate lattice vine in soft shades of tan, pale blue, red, salmon, moss green and subtle dark crimson. Broad dark gold main border features colorful flowering branch motifs. 1,200/1,800

2363. HERIZ RUNNER: 2’9” x 9’3” Circa 1925 Abrashed red field with narrow brown branches bearing light blue, ivory, brown and pink blossoms and leaves. Light blue, abrashed gold and ivory borders. 200/300

2361

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2364. MAHAL RUG: 9’2” x 11’0” First Quarter of the 20th Century Salmon red medallion with a red floral center and blue outline is surrounded by neatly arrayed linear vines bearing red, blue and tan blossoms and leaves throughout an ivory field. Blue guard borders and red main border feature a turtle motif. 1,000/1,500

2364

2365. SULTANABAD DESIGN RUG: 9’1” x 11’10” 21st Century Bright ivory field contains bold stylized blossoms and a meandering vine in pastel shades of blue, gray, pink, yellow, moss green and brick red. Gray guard borders. Broad sky blue main border. 900/1,200

2365

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2367

2366

2366. PERSIAN DESIGN RUG: 8’11” x 11’10” 21st Century Bright red field with geometric medallions, small stylized blossoms and twin arrays of stylized blossoming vines, all rendered in shades of blue, ivory, red, brown and green. Blue and ivory guard borders. Ivory main border. 1,000/1,500

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2367. SHIRVAN DESIGN RUG: 4’0” x 6’0” 21st Century Dark khaki field with light blue, dark blue, ivory, wheat-colored and dark pink geometric medallions. Light blue guard borders. Khaki main border with repeated geometric medallions. 350/450

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2368

2371 2369

2368. HAMADAN RUG: 3’6” x 4’10” Second Quarter of the 20th Century Ivory field with a red and gray central medallion surrounded by midnight blue, red, pink, gold and gray branches. Gold and midnight blue borders. 150/250

2369. SAROUK RUG: 3’3” x 4’11” Circa 1910 Navy blue field with a central floral medallion surrounded by symmetrically arrayed clusters of flowering branches and serrated leaves in red, blue, dark gold, pink and subtle green. Serpentine vines and blossoms meander through ivory and dark red borders. 500/700

2370. SULTANABAD DESIGN RUNNER: 2’7” x 11’10” 21st Century A column of khaki, ivory, terracotta red, blue and cocoa brown stylized blossoms and a delicate meandering vine run the length of a light gray field. Broad light blue main border with motifs echoing the field. 300/400

2371. HERIZ RUG: 8’6” x 11’7” Circa 1910-1920 Traditional red, light blue and olive green cypress, willow and deciduous trees amidst stylized marine blue blossoms arranged in rows across a navy blue field. Ivory and rust red floral borders. 800/1,200

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2372

2372. PESHEWAR RUG: 15’3" x 22’10" Early 20th Century Beige vine bears bold beige, gold and olive green blossoms abundantly throughout a rust red field. Broad light gold main border with gold stylized floral motifs. 2,500/3,500

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2373. KAZAK RUG: 4’7” x 7’2” Late 19th Century Blue field with a nearly symmetrical arrangement of geometric forms and medallions featuring individual stylized elements, all rendered in shades of blue, yellow, red, ivory and brown. Borders complement the field. 700/900

2376. SOUMAC MAFRASH: 1’7" x 3’2" x 1’6” Late 19th/Early 20th Century Stylized repeating shrub motif in shades of wine red, ivory, brown, blue, green, faded orange and yellow traverses a navy blue field in staggered rows. Bounded above and below by narrow reciprocal red and green spearpoint borders. 500/800

2374. CAUCASIAN DESIGN RUG: 4’11” x 6’7” 21st Century Bright ivory, light tan, blue and green stylized blossoms and meandering vines are arranged in three columns down the length of a bright red field. Marine blue guard borders. Bright ivory main border with red serpentine vine. 450/650

2377. KAZAK DESIGN RUG: 5’0” x 6’1” 21st Century Light blue field with a traditional central beige geometric medallion with a crimson latch hook perimeter. Spandrels echo medallion. Beige guard borders. Red main border. 300/400

2375. HERIZ RUG: 8’10” x 9’10” Mid-20th Century Red field and ivory and navy blue subfields feature a traditional arrangement of vines, leaves and blossoms surrounding gabled medallions. Navy blue main border with turtle motif. 500/800

2373

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SESSION II Wednesday, July 27, 2022 An Important New England Collection Paintings Fine Furniture Provincetown and Cape Cod Art Martime Arts 20th Century Art

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A N I M P O R TA N T

New England Collection Lots 2501-2531

2501. CLASSICAL CENTER TABLE ATTRIBUTED TO ISAAC VOSE Boston, Circa 1825 In mahogany and mahogany veneer. Circular top. Column-form base raised on three relief-carved feet. Height 28.75”. Diameter 29.75”. 800/1,200

2502. CLASSICAL CARVED SOFA Boston, Circa 1825 In mahogany and mahogany veneer. Crest rail with deeply carved ends. Foliate-carved vasiform arm supports. Relief-carved panel rosette. Bold turned and reeded legs. Powder blue damask upholstery. Back height 34.5”. Seat height 19”. Length 78”. 2,000/3,000

2503. PAIR OF CLASSICAL-STYLE ARMCHAIRS First Quarter of the 20th Century In mahogany with scrolled arms and foliate-carved cabriole legs. Brown moire upholstery. Back heights 35”. Seat heights 19”. 300/500

2501

2502

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2504. CLASSICAL GILTWOOD AND EGLOMISE WALL MIRROR Likely New York, Circa 1810 Elaborate crest with an eagle prominently perched upon a plinth and suspending a garland of balls. Upper eglomise panel depicts a castle overlooking the sea. Height 59”. Width 26”. Depth 10”. 2,000/3,000 Illustrated: The Magazine Antiques“Living with Antiques”, April 1987, p. 58-63.

2505. FRENCH CARRIAGE CLOCK Second Half of the 19th Century Fruitwood case with ebonized and natural finishes. Burnished steel face with Roman numerals. Faint illegible signature at bottom. Typical circular French brass works with oval mark at left. Height 7”. Width 5”. Depth 4.25”. 400/600

2506. BRONZE ASTRAL LAMP Second Half of the 19th Century Frosted and cut glass shade with floral and foliate decoration. Bronze columnar base on a square foot. Applied Boston maker’s label. Height 25.5”. 300/500

2507. THREE-VOLUME SET A VOYAGE INTO THE LEVANT By M. Tournefort. London: D. Midwinter, 1741. Each volume with numerous intact plate engravings and foldouts. Octavo. Leather-bound. Cased in a contemporary box. Box 9.5” x 5.25” x 6.75”. 500/1,000

2504

130

2508. PAIR OF IRISH CUT-CRYSTAL MANTEL GARNITURES 19th Century Both with prisms and two arms with candle sockets. Heights 19.5”. Widths 14.5”. 200/300

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2509

2512

2509. CHINESE FAMILLE ROSE PORCELAIN HEXAGONAL HAT STAND Late 18th/Early 19th Century Each panel with alternating figural and calligraphic decoration. Height 11.75”. Mounted as a table lamp. Total height 23.25”. 300/500

2510. CHINESE CLOISONNÉ VASE Early 20th Century Floral and foliate designs on a black ground. Height 12.5”. Mounted as a table lamp. 200/300

2511. CHINESE EXPORT PORCELAIN PUNCH BOWL Late 18th/Early 19th Century Elaborate floral decoration about exterior and the center of the interior. Height 5”. Diameter 12.75”. 300/500

2512. CHINESE BRASS-BOUND CAMPHORWOOD TRUNK Mid-19th Century Top with contrasting inlaid elephant. Interior with three drawers and an open till. Brass plaque on front stamped “J.W. Revere U.S.N.”. Side cleats with nicely knotted blue and white ropework beckets. Height 16.75”. Width 36”. Depth 18.5”. 1,500/2,000

2513. PAIR OF COBALT BLUE GLASS AND GILT MANTEL VASES Mid-19th Century Beautiful gilt mounts on white marble bases. Heights 9.5”. 250/350

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131


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2514. THREE-PIECE MANTEL GIRANDOLE GARNITURE Second Half of the 19th Century Gilt cathedral-form bases. Heights 17.5”. Widths 17.75”. 500/700

2515. PAIR OF BRONZE MANTEL GARNITURES Mid-19th Century Probably French. Frosted and grape-cut glass globes. Bases with hanging prisms and square plinths raised on turnipstyle feet. Heights 14.75”. 250/350

2516. PAIR OF GILT-BRONZE ANDIRONS First Half of the 19th Century Probably French. Urn-form finials atop tapered square columns, the fronts with rosettes and fluting. Heights 24”. Depths 24”. 500/1,000

2517. PAIR OF BRASS ANDIRONS Late 19th Century Ring- and baluster-turned shafts. Heights 20.5”. Depths 24”. 400/600

2516

132

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2518. PAIR OF GILT-BRONZE MANTEL URNS Second Half of the 19th Century Mottled amber-colored feldspar bodies. Removable covers with acorn finials and leaf decoration. Heights 9”. 2,500/3,500

2518

2519. FRENCH EMPIRE GILT-BRONZE MANTEL CLOCK First Half of the 19th Century In the form of a gondola-like vessel being paddled by a cherub and with a classical woman seated atop the clock face and holding an anchor. The vessel, the prow formed as a crooked neck swan, is raised on a plinth and is supported by two dolphins. Appliqué plant, ribbon and other designs on the vessel and the plinth base. Circular brass French works with strike. Unmarked. Height 14.25”. Width approx. 13”. Depth 4.5”. 2,500/3,500

2519

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133


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2520. FOLLOWER OF BENJAMIN BLYTH America, 18th Century Portrait of Judge John Lowell depicted at the tomb of his first wife, Sarah Higginson Lowell. Known as “The Old Judge,” John Lowell was the patriarch of the Boston Lowell family. Unsigned. By tradition, this painting is attributed to Blyth, but it is likely an early copy of Blyth’s original pastel portrait. This is believed to be the only known portrait of Lowell in existence. Oil on canvas, 21” x 17”. Framed 25” x 20”. 4,000/6,000 Illustrated: Cover illustration for “The Descendants of Judge John Lowell of Newburyport”, published by the New England Historic Genealogical Society, 2011.

2520

2521. ATTRIBUTED TO CHESTER HARDING Massachusetts, 1792-1866 Portrait of Abbott Lawrence. Unsigned. Sitter identified verso. Oil on canvas, oval 27” x 22”. Framed 35” x 30”. 2,500/3,500

2521

134

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2522

2522. WILLIAM HARE Maryland/England, 1815-1865 The schooner “Abbott Lawrence, F. Crowell Master”. Signed lower right “W. Hare Pinxt”. Titled lower center. Oil on canvas, 24” x 29”. Framed 28” x 33”. 6,000/9,000 Provenance: Vose Galleries, Boston. Illustrated: The Magazine Antiques “Living with Antiques”, April 1987, p. 58-63.

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135


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2523. FORTUNATO ARRIOLA California, 1827-1872 “Moon over Nicaragua”. Signed faintly lower left. Oil on canvas laid down on board, 14” x 22”. Framed 19” x 28”. 3,000/5,000 Illustrated: “Dark Eden: The Swamp in Nineteenth Century American Culture” by David C. Miller, 1990, p. 176, and in The Magazine Antiques “Living with Antiques”, April 1987, p. 58-63.

2523

2524. ATTRIBUTED TO VICTOR DE GRAILLY New York/France, 1804-1889 Pastoral landscape with shepherds. Unsigned. Oil on canvas, 18” x 21”. Framed 26” x 29”. 2,000/3,000

2524

2525. ATTRIBUTED TO VICTOR DE GRAILLY New York/France, 1804-1889 Sunset on the Hudson near West Point. Unsigned. Oil on canvas, 24” x 18”. Framed 30” x 23”. 2,000/3,000

2525

136

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2526

5257

2526. HARRISON BIRD BROWN California/Maine/England, 1831-1915 A New England river landscape. Initialed lower right “H.B.B.”. According to family oral history, the scene is of the Powwow River, New Hampshire. Oil on canvas, 13” x 23”. Framed 24” x 34”. 4,000/6,000

2527. BENJAMIN SMITH ROTCH Massachusetts, 1817-1882 Haystacks on the Neponset River, Milton, Massachusetts. Signed and dated lower right “B.S. Rotch 1864”. Inscribed in pencil on upper stretcher bar “Painted for Mrs. Mottey by B.S. Rotch 1864”. Image location according to family’s oral history. A similar example, titled “Neponset River”, is in the collection of the Museum of Fine Arts, Boston, accession #69.15. Oil on canvas, 12” x 20”. Framed 19” x 28”. 1,000/1,500

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2528. ATTRIBUTED TO BENJAMIN SMITH ROTCH Massachusetts, 1817-1882 View of Salisbury Cathedral. Unsigned. Oil on board, 8” x 10”. Framed 11.5” x 13.5”. 300/500

137


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2529

2530

2529. CHRISTOPHER PEARSE CRANCH Massachusetts/New York/Washington, D.C., 1813-1892 “Fishkill on the Hudson Looking Toward Newburgh, Circa 1856”. Signed and dated lower left “C.P. Cranch 1856”. Oil on canvas, 25” x 38”. Framed 32” x 45”. 8,000/12,000 Exhibited: Lyman Allyn Art Museum, New London, Connecticut: “At Home and Abroad, The Transcendental Landscapes of Christopher Pearse Cranch (1813-1892)”. Illustrated: “At Home and Abroad, The Transcendental Landscapes of Christopher Pearse Cranch (1813-1892)” by Nancy Stula (2007), p. 117.

138

2530. SCHOOL OF ASHER BROWN DURAND America, 19th Century “A Quiet Summer’s Afternoon”. Unsigned. Identified as “Asher B. Durand” and titled on a Vose Galleries label verso. An extremely similar example by Durand was sold at Christie’s as “After a Summer Shower”, November 11, 2016, Lot #47. According to the consignor, this painting was examined by experts and Durand’s authorship of the painting was called into question. Oil on canvas, 25” x 36”. Framed 36” x 46”. 6,000/9,000 Provenance: Chris Huntingdon, Mt. Vernon, Maine.

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2531

2531. SAMUEL LANCASTER GERRY Massachusetts, 1813-1891 “Snow Scene near Malden”. Signed lower left “Gerry 1850”. Titled on an 1850 American Art Union label verso. A fine early example of the artist’s work. Oil on canvas, 22” x 30”. Framed 31” x 39”. 8,000/12,000 Provenance: Driscoll & Walsh Fine Art, Boston.

conclusion of the collection

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139


2532. AMERICAN SCHOOL 19th Century Sunset over a mountain lake. Unsigned. Oil on canvas, 15” x 24”. Framed 20” x 29”. 1,000/1,500

2532

2533. ATTRIBUTED TO SAMUEL LANCASTER GERRY Massachusetts, 1813-1891 Echo Lake, Franconia, New Hampshire. Possibly faintly signed lower right. Oil on board, 12” x 20”. Framed 18” x 25.5”. 1,000/1,500

2533

2534. SAMUEL W. GRIGGS Massachusetts, 1827-1898 Landscape, likely Lake George. Signed and dated lower left “S.W. Griggs 77”. Oil on board, 11” x 17”. Framed 16” x 22”. 1,500/2,500

2534

2535. GEORGE MCCONNELL Maine/Ohio, 1852-1929 Mount Washington from Bethlehem, New Hampshire. Signed and dated lower right “Geo. McConnell 1921”. Oil on board, 8” x 14”. Framed 11.5” x 17.5”. 800/1,200 For a similar view see White Mountain Art & Artists: www.whitemountainart.com/about-3/history/gm102p/

2535

140

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2536. RUSSELL SMITH Pennsylvania/Scotland, 1812-1896 “Lake Winnipesaukee”. Signed verso “Russell Smith”. Titled verso. Oil on board, 8” x 11.75”. Framed 13” x 17”. 2,500/3,500 Provenance: Schwarz Gallery, Philadelphia.

2536

2537. ATTRIBUTED TO JAMES MCDOUGAL HART New York, 1828-1901 Expansive landscape with cows. Unsigned. Oil on canvas, 6” x 10”. Framed 12” x 16”. 1,000/1,500

2537

2538. CHARLES DEWOLF BROWNELL Connecticut/New York/Rhode Island, 1822-1909 “Mount Washington from the Saco River, Bartlett”. Signed and dated lower right “C.B. 67”. Titled and signed verso on the lower stretcher in the artist’s hand “Mt. Washington, from Lower Bartlett. Left Bank of the Saco. Chas. D’W. Brownell Bristol, R.I.”. Oil on canvas, 12” x 18”. Framed 16.5” x 22.5”. 3,000/5,000 See White Mountain Art & Artists: www.whitemountainart.com/about-3/artists/ charles-dewolf-brownell-gallery/ 2538

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141


2539. ALFRED T. ORDWAY Massachusetts/New Hampshire, 1819-1897 “Artists’ Brook North Conway NH 1874”. Signed lower right “A. Ordway”. Oil on canvas, 29.5” x 49.5”. Framed 34.5” x 55”. 2,000/3,000 2539

Provenance: A New Hampshire Collection of Paintings.

2540. FRANK HENRY SHAPLEIGH New Hampshire, 1842-1906 “Mount Washington and Ammonoosuc River”. Signed and dated lower right “F.H. Shapleigh 1896”. Titled verso. Oil on board, 8” x 12”. Framed 16.5” x 21.5”. 3,000/5,000

2541. BYRON CARR New Hampshire, Contemporary “Above the Basin”. Signed lower left “Byron Carr”. Titled verso. Oil on board, 12” x 16”. Framed 17.5” x 21.5”. 400/600 2540

2542. M. DEFOREST BOLMER New York, 1854-1910 Autumnal mountain landscape. Signed and dated lower right “Bolmer 75”. Oil on canvas, 14” x 22”. Framed 22.5” x 30.5”. 1,000/1,500

2543. WHITE MOUNTAIN SCHOOL Late 19th Century “Eagle Cliff and Mt. Lafayette”. Unsigned. Titled on contemporary label verso. Oil on board, 17” x 10”. Framed 23” x 16.5”. 800/1,200

2542

142

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2544

2545

2544. FREDERICK A. BUTMAN California/Maine, 1820-1871 Mount Madison, New Hampshire. Unsigned. Identified on exhibition label verso. Oil on canvas, 15” x 22.5”. Framed 22” x 29.25”. 3,000/5,000

2545. JOHN WHITE ALLEN SCOTT Massachusetts, 1815-1907 View of a mountain, likely New Hampshire’s Mount Washington. Signed with the artist’s monogram lower right. Oil on canvas, 20” x 30”. Framed 28” x 38”. 2,500/3,500

Exhibited: New Hampshire Historical Society, Concord, New Hampshire: “Consuming Views: Art and Tourism in the White Mountains, 1850-1900”, September 16, 2006 through October 8, 2007, #27. Literature: Consuming Views: Art and Tourism in the White Mountains, 1850-1900 by Donna Garvin (Concord, NH: New Hampshire Historical Society, 2006), p. 81. See White Mountain Art & Artists: www.whitemountainart.com/fab100p/

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143


2546

2547

2549

2548

2546. GEORGE NELSON CASS Massachusetts, 1831-1882 Expansive view of a mountain river. Signed lower center “Geo. N. Cass”. Oil on canvas, 18” x 24”. Framed 21.5” x 27.5”. 800/1,200

2548. GEORGE MCCONNELL Maine/Ohio, 1852-1929 Old Man of the Mountain. Signed and dated lower left “Geo. McConnell 1917”. Oil on board, 13” x 9”. Framed 17” x 12.5”. 1,500/2,500

2547. BENJAMIN CHAMPNEY Massachusetts/New Hampshire, 1817-1907 Glen Ellis Falls, New Hampshire. Signed lower left “B. Champney”. Oil on panel, 11.5” x 7.5”. Framed 16” x 12”. 2,000/3,000

2549. AMERICAN SCHOOL 19th Century Rowboat beached on a mountain lake. Unsigned. Oil on canvas, 9” x 13”. Framed 13” x 17”. 600/900

For a similar example see White Mountain Art & Artists: www.whitemountainart.com/bc140/

144

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2550. WILLIAM HENRY HILLIARD Indiana/New York/Washington, D.C., 1836-1905 “Mount Washington from Sunset Hill, North Conway”. Signed and dated lower left “W.H. Hilliard 76”. Titled on exhibition label verso. Oil on canvas, 16” x 26”. Framed 20.5” x 30.5”. 3,000/5,000 Exhibited: New Hampshire Historical Society, Concord, New Hampshire: “Consuming Views: Art and Tourism in the White Mountains, 1850-1900”, September 16, 2006 through October 8, 2007, #35.

2550

Literature: Consuming Views: Art and Tourism in the White Mountains, 1850-1900 by Donna Garvin (Concord, NH: New Hampshire Historical Society, 2006), p. 99. American Art Review “Art & Tourism in the White Mountains, 1850-1900” by John J. Henderson and Roger E. Belson, Vol. XIX, No. 2, 2007, p. 108. White Mountain Art & Artists: www.whitemountainart.com/whh102p/

2551. AARON DRAPER SHATTUCK Connecticut/New Hampshire, 1832-1928 “Mt. Lafayette”. Signed with the artist’s stamp lower left “A.D. Shattuck”. Titled on frame plaque. Oil on canvas, 11” x 17”. Framed 17” x 23”. 3,000/5,000 Provenance: By descent in the artist’s family.

2551

Literature: This painting will be included as number 180 in the forthcoming catalogue raisonné compiled by the Salmon Brook Historical Society in Granby, Connecticut.

2552. JOHN WHITE ALLEN SCOTT Massachusetts, 1815-1907 Fall landscape with river. Signed and dated lower right “JW Scott 1879”. Oil on canvas, 24” x 18”. Framed 29” x 23”. 1,500/2,500

2552

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145


SAMUEL LANCASTER GERRY Massachusetts, 1813-1891

2553

2553. “Bringing in the Hay”. Signed lower left “S.L. Gerry”. Titled on Vose Galleries label verso. Oil on canvas, 24” x 36”. Framed 36” x 47”. 8,000/12,000

146

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2554. “Fishing at the Falls”. Signed lower right “S.L. Gerry”. Titled on gallery label verso. Housed in its original frame. Oil on canvas, 20” x 14”. Framed 31” x 25”. 5,000/7,000 Provenance: The Cooley Gallery, Connecticut. Private Collection, Connecticut.

2555. “Cows at a Pond”. Possibly Sylvan Pond, West Campton, New Hampshire. Artist’s initials lower right corner. Dated 1880. Oil on canvas laid down on board, 12.25” x 19.25”. Framed 21.5” x 28.5”. 1,200/1,800 2554

2555

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147


2556. DUNLAP SCHOOL QUEEN ANNE TWO-PART HIGHBOY Mid-18th Century In cherry. Upper case with five graduated full-width drawers. Lower case with three graduated full-width drawers, the lower drawer simulating three side-by-side drawers with central fan carving. Nicely scrolled skirt. Cabriole legs end in bold pad feet. Height 76.75”. Width 38.75”. Depth 20”. 5,000/7,000

2556

148

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2557. FINE SHERATON CARD TABLE Portsmouth, New Hampshire, Circa 1800 In mahogany with an old mellow finish. Top and bottom leaves of high-grade mahogany with string and cross-banded inlay. Apron with cross-banded inlay and book-matched satinwood central panel flanked by vertical book-matched satinwood panels. Ring-turned, tapered and reeded legs terminate in elongated turned and tapered feet. Height 30.25”. Width 36”. Depth 17.75”. 3,000/5,000

2557

Notes: A nearly identical piece is illustrated as a “best” example in Fine Points of Furniture by Albert Sack, p. 285.

2558. SHERATON MARTHA WASHINGTON LOLLING CHAIR Newburyport, Massachusetts, Circa 1790-1810 In mahogany. Back with cyma-curved crest. Shaped and inlaid arms and arm supports. Tapered turned legs end in elongated feet. Off-white upholstery. Back height 43.5”. Seat height 15.5”. 1,000/2,000

2558

2559. HEPPLEWHITE BOWFRONT BUREAU New Hampshire, Circa 1790 In mahogany and mahogany veneer with satin veneer banding. Four full-width drawers. French splayed bracket feet. Height 39”. Width 41”. Depth 21.5”. 1,800/2,200

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2559

149


2561

2560

2562

2560. HEPPLEWHITE CARD TABLE New Hampshire, Circa 1800 In mahogany and mahogany veneer, with conch shell, string and geometric banded inlay. Double tapered legs. Height 29”. Width 35.25”. Depth 17.25”. 2,000/3,000

150

2561. SHERATON BOWFRONT BUREAU Portsmouth, New Hampshire, Circa 1810 In maple. Top with turret corners. Four full-width drawers with flame satin veneer panels. Fluted carved columns at sides of case terminate in turned legs. Height 40”. Width 42.5”. Depth 22”. 900/1,200

2562. RARE ADJUSTABLE CANDLESTAND BY PHINEAS BAILEY Vermont, Early 19th Century In mahogany. Small oval top. Corner-molded post adjusts from the upper portion with a spring-loaded mechanism. Delicate cabriole legs end in slipper feet. Stamped signature on underside “Bailey. P”. Height at lowest 31.25”. Top 10.5” x 6.75”. 1,000/1,500

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2563

2564

2563. QUEEN ANNE FLAT-TOP HIGHBOY New England, Circa 1760 In cherry. Upper case with four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers. Cabriole legs end in pad feet. Height 65”. Width 38.5”. Depth 20.25”. 1,000/2,000

2564. ELDRED WHEELER DUNLAP-STYLE CHEST-ON-FRAME Massachusetts, 20th Century In tiger maple. Upper case with five graduated full-width drawers, the upper drawer simulating three side-byside drawers with central fan carving. Frame with a scroll- and fan-carved apron and cabriole legs ending in pad feet. Original Eldred Wheeler label inside a drawer. Height 62”. Width 37”. Depth 20”. 2,400/2,800

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151


2565. TWO-PART FEDERAL SECRETARY North Shore of Massachusetts, Circa 1800 In mahogany and mahogany veneer. Upper case with three brass steeple finials and two Gothic arch glazed doors, the lower portion of doors with bird’s-eye maple veneer panels. Lower case with a fold-out writing surface above two full-width drawers. Oval bird’s-eye maple panel on top of writing surface. Drawers and front of legs with bird’s-eye maple facings. Skirt with half-moon inlays in the manner of Thomas Seymour. Height 80”. Width 41”. Depth 21.75”. 4,000/6,000

2565

2566. TWO ELDRED WHEELER ONE-DRAWER STANDS Massachusetts, 20th Century In maple with bird’s-eye maple drawer fronts. Eldred Wheeler paper label inside drawers. Heights 27.5”. Widths 18.75”. Depths 17.5”. 900/1,200

2566

2567. HEPPLEWHITE BUREAU Circa 1800 In mahogany. Four graduated full-width drawers with bird’s-eye maple fronts. High French splayed bracket feet. Height 36.75”. Width 41.5”. Depth 18.5”. 1,000/1,500 2567

152

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2568. QUEEN ANNE TILT-TOP STAND Salem, Massachusetts, Second Half of the 18th Century In mahogany. Top with applied edge. Columnar pedestal with spiral twist knop. Cabriole legs end in snake feet. Height 27”. Top 24.5” x 24.75”. 500/700

2569

2569. SHERATON WORK TABLE Boston, Circa 1800-1815 In mahogany. Thin one-board overhanging top. Canted case with two drawers retaining their original brass pulls. Tapered, turned and reeded legs end in ball feet. Height 29.5”. Width 21”. Depth 17.25”. 2,000/3,000

2570

2570. SHERATON SEWING TABLE North Shore of Massachusetts, First Quarter of the 19th Century In mahogany. Drop-leaf top with molded edges. Two drawers with fitted interiors over a sewing basket slide. Case with fluted panels at sides. Rope- and ring-turned legs fitted with brass ferrules and casters. Height 29.5”. Width 18.5” plus 8.5” drop leaves. Depth 18”. 800/1,200

2571. CHIPPENDALE SLANT-LID DESK 19th Century In strongly figured bird’s-eye maple. Slant lid encloses a fitted interior. Case with four graduated full-width drawers and a shaped bracket base. Height 42”. Width 36.5”. Depth 20”. 2,500/3,000

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2571

153


SAMUEL S. CARR New York/England, 1837-1908

2572. Young girl gathering wildflowers. Signed lower left “S.S. Carr”. Oil on canvas, 10” x 14”. Framed 20” x 24”. 3,000/5,000

2572

2573. Girl wearing a red hat, holding a bundle of wheat and with her dog seated beside her. Signed lower left “S.S. Carr”. Oil on canvas, 19.5” x 15.5” sight. Framed 31” x 26”. 5,000/7,000

2573

154

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2574

2574. HUDSON RIVER SCHOOL 19th Century Mountain and river landscape. Unsigned. Oil on canvas, 22” x 36”. Framed 29” x 43”. 700/1,000

2575. AMERICAN SCHOOL 19th Century Boats on a river, likely the Hudson. Unsigned. Mixed media on paper, 9” x 14” sight. Framed 19.5” x 23.5”. 1,000/1,500

2575

2576. WILLIS HENRY PLUMMER Virginia/Massachusetts, 1838/39-1935 Vessels on a river, likely the Hudson. Signed and dated lower left “1882 W. Plummer”. Oil on board, 6” x 12”. Framed 12” x 18”. 700/1,000

2576

2577. AMERICAN SCHOOL 19th Century A view of a mountain lake, possibly Lake George. Unsigned. Oil on board, 5” x 9”. Framed 8.5” x 12.5”. 500/1,000

2577

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155


2578. REGIS FRANCOIS GIGNOUX New York/France, 1816-1882 “Rapids, Rocks and Trees”, likely the Niagara Falls area. Unsigned, but the work directly relates to an entry in the artist’s journal. Accompanied by a digital copy of a letter from the artist’s great-great-grandson Marc de St. Maurice. 2,000/3,000 Provenance: The artist thence by descent in the family to the artist’s grandson Marc de St. Maurice. Concept Gallery, Pittsburgh, Pennsylvania. Private Collection, Pennsylvania.

2578

2579. AMERICAN SCHOOL 19th Century Sunset in the mountains. Unsigned. Frame plaque marked “A.T. Bricher”. Oil on board, 6” x 12”. Framed 10” x 15.5”. 1,000/1,500 Provenance: The Estate of Lewis Julien Kotekas, Manchester, New Hampshire. 2579

2580. AMERICAN SCHOOL 19th Century Sunset river landscape. Unsigned. Oil on board, 9.25” x 15.75”. Unframed. 800/1,200

2580

2581. WILLIAM FREDERICK PASKELL Massachusetts, 1866-1951 Changing of the foliage in the mountains. Signed lower left “C.B. Hoxie”. Paskell used several pseudonyms throughout his career including “Hoxie” and more famously, “T. Bailey”. Oil on canvas, 16” x 24”. Framed 20” x 27.5”. 1,000/1,500

2581

156

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2582

2583

2582. ARTHUR PARTON New York/Pennsylvania/United Kingdom, 1842-1914 “Lake George”. Signed and dated lower left “A. Parton 1869”. Titled on frame plaque. Oil on canvas, 17” x 28”. Framed 27” x 40”. 4,000/6,000

2583. HENRY PEMBER SMITH New York/Connecticut/New Jersey, 1854-1907 Country landscape, possibly Old Lyme, Connecticut. Signed lower right “Henry P. Smith”. Label verso for Kenneth Lux Gallery, New York. Housed in a period gilt frame. Oil on canvas, 10” x 17”. Framed 19” x 24.75”. 3,000/5,000

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157


2584. JOHN FRANCIS MURPHY New York/Illinois, 1853-1921 Marsh landscape. Signed lower right “J.F. Murphy”. Watercolor on paper, 6.5” x 6” sight. Framed 12.5” x 12”. 700/1,000

2585. WILLIAM HART New York/Scotland, 1823-1894 Landscape with distant hills. Signed lower right “Wm Hart”. Watercolor, 9.5” x 13.5” sight. Framed 20” x 24”. 500/1,000

2586. AMERICAN SCHOOL 19th Century “View in Little River Stowe Vermont”. Unsigned. Titled verso. Oil on board, 7” x 10”. Framed 9.5” x 12.5”. 500/700 2584

2587. TRANSITIONAL SHERATON TWO-PART SECRETARY New England, First Quarter of the 19th Century In mahogany and mahogany veneer. Upper case with Gothic glazed doors. Interior with a single shelf and three side-by-side drawers. Lower case with a fold-out writing surface over three graduated full-width drawers and bold turned legs. Height 67.75”. Width 39.75”. Depth 18”. 700/1,000

2588. SHERATON SIX-DRAWER DESK 19th Century In mahogany with bird’s-eye maple drawer fronts. Ribbed tapered legs fitted with brass casters. Height 30”. Width 56”. Depth 22.5”. 1,400/1,800 2585

2588

158

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2589. HEPPLEWHITE CARD TABLE Probably New York, Circa 1800 In mahogany. Cut-corner top. Tapered legs with string and graduated drop inlay. Height 29.75”. Width 34.5”. Depth 17”. 1,000/1,500

2589

2590. CHIPPENDALE MIRROR Philadelphia, Last Quarter of the 18th Century Gilt moldings. Broken arch pediment centering an urn. Height 44.75”. Width 26.75”. 1,000/2,000

2590

2591. FEDERAL DROP-LEAF CONSOLE TABLE New York, Circa 1820 In mahogany with chestnut secondary woods and select mahogany used throughout. Apron fitted with working half drawers on one side and faux drawers on opposite side. Four turned supports raised on reversearched legs ending in brass-capped paw feet fitted with brass casters. Height 29.25”. Length 39.5” plus two 10.5” drop leaves. Width 27.5”. 700/1,000

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2591

159


2592. FEDERAL GILT LOOKING GLASS Late 18th/Early 19th Century Probably French made for the American market. Crest formed as a spread-wing eagle on an oval navy blue medallion supported by wheat stalks. Medallion with gilt stars surrounding a central sheaf of wheat. Foliate garland at base. Height 40”. Width 17.75”. 1,500/2,000

2592

2593

2593. SHERATON SOFA New York, Circa 1810 Arms with turned and foliate-carved supports. Turned legs. Burgundy upholstery with a gold wreath and star print. Back height 38.5”. Seat height 20”. Seat depth 21”. Length 78”. 600/900

160

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2594

2595

2594. ELDRED WHEELER FLAT-TOP TWO-PART HIGHBOY Massachusetts, 20th Century In tiger maple. Upper half with three side-by-side drawers, the central with fan carving, over four graduated fullwidth drawers. Lower half with a fullwidth drawer over three side-by-side drawers, the central with fan carving. Cabriole legs end in pad feet. Original Eldred Wheeler paper label. Height 72.5”. Width 36”. Depth 19”. 2,500/3,500

2595. CHIPPENDALE TALL CHEST Connecticut, Circa 1780 In cherry. Full-width drawer simulating three side-by-side drawers over two half drawers over five graduated full-width drawers. Flat bracket feet. Height 58.5”. Width 38.25”. Depth 18”. 1,000/1,500

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2596. TALL-POST BED Massachusetts, Second Quarter of the 19th Century In mahogany. Bold turned headboard posts and acanthus-carved foot posts with pineapple tops. Includes bolts and rails. Height approx. 88”. Length of end rails 57.5”. Length of side rails 83”. 2,000/3,000

161


2597. NEAR-PAIR OF FEDERAL GILT MIRRORS America, First Half of the 19th Century Crests with an eagle perched atop a central monumental plinth and garlands strung between the plinth and the ribbon tassel side finials. Reverse-painted upper panels, one depicting a landscape and the other a patriotic memorial “Washington Rest in Heaven”. Heights approx. 44”. Widths approx. 20.5”. 1,500/2,500

2597

2598. ELDRED WHEELER TALL CHEST Massachusetts, 20th Century In tiger maple, with six graduated full-width drawers and a flat bracket base. Original Eldred Wheeler paper label inside top drawer. Height 54”. Width 37”. Depth 20”. 2,500/3,500

2598

162

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2599

2599. FRANCIS DAVIS MILLET Massachusetts/Europe, 1846-1912 “The Artist’s Kitchen, Antwerp”. Unsigned. Titled on gallery label verso. Oil on canvas, 19.75” x 16”. Framed 30.25” x 27”. 3,000/5,000 Provenance: Richard York Gallery, New York. Mark Borghi Fine Art Inc., New York.

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163


2600

2600. AMERICAN SCHOOL Late 19th Century “Solomon Answering the Questions of the Queen”. Signed lower right “H. Pyle”. The signature may be a later addition. Oil on canvas, 30” x 20”. Framed 32” x 21.5”. 2,000/3,000

2601

2601. FRANCIS HOPKINSON SMITH New York/Maryland, 1838-1915 “The Inn of William the Conqueror”. Signed lower left “F. Hopkinson Smith”. Housed in a Newcomb-Macklin frame. Watercolor and gouache, 25” x 17” sight. Framed 33” x 24”. 2,000/3,000 Provenance: Knoedler & Co., New York. Private Collection, California. Exhibited: Spanierman Gallery, New York: “Works on Paper 2008”, November 20, 2008- January 3, 2009. Exhibition catalog no. 11.

164

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2602. ATTRIBUTED TO WASHINGTON ALLSTON Massachusetts/South Carolina, 1779-1843 Italianate landscape with distant ruins. Unsigned. Oil on canvas, 22” x 30”. Framed 30” x 38”. 4,000/6,000

2602

2603. CLARENCE HOLBROOK CARTER Ohio/New Jersey, 1904-2000 “Isola Bella (Taormina, Sicily)”. Signed lower left “Clarence H. Carter ‘54”. Titled in pencil on stretcher. Artist identified on remnants of a Carnegie Institute, Pittsburgh label. Oil on canvas, 17” x 25”. Framed 26” x 33”. 1,000/1,200

2603

2604. AARON HARRY GORSON Pennsylvania, 1872-1933 Moonlit shore scene. Signed and dated lower right “A. Gorson 1921”. Oil on canvas, 28” x 36”. Framed 34” x 43”. 4,000/6,000

2604

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165


D A N I E L R I D G WAY K N I G H T Pennsylvania/France, 1839-1924

Naturalist painter Daniel Ridgway Knight was born into a Quaker family from the Philadelphia area. Although he was intended to work in a hardware store, he instead enrolled in art school at the Pennsylvania Academy of Fine Arts in 1858, then moved to France to study in 1861. There he befriended Impressionist painters Auguste Renoir and Alfred Sisley. Knight returned home in 1863 to enlist in the Union Army as the Civil War approached Philadelphia. He would remain there for the next decade, teaching art and painting historical subjects and portraits. He returned to Paris on his honeymoon and would never again live in the U.S. He specialized in capturing French peasants in the field, influenced by the Barbizon School. The bucolic scenery and sentimental subjects appealed to patrons on both sides of the Atlantic.

2605

2605. “On the Terrace at Rolleboise”. Signed lower left “Ridgway Knight”. Oil on canvas, 32” x 26”. Framed 45” x 38.5”. 150,000/250,000 Notes: This work has been authenticated by Rehs Gallery.

166

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167


2606

2607

2609

2608

2606. AMERICAN SCHOOL 19th Century A mountain lake. Unsigned. Mixed media on paper, 9” x 13” sight. Framed 19.5” x 23.5”. 1,000/1,500

2608. AMERICAN SCHOOL 19th Century Landscape with birch trees. Signed lower left “C.H.”. Oil on board, 9.5” x 7.25”. Framed 14.5” x 12.5”. 500/700

2607. JAMES BRADE SWORD Pennsylvania, 1839-1915 Forest interior. Signed lower right “J.B. Sword”. Watercolor on paper, 19.25” x 11.5” sight. Framed 31” x 25”. 700/1,000

2609. JAMES EVERETT STUART California/Illinois/Maine, 1852-1941 “Roadway and Oak Trees - near the Columbia River from near Hood River Landing, Oregon, July 7, 1881”. Signed lower right “J.E. Stuart”. Titled verso. Oil on board, 14” x 22”. Framed 18.5” x 26.5”. 800/1,200 Provenance: Spanierman Gallery, New York.

168

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2610. MANNER OF GEORGE INNESS America, 19th Century Early morning farm scene. Unsigned. Oil on canvas, 30” x 50”. Unframed. 2,000/3,000

2610

2611. ATTRIBUTED TO ELIHU VEDDER New York/Italy, 1836-1923 Forest study. Unsigned. Oil on board, 5.5” x 9.5” sight. Framed. 1,500/2,500 Provenance: Spanierman Gallery, New York.

2611

2612. ALEXANDER THEOBALD VAN LAER New York/Connecticut, 1857-1920 “Indian Summer”. Signed lower right “AT Van Laer”. Titled on Salamagundi label verso. Housed in a period Newcomb-Macklin frame. Oil on canvas, 18” x 22”. Framed 28” x 32”. 1,000/1,500

2612

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169


2613. MANNER OF WILLIAM MASON BROWN America, 19th Century Autumn landscape with river. Unsigned. Oil on canvas, 14” x 12”. Framed 23” x 21”. 3,000/5,000

2613

2614. FEDERAL BOWFRONT CHEST America, Circa 1810 In mahogany and mahogany veneer with fruitwood string inlay. Four full-width drawers. High French feet. Height 38”. Width 42.5”. Depth 23”. 700/1,000

2614

2615

2615. HEPPLEWHITE DEMILUNE CARD TABLE New York, Circa 1790 In mahogany and mahogany veneer. String inlay throughout. Tapered legs with icicle inlay, typical of New York cabinetmakers. Height 28.75”. Width 36”. Depth 17.75”. 1,000/1,500

170

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2616. FEDERAL CARD TABLE New York, Circa 1820 In mahogany and mahogany veneer. Skirt with bird’s-eye maple veneer corners and gilt arch design at lower edge. Base with extensively carved foliate supports and gilt floral and geometric decoration. Four heavily carved paw feet. Height 28.5”. Width 36”. Depth 17.75”. 1,000/1,500 2616

2617. CHIPPENDALE TWO-PART BLIND-FRONT SECRETARY Late 18th Century In mahogany. Upper case with two paneled doors. Lower case with a hinged slant lid over four graduated full-width drawers and ogee bracket feet. Height 83”. Width 36”. Depth 19”. 2,000/3,000

2617

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171


2618. MASSACHUSETTS CHIPPENDALE SERPENTINE-FRONT BUREAU Circa 1780 In mahogany with white pine secondary woods. One-board overhanging top with molded edge. Four graduated full-width drawers retain period hardware. Large dovetails joining molded base to case indicative of Boston and Charlestown cabinetmakers. Carved claw & ball feet with talon knee returns. Height 32.5”. Width 41”. Depth 22.25”. 6,000/8,000

2618

2619. SET OF SIX CHIPPENDALE SIDE CHAIRS Newport, Rhode Island, Circa 1780 In mahogany. Owl’s-eye pierced splats. Slip seats with striped upholstery. Block legs joined by H-stretchers. Each chair numbered one through six on front secondary woods. Back heights 37.75”. Seat heights 18.5”. 4,000/6,000

2619, six

172

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2620. RARE NEWPORT CHIPPENDALE TEA TABLE Newport, Rhode Island, Early 19th Century In select mahogany. Molded-edge top. Serpentine skirt. Cabriole legs with foliate-carved knees and claw & ball feet with open talons. Height 26.75”. Width 33.75”. Depth 20”. 25,000/50,000 Literature: A similar example is illustrated in Hidden Treasures by Leigh Keno and Leslie Keno, p. 190-191.

2620

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173


2621. QUEEN ANNE WING CHAIR Mid-18th Century In mahogany. Cabriole front legs with diminutive pad feet. Turned stretchers. Pastel foliate and berry upholstery. Back height 49.75”. Seat height 16.5”. 1,200/1,500

2621

2622

2622. HEPPLEWHITE ONE-DRAWER STAND Connecticut, Circa 1800 In cherry. Cut-corner top with an inlaid oval medallion with spread-wing eagle, shield and 18 stars. Delicate tapered legs. Height 27.5”. Width 17.5”. Depth 20.5”. 1,000/1,500

2623. CHIPPENDALE BUREAU Connecticut, Circa 1780 In cherry, with four full-width drawers and flat bracket feet. Height 35”. Width 37.25”. Depth 18.25”. 800/1,200

2623

174

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2624

2624. ELDRED WHEELER QUEEN ANNE-STYLE HIGHBOY Massachusetts, 20th Century In very strongly figured tiger maple. Upper case with three side-by-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 fan carving. Shaped skirt. Cabriole legs end in pad feet. Original Eldred Wheeler paper label and brand. Height 71”. Width 36”. Depth 20”. 4,000/6,000

2625. ELDRED WHEELER QUEEN-SIZE BED Massachusetts, 20th Century In tiger maple. Eldred Wheeler paper label and brand on back of headboard. Includes rails and acorn finials. Height 84.5”. Width between bolt holes 61.5”. Rail lengths 80”. 1,500/2,000

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2626. PLANTATION-STYLE BED Second Quarter of the 19th Century In mahogany. Beefy turned and slightly tapered posts with urn-form finials. Includes bolts and rails. Height approx. 88.5”. Total width 62.5”. Side rail lengths 72”. 1,500/2,500

175


A B B O T T F U L L E R G R AV E S Massachusetts/Maine, 1859-1936

2627. Farmyard scene. Signed lower right “Abbott Graves”. Oil on canvas, 18” x 15”. Unframed. 3,000/5,000

2627

2628. Roses. Signed lower right “Abbott Graves”. Oil on canvas, 10” x 14”. Framed 18” x 21.5”. 4,000/6,000

2628

176

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2629

2629. “The Gazing Globe”. Signed lower right “Abbott Graves”. Titled on Salmagundi Club label verso. Housed in likely its original hand-carved Art and Crafts frame. Oil on board, 14” x 14”. Framed 21” x 21”. 20,000/25,000

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177


2630. EDWARD LAMSON HENRY New York/South Carolina, 1841-1919 Still life of a pipe. Signed lower right “E.L. Henry”. Oil on panel, 5” x 7.25”. Framed 11” x 13”. 2,000/3,000

2630

2631. HUGH HENRY BRECKENRIDGE Pennsylvania/Massachusetts, 1870-1937 Portrait of a gentleman. Signed lower right “Hugh Breckenridge”. Oil on canvas, 38” x 32”. Unframed. 1,000/1,500

2632. BOUND VOLUME OF DRAWINGS BY OR ATTRIBUTED TO EDWIN HENRY LANDSEER, JOHN PHILLIP, JOHN JR. VARLEY AND OTHERS 19th Century Thirty-one drawings in all, one signed by and two attributed to Landseer. Includes pencil, watercolor, and brush and ink and wash drawings, some with gouache highlights. Portfolio 17.75” x 13.5” x 3.5”. 4,000/6,000

2632

178

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2631


2633. ANNA MARY RICHARDS BREWSTER Massachusetts/New York, 1870-1952 Six landscape and figural oil sketches. One signed lower left “ARB”. The others unsigned. Oils on canvas, the largest 12.5” x 9”. Unframed. 2,000/3,000

2633

2634. GLENN COOPER HENSHAW New York/Indiana/Maryland, 1880-1946 “Queensboro Bridge”. Signed lower right “Henshaw”. Titled on label verso. Pastel on paper, 11” x 17”. Framed 18” x 23.5”. 800/1,200

2634

2635. HELEN REED JONES WHITNEY Illinois/Pennsylvania/Massachusetts, 1878-1956 “Still Life of Fruit on a Compote”. Signed lower left “Helen Reed Whitney”. Titled on gallery label verso. Oil on canvas, 18” x 20”. Unframed. 800/1,200

2635

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179


ALLEN TUCKER New York, 1866-1939

2636

2636. “Overlooking the Valley”. Signed lower left “Allen Tucker”. Titled on gallery label verso. Housed in a Lowy frame. Oil on canvas, 28” x 34”. Framed 38” x 43”. 18,000/22,000 Provenance: The artist’s estate. Arts Students League, New York. Private Collection, Connecticut. D. Wigmore Fine Art, New York. Private Collection, Massachusetts.

2637. Landscape with power lines. Signed lower left “Allen Tucker”. Watercolor on paper, 14” x 13” sight. Framed 24” x 23.5”. 2,000/3,000 2637

180

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JOHN GEORGE BROWN New York/California, 1831-1913

2638

2638. Shoeshine boys with a dog. Signed and dated upper right “J.G. Brown 1897”. Oil on canvas, 14” x 18”. Framed 22” x 26”. 20,000/30,000 Provenance: Gillette Family. Edward Bloch Family. Private Collection.

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181


2639. ATTRIBUTED TO JOHN FRENCH SLOAN New York/New Mexico/New Hampshire, 1871-1951 Moonlit courtyard. Unsigned. Oil on canvas, 26” x 30”. Framed 30” x 34”. 2,000/3,000

2640. CHIPPENDALE PARCEL-GILT LOOKING GLASS Second Quarter of the 18th Century Mahogany veneer frame with gilt applique at crest, gilt foliate garlands at sides, incised and gilded floral design at base, and a gilt liner. Height 38.5”. Width 21”. 800/1,200

2639

2641. SET OF TEN FEDERAL-STYLE CHAIRS ATTRIBUTED TO MARGOLIS Hartford, Connecticut, Early 20th Century Two armchairs and eight side chairs. In mahogany. Beautiful lobed backs with pierced and urn-form splats. Seats with gold damask upholstery. Block tapered fluted legs. Unmarked. Back heights 39.5”. Seat heights 20”. 4,000/6,000

2641, ten

182

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2642. QUEEN ANNE TWO-PART HIGHBOY Connecticut, Mid-18th Century In cherry. Upper case with five graduated full-width drawers. Lower case with three side-by-side drawers, a nicely shaped skirt with acorn drops, and cabriole legs ending in pad feet. Height 70.25”. Width 36.75”. Depth 20”. 1,200/1,800

2642

2643. ELDRED WHEELER QUEEN ANNE-STYLE BONNET-TOP SECRETARY DESK Massachusetts, 20th Century In strongly figured tiger maple. Upper case with turned finial, a broken arch pediment, a carved sunburst and two paneled doors. Fitted fan-carved interior. Lower case with a slant lid over four graduated full-width drawers and ogee bracket feet. Slant lid encloses an exceptional fitted interior. Original Eldred Wheeler paper label inside a drawer. Height 92”. Width 38”. Depth 21”. 6,000/8,000

2643

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183


2644. BIRDCAGE TILT-TOP TEA TABLE Connecticut, Mid-18th Century In cherry. Cabriole legs end in snake feet. Height 27”. Diameter of top 30.5” x 31” with shrinkage. 400/600

2644

2645. CHIPPENDALE PARCEL-GILT LOOKING GLASS Second Half of the 18th Century Mahogany veneer frame with full-bodied winged phoenix crest, gilt acanthus leaves at top and sides, and a gilt liner. Height approx. 52”. Width approx. 24.25”. 2,500/3,500

2645

2646. ELDRED WHEELER SERPENTINE-FRONT BUREAU Massachusetts, 20th Century In tiger maple. Four graduated full-width drawers. Ogee bracket base. Original Eldred Wheeler label inside a drawer. Height 34.5”. Width 37”. Depth 20”. 700/1,000

2646

184

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2647. AMBROSE MCCARTHY PATTERSON Washington/California/Australia, 1877-1967 “Honolulu” (Hawaii). Signed and titled lower left “Ambrose Patterson Honolulu”. Pastel on board, 11.5” x 18” sight. Framed 18” x 24.5”. 1,500/2,500

2647

2648. CHIPPENDALE OXBOW BUREAU Connecticut, Circa 1780 In cherry, with a molded-edge top, four graduated full-width drawers and flat bracket feet. Height 33.5”. Width 41”. Depth 21.75”. 2,500/3,500

2648

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185


2649

2649. QUEEN ANNE FLAT-TOP HIGHBOY Connecticut, Mid-18th Century In cherry. Upper case with five graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Drawers with molded edges. Cabriole legs end in delicate pad feet. Height 71”. Width 39.25”. Depth 20”. 2,000/3,000

2650

2650. CHIPPENDALE TWO-PART SECRETARY New England, Circa 1780 In applewood. Upper case with two closed-face paneled doors enclosing three shelves. Lower case with a slant lid enclosing pigeonholes and drawers. Four graduated full-width molded-edge drawers below. Flat bracket base. Height 81”. Width 36”. Depth 19.5”. 1,000/1,500

186

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2651. ELDRED WHEELER DIMINUTIVE DESK-ON-FRAME Massachusetts, 20th Century In tiger maple. Desk with slant lid enclosing a fitted interior, and one full-width drawer. Frame with a full-width drawer and cabriole legs ending in pad feet. Eldred Wheeler paper label inside a drawer. Height 41”. Width 25.5”. Depth 17”. 1,500/2,500

2651

2652. PAIR OF QUEEN ANNE SIDE CHAIRS Connecticut, Mid-18th Century In cherry. Spoon backs with vasiform splats. Slip seats with needlework upholstery. Cabriole front legs end in pad feet. Turned H-stretchers. Back heights 41.5”. Seat heights 18.5”. 800/1,200

2652

2653

2653. ELDRED WHEELER LOWBOY Massachusetts, 20th Century In tiger maple. One full-width drawer over three side-by-side drawers, the central with fan carving. Eldred Wheeler paper label inside the full-width drawer. Height 31”. Width 33.5”. Depth 21”. 800/1,200

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187


2654

2655

2656

2654. AMERICAN SCHOOL 19th Century A mother and child watching ships from a rocky cliff. Signed illegibly lower right. Oil on board, 12” x 18”. Framed 20” x 26”. 1,500/2,500

2655. ARTHUR QUARTLEY New York/Maryland/United Kingdom/France, 1839-1886 “The Beach Near Cohassett”. Signed and dated lower right “Quartley 73”. Titled on frame plaque. Oil on canvas, 9” x 16”. Framed. 2,000/3,000

2657

2656. JONATHAN BRADLEY MORSE New York/Vermont, 1834-1898 Rocky coast. Signed lower left “J.B. Morse”. Oil on canvas, 17” x 30”. Framed 29.5” x 42”. 2,000/3,000

2657. JOSEPH BENJAMIN DAVOL Maine/New York, 1864-1923 “The Drift, Moonlight”, Ogunquit, Maine. Signed lower right “Davol”. Titled on label verso. Oil on canvas, 20” x 27”. Framed 26” x 33”. 2,000/3,000

Provenance: Eldred’s, August 5, 2011, Lot #1275. Private Collection, Massachusetts.

188

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2658

2659

2658. JOHN JOSEPH ENNEKING Massachusetts/New York/Maine/Ohio, 1841-1916 Seascape, likely Ogunquit, Maine. Signed and dated lower right “Enneking 90”. Oil on canvas, 22” x 30”. Framed 30.5” x 38.5”. 6,000/8,000

2659. WESLEY ELBRIDGE WEBBER Massachusetts/California/Maine, 1841-1914 “The Amanda of Boston”. Signed lower left “W. Webber”. Titled on frame plaque. Oil on canvas, 21” x 33.25”. Framed 30” x 42.25”. 8,000/12,000 Provenance: Private Collection, Boston. Eldred’s, August 5, 2011, Lot #1379. Private Collection, Connecticut.

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189


F R A N C I S A U G U S T U S S I LVA New York, 1835-1886

2660

2660. “Twin lights Thatcher Island, Cape Ann, Gloucester Massachusetts”. Signed lower left “F.A. Silva”. Titled on frame plaque. Oil on canvas, 7” x 13”. Framed 20” x 27”. 10,000/15,000

190

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2661

2661. KATE WHITE NEWHALL New Jersey/California/Massachusetts, 1840-1917 Waves crashing on the shore. Signed and dated lower left “K.W. Newhall 1897”. A finely executed work evocative of William Trost Richards. Oil on board, 4.25” x 7.25”. Framed 7” x 10”. 700/1,000

2662. AMERICAN SCHOOL 19th Century “East Gloucester”. Unsigned. Inscribed lower right “East Gloucester, August 20, 95”. Oil on academy board, 9” x 12”. Framed 16” x 19”. 700/1,000

2662

2663. HARRY AIKEN VINCENT Massachusetts/New York/Illinois, 1864-1931 “Rockport”. Inscribed in pencil verso “H.A. Vincent Rockport”. Oil on board, 12” x 16”. Framed 17” x 21”. 1,500/2,500

2663

Provenance: Kaminski Auctions, Beverly, Massachusetts.

2664. C. HJALMAR "CAPPY" AMUNDSEN Maine/New York/Massachusetts, 1911-2001 Harbor view. Signed lower left “William Ward Jr.”. “Ward” was a pseudonym used by Amundsen. Oil on canvas, 24” x 36”. Framed 30” x 41.5”. 1,500/2,500

2664

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191


2666

2665

2665. CHARLES KAELIN Ohio/Massachusetts, 1858-1929 “Ruffled Water”. Unsigned. Identified and titled on gallery label verso. Pastel, 13.25” x 15” sight. Framed 22” x 24”. 2,500/3,500

2666. CHARLES KAELIN Ohio/Massachusetts, 1858-1929 Harbor scene. Signed lower left “C.S. Kaelin”. Oil on board, 10” x 8”. Framed 16” x 14”. 1,500/2,500 Provenance: Spanierman Gallery, New York.

2667

192

2667. GEORGE LOFTUS NOYES Massachusetts/New Hampshire, 1864-1954 Habor scene. Signed lower right “G.L. Noyes”. Small sketch of a house on reverse. Oil on board, 14.75” x 13”. Framed 18” x 16.75”. 3,000/5,000

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CHILDE HASSAM New York/Massachusetts, 1859-1935

2668

2668. View of Rockport, Massachusetts. Signed lower right “Childe Hassam”. Watercolor on paper, 12.25” x 9” sight. Framed 19.25” x 15.5”. 8,000/12,000

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193


H AY L E Y L E V E R New York/Massachusetts/England, 1876-1958

2669. “Cars at the Factory”. Unsigned. Identified and titled on gallery label verso. Oil on board, 10" x 12". Framed. 2,500/3,500 Provenance: Mongerson Wunderlich Galleries, New York.

2669

2670. The Longfellow Bridge, Cambridge and Boston. Signed lower right “Hayley Lever Charles River Boston”. Watercolor on paper, 13” x 19” sight. Framed 22” x 28”. 800/1,200

2670

2671

2671. “Back Road, St. Ives Cornwall”. Signed and titled verso. Oil on board, 6.5” x 9.25”. Framed. 1,500/2,500

2672. “Littleham Devonshire England”. Signed and titled verso. Oil on board, 9” x 12”. Framed 13” x 15”. 1,200/1,800

2672

194

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SEARS GALLAGHER Massachusetts, 1869-1955

2673. “Across the River”. Signed lower left “Sears Gallagher”. Titled verso. Watercolor, 9.75” x 13.25” sight. Framed 16” x 20”. 800/1,200

2673

2674. “Blossoming Tree Below Stairs Mountain, Jackson, NH”. Unsigned. Identified on gallery label verso. Watercolor on paper, 9” x 12”. Framed 13.5” x 16.5”. 800/1,200

2674

2675. “Shoreline, New England”. Unsigned. Identified and titled on gallery label verso. Watercolor on paper, 7” x 10”. Framed 11.5” x 14.5”. 1,000/1,500

2675

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195


2676. WILLIAM ARBER BROWN KIRKPATRICK Massachusetts/Maine/England, 1880“The Harbor, Friendship, Maine”. Signed lower right “W.A.B. Kirkpatrick”. Titled verso. Oil on board, 15.75” x 18”. Framed 18” x 21”. 1,200/1,800

2676

2677. MABEL MAY WOODWARD Rhode Island, 1877-1945 Figures on a dock overlooking sailing vessels in the harbor. Signed lower left “M. Woodward”. Housed in a Motyka frame. Oil on canvas laid down on board, 8” x 10”. Framed 14” x 16”. 3,000/4,000

2677

2678. MARGARET GODDARD CARLSON New York/Colorado/New Jersey, 1882-1964 Houses along a country lane. Signed lower right “Margaret G. Carlson”. Estate stamped verso. Oil on board, 12” x 16”. Framed 20” x 24”. 1,500/2,000

2678

196

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2679

2680

2679. WILLIAM LESTER STEVENS Massachusetts, 1888-1969 Barn in winter. Signed lower left “W. Lester Stevens, N.A.”. Housed in a hand-carved Paul Carter Goodnow frame. Oil on canvas, 25” x 30.5”. Framed 32” x 37”. 6,000/8,000 Provenance: Purchased by the consignor at a Richard A. Bourne Company auction, Hyannis, Massachusetts, November 1988.

2680. CHARLES CURTIS ALLEN Massachusetts/Vermont, 1886-1950 Mount Monadnock, New Hampshire. Signed lower right “Chas Curtis Allen”. Noted verso “Monadnock by Charles Curtis Allen a.n.a.1940”. Oil on masonite, 20” x 24”. Framed 27” x 31”. 1,200/1,800

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197


2681. WILLIAM STARKWEATHER New York/Connecticut/Spain, 1879-1969 “A Fisherman’s Shack at Havre-Aubert”. Signed lower right “W. Starkweather”. Titled and inscribed verso “A Fisherman’s Shack at HavreAubert Painted in the Magdalen Islands, P.Q. Canada 1937”. Oil on canvas, 11.5” x 16”. Unframed. 800/1,200

2682. WALTER A. VAUGHAN Massachusetts, Early 20th Century “Marblehead Rock, Fort Sewell, Beverly Shore in the Distance”. Signed lower right “W.A. Vaughan”. Typed note affixed verso provides the title and notes the artist’s name and his affiliation with the Lynn Art Club. Oil on board, 9” x 7”. Framed 13.5” x 12”. 500/700 2681

2683. WINFIELD SCOTT CLIME Connecticut, 1881-1958 Old house by the water. Signed lower right “Winfield Scott Clime”. Oil on academy board, 16” x 20”. Framed 19” x 23.5”. 1,000/1,500

2682

198

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2683


2684. CHARLES GORDON HARRIS Rhode Island, 1891-1963 Rural village. Signed lower right “C Gordon Harris”. Pastel on paper, 11.5” x 15.5” sight. Framed 16.25” x 20.25”. 500/1,000

2684

2685. GIRAGOS DER GARABEDIAN Vermont/Massachusetts/Armenia, 1892-1980 “Painting the Boat”. Signed faintly lower right “G. der Garabedian”. Oil on board, 12” x 16”. Framed 18.5” x 23”. 700/1,000

2685

2686. ANTONIO PIETRO MARTINO Pennsylvania/California, 1908-1988 “Lobster Cove, Monhegan Island”. Signed lower right “Antonio P. Martino”. Titled verso. Oil on board, 10” x 20”. Framed 16.5” x 26.5”. 1,500/2,500

2686

2687. ANTONIO PIETRO MARTINO Pennsylvania/California, 1902-1988 “Bass Rocks”. Signed lower right “Antonio P. Martino”. Titled verso. Oil on board, 12” x 20”. Framed 17” x 25”. 1,500/2,500

2687

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199


THERESA FERBER BERNSTEIN New York/Massachusetts, 1891/95-2002

2688

2688. “Stormy Seas at Folly Cove, Gloucester”. Signed lower right “T. Bernstein”. Oil on canvas, 30” x 38”. Framed 41.5” x 49.5”. 8,000/12,000 Provenance: Vose Galleries, Boston.

200

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ABRAHAM JACOB BOGDANOVE New York/Maine/Russian Federation, 1887-1946

2689. Coastal scene. Signed lower left “A.J. Bogdanove”. Oil on masonite, 8” x 10”. Unframed. 800/1,200

2689

2690. “Small Boat at Drydock”. Unsigned. Oil on board, 10” x 13”. Unframed. 800/1,200 Provenance: Spanierman Gallery, New York.

2690

2691. “Crashing Surf ”. Signed lower right “A. Bogdanove”. Titled on label verso. Oil on board, 12” x 15.5”. Framed 14.5” x 18”. 1,000/1,500

2691

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201


EMILE ALBERT GRUPPE Massachusetts, 1896-1978

Emile Albert Gruppe was born in 1896 in Rochester, New York, into a family of artists. His father, a noted landscape painter, moved the family to the Netherlands, where he painted with The Hague School of Art and worked as an art dealer. The Gruppe family returned to the United States in 1913. Like his brothers and sisters, who would become cellists, sculptors and watercolorists, Emile began his art career shortly after his return to the United States. Gruppe moved to Gloucester, Massachusetts, on Cape Ann, in the early 1930s. There he established the Gloucester School of Painting with his mentor, John Fabian Carlson. He was a well-respected teacher and his school, where students painted mostly en plen air, was well attended.

2692

2692. “The Nymph”. Signed lower left “Emile A. Gruppe”. Titled on Salmagundi Club label verso. Oil on board, 12” x 10”. Framed 13.5” x 11.5”. 3,000/5,000

202

Gruppe painted predominantly in oils and used a palette of rich colors for his graceful brushstrokes and his carefully organized compositions. His early influences were primarily the major Impressionists, including Claude Monet, but toward the middle of his career he began combining Impressionist techniques, most especially the hallmark use of light, with a grittier Realism, often depicting the working harbor scenes of Gloucester. Although he is best known for landscapes, he also painted portraits and other figural pieces. Later in his career, Gruppe established schools in Cambridge and Jefforsonville, Vermont, and he wintered in Naples, Florida. He painted almost every day, even well into his 70s, producing nearly 200 works each year. Along with Anthony Thieme, Aldro Hibbard, Marguerite Pierson, Antonio Cirino and W.L. Stevens, Gruppe is regarded as one of the most prominent of Rockport artists, and his works are in the collections of major museums across the country.

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2693

2693. “Gloucester Docks”. Signed lower right “Emile A. Gruppe”. Oil on canvas, 24” x 20”. Framed 29.5” x 25.5”. 9,000/12,000

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203


2694. JOSEPH NEWMAN New York, 1890-1979 “Gott Street Rockport, Mass”. Signed lower right “J. Newman”. Titled verso. Oil on canvas, 25” x 30”. Unframed. 800/1,200

2694

2695. JOSEPH NEWMAN New York, 1890-1979 Harbor scene, North Shore, Massachusetts. Signed lower right “J. Newman”. Oil on canvas board, 20” x 24”. Framed 26” x 30”. 1,500/2,500

2695

2696. JOSEPH NEWMAN New York, 1890-1979 Rockport street scene. Signed lower right “J. Newman”. Watercolor on paper, 14” x 19” sight. Framed 21” x 26”. 800/1,200

2696

204

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2697. T. M. NICHOLAS Massachusetts, b. 1963 Farm on a marsh. Signed lower left “T.M. Nicholas”. Oil on board, 11” x 14”. Framed 15.5” x 18.5”. 2,000/3,000

2697

2698. T. M. NICHOLAS Massachusetts, b. 1963 Out for the season. Signed lower left “T.M. Nicholas”. Oil on board, 9” x 12”. Framed 15.5” x 18.5”. 2,000/3,000

2698

2699

2699. GEORGE L. BOWMAN Massachusetts, 1935-2006 “Morning Low Tide”. Unsigned. Artist identified and titled on frame plaque. Oil on board, 18” x 24”. Framed 23.5” x 29.5”. 400/800 Provenance: From the artist’s estate.

2700. KEN GORE Massachusetts/Illinois, 1911-1990 “Autumn at the Marsh”. Signed lower right “Ken Gore”. Titled verso. Oil on masonite, 20” x 24”. Framed 29.5” x 35”. 1,000/2,000

2700

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205


2701. CHARLES J. MOVALLI Massachusetts/Maine, 1945-2016 “Untying the Boat, Mousehole”. Signed lower left “Movalli”. Titled verso. Oil on canvas, 36” x 36”. Framed 43” x 43”. 6,000/8,000

2701

2702. ERIC SLOANE New York/Connecticut, 1905/10-1985 “Connecticut Village”. Signed lower left “Eric Sloane”. Illegibly dated. Titled on label verso. Oil on board, 24” x 20.5”. Framed 32” x 28.25”. 6,000/9,000

2702

206

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2703. WILLIAM GERARD BARRY New York/France, 1864-1941 Seascape with mountains in the distance. Signed faintly lower left “Gerard Barry”. Oil on canvas, 14” x 24”. Framed 20” x 30”. 1,800/2,200

2703

2704. FRANK CHARLES PEYRAUD Illinois/Switzerland, 1858-1948 “Last Rays”. Signed lower right “FC Peyraud”. Titled on gallery label verso. Oil on canvas, 26” x 30”. Framed 35” x 39.25”. 1,200/1,800

2704

2705. CHARLES HENRY RICHERT Maine/Massachusetts, 1880-1974 “Where the River Widens”. Signed lower right “C.H. Richert”. Inscribed verso “Where the River Widens C.H. Richert Belmont”. Oil on canvas, 18” x 24”. Framed 26” x 32”. 800/1,200

2705

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207


2706. OTTO CHARLES WIGAND New York, 1856-1944 A young girl with baskets in a spring landscape. Signed faintly lower right “O.C. Wigand”. Oil on canvas, 10.5” x 9”. Framed 14” x 13”. 800/1,200

2707. ANNIE SULLINGS GOODING SYKES Ohio/Massachusetts, 1855-1931 “Backyard Flower Garden”. Signed lower right “A.G. Sykes”. Titled on gallery label verso. Watercolor on paper, 19.75” x 13.5” sight. Framed 25” x 19”. 1,000/1,500

2706

2708. ATTRIBUTED TO ROBERT FREDERICK BLUM New York/Ohio, 1857-1903 Portrait of a woman holding a fan. Unsigned. Artist identified on Berry-Hill Gallery label verso. Watercolor on paper, 15.5” x 9.75” sight. Framed 26” x 19”. 800/1,200

2708 2707

208

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2709

2710

2709. CHARLES WARREN EATON New York/New Jersey/The Netherlands, 1857-1937 “Venice”. Signed lower right “C. Warren Eaton”. Titled verso. Oil on board, 9.75” x 8”. Unframed. 800/1,200

2710. IN THE MANNER OF MAURICE BRAZIL PRENDERGAST Massachusetts/New York/France, 1858-1924 Three nudes at the beach. Signed lower right “Prendergast”. Inscribed in pen verso “MB Prendergast, tcf 4.24.39” and other illegible numbers. Oil on canvas, 24” x 19”. Framed 33” x 29”. 2,000/3,000

2711. PAUL SWAN New York/Nebraska/Illinois, 1884-1972 Portrait of a young girl. Signed and dated lower left “Paul Swan 71”. Oil on canvas, 18.75” x 13.75”. Framed 26.75” x 23.75”. 2,000/3,000 2711

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209


CHARLES HERBERT WOODBURY Maine/Massachusetts, 1864-1940

2712

2712. “A day at the beach”. Signed verso “Charles H. Woodbury”. Numbered verso “338”. Housed in a Guido of Boston frame. Oil on board, 8” x 10”. Framed 15” x 17”. 12,000/15,000

210

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2713

2713. “First Snow”. Signed lower left “Woodbury”. Titled on Vose Galleries label verso. Oil on canvas, 29” x 36”. Framed 37.5” x 44.5”. 12,000/15,000 Provenance: Vose Galleries, Boston.

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211


2714

2715

2716

2717

2714. HOWARD LOGAN HILDEBRANDT Connecticut/New York, 1872-1958 Boats in a harbor. Signed lower left “H.L. Hildebrandt”. Housed in a Newcomb-Macklin frame. Oil on canvas, 25” x 30”. Framed 30.5” x 35.5”. 2,000/4,000

2715. H. VANCE SWOPE New York/Indiana/Maine, 1879-1926 Conversation at the beach. Signed lower right “H. Vance Swope”. Oil on board, 12” x 16”. Framed 15” x 19”. 1,000/1,500

2716. DODGE MACKNIGHT Massachusetts/Connecticut/Rhode Island/Europe, 1860-1950 “Receding Tide, Jamaica”. Signed lower left “Dodge MacKnight”. Titled verso. Watercolor on paper, 14.5” x 20.75” sight. Framed 27.5” x 33”. 1,000/1,500 Provenance: Adelson Galleries, New York. Babcock Galleries, New York.

2717. DODGE MACKNIGHT Massachusetts/Connecticut/Rhode Island/Europe, 1860-1950 “Blue Shades, Indian Village”. Signed lower left “Dodge MacKnight”. Titled on label verso. Watercolor on paper, 14” x 21”. Framed 23” x 30”. 800/1,200 Provenance: Doll & Richards, Boston. Spanierman Gallery, New York.

212

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2718. JOHN FABIAN CARLSON New York/Colorado, 1874/75-1945 “Night-Fall”. Signed lower right “John F. Carlson”. Titled verso. Oil on board, 12” x 16”. Unframed. 2,500/3,500

2718

2719. HOWARD RUSSELL BUTLER New Jersey/California/New York, 1856-1934 Figures in a classical landscape. Signed lower right “HR Butler”. Oil on canvas, 25” x 30”. Framed 35” x 40”. 2,500/3,500

2719

2720. BOSTON SCHOOL Early 20th Century Woman seated in an interior. Unsigned. Unframed. 800/1,200

2720

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213


ROBERT EMMETT OWEN New York/Connecticut/Massachusetts, 1878-1957

2721. Autumn landscape. Signed lower left “R. Emmett Owen”. Oil on canvas, 18” x 24”. Framed 24” x 30”. 1,500/2,500

2722. “West Plymouth, New Hampshire”. Unsigned. Identified and titled verso. Oil on canvas, 16” x 20”. Unframed. 1,200/1,800 Provenance: Spanierman Gallery, New York. 2721

2722

2723

2723. “Sketch of Echo Lake Franconia Notch, N.H.”. Signed lower left “R. Emmett Owen”. Titled verso. Oil on canvas board, 12” x 16”. Unframed. 1,200/1,800

2724. “Evening on the Housatonic”. Signed lower left “R. Emmett Owen”. Titled verso. Oil on canvas board, 12” x 16”. Unframed. 1,200/1,800

2724

214

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2725

2726

2725. Winter landscape with mountains. Signed lower left “R. Emmett Owen”. Oil on canvas, 40” x 50”. Unframed. 5,000/7,000

2726. “Oak Tree in October”. Signed lower left “R. Emmett Owen”. Titled verso. Oil on canvas, 40” x 46”. Framed 46” x 53”. 4,000/6,000 Provenance: Spanierman Gallery, New York (label verso).

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215


2727. HENRY WEBSTER RICE Massachusetts/Maine, 1853-1934 Cottages and wharves along Provincetown Harbor. Signed lower left “Henry W. Rice”. Watercolor on paper, 14” x 18.5” sight. Framed 22.5” x 26”. 500/1,000

2727

2728. LILLIAN BURK MEESER Pennsylvania/Michigan, 1864-1942 Fishing boat at wharf, Provincetown, Massachusetts. Signed lower left “Meeser.”. Oil on canvas, 10” x 8”. Framed 14.5” x 12.5”. 1,000/1,500

2728

2729. HERBERT CYRUS FARNUM Rhode Island, 1866-1925 View of Provincetown, Massachusetts. Signed lower left “H. Cyrus Farnum”. Oil on canvas, 14” x 20”. Framed 23” x 29”. 1,200/2,000

2729

216

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ARTHUR VIDAL DIEHL Massachusetts/New York/United Kingdom, 1870-1929

2730

2730. An active wharf, Provincetown, Massachusetts. Signed lower right “Arthur V. Diehl”. Oil on board, 12” x 18”. Framed 13.5” x 19.5”. 4,000/6,000

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217


ARTHUR VIDAL DIEHL Massachusetts/New York/United Kingdom, 1870-1929

2731. Coastal dunes. Signed and dated lower right “Arthur V. Diehl 1914”. Oil on board, 8” x 12”. Framed 12” x 16”. 1,000/2,000

2731

2732. Ship at sea. Signed and dated lower right “Arthur V. Diehl 1927”. Oil on board, 9.75” x 18”. Framed 12.5” x 20.5”. 800/1,200

2732

2733. “Provincetown”. Signed and dated lower right “Arthur V. Diehl 1928”. Titled verso. Oil on board, 7” x 12”. Framed 9” x 14”. 800/1,000

2733

2734. A ship’s bones on the beach, likely Provincetown. Signed and dated lower left “Arthur V. Diehl 1907”. Oil on canvas, 12” x 18”. Framed 18” x 23.5”. 1,500/2,500

2734

218

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2735. “At the dock, Provincetown”. Signed lower left “A.V. Diehl”. Oil on board, 10” x 5”. Framed 14” x 9”. 1,200/1,800

2735

2736. Venetian scene. Signed and dated lower left “Arthur V. Diehl 1923”. Oil on board, 17.5” x 12”. Framed 21.5” x 15.5”. 800/1,200

2736

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219


2737

2737. OLIVER NEWBERRY CHAFFEE, JR. Massachusetts/Michigan, 1881-1944 “Snake Charmer”, circa 1935. Titled and signed “O.N. Chaffee” on stretcher. Also signed and titled on artist’s label on stretcher. Oil on canvas, 20” x 24”. Framed 27” x 31”. 1,500/2,500 Provenance: Acme Fine Art. Private Massachusetts Collection. Exhibited: Taft Art Museum, Cincinnati, Ohio: Retrospective Exhibition, 1991. Illustrated in the exhibition catalogue, p. 23. Provincetown Art Association and Museum, Provincetown, Massachusetts, 2005.

220

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WILLIAM JOHNSON L'ENGLE, JR. Massachusetts/New York/Florida, 1884-1957

2738. Two figural works: 1) Portrait of a seated woman, possibly the artist’s wife, Lucy. Unsigned. Oil on board, 10” x 8”. 2) Spiritual figures. Signed “L” lower left. Charcoals on cream wove paper, 20” x 14”. Watercolor of a female nude on the reverse. Both unframed. 400/600

2738, two

2739. Double-sided work. Scene of boat preparations on obverse and a nautical still life verso. Signed and dated “William L’Engle No. 1939”. Oil on board, 30” x 24”. Unframed. 1,500/2,500

2739, double-sided

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221


WILLIAM JOHNSON L'ENGLE, JR. Massachusetts/New York/Florida, 1884-1957

2740. “Fisherman”. Signed “L’E” upper right. Titled and dated “Fisherman 1925” verso. Oil on board, 16” x 20”. Unframed. 1,500/2,500

2741. Loggers. Signed “L’Engle” verso. Oil on board, 24” x 30”. Unframed. 2,500/3,500

2742. Female nude looking to her right. Signed “L’E” lower right. Reverse with a painting of three nude women, which is partially painted over. Oil on board, 20” x 16”. Unframed. 700/1,000

2740

2741 2742

222

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2743. Blue Hero Restaurant, St. Augustine, Florida. Unsigned. Watercolor on heavy cream wove paper, 14” x 20”. Unframed. 800/1,200 For a similar signed example see Neil Auction Company, New Orleans, March 24-25, 2018, Lot #619.

2743

2744, three, with one double-sided work

2744. Three mixed-media weather maps: 1) Weather map on paper, 1952. Signed and dated lower left “L’Engle 8.9.52” lower left. With an additional weather map verso, dated “11-25-50”, and with the newspaper cut-out of the recto map adhered to the upper margin. 2) Weather map on paper, 1957. Initialed “W” and dated “1-20-57 1957” verso. 3) Weather map on board. Unsigned. Each approx. 15” x 20”. Unframed. 600/900

2745. “St. Augustine”. Signed in watercolor, lower right and titled and dated “St. Augustine 1945” in pencil, lower right. Watercolor on heavy cream wove paper, 14” x 20". Unframed. 700/1,000

2745

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223


WILLIAM JOHNSON L'ENGLE, JR. Massachusetts/New York/Florida, 1884-1957

2746. Two watercolors: 1) Houses in summer. Signed lower right “L’Engle”. 2) Marsh scene with houses and a woman clamming. Unsigned. Both watercolors on heavy cream wove paper, 14” x 20”. Unframed. 800/1,200

2746, two

2747. Four watercolors: 1) Three female nudes in front of a lighthouse. Signed lower right “L’E.”. Most likely a study for the 1954 oil “Lighthouse Nudes”. 2) “Adam and Eve”. Signed lower right “L.E.”. Titled and dated “Adam and Eve 1925” on the original mat. 3-4) Two female nude studies. Both signed upper right “L.E.”. Largest 20” x 14”. All unframed. 600/900

2747, four

224

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2748. Double-sided work. Portrait of two women on obverse. Signed and dated lower right “L’Engle ‘30”. Painting on reverse of houses along a river marsh, possibly the Pamet River, Truro, Massachusetts. Oil on board, 30” x 24”. Unframed. 1,500/2,500

2748, double-sided

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225


LUCY STELLE BROWN L'ENGLE Massachusetts/New York, 1889-1978

2749. “German Sub at New London, Conn. R Crew”. Signed and dated lower left “Lucy L’Engle 1946”. Titled lower center. Watercolor and gouache on heavy cream wove paper, 26” x 20”. Unframed. 600/900

2750. Two works: 1) “Florida Fantasy”. Signed and dated lower left “Lucy L’Engle 1945”. Titled, countersigned and inscribed verso “45 Water St. Augustine”. Gouache on wove paper mounted to cardstock, sheet size 20.25” x 13”. Backing 26” x 20”. 2) Abstract composition. Unsigned. Watercolor on cream wove paper, sheet size 18.75” x 13”. 500/750

2750, two

226

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2751, three

2751. Three watercolors: 1) Martha Graham dancers with rams’ heads in the background. 2) Beach scene with five female nudes. 3) A nude woman entwined with another woman. Each unsigned. Each 15” x 20”. Unframed. 500/750 Two of these works bear resemblance to, and are possibly studies for, L’Engle’s oil on board “Martha Graham Dancers 1933”. See Skinner Inc., Boston, November 14, 2008, Lot #351.

2752. Surrealist scene of a trapped woman. Unsigned. Together with a watercolor still life signed “Harry Brown”. Oil on heavy cream wove paper, 15” x 19.75”. Unframed. 300/500

2752

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227


2753. TOD (RAPHAEL LEROY) LINDENMUTH Massachusetts/Florida, 1885-1976 “Fishing Boats off Race Point Cape Cod Mass.”. Signed lower left “Tod Lindenmuth”. Titled verso. Oil on masonite, 18” x 24”. Unframed. 2,000/3,000

2753

2754. TOD (RAPHAEL LEROY) LINDENMUTH Massachusetts/Florida, 1885-1976 Going fishing. Signed lower left “Tod Lindenmuth”. Oil on board, 12” x 16”. Framed 16” x 21”. 1,500/2,500

2754

2755. DOROTHY LOEB Massachusetts/Illinois/California/Mexico, 1887-1971 White house amidst a Pamet landscape, Truro, Massachusetts. Signed and dated lower left “Dorothy Loeb 1927”. Remnants of a 1930s Provincetown Art Association 16th Annual Exhibit label verso. Watercolor on paper, 13” x 19” sight. Framed 18.5” x 24.5”. 500/700

2755

Provenance: Private Massachusetts Collection.

2756. DOROTHY LOEB Massachusetts/Illinois/California/Mexico, 1887-1971 Figures in front of a fishing shack. Unsigned. Landscape study verso. Oil on canvas, 20” x 24”. Framed 25” x 29”. 500/700 Provenance: Private Massachusetts Collection.

2756

228

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2757

2757. ROSS E. MOFFETT Massachusetts/California/Iowa, 1888-1971 “Ice in the Harbor”. Signed lower right “Moffett”. Titled on Chicago Galleries Association label verso. Also signed on stretcher and inscribed “Incoming Ice”. Housed in a NewcombMacklin frame. Oil on canvas, 21.5” x 25.5”. Framed 26” x 30”. 7,000/9,000 Provenance: Greenwich, Connecticut estate.

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229


2759

2758, two

2758. HAROLD E. WALKER Ohio, 1890Two views of sailboats at a wharf. Signed lower left or right “H. Walker”. Both with artist’s stamps verso “H Walker Povincetown Mass.”. Oils on board, 6” x 8”. Framed 7.5” x 9.5”. 500/1,000

2759. FLORENCE EMMA (PFEIFFER) BRILLINGER Pennsylvania/New York/Europe, 1891-1984 “Provincetown 1931”. Titled, dated and signed “Florence Brillinger” lower left. Oil on canvas laid on board, 8” x 10”. Framed 11” x 13”. 600/800

2760. ALICE KENT STODDARD Pennsylvania/Connecticut, 1883-1976 Lighthouse on a cliff. Signed lower left “Alice Kent Stoddard”. Watercolor on paper, 10.75” x 14.5” sight. Framed 20” x 24”. 500/1,000

Provenance: Greenwich, Connecticut estate.

230

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2761. GERRIT HONDIUS New York, 1891-1970 Figures on a path lined with shacks. Signed lower left “G. Hondius”. Mixed media, 8.5” x 12” sight. Framed 17” x 19.5”. 500/1,000

2762. DOROTHY LAKE GREGORY Massachusetts, 1893-1970 West End, Provincetown, Massachusetts. Circa 1940. Unsigned. Oil on canvas board, 10” x 8”. Framed. 700/900 Provenance: Purchased directly from the artist’s daughter, circa 1995. Private Massachusetts Collection.

2763. DOROTHY LAKE GREGORY Massachusetts, 1893-1970 Twilight, West End, Provincetown, Massachusetts. Unsigned. Oil on canvas board, 10” x 8”. Framed 16” x 14”. 700/900

2761

Provenance: Purchased directly from the artist’s daughter, circa 1995. Private Massachusetts Collection.

2762

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2763

231


HEINRICH HERMAN R. (HARRY) PFEIFFER Massachusetts/Florida, 1874-1960

2764. Blooming trees along a path. Signed lower right “Harry Pfeiffer”. Oil on canvas, 31” x 23. Framed 37” x 28.5”. 1,500/2,500 Provenance: Greenwich, Connecticut estate.

2764

2765. Harbor scene. Signed lower left “Harry Pfeiffer”. Oil on canvas, 25.5” x 30”. Framed 32” x 36”. 1,500/2,500 Provenance: Greenwich, Connecticut estate.

2765

232

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2766

2767

2768

2766. “Home of the Artist”. Signed lower left “Heinrich Pfeiffer”. Titled and signed verso. Oil, 13” x 14”. Framed 16.25” x 17.25”. 800/1,200

2768. Yellow cottage with hollyhocks. Signed faintly lower left. Oil on board, 12” x 12”. Framed 14” x 14”. 800/1,200 Provenance: Greenwich, Connecticut estate.

Provenance: Greenwich, Connecticut estate.

2767. "Cottage with Apple Blossoms”. Signed lower right “Harry Pfeiffer”. Titled and signed verso. Oil on canvas, 8” x 10”. Framed 11” x 12.5”. 700/900 Provenance: Greenwich, Connecticut estate.

2769

2769. “Old Cape Cod Cottage”. Signed lower right “Harry Pfeiffer”. Signed, titled and dated verso “Hyannis Mass, Aug. 192…”. Oil on board, 8” x 10”. Framed 9.5” x 11.5”. 700/900 Provenance: Greenwich, Connecticut estate.

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233


BLANCHE (NETTIE BLANCHE) LAZZELL Massachusetts/West Virginia, 1878-1956

2770. “Provincetown Studios”. Titled in pencil lower right. Signed and dated lower right “Blanche Lazzell 1933”. Titled on label verso. White-line color woodcut, image size 8” x 5”. Framed 18” x 14.5”. 10,000/15,000

2770

234

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2771. “Marygolds”. Signed in image lower right “B. Lazzell”. Titled in pencil lower left margin. Signed and dated lower right "Blanche Lazell 1930”. White-line color woodcut, image size 14” x 12”. Framed 25” x 22”. 30,000/40,000

2771

2772. “The Town Home”. Signed in image lower left “BL”. Titled in pencil lower left margin. Signed and dated lower right “Blanche Lazzell 1928”. Inscribed verso “Wood block print ‘The Town Home’ Blanche Lazzell Provincetown Mass. Oct. 5, 1928” and “226/6”. Old exhibition label from John Backer as well. White-line color wood cut, image size 14” x 12.25”. Framed 25” x 22”. 30,000/40,000

2772

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235


2773. VERNON B. SMITH Massachusetts, 1894-1969 “Gray Fish Dock, 1947”. Signed and dated lower left “Vernon Smith ‘47”. Titled and dated in pencil on stretcher and on Provincetown Art Association and Museum exhibition label verso. Remnants of old labels on frame. Oil on board, 20” x 24”. Framed 28” x 32”. 2,000/3,000 Provenance: Private Massachusetts Collection. Exhibited: One-man show at the Provincetown Art Association and Museum, Provincetown, Massachusetts, 1997. 2773

2774. PHILIP CECIL MALICOAT Massachusetts/Indiana, 1908-1981 Back shore. Signed and dated lower left “Philip C. Malicoat 1965”. Oil on canvas, 16” x 22”. Framed 14” x 16”. 2,500/3,500 Provenance: Private Massachusetts Collection.

2774

2775. MARSTON DEAN (BUD) HODGIN Ohio/California, 1903-2003 “Cape Cod Dunes”. Signed lower right “Marston Hodgin”. Titled and signed verso. Oil on canvas, 18” x 24”. Framed 22” x 28”. 500/1,000

2775

Provenance: Private Massachusetts Collection.

2776. LORI ZUMMO Massachusetts, Contemporary Sankaty Head Golf Club, with buildings and the ocean on the horizon. Signed lower right “Zummo”. Oil on canvas, 16” x 32”. Framed. 2,000/3,000

2776

236

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X AV I E R G O N Z A L E Z Massachusetts/Mexico, 1898-1993

2777. Shipyard. Signed and dated lower right “X Gonzalez 1956”. Countersigned verso with initials “XG”. Mixed media on paper, 22.5” x 30.75”. Framed 30” x 37.5”. 2,000/3,000 2777

2778. Abstract harbor scene. Signed lower right “X.G.”. Oil on board, 6” x 8.5”. Framed 9.5” x 12”. 500/700

2778

2779. “Detroit Jello”. Signed lower right “X.G.”. Signed, titled and dated 1967 verso. Oil on canvas, 34” x 50”. Framed 35” x 51”. 2,000/4,000

2779

2780. “Boat Yard”. Signed lower right “Xavier Gonzalez”. Label verso, hidden by backing, inscribed “Boat Yard” and numbered “71.2525, WC.59.6”. Watercolor and gouache on paper, 21” x 30” sight. Framed 32.5” x 40.5”. 800/1,000 Provenance: The Chrysler Museum, acquired in 1959, and deaccessioned after 1971. Lot accompanied by a letter from the Museum dated June 2, 1992. Purchased by the consignor from the George Karen-Zhouf Art Studios, Publishers and Galleries, Wellfleet, Massachusetts.

2780

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237


JOHN WHORF Massachusetts, 1903-1959

2781

2783

2782

2781. “Berkshire Fall Landscape”. Signed lower right “John Whorf ”. Titled on gallery label verso. Reverse with unsigned view of a mountain lake. Watercolor on paper, 15” x 19.75” sight. Framed 25” x 30”. 2,000/3,000

238

2782. “Dunelands, P’Town”. Signed lower right “John Whorf ”. Titled verso. Reverse with watercolor of docked boats. Watercolor on paper, 15” x 22”. Unframed. 1,500/2,500

2783. Winter mountain landscape. Signed lower left “John Whorf ”. Oil on canvas, 26” x 25”. Framed 32.5” x 31”. 5,000/10,000

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2784. Teeing off. A rare golf-themed work by the artist. Signed lower right “John Whorf ”. Watercolor on paper, 21” x 21”. Unframed. 3,000/5,000

2784

2785. Double-sided work: Tug boats in a harbor, likely New York, and a hunting scene. Tug scene signed lower right “John Whorf ”. Watercolors on paper, 16.25” x 22.25”. Unframed. 3,000/5,000

2785, double-sided

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239


2786. GEORGE MCNEIL New York, 1908-1995 “Vitorria”. Signed and dated lower left “McNeil ‘63”. Titled, signed, dated and inscribed “#1926” verso. Oil on paper on panel, 16.5” x 13.75”. Framed 17” x 14.5”. 2,500/3,500 Provenance: Berta Walker Gallery, Provincetown, Massachusetts. Private Massachusetts Collection.

2787. NANNO DE GROOT Massachusetts, 1913-1963 Long Point. Signed and dated lower center right “De Groot 6.7.63”. Ink on paper, 23” x 18”. Framed 27” x 20.5”. 1,000/1,500 Provenance: Private Massachusetts Collection.

2786

2788. NANNO DE GROOT Massachusetts, 1913-1963 King and Queen. Signed and dated lower left “Nanno 8.3.51”. Affixed tag marked “The Chatterton Company … New Canaan, Conn, Lot 2236, piece 13”. Oil on canvas, 40” x 30”. Framed 45” x 34”. 4,000/6,000 Provenance: Private Massachusetts Collection.

2787 2788

240

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2789. GEORGE DAVID YATER Massachusetts/Indiana, 1910-1993 “Storm Clouds Over the Harbor”. Signed lower left “George Yater”. Titled and dated circa 1940 on Acme Fine Art label verso. Watercolor on paper, 18” x 24”. Framed. 4,000/6,000 Provenance: Private Massachusetts Collection. Exhibited: Acme Fine Art Summer Salon, 2007.

2789

2790. GEORGE DAVID YATER Massachusetts/Indiana, 1910-1993 Still life with McMillan’s Gull. Circa 1948. Signed lower right “George Yater”. Housed in the artist’s hand-carved frame. Oil on canvas, 42” x 48”. Framed 50” x 56”. 4,000/6,000 Provenance: Private Massachusetts Collection.

2790

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241


WILLIAM HORACE "BILL" LITTLEFIELD Massachusetts/New York, 1902-1969

2791

2792

2791. “The Death of Adonis”. Signed “W.H. Littlefield” and dated April 1936 lower right. Also signed, dated and titled verso. Oil on canvas, 20” x 29”. Framed 28.5” x 38”. 1,200/2,000

2792. “Acteon In Flight, Arrested by Swift Arrows”. Signed and dated April 1941-March 1942 verso. Oil on board, 36” x 22.5”. Framed 41” x 28”. 1,000/1,800

2793

242

2793. “Dichotomy of Man Divided from Himself ”. Signed “Wm. H. Littlefield” and dated February 1950 lower right. Also signed, dated and titled verso. Oil on masonite, 30” x 18”. Framed 40” x 28”. 1,000/1,800

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2795 2794

2796

2797

2794. MARY MOFFETT HACKETT Massachusetts/New York, 1906-1989 “Mirror View”. Signed and dated lower left “Mary Hackett ‘62”. Titled on label verso for the 1962 Provincetown Art Association Third Show, August 3-4. Oil on board, 20” x 16”. Framed 26” x 21”. 2,000/3,000 Provenance: Acme Fine Art. Private Massachusetts Collection.

2795. CHARLES ALEXANDER COUPER Massachusetts/New Hampshire, 1924-2018 “Beach Sticks”. Signed lower right “Charles A. Couper”. Titled on stretcher. Oil on canvas, 22” x 50”. Framed 30” x 58”. 2,500/3,500 Provenance: First Jury Award, Cape Cod Art Association, 1969. Private Cape Cod Collection.

2796. MYRNA HARRISON Arizona/Massachusetts, b. 1932 “Provincetown Bay #4”. Signed lower right “Harrison”. Titled on gallery label verso. Sumi ink and gouache, 12” x 17” sight. Framed 19.5” x 23.5”. 800/1,000 Provenance: Gallery Ehva, Provincetown, Massachusetts. Private Massachusetts Collection.

2797. ROBERT BEAUCHAMP New York/Massachusetts/Colorado, 1923-1995 Man walking. Circa 1974. Signed along bottom edge. Graphite on paper, 24” x 18”. Framed 33” x 27”. 400/600 Provenance: Private Massachusetts Collection.

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243


2798. TONY VEVERS Massachusetts/Indiana/England, 1926-2008 Tasha’s Hill. Signed and dated lower center “T. Vevers ‘61”. Partial label on stretcher for a Madison Avenue, New York gallery. Oil on canvas, 16” x 22”. Framed. 1,000/2,000 Provenance: Private Massachusetts Collection.

2799. TONY VEVERS Massachusetts/Indiana/England, 1926-2008 Sun Garage. Signed and dated lower left “T. Vevers 1962”. Oil on masonite, 7.5” x 10.5”. Framed 15” x 18”. 600/800 2798

Provenance: Private Massachusetts Collection.

2799

2800

2800. JUDITH ROTHSCHILD New York, 1921-1993 “Ludus Tonalis 12”. Signed and dated “R” and “73” in ink lower right. Label on frame back for Long Point Gallery, Provincetown, Massachusetts. Gouache with black ink additions on painted wood and collage foam core, 26.25” x 38”. Framed. 1,500/2,500

2801. JUDITH ROTHSCHILD New York, 1921-1993 Single panel cartoon for “Gothic”. Signed “R” in ink lower right. Acrylic, ink and cut paper, 7.25” x 5.5”. Framed 14.5” x 12.5”. 700/1,000

2801

244

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ROBERT CARDINAL Massachusetts/New York/Canada, b. 1936

2802

2802. “Hobb’s Farm, Truro”. Signed lower right “Cardinal”. Titled on stretcher. Oil on canvas, 6” x 12”. Framed 11” x 17”. 2,000/3,000

2803

2803. “Wellfleet Harbor”. Signed lower right “Cardinal”. Oil on canvas, 30” x 40”. Framed 42” x 32”. 7,000/9,000

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245


2804. NANCY WHORF Massachusetts/Florida, 1930-2009 “Swinging in Spring”. Signed lower right “N. Whorf ”. Oil on masonite, 10” x 12”. Framed 13.25” x 15.25”. 1,500/2,000

2804

2805

2805. SELINA TRIEFF New York/Massachusetts, 1934-2015 Mudhead. Signed lower left “Trieff”. Inscription “Gift to June Henry, 1965” attached to stretcher verso. Numbered 1960-008. Oil on canvas, 30” x 27”. Framed 35” x 30”. 1,500/2,500 Provenance: Private Massachusetts Collection.

2806. DEL FILARDI Massachusetts, Contemporary A heron. Signed and dated “Filardi 1974” on base. Metal, height 57”. Length 24”. Width 34”. 1,500/2,500 2806

246

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2807. FRED MADDEN America, Mid-20th Century Provincetown shoreline. Signed lower left “Fred Madden”. Oil on canvas, 34” x 24”. Unframed. 800/1,200

2808. ROMANOS RIZK Massachusetts/Rhode Island, 1927-2009 “One with the Tao #24”. Signed lower right “Romanos Rizk”. Titled and signed verso. Collage, 14” x 10”. Framed 19.5” x 15.5”. 500/700

2809. ROMANOS RIZK Massachusetts/Rhode Island, 1927-2009 “Prophet - Series 3”. Signed lower right “Romanos Rizk”. Signed and titled verso. Oil on canvas, 16” x 12”. Framed 18” x 14”. 600/800

2807

2808

2809

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247


2810. SALVATORE DEL DEO Massachusetts, b. 1928 Still life, 1994. Signed and dated lower right “S. Del Deo ‘94”. Oil on paper, 26” x 17”. Framed 28” x 19”. 1,000/1,500 Provenance: Outer Cape Auctions, July 2006, Lot #59. Private Cape Cod Collection.

2810

2811. MARY JENCQUES (JENKS) COULTER Massachusetts/California, 1880-1966 Hawthorne-style portrait of a woman. Signed lower right “Mary J. Coulter”. Housed in a Newcomb-Macklin frame. Oil on board, 20” x 16”. Framed 24.5” x 20.5”. 4,000/6,000

2811

248

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JOHN DOWD Massachusetts, b. 1960

2812

2813

2812. “Afternoon, Provincetown”. Signed lower right “J. Dowd”. Titled verso. Oil on linen, 24” x 30”. Framed 26” x 32”. 6,000/8,000 Provenance: Private Massachusetts Collection.

2813. “Hopper House, Truro”. Signed lower right “J. Dowd”. Titled verso. Oil on linen, 16” x 20”. Framed 18” x 22”. 3,000/5,000 Provenance: Private Massachusetts Collection.

2814. “Full Moon (Beach Point)”. Signed lower right “J. Dowd”. Titled verso. Oil on linen, 18” x 24”. Framed 19” x 25.5”. 3,000/5,000

2814

Provenance: Private Massachusetts Collection.

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249


A N N E PA C K A R D Massachusetts/New Jersey, b. 1933

2815. Shack on the harbor. Signed lower left “A. Packard”. Oil on panel, 6” x 8”. Framed 8.75” x 10.75”. 2,000/3,000

2815

2816. Storm clouds over Provincetown Harbor. Signed and dated lower right “A. Packard ‘96”. Housed in a Guido frame. Oil on canvas, 11” x 14”. Framed 16” x 19”. 3,000/5,000

2816

250

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2817

Having played a significant role in maintaining Wampanoag Indian identity for generations, this painting of the Gay Head (Aquinnah) cliffs depicts an Indian encampment located atop colorful Oak Bluffs. The Indian gazes across Buzzard’s Bay toward distant land in the east and two approaching ships. The two ships likely represent the 1602 arrival of the explorers Bartholomew Gosnold and John Brereton. Gosnold’s ship Concord was the first known to travel down today’s Buzzards Bay and to stop at Martha’s Vineyard. (In 1524 Verrazzano, probably in only one ship, had also explored the region, but not specifically Martha’s Vineyard.)

2817. GEORGE NEWELL BOWERS Massachusetts/Connecticut, 1849-1909 “Gay Head Indians 250 Years Ago”. Signed and dated lower right “G.N. Bowers 1874”. Countersigned, titled, dated and inscribed “No. 6” and “$50” in pencil on the upper stretcher bar. Oil on canvas, 17” x 23”. Framed 21.5” x 27.75”. 1,500/2,500

This painting is illustrated in Indian Basketry of the Northeastern Woodlands by Sarah Peabody Turnbaugh and William A. Turnbaugh (Atglen, Pa.: Schiffer Publishing, Ltd., 2014), p. 15, plate 1.5.

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251


2818

2818. WILLIAM FERDINAND MACY New York/Massachusetts, 1852-1901 View of New Bedford Harbor. Signed and dated lower left “W. Ferdinand Macy 99”. Oil on canvas, 27” x 44”. Framed. 4,000/6,000

2819

252

2819. WENDELL MACY Massachusetts, 1845-1913 “Old Mill Nantucket”. Signed lower left “Wendell Macy”. Titled in pencil verso. Oil on board, 4.5” x 6”. Overall 7” x 8.25”. 2,500/3,500

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2820. MICHAEL KANE NANTUCKET BASKET PURSE Nantucket, Massachusetts, Dated 1996 Diamond-shaped basket with woven leather strap. Cluster of carved seashells mounted to top of hinged lid. Handle rivets carved as scallop shells. Signed on underside “Made by Michael Kane M.K. 1996 cc Nantucket Island”. Total height 5.5”. Width 9”. 1,500/2,000

2820

2821. FERDINAND SYLVARO NANTUCKET BASKET Nantucket, Massachusetts, Circa 1920 Round, with swing handle. Handwritten label on underside “Made by Ferdinand Sylvaro 97 Orange St. Nantucket Mass”. Basket height 4.75”. Diameter 10.25”. 1,000/1,500

2822. FERDINAND SYLVARO NANTUCKET BASKET Nantucket, Massachusetts, Circa 1920 Round, with swing handle. Base incised with three concentric circles, typical of Sylvaro. Handwritten label on underside “Made by Ferdinand Sylvaro 97 Orange St. Nantucket Mass”. Basket height 4”. Diameter 7.25”. 1,000/1,500

2823. GERALD BROWN NANTUCKET BASKET PURSE Nantucket, Massachusetts, Circa 1990 Oval, with shaped swing handle. Hinged lid with polychrome engraved plaque by Michael Vienneau depicting a Nantucket basket filled with colorful flowers, signed and dated lower right “M.J. Vienneau 1990 Nantucket”. Basket signed on interior base “G.L. Brown” with further inscription. Height 5”. Width 8”. 1,000/1,500

2824. BILL AND JUDY SAYLE NANTUCKET BASKET PURSE Nantucket, Massachusetts, Dated 1986 Oval, with swing handle. Hinged lid with polychrome engraved plaque by Lee A. Papale depicting a small yellow butterfly amongst thistle, signed and dated lower right “Lee A. Papale 86”. Basket signed and dated on underside “Made in Nantucket B. & J. Sayle 1986”. Height 5.5”. Width 8.25”. 1,000/1,500

2821

It’s believed Ferdinand Sylvaro (18681952) learned to weave Nantucket baskets from A.D. Williams, who had learned from William D. Appleton. Sylvaro owned the molds that had belonged to Davis Hall, the New South Shoal lightship keeper and noted basket maker in the late 1800s.

2822

2823

2824

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253


2825

2827

2828

2825. CARVED BELLAMY-STYLE EAGLE PLAQUE 20th Century With a “Don’t Give up the Ship” banner. Length 36”. 800/1,200

2826. BUILDER’S HALF HULL MODEL OF A SAILING SHIP 19th Century Built up in ten lifts of alternating woods. Approx. 10” x 61.5”. 500/1,000

254

2827. MOUNTED BUILDER’S HALF HULL MODEL First Quarter of the 20th Century Black hull with red bottom. Brass plaque on backboard references two ships and their dimensions, and the states of Pennsylvania and Delaware. Mahogany backboard 10.5” x 63.75”. 500/1,000

2829. CARVED AND PAINTED WOODEN MERMAID AND DOLPHIN WALL HANGING Late 20th Century Height 18”. Length 115”. 800/1,200

2830. GIANT SOUTH SEAS CLAM SHELL Some discoloration. Length 30”. 500/1,000

2828. LARGE WOODEN TRADE SIGNSTYLE CARVED FISH 20th Century Hangs from two brass hooks. Length 72”. 1,500/2,000

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2831. CASED MODEL OF THE U.S. COASTGUARD LIGHTSHIP BOSTON 20th Century Red hull. Mounted within a custom display case. Case height 20.75”. Length 33”. Width 12.25”. 2,000/3,000

2831

2832. FOLK ART BIRDHOUSE IN THE FORM OF A LIGHTHOUSE Made for Captain Bernard O’Niel by the crew of the bark Girard, West Dennis, Massachusetts, circa 1850. Height 42”. Length 20”. Width 23”. 1,500/2,500

2832

2833. AMERICAN SCHOOL 19th Century Portrait of Captain Crosby of Brewster, Cape Cod, Massachusetts. Unsigned. Identified on handwritten note verso. Watercolor on paper, 4.75” x 3.5” sight. Framed 6.75” x 6”. 1,000/1,500

2833

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255


2834. CARVED SPERM WHALE PLAQUE 20th Century Painted white. Carved “B” on reverse. Length 34”. 500/700

2834

2835. ROGER MITCHELL CARVED AND PAINTED SPERM WHALE PLAQUE Kingston, Massachusetts, Contemporary Painted black and gray. Glass eye. Carved “R Mitchell” on reverse. Length 37.5”. 500/800

2836

2835

2836. RICHARD VAN WICKLEN “WICK” AHRENS Vermont, 1944-2016 Humpback whale. Signed in white lower right “Wick Ahrens”. Height 16”. Length 33”. 1,000/2,000

2837. RICHARD VAN WICKLEN “WICK” AHRENS Vermont, 1944-2016 Pair of carved and painted wooden penguins with glass eyes. Signed and dated in black lower right “Wick Ahrens ‘06”. Heights 16”. Widths 7”. 1,000/2,000

256

2837, pair

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2838. SHADOW BOX MARITIME DIORAMA America, Early 20th Century Depicts a bark at sea. Fine walnut case with shaped crest, turned columns and stippled decoration. Shadow box height 24.75”. Width 35.25”. Depth 5”. 1,000/1,500

2838

2839. WONDERFUL FOLK ART DIORAMA OF THE TITANIC Mid-20th Century Features a stylized Titanic ramming the infamous iceberg. Lifeboats filled with figures fill the foreground, and additional figures are descending a rope hanging off the stern. Shadow box height 28”. Width 42”. Depth 5”. 2,000/3,000

2839

2840. MARITIME CHEST Second Quarter of the 19th Century Hardwood with dovetail construction. Interior of lid with painted scene of a harbor, three vessels, a lighthouse, a building and a windmill to the right. Painted decoration with slight resemblance to the work of Rufus Porter. Height 12”. Width 25.5”. Depth 11.75”. 2,000/3,000 2840

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257


2841. "CRANBERRY GOOSE" RESTAURANT SIGN Cape Cod, Massachusetts, Circa 1950 Original hand-painted double-sided sign for the Cranberry Goose restaurant on Route 6A in Yarmouth Port, Cape Cod, Massachusetts. The restaurant was reborn as the “Cranberry Moose”, and while neither is currently in business, the building is still a restaurant. 34” x 31.75”. 500/1,000

2841

2842. RARE COLORED ADVERTISING POSTER FOR "JAS. HUBBARD AND SON OYSTERS" Circa 1905 “Plymouth Rock Brand Baltimore ...”. 23.5” x 14.25”. Framed 25” x 15.5”. 400/600

2842

258

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2843

2843. MONUMENTAL MAP OF CAPE COD 1858 A beautiful example and one of the largest maps produced for this region. Shows views including Provincetown 1858; Provincetown Harbor 1620; Main Street in Barnstable; Pacific Bank, Nantucket; Barnstable Bank, Yarmouth Port; and the Barnstable Courthouse. Town plans include Nantucket, Barnstable Village, Yarmouth Village, Hyannis, Hyannis Port, and Provincetown Village. Lithograph with hand coloring, 61” x 56”. Linen-backed with rods. 4,000/6,000

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259


2844. CHROMOLITHOGRAPH "NEWPORT HARBOR" Circa 1900 Published by Forbes Publishing, circa 1900. Depicts the dayliner Mount Hope off Newport, Rhode Island, amongst the ships of the Great White Fleet. On paper, sheet size 28” x 41”. Framed 33.75” x 46.75”. 500/700

2844

2845. CURRIER & IVES HAND-COLORED LITHOGRAPH "THE NEW EXCURSION STEAMER COLUMBIA" Copyright 1877 Inscribed on the stone lower left outside margin “Published By Currier & Ives, 115 Nassau St. New York.”, at the center “Copyright 1877, by Currier & Ives, N.Y.”, and at right “Parsons & Atwater. Del.”. Fully titled “The New Excursion Steamer Columbia. ‘Gem of the Ocean.’ The Largest Steamboat Ever Built For The Excursion Business.”. 24.25” x 35.5” sight. Framed 29” x 40.25”. 800/1,200 2845

2846. CLINTEL STEED Utah/Illinois, b. 1977 View of a bridge and freighter. Unsigned. Oil on canvas, 24” x 24”. Unframed. 800/1,200 Provenance: Borghi Fine Art.

2846

2847. SANDOR BERNATH America, 1892-1984 “On An Upwind Beat”. Signed lower left “Sandor Bernath”. Archival framing with lined and faux marble trim on mat and a gold leaf frame. Watercolor on paper, 20.5” x 17” sight. Framed 31” x 27.25”. 1,000/1,500 Provenance: The Cooley Gallery, Old Lyme, Connecticut. The current owner. 2847

260

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E D M U N D D . L E WA N D O W S K I Wisconsin/Florida, 1914-1998

2848

2849

2848. “Inlet Marina”. Circa 1995. Signed lower right “Edmund D. Lewandowski”. Archival framing under UV glass. Additional dealer information on the frame back. Watercolor and gouache on paper, 17” x 25”. Framed 28” x 36”. 6,000/8,000 Provenance Keogh & Riehlman Fine Art, New York. The current owner.

2849. Coast Guard Cutter - 73. Signed and dated lower right “Edmund D. Lewandowski 1987”. Archival framing with linen mat and gold leaf frame. Watercolor on paper, 17.5” x 25”. Framed 29” x 36.5”. 7,000/10,000 Provenance H.V. Allison Galleries, Inc., New York. The current owner.

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261


2850. PETER HUNT-DECORATED HUTCH TABLE Massachusetts, Mid-20th Century Multicolored decoration of figures, ships, a lighthouse and verse on a green ground. Height 31”. Top 30” x 71.5”. 500/800

2850

2851. LEMUEL D. ELDRED Massachusetts, 1848-1921 Colorful sails, Venice. Signed lower right “L.D. Eldred”. Oil on canvas laid down on board, 12.5” x 12.5”. Framed 15” x 15”. 800/1,200

2851

2852. MARIQUITA GILL Massachusetts/France, 1861-1915 “Scituate Cliffs”. Signed lower left “Mariquita Gill”. Titled on gallery label verso. Oil on canvas, 11” x 16”. Unframed. 700/1,000

2852

262

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2853. CHARLES DREW CAHOON Massachusetts, 1861-1951 A stately Cape Cod home. Signed lower right “C.D. Cahoon”. Oil on canvas, 15” x 22”. Framed 20” x 27”. 4,000/6,000

2853

2854. MARTHA WALTER Massachusetts/Pennsylvania/ France, 1875-1976 Day at the beach. Unsigned. Estate stamped verso. Watercolor on paper, 10” x 13” sight. Framed 16” x 19.5”. 2,500/3,500

2854

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GEORGE ELMER BROWNE Massachusetts/Connecticut, 1871-1946

2855. “The Gossip’s Corner”. Signed lower left “Geo. Elmer Browne”. Titled verso. Housed in a Newcomb-Macklin frame. Oil on board, 16” x 19”. Framed 21.5” x 24.5”. 2,000/3,000

2856. “The Harbor”. Signed lower left “Geo. Elmer Browne”. Titled verso. Housed in a high-quality gilt frame by Steve Motyka. Oil on canvas, 25.25” x 30”. Framed 33” x 38”. 7,000/10,000

2855

2856

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2857. EVERETT SHINN New York/Pennsylvania, 1876-1953 Original drawing for “David Copperfield”. Unsigned. Printing notation lower center. Ink on paper, 13.5” x 7.75” sight. Framed 17” x 21”. 400/600 Provenance: Adelson Galleries, New York. Clayton-Liberatore Galleries.

2858. EVERETT SHINN New York/Pennsylvania, 1876-1953 Original drawing for “David Copperfield”. Unsigned. Printing notation lower center. 400/600 2857

Provenance: Adelson Galleries, New York. Clayton-Liberatore Galleries.

2858

2859. WALTER FARNDON New York, 1876-1964 Double-sided work, depicting a harbor scene on obverse and a house on the water on reverse. Both signed lower right “Walter Farndon N.A.”. Oil on board, 14” x 18”. Framed 19.5” x 23.5”. 2,500/3,500

2859

2860. WALTER FARNDON New York, 1876-1964 Yacht in drydock. Signed lower left “Walter Farndon NA”. Oil on board, 14” x 18”. Unframed. 2,000/3,000

2860

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HAROLD C. DUNBAR Massachusetts, 1882-1953

2861. Autumnal landscape. Signed lower right “H.C. Dunbar”. Oil on canvas, 29” x 36”. Framed 35.5” x 42.5”. 3,000/5,000

2861

2862. “Poppies and Lillies From Madeline Nickerson’s Garden, Harwichport, 1938”. Signed lower right “Harold Dunbar”. Titled verso. Oil on board, 30” x 25”. Framed 35” x 30”. 1,000/1,800

2862

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2863. “View of Barn Hill Road, Chatham”. Signed lower right. Oil on canvas, 25” x 30”. Framed 35.5” x 40.5”. 2,000/3,000

2863

2864. A pond as viewed through the trees. Signed lower left “H.C. Dunbar”. Oil on canvas, 11” x 14”. Framed 18” x 21”. 800/1,200

2864

2865. Landscape, likely the Blue Hills, Massachusetts. Signed and dated lower left “H.C. Dunbar ‘08”. Oil on canvas, 11” x 14”. Framed 17” x 19”. 2,000/3,000

2865

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VA C L AV V Y T L A C I L New York/California, 1892-1984

2866. Hanging fish. Signed lower right “Vaclav Vytlacil”. Monotype on paper, 10” x 16” sight. Framed 18” x 25”. 300/500

2866

2867. “Edgartown”. Signed verso “Vaclav Vytlacil”. Titled verso. Oil on board, 11.25” x 11.75”. Unframed. 1,200/1,800 Provenance: Spanierman Gallery, New York.

2867

2868. Harbor scene, likely Martha’s Vineyard, Massachusetts. Signed and dated lower right “Vytlacil 1970”. Mixed media on paper laid down on board, 14” x 16.5”. Unframed. 1,200/1,800

2868

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M A R T H A FA R H A M C A H O O N Massachusetts, 1905-1999

2869

2869. Hot air balloons over the rooftops. Signed and dated lower right “Martha Cahoon 1962”. Oil on masonite, 26.5” x 19.5”. Framed 30.5” x 23.5”. 10,000/15,000

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RALPH EUGENE CAHOON, JR. Cape Cod, Massachusetts, 1910-1982

2870

2870. “Widows and Scrimshaw”. A domed vignette depicting ten sea captain’s wives on widow’s walks awaiting the arrival of their husbands, and three islands with lighthouses in the background. Possibly depicts Nantucket. Vignette surrounded by spyglasses and pieces of scrimshaw. Signed lower right “R. Cahoon”. Oil on masonite, 30” x 41”. Framed 38” x 48”. 40,000/60,000 Provenance: Palm Beach Galleries, Florida. Private Florida Collection. Eldred’s, November 23, 1996, Lot #1096. Private Massachusetts Collection. Eldred’s, November 23, 2002, Lot #847. Private Cape Cod Collection.

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2871

2871. Mermaid and sailor antics on Beacon Street, Boston. Signed lower right “R. Cahoon”. Oil on masonite, 22” x 28”. Framed 26” x 32”. 20,000/25,000

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RALPH EUGENE CAHOON, JR. Cape Cod, Massachusetts, 1910-1982

2872

2872. A seaside party. Signed lower right “R. Cahoon”. Oil on masonite, 21” x 26”. Framed 26” x 31”. 25,000/35,000

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2873

2873. “Shocking Incident at the Hunt Club”. Signed lower right “R. Cahoon”. Oil on masonite, 16” x 20”. Framed 22” x 26”. 30,000/40,000 Provenance: Marine Arts Gallery, Salem, Massachusetts. Private Collection, Cape Cod.

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RALPH EUGENE CAHOON, JR. Cape Cod, Massachusetts, 1910-1982

2874

2874. “Island Queen”. Signed lower right “R. Cahoon”. Oil on masonite, 12.5” x 11”. Framed 15” x 13.5”. 22,000/28,000

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2872

2875. “Winter Skating Party”. Signed lower right “R. Cahoon Pinxt”. Titled on gallery label verso. According to the consignor, the scene depicts Ralph and his wife Martha skating in Falmouth Harbor. Oil on masonite, 21” x 28”. Framed 27” x 35”. 20,000/25,000 Exhibited: Cahoon Museum of American Art, Cotuit, Massachusetts: “Chasing the Mermaids” , July 27 - September 19, 2010.

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275


2876. WENDELL ROGERS Massachusetts, 1890-1973 Oyster River fishing shacks. Signed lower left “Wendell Rogers”. Oil on canvas, 25” x 36”. Framed 30” x 41”. 2,000/3,000

2876

2877. CONGER A. METCALF Massachusetts/Iowa, 1914-1998 “Viva Angelo”. Inscribed and signed on the vertical “A grateful Thank you in advance from Conger”. Watercolor, 19.5” x 15.5” sight. Framed 29” x 24”. 500/1,000

2877

2878. ELIZABETH MUMFORD Massachusetts, 1950-2020 “The First Man gets the oyster, the second man gets the shell”. Signed lower center “Elizabeth Mumford”. Oil on board, 24” x 24”. Framed 27” x 27”. 1,000/1,500 Provenance: Mystic Maritime Gallery, April 1996. Private Westbrook, Connecticut Collection.

2878

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2879. ALEXANDER FARNHAM New Jersey, b. 1926 Beach scene, likely Watch Hill, Rhode Island. Signed lower right “A. Farnham”. Oil on canvas, 20” x 28”. Unframed. 1,200/1,800 2879

2880. ALEXANDER FARNHAM New Jersey, b. 1926 “Watch Hill Ponds”. Signed lower left “A. Farnham”. Titled verso. Oil on canvas, 20” x 28”. Unframed. 1,200/1,800

2880

2881. ROBERT DOUGLAS HUNTER Massachusetts, 1928-2014 “Still Life on a Sideboard”. Signed lower left. Oil on canvas, 16” x 28”. Framed 22.5” x 34.5”. 2,000/4,000

2881

2882. ROBERT DOUGLAS HUNTER Massachusetts, 1928-2014 “Afternoon Light”. Signed and dated lower right “Robert Douglas Hunter ‘91”. Inscribed verso “From our property, Charles River, Needham, Mass”. Oil on canvas, 12” x 20”. Framed 20” x 27.5”. 1,500/2,500

2882

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2883

2884

2883. JOSEPH MCGURL Massachusetts, b. 1958 “Light and Shadow Vineyard Sound”. Signed lower right “Joseph McGurl”. Titled on label verso. Oil on artist panel, 9” x 12”. Framed 15.5” x 18.5”. 4,000/6,000

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2884. NIEK VAN DER PLAS The Netherlands, b. 1954 A day at the beach. Signed lower right “Van Der Plas”. Oil on board, 11.75” x 16”. Framed 19” x 23”. 1,200/1,800

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2885. DENNIS SHEEHAN New Hampshire/Massachusetts, b. 1950 Landscape at dusk. Signed lower left “Sheehan”. Oil on canvas, 16” x 20”. Framed 22” x 26”. 1,500/2,500

2885

2886. DENNIS SHEEHAN New Hampshire/Massachusetts, b. 1950 Autumn sunset. Signed lower left “Sheehan”. Oil on canvas laid down on board, 19” x 25”. Framed 25.25” x 31.5”. 2,000/3,000

2886

2887. JEROME HOWES New York/Massachusetts/Vermont, b. 1955 The Rainbow Fleet, Nantucket. Signed lower right “J. Howes”. Oil on masonite, 9” x 48”. Framed 13.5” x 52.5”. 2,500/3,500 2887

2888. JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Portrait of the steamship May McGurl II. Signed lower right “J Howes”. Oil on canvas, 20” x 30.5”. Framed 27” x 37”. 1,500/2,500

2888

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W I L L I A M R . D AV I S Massachusetts, b. 1952

2889. Sunset over Mount Washington, New Hampshire. Signed lower left “William R. Davis”. Oil on canvas, 11” x 16”. Framed 19.5” x 24”. 3,000/5,000

2890. “Rain + Mist on Mt. Washington”. Signed lower left “W. Davis”. Titled verso. Oil on board, 8” x 10”. Framed 12.5” x 14.5”. 1,500/2,500

2889

2891. “Judah Baker Windmill”. Signed lower left “W. Davis”. Titled verso. Oil on board, 7” x 5”. Framed 10.5” x 8.5”. 2,000/3,000

2890

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2891


2892. “After Glow”. Signed lower left “William R. Davis”. Signed, titled and dated 2009 verso. Oil on panel, 8” x 10”. Framed 12.5” x 15”. 1,500/2,500

2892

2893. “Take One”. Signed lower right “W. Davis”. Inspired by “Free Sample, Take One” by De Scott Evans (American, 1847–1898). Oil on canvas, 10” x 8”. Framed 15” x 13”. 2,000/3,000

2893

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2894. JANET RICKUS Massachusetts, b. 1949 Blue pitcher with a lemon. Signed lower right “Janet Rickus”. Oil on panel, 12” x 15”. Framed 16.75” x 19.5”. 3,000/5,000

282

2895. JANET RICKUS Massachusetts, b. 1949 Apple and pears. Signed lower right “Janet Rickus”. Oil on panel, 14” x 24”. Framed 17.25” x 27.25”. 4,000/6,000

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GLOSSARY OF TERMINOLOGY AND ADVICE TO BIDDERS Authorship of Paintings and Works of Art

Advice to Bidders

A.

1. Carefully read the Conditions of Sale.

B.

C.

LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, this is a work by the artist. ATTRIBUTED TO LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, probably a work by the artist based on the style of the piece, however, the work lacks a signature, marking or adequate provenance to fully ascribe it. MANNER OF LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, a work made in the style of the artist listed, most likely by a follower or student.

D. SCHOOL OF LEMUEL D. ELDRED

Late 19th Century In our opinion, a work executed at the time and in the style of the artist listed.

E.

AFTER LEMUEL D. ELDRED 20th Century In our opinion, a work made in the style of the artist listed, but not by the artist. Often used to describe a direct reproduction of an original work of art.

Ascribing Date of Origin If a date and location are included in a heading, it is our opinion the piece is essentially of the period and was made in the area indicated. The inclusion of the world “style” in the heading indicates the piece was made at a later date as an intentional reproduction of the earlier style.

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 at www.eldreds.com and with a 25% buyer’s premium. Prospective bidders must register and be approved prior to placing bids or bidding live online. 7. Eldred’s reserves the right to refuse to issue, or to revoke, bidding credentials, or to reject any bid, if deemed necessary and proper in its sole discretion, for the conduct of the auction process, and to insure fairness to consignors and other bidders.

Shipping Information We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale. If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready.

Dimensions Unless otherwise specified, dimensions are formatted Height x Width. Dimensions are approximate as they are often rounded to the nearest quarter inch. Furniture and other objects are measured to the tallest and widest points. Paintings are measured by the dimensions of the stretcher or supports. A “sight” measurement is the visible size of an artwork if the piece is obscured by its frame or matting.

Condition Reports Condition reports can be viewed at www.eldreds.com. The absence of a condition report does not imply an object is free of defects or restoration. If provided, a Condition Report may only detail flaws or restorations, and may not take into account wear, fading or other issues consistent with an object’s age. Please contact Eldred’s before bidding with any questions as to condition.

We provide limited shipping services directly from our gallery; our staff can assist determining if your items qualify for in-house shipping. Shipments from our gallery may take 4-6 weeks from receipt of payment. You will be charged for carrier fees, packing and handling, and required insurance. There is a minimum handling charge for all shipments. If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent once your payment has cleared. Shipping estimates can be provided only AFTER we receive payment for your invoice.

Bidding Increments $0-$99: $10 I $100-$499: $25 I $500-$999: $50 $1,000-$2,999: $100 I $3,000-$4,999: $250 $5,000-$9,999: $500 I $10,000-$29,999: $1,000

The property listed in this catalog will be offered and sold subject to the terms and conditions listed in this catalog.

$30,000-$49,999: $2,500 I $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

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CONDITIONS OF SALE 1. CORRECTNESS OF DESCRIPTION: Robert C. Eldred Co., Inc. (hereinafter referred to as Eldred’s) has exercised reasonable care to catalog and describe correctly the property to be sold, but neither Eldred’s nor its consignors warrant the correctness of description, attribution, authenticity, or condition of said property. No statements shall be deemed such a warranty or representation or an assumption of liability with respect thereto, but are to be construed as opinions only. Bidders are encouraged to personally examine all property to be sold prior to the beginning of the auction.

anticipated top bid is required. Eldred’s shall not be held responsible for any failure to properly execute such a bid whether it be due to equipment failure, loss of connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder. ONLINE BIDS: Eldred’s shall not be held responsible for any failure to properly execute bids placed online. All online bidding is solely at the risk of the bidder.

2. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered.

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.

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

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

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ABSENTEE/TELEPHONE BID FORM

2. Carefully review your bid form for accuracy of lot numbers, phone numbers, shipping information, etc. Although we attempt to confirm descriptions against lot number, bids are posted by lot number.

6. At the conclusion of the sale you will be notified if you were the successful bidder. All invoices must be paid in full within ten (10) days of the close of the auction. We accept checks, cash, money orders, wire transfers and major credit cards for payment. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. We reserve the right to hold goods until payment has cleared.

3. Please submit your bids in a timely manner, to avoid the chance of posting error. We request all bids be received by 3 p.m. the day before the auction. In the event of identical Absentee bids, the earliest received takes precedence.

7. All purchases are subject to state and local sales tax unless you possess a Massachusetts or out-of-state sales tax exemption or resale number and register that number with us.

4. A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount will be returned promptly to you.

The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.

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

5. A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 25% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.

Are you a new bidder with Eldred’s?

Yes:

No:

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

SALE TITLE: SALE DATE:

NAME:

Lot #

Item Description

Maximum Bid or “phone” for Telephone Bid

ADDRESS: check if change in address

PHONE: ALTERNATE PHONE: EMAIL: Signature (required): By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc. All bids are kept in strict confidence.

Date: SHIPPING Do you have a tax resale #? Yes: Will pick up:

No:

Ship to address above:

25% buyer’s premium will be added to the hammer price. See Item 5 above.

Or ship to:

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

www.eldreds.com

info@eldreds.com

Phone: 508-385-3116

Fax: 508-385-7201

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The Marine Sale AUGUST 4-5, 2022

Featuring Important China Trade paintings, Scrimshaw and Rare Instruments

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SCRIMSHAW: THE WHALER’S ART JUNE 29 – OCTOBER 30, 2022

This major exhibition featuring over 250 pieces, presents the art and history of scrimshaw, a nautical folk art form created by whalers during the international whaling trade of the 19th century. Scrimshaw: The Whaler’s Art is organized by the Cahoon Museum of American Art with Guest Curator, Dr. Alan Granby and Dr. Sarah Johnson, Executive Director of the Cahoon Museum of American Art. Visit cahoonmuseum.org for more information on our Scrimshaw Lecture Series and to purchase the companion book, Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby.

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4676 Falmouth Road (Route 28) | Cotuit, MA 02635 | cahoonmuseum.org

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I L L U S T R AT I O N S Front Cover Lot 2869 Page 5 Lot 2765 Page 6-7 Lot 2814 Page 8 Lot 2190 Page 128 Lot 2544 This Page Lot 2636 Back Cover Lots 32124, 2289, 2771 2530, 2620

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