Eldred's Summer Americana Catalog 2018 by Eldred's Auction

a mericana & Pa i nt i n g s August 1-3, 2018

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AMERICANA

Terms

A buyer’s premium will be added to all purchases. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.

& PAINTINGS

AT AUCTION

Payment must be in the form of a check, money order or wire transfer. We accept all major credit cards for auction purchases provided the total bill is $5,000 or less and the credit card has a U.S. billing address. PayPal is not an accepted form of payment.

Wednesday, Thursday and Friday, August 1, 2 and 3, 2018 all sessions beginning at 10:00 a.m.

Bidders holding a valid Massachusetts or out-of-state resale number must provide the certificate or a copy thereof when registering or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in our Mystic office or shipped to Connecticut are subject to 6.35% Connecticut sales tax.

in East Dennis, Massachusetts

ON EXHIBIT All lots on exhibit at our Cape Cod Headquarters Tuesday, July 31 from 10 a.m. to 5 p.m. And the sale dates starting at 8:45 a.m.

Absentee and Telephone Bidding

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

Online Bidding

This auction will be held simultaneously online at www.invaluable.com and www.eldreds.com. The buyer’s premium is 25% for purchases bought online via Invaluable or Eldred’s Infinite Bidding. Prospective bidders must register and be approved prior to bidding.

ROBERT C. ELDRED CO., INC.

Important notices

Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is. All dimensions and weights are approximate.

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HEadQuartErs 1483 Route 6A P.O. Box 796 East Dennis, MA 02641 (508) 385-3116 fax: (508) 385-7201 MA License #155 connEcticut officE 5 Roosevelt Avenue Mystic, CT 06355 (860) 912-8169 info@eldreds.com

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Eldredâ&#x20AC;&#x2122;s Staff Directory Antiques and Fine Art Specialists

Production and Administrative Staff

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

Mary Ann Eldred Appraisal and Mailing List Director maeldred@eldreds.com

John H. Schofield President Emeritus johns@eldreds.com Susan M. Schofield Treasurer The Prints of Paul Jacoulet sue@eldreds.com William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com Eric S. Mulak Assistant Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com

Deborah G. Clemence Catalog Layout and Design deb@eldreds.com Wendy A. Dunford Assistant Treasurer wendy@eldreds.com Eric Hagen Shipping ehagen@eldreds.com Devyn Henry Administrative Assistant / Condition Reports dhenry@eldreds.com Kristin Kiley Client Services Manager / Shipping kkiley@eldreds.com

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

Jessica Lambert Assisstant Head of Photography Website Administrator / Condition Reports jlambert@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Kristyn Mills Head of Photography kmills@eldreds.com

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

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

Jennifer Lacker Mystic Representative Gregg Dietrich Senior Consultant and Specialist

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

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

Sarah Eldred Taylor Head of Human Resources sarah@eldreds.com

Madison Morris and Marina Wells Interns

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eldredsauction

there anything better than summer on Cape Cod?

In these long summer days, when the sun sets over the marsh across the street from us, we are reminded how lucky we are to offer world-class auction service, right here on Cape Cod. This sale includes so much that is quintessentially representative of Cape Cod: a copper sperm whale weather vane from Nantucket, dozens of painted scenes of this breathtaking peninsula done by members of the art community that has flourished here for a century, and a prominent collection of John F. Kennedy material, including the pen he used to sign the order establishing the Cape Cod National Seashore. And just like the Cape has so many visitors from far-flung places, this auction also includes items from across the country and around the globe, most notably the important Folk Art & Americana Collection of Carl and Sonia Schmitt, of Walla Walla, Washington, and items from the Estate of Minor Myers, Jr., of Mystic, Connecticut. Whether you are just down the street or hundreds of miles away, we hope you will visit us this summer for our Americana Auction. Weâ&#x20AC;&#x2122;d love to see you and show you our little piece of Cape Cod. Joshua Eldred President

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Properties From

The Carl & Sonia Schmitt Collection of Folk Art & Americana A Nantucket Collection A Prominent Collection of John F. Kennedy Material The Estate of Minor Myers, Jr. of Mystic, Connecticut The Marilyn and Chick Fuller Collection of Fire Memorabilia A Private California Collection A Maryland Private Collection A Connecticut Estate A New York Private Collection A Westport, Massachusetts Collection

And numerous other estates and collections

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Session I

Session II

Session III

Wednesday, August 1 Lots 1-323

Thursday, August 2 Lots 501-820

Friday, August 3 Lots 1001-1395

Silver

Chinese Export

The Schmitt Collection

Continental Fine & Decorative Art

Maritime Art

Paintings

Sculpture

A Nantucket Collection

Furniture

Contemporary Art

Oriental Rugs

The Myers Estate

Illustration Art

Furniture

Oriental Rugs

Militaria

Folk Art

Kennedy Material

Ephemera

Paintings

And More

Maps

Ceramics

Ethnographic Art

And More

Sporting Art Toys Fire Memorabilia Glass And More

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Index of artists Anderson, William Livingstone 1124 Appel, Charles P. 1166 Arentz, Josef M. 1202 Arsenault, Paul 672 Ashley, Clifford Warren 1083 Atwood, Robert 1173 Bachelder, Jonathan Badger (after) 647 Barbedienne, Ferdinand 91 Beal, Reynolds 1187 Beneker, Gerrit Albertus 1346 Berthelsen, Johann 1127 Bjareby, Alfred Gunnar 807 Blommers, Bernard Johannes 1185 Boggs, Frank Myers 102 Bonnar, James King 1188-1190 Brackett, Sidney Lawrence 1093 Braley, Clarence E. 1067, 1068 Bricher, Alfred Thompson 1272 Brown, George Loring 1281 Brown, John Appleton 737 Brown, John George 1090 Browne, Belmore 743 Butler, Frank 137 Butler, Mike 668 Cahoon Jr., Ralph Eugene 1369, 1370, 1372, 1376-1379 Cahoon, Charles Drew 1366, 1367 Cahoon, Martha Farham 1371, 1373-1375, 1380-1382 Caples, Robert Milford 806 Capurro, Enrique Castells 98 Cardinal, Robert 1359 Carpenter, George 1207-1210 Cass, George Nelson 1291 Chaffee Jr., Oliver Newberry 136 Chidlaw, Paul 1191 Cibula, Joseph 667 Cirino, Antonio 1198 Clime, Winfield Scott 1094, 1129 Coffin, William Henry 1289 Coleman, Charles Caryl 1087 Coleman, Vernon Herbert 234 Cook Jr., Otis Pierce 1174-1176 Corey, Bernard 1167, 1168 Cortes, Edouard Leon 110 Cumming, Arthur S. 1216 Curran, Charles Courtney 1276 Curtis, Edward S. 232 Dali, Salvador 114 Daniels, Fred Hamilton 1363 Davis, William R. 1356, 1357 Davol, Joseph Benjamin 1218 De Haas, Mauritz Frederik Hendrick) 567 De Longpre, Raoul Maucherat 1292 Delpy, Hippolyte Camille 103 Diehl, Arthur Vidal 1361, 1362, 1395

Dohanos, Stevan Down, Benjamin C. Dunbar, Harold C. Earl, Percy Eldred, Lemuel D. Enneking, John Joseph Farr, Ellen Frances Burpee Ferguson, Nancy Maybin Ferneley Sr., John E. Ferneley, Claude Lorraine Field, Erastus Salisbury (attr.) Fish, Anne Harriet Fisher, Alvan (attr.) Fletcher, Aaron Dean Foley, Marcus Fried, Pal Fries, Charles Arthur Frost, Francis Seth (Shedd) Gaul, Arrah Lee Gee, Peter Gegoux, Theodore Geisel, Theodore (Dr. Seuss) Giambologna (after) Gifford, Charles H. (school of ) Gifford, Charles Henry Gilbert, H. Glackens, William James Gore, Ken Grant, Gordon Hope Graves, Abbott Fuller Greenleaf, Jacob I. Groll, Albert Lorey Gruppe, Emile Albert Guy, Seymour Joseph (school of ) Hale, Philip Leslie Halswelle, Keeley Hamilton, Edward Wilbur Dean (school of ) Hare, John Cuthbert Harrowing, Walter Hathaway, George M. Helck, Peter Hibbard, Aldro Thompson Hicks, Thomas Higgins, Eugene Hill, John William Hinckley, Thomas Hewes Hoeber, Arthur Hoel, Arthur G. Hoerman, Carl (attr.) Hoffmeier, Emily Hondius, Gerrit Howard, Richard E. Howes, Jerome Howitt, John Newton

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651 570 1278, 1386 99 1072 1082 803 1365 95 94 1147 156 1297 1065 640 770 802 1165 1130-1136 135 1089 162 90 1144 1077-1081 723 1215 1193 575, 576 1084 1203 1097 1123, 1177-1179 1298 144 105-107 1284 1354 93 581 158, 159 1163, 1164 1273 741 1092 1290 1364 1390 804 678 1389 181, 182 681-686 1274

Index of artists Hubbard, Whitney Myron Hubbard, Whitney Myron (attr.) Hunt, Lynn Bogue Hunt, Peter Jere, Curtis Joseph-Felix Bouchor Joyce, Marshall Woodside Keeley, J.H. Kelly Jr., Brooks King, Paul Bernard Knapp, Charles Wilson Knopf, Nellie Augusta Kuhlmann, Garrett Edward Lawless, Carl E. Lear, George Leavitt, Edward Chalmers Lewis, Edmund Darch Longacre, M.R. Macy, William Ferdinand Manzy, Yasharel Meeser, Lillian Burk Megurey, Henry I. (after) Minor, Anne Rogers Monticelli, Adolphe Joseph Thomas Morland, George (attr.) Morrell, Wayne Beam Moss, Samuel A. Mumford, Elizabeth Munro, Janet Natkin, Robert Neill, Ben Norton, William Edward Noyes, George Loftus Nyholm, Arvid Frederick Oberteuffer, George Oliva, Ellis P. Ordway, Alfred T. Owen, Robert Emmett Packard, Anne Page, Edward A. Pancoast, Morris Hall Peck, Henry Jarvis Peirce, Waldo Peterson, Jane Phelps, William Preston Phillips, Ammi Phillips, Ammi (attr.) Picault, Emile Louis Picault, Emile Louis (after) Pollet, Joseph Michel-Ange Ponsen, Tunis Post, William Merritt Pourquet, Henri-Charles Puckett, Randy

733, 735, 736 734 1283 1360 116 163 140-142 787 123 1217 1282 1213 1196 1295 1394 1071 1075, 1076 157 679 565 1355 175 1137 100 96 1180-1184 1194 1358 146-148 115 577, 578 1280 1095 1275 1195 121 1294 1085 1351-1353 1201 1170 155 145 1128 1279 1034 1035 89 652 92 1212 1096, 1126, 1287 164 120

Rackliffe, Howard 128-130 Reichert, Carl 1091 Reid, Jane B. 680 Relyea, Charles 160 Ricard, Louis Gustave (attr.) 97 Ripley, Aiden Lassell 1296 Roark, Robert K. 1387 Rockwell, Norman 149-153 Rogers, Frank Whiting 1139 Rogers, Wendell M. 1348-1350, 1385, 1393 Rondel Sr., Frederic 1286 Roseland, Harry Herman 1277 Scheffer, Ary (attr.) 731 Searles, Victor A. 154 Selden, Dixie 1186 Shaw, Charles Green 124-127 Sheppard, Warren W. 1086 Shurtleff, Roswell Morse 1285 Simpson, Josh 117-119 Sloan, John French 113 Sloane, Marian Parkhurst 738 Smith, Henry Pember 1141 Smith, James Calvert 1214 Smith, Vernon B. 1383, 1384 Stephanoff, Francis Philip (attr.) 1125 Sonntag, Sr., William Louis 1288 Soyer, Raphael 771 Stanley, John Mix (after) 233 Stark Jr., Robert W. 669 Stevens, William Lester 1171, 1172 Strisik, Paul 1199 Sunter, Harry 662 Tarbell, Edmund Charles 143 Terelak, John Charles 1192 Thieme, Anthony 1204-1206 Thomas, Lynn 122 Tiffany, Louis Comfort 1293 Tryon, Dwight William 1140 van Slingelandt, Pieter Cornelis (school of ) 101 Voorhees Jr., Clark 568 Warner, Nell Gertrude Walker 1197 Watrous, Harry Willson 138 Waugh, Frederick Judd 1344, 1345 Webber, Wesley Elbridge 1073 Weber, Max 131-134 Whistler, James Abbott McNeill 111, 112 Whitaker, George William 1069, 1070 Whittingham, Bonnie 1388 Whorf, John 1368 Wiggins, Guy Carleton 1122, 1211 Wilhelm, Roy 1200 Wood, Sunny 639 Woodward, Mabel May 1347 Wright, Catharine Wharton Morris 139

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Session I Wednesday, August 1 at 10 a.m. Lots 1-323 Silver 1-53, 60-62 Silver from the Myers Estate 1-19 Sculpture 89-92, 116, 120-122, 164 Glass 117-119, 300-323 Militaria 163-174 Maps 185-191 Ethnographic Arts 192-244 Sporting Art 245-253 Toys 269-278 Fire Memorabilia 278-299 As well as Continental Fine & Decorative Art, Contemporary Art, Illustration Art, and other Paintings, Ephemera and More

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Items from the Estate of Minor Myers, Jr. of Mystic, Connecticut Lots 1-19 and 1122-1162

1, four

FOUR GEORGE III STERLING SILVER CANDLESTICKS London, 1763 Ebenezer Coker/Elizabeth Cooke, maker. Removable bobèches above waisted sconces. Stems with foliate knops and square bases with shaped edges and shells at the corners. Heights 8.75”. Approx. 57.6 troy oz. 3,000/5,000

CHARLES II STERLING SILVER TREFID SPOON London, 1668 Maker’s mark unidentified, “I.C.” above a bird and within a shield. Of typical form with rat tail bowl. Period monogram “E.P.” Length 7”. Approx. 1.6 troy oz. 200/300

GEORGE I STERLING SILVER MUG London, 1726 Maker’s mark rubbed; possibly a crowned “H”. Half-pint size. Molded rim and foot rim, and flat handle. Later monogram. Height 3.25”. Approx. 5.2 troy oz. 250/350

SCOTTISH GEORGE II STERLING SILVER MUG Edinburgh, 1737 Lacking maker’s mark. Archibald Ure, assayer. Balustroid form with spreading molded foot, S-scroll handle and foliate thumbpiece. Later presentation inscription: “To Abraham Moore from Sir Thomas and Lady Gladstone. A Reward for 20 Years Service 1857”. Height 4.25”. Approx. 10.8 troy oz. 300/400 Sir Thomas Gladstone, 2nd Baronet (1804-1889) was a Tory politician and the elder brother of Prime Minister William Ewart Gladstone (1809-1898).

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Items from the Myers Estate

GEORGE II STERLING SILVER MUG London, 1749 Samuel Wood, maker. Balustroid form with spreading molded foot and scrolled handle. Height 4.75”. Approx. 10.0 troy oz. 500/800

GEORGE II STERLING SILVER MUG London, 1758 William Shaw & William Priest, maker. Balustroid form with spreading molded foot and scrolled handle with foliate thumbpiece. Later monogram at the center of olive branch engraving. Height 5.25”. Approx. 11.8 troy oz. 500/700

GEORGE II STERLING SILVER MUG London, 1758 Robert Albin Cox, maker. Half-pint size. Balustroid form with spreading molded foot and scrolled handle. Later monogram. Height 3.5”. Approx. 5.4 troy oz. 200/300

GEORGE III STERLING SILVER SALVER London, 1764 Richard Rugg I, maker. Central engraved coat of arms. Lobed border and gadrooned rim. Four spade feet. Diameter 14”. Approx. 40.3 troy oz. 800/1,200

GEORGE III STERLING SILVER COFFEEPOT London, 1765 Alexander Johnston, maker. Domed cover with flame finial. Pear-form body with foliate spout and molded foot. One side engraved with a coat of arms. Height 10”. Approx. 26.1 troy oz. 400/600

10.

GEORGE III STERLING SILVER CRUET London, 1768 Thomas Nash I, maker. Circular basket with central handle on a twisted stem, pierced foliate gallery and three claw & ball feet. Monogrammed. Includes five matching cut glass bottles with silver covers and three bottle tickets for “Pepper”, “Kyan” and “Anchovy”. Tickets various makers, pepper unmarked. Cruet height 7.5”. Approx. 8.2 total troy oz. weighable 500/700

11.

TWO GEORGE III STERLING SILVER MUGS London, 1770 and 1773 John King, maker. Both balustroid form with spreading molded feet, scroll handles and foliate thumbpieces. 1773 mug with later large monogram. Heights 5”. Approx. 22.3 total troy oz. 500/700

12.

GEORGE III STERLING SILVER MUG London, 1772 Thomas Wallis I, maker. Balustroid form with spreading molded foot, scrolled handle and foliate thumbpiece. Height 4.75”. Approx. 10.8 troy oz. 300/400

13.

THREE GEORGE III STERLING SILVER MUGS London Each with balustroid body, spreading molded foot and scrolled handle with foliate thumbpiece. 1) 1774. Maker’s mark rubbed “__*M”. Monogrammed on handle. Height 4.5”. 2) 1794. Maker’s mark “HG”. Height 4.25”. 3) 1780. Maker’s mark “FS”. Later monogram. Height 4.75”. Approx. 26.1 total troy oz. 600/900

14.

GEORGE III STERLING SILVER CRUET London, 1792 William Abdy II, maker. Ovoid stand with scrolled ends, central handle on reeded stem and four feet. Includes seven sterling silver-mounted cut crystal vessels, three marked for Abdy. Height 10.5”. Approx. 19.5 troy oz. weighable 500/700

15.

THREE ENGLISH SILVER MUGS Each with balustroid body, spreading molded foot and scrolled handle. 1) London, 1754. Maker’s mark partially rubbed “__G__C”. Later monogram. Height 4.75”. 2) London, 1786. Maker’s mark “GS”. Crude monogram. Height 5”. 3) Sheffield, 1932. Christopher Johnson & Co., maker. Height 5.25”. Approx. 31.8 total troy oz. 300/400

16.

STERLING SILVER ASSEMBLED FIDDLE PATTERN FLATWARE SERVICE England and Ireland, Most Early 18th-Early 19th Century Various dates, makers, designs, heraldic engravings and monograms. Consists of: 20 pistol grip dinner knives 7 pistol grip dessert knives 16 large pistol grip forks 10 small pistol grip forks 24 dinner forks 29 dessert forks 24 tablespoons 18 teaspoons Approx. 150.3 total troy oz. weighable 2,000/3,000

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Items from the Myers Estate

17, two views

17.

COLONIAL AMERICAN SILVER TANKARD 18. Probably New York, Early 18th Century Molded flat cover with serrated front rim. Double-scroll thumbpiece and hinged drop. S-scroll handle with elaborate cartouche-form terminal. Tapering cylindrical body on a molded foot. Illegible and significantly rubbed maker’s mark on handle. Body monogrammed “HC”. Underside later inscribed “Old Dutch Tankard, said to have been in Cruger family over 200 years, into which Nicholas Cruger was placed on his birth in 1743, and used as a Communion Cup in Church at Saratoga in 1820. Given by Gerald Walton to his Cousin M.O. Rhinelander. Jan. 12th 19. ‘96. Exhibited by the Colonial Dames in their Ecclesiastical Exhibition of silver at the Metropolitan Museum Season of 1912.” Height 7.25”. Approx. 33.7 troy oz. 1,000/1,500 Nicholas Cruger (1743-1800) was a prosperous New York City merchant from a prominent political family. Around 1767 he moved to St. Croix, where he employed and mentored the young Alexander Hamilton. Hamilton’s papers contain extensive extant correspondence between the two. Cruger generously supported the colonial cause during the Revolutionary War. The Metropolitan Museum of Art exhibited early New York, New Jersey and Southern church silver from November 6 to December 31, 1911. This tankard, lent by Mrs. William Rhinelander, is number 111 in the catalog. Number 141 in the same catalog is an English urn with an inscription pertaining to Nicholas Cruger’s brother, Henry, lent by Mrs. T.J. Oakley Rhinelander.

THREE-PIECE SILAS WHITE HOWELL COIN SILVER TEA SERVICE New Jersey or New York, Late 18th Century Includes an urn-form teapot, a covered sugar bowl and a creamer. Monograms at the center of engraved medallions. Teapot height 7.25”. Approx. 36.9 troy oz. 400/600

TWO AMERICAN COIN SILVER MUGS 1) 18th Century balustroid-form mug. Later monogram. Rubbed marks. Height 4.75”. 2) Jones, Shreve, Brown & Co. mug from the 1858 Premium Fair McLean County. Tapered cylindrical body with molded rim and foot rim. Height 3.5”. Approx. 11.0 total troy oz. 300/500

please see lots 1122-1162 for more from this collection

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20.

GEORGE III STERLING SILVER FRUIT BASKET London, 1770s Maker’s mark “RM”. Openwork twisted bail handle. Bowl with repoussé heads of wheat and fabric swags against a pierced ground. Pierced base with four feet. Length 13”. Approx. 21.3 troy oz. 1,000/1,500

21.

SIX GEORGE V STERLING SILVER AND ENAMEL CAKE FORKS Birmingham, 1928 Liberty & Co., maker. Handles with an Art Nouveaustyle foliate design against a blue and green shaded enamel ground. Lengths 5”. In original fitted Liberty case. Approx. 3.4 troy oz. 150/250

22.

GEORGE V STERLING SILVER-GILT BOWL London, 1933 Omar Ramsden, maker. Hexagonal form with openwork foliate scroll border, hammered sides and six feet. Engraved “To the very reverend William Foxley Norris CVO, DD and Mrs Norris upon the occasion of their golden wedding. From Cyril Armitage, Ernest Bullock, Christopher Hildyard and Jocelyn Perkins. 1884-1934.” Height 2.75”. Approx. 5.9 troy oz. 1,200/1,800

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23, four

23.

FOUR TIFFANY & CO. STERLING SILVER COMPOTES New York, 1873-91 Shaped square bowls on four paw feet. Rope-twist rims above pierced registers. Lower portion of bodies with chased acanthus leaves against a gadrooned ground above a band of chased flowers. Removable unmarked brass liners. Heights 4.5”. Approx. 59.6 troy oz. 2,000/3,000

24.

TIFFANY & CO. STERLING SILVER CRUMB TRAY New York, 1873-91 Rim cast with cherry blossoms. Handle with acid-etched faux-bois monogram accented in gilt. Length 11.25”. Approx. 18.1 troy oz. 600/800

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25.

TIFFANY & CO. STERLING SILVER AND COPPER AMPHORA New York, 1892-1902 Central register and foot decorated with palmettes, vines and scrollwork against a copper ground with two blank medallions. Two reeded and scrolled handles. Chased scrolled foliate accents on neck, body and stem. Gold-washed interior. Numbered 12847-2636. Height 18.5â&#x20AC;?. Approx. 68.8 troy oz. 4,000/6,000

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26.

TIFFANY & CO. MIXED METAL SPIRIT LAMP New York, 1892-1902 Urn-form copper body with acid-etched monogram on shoulder. Sterling silver handles, applied scrolled register and foot mounts. Height 4.25”. 400/600

27.

TIFFANY & CO. MIXED METAL BURNER New York, 1873-91 In the Japanese taste, with applied sterling silver blossoms against a hammered ground and with inlaid copper petals. Threaded cover with three spouts. Height 2.75”. Approx. 5.4 troy oz. 300/500

28.

TIFFANY & CO. MIXED METAL SPIRIT LAMP New York, 1902-07 Copper tankard-form body and sterling silver wick lid, cover, handle and foot rim. Height 3.25”. 300/500

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29.

GORHAM MIXED METAL EWER Providence, Rhode Island, Late 19th Century Bottle-form copper body with die-cast sterling silver foliate register at neck and sterling silver spout. Marked “Gorham Co. F19 P” and with an anchor. Height 13”. 600/900

30.

GORHAM STERLING SILVER AND MIXED METAL CENTER BOWL Providence, Rhode Island, 1882 Low hammered sides with applied birds, butterflies, fruiting grapevine and a laurel branch. Conforming foot. Presentation inscription on underside. Diameter 8”. Approx. 14.2 troy oz. 9,000/12,000

31.

GORHAM “375” PATTERN ENAMELED STERLING SILVER SERVING SPOON Providence, Rhode Island, Late 19th Century Central Asian designs in polychrome enamel on the handle and bright-cut engraving on the gold-washed bowl. Not monogrammed. Length 9”. Approx. 3.3 troy oz. 300/500

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32.

33.

34.

35.

TIFFANY & CO. “CHRYSANTHEMUM” PATTERN STERLING SILVER VERMEIL SAUCE LADLE New York, 1880-91 Monogrammed. Length 7.25”. Approx. 4.4 troy oz. 300/500

36.

TWELVE TIFFANY & CO. “AILANTHUS” PATTERN STERLING SILVER FORKS New York, 1899-1902 With three tines and hollow handles. Not monogrammed. Lengths 6.5”. 500/800

37.

TIFFANY & CO. “WAVE EDGE” PATTERN STERLING SILVER SUGAR SIFTER SPOON New York, 1884-91 With gold-washed and pierced bowl. Length 7”. Approx. 2.0 troy oz. 200/300

38.

TIFFANY & CO. “WAVE EDGE” PATTERN STERLING SILVER BERRY/CASSEROLE SPOON New York, 1884-91 With kidney-form bowl. Length 9.25”. Approx. 3.6 troy oz. 300/500

39.

TIFFANY & CO. STERLING SILVER ASPARAGUS TRAY New York, 1892-1902 Rococo style. Cast rims with scrollwork, flowers and shells. Removable pierced insert. Four claw & ball feet. Monogrammed. Length 12”. Approx. 37.6 troy oz. 2,000/3,000

TIFFANY & CO. “CHRYSANTHEMUM” PATTERN STERLING SILVER BERRY SPOON New York, 1880-91 With gold-washed kidney-form bowl. Monogrammed. Length 9.25”. Approx. 3.9 troy oz. 300/500

TEN TIFFANY & CO. “CHRYSANTHEMUM” PATTERN STERLING SILVER KNIVES New York, Late 19th/Early 20th Century Not monogrammed. Handle lengths 3.5”. Total lengths 9”. 500/700

TIFFANY & CO. “DAISY” PATTERN STERLING SILVER LADLE New York, Fourth Quarter of the 19th Century With gold-washed bowl. Monogrammed on underside of terminal. Length 10.75”. Approx. 5.6 troy oz. 200/300

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40.

GORHAM MARTELÉ HAND-WROUGHT .950 SILVER TRAY Providence, Rhode Island, Date Mark for 1899 Lobed and undulating rim chased with asparagus spears and sinuous threads. Monogrammed on one end. Numbered 2224. Length 14”. Approx. 36.9 troy oz. 2,000/3,000

41.

GORHAM MARTELÉ HAND-WROUGHT .950 SILVER ENTRÉE DISH Providence, Rhode Island, Date Mark for 1899 Up-turned rim with naturalistic border chased with cartouches, scrollwork and sprays of leaves and berries. Numbered 9010. Diameter 13.75”. Approx. 38.9 troy oz. 2,000/3,000

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42.

SWEETSER CO. STERLING SILVER AND 14KT GOLD CENTER BOWL New York, 1900-15 Bearing London import marks. In the Chinese taste, with raised gold cloud work outlining acid-etched and handchased floral and foliate designs. Conforming foot with meandering design. Diameter 10”. Approx. 28.5 troy oz. 1,000/1,500

43.

S. KIRK & SON “OLD MARYLAND ENGRAVED” PATTERN STERLING SILVER FLATWARE SERVICE Baltimore, First Half of the 20th Century Not monogrammed. In a modern Reed & Barton for Gump’s mahogany case. Consists of: 12 9.5” knives 13 butter spreaders with hollow handles 12 7.75” forks 12 7.25” forks 12 salad forks 12 oyster forks 13 oval soup/dessert spoons 12 teaspoons 3 serving spoons 1 pierced serving spoon 1 sauce ladle Approx. 117.5 troy oz. weighable 2,000/2,500

44.

DOMINICK & HAFF STERLING SILVER CENTER BOWL New York, First Quarter of the 20th Century Retailed by the Bailey, Banks & Biddle Co. Body with a husk wreath and reeded bands. Two handles cast as panther’s heads. Gilded interior. Conforming foot. Diameter 9.75”. Approx. 29.8 troy oz. 900/1,200

45.

STERLING SILVER AND ETCHED GLASS COCKTAIL SHAKER Late 19th/Early 20th Century Detachable cover marked “Design Patent No. 12119”. Glass unmarked. Overall height 12.75”. 300/400

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46.

TIFFANY & CO. “LAP OVER EDGE” PATTERN STERLING SILVER FLATWARE SERVICE New York, 1880-91 and 1907-47 Some pieces monogrammed “D”. All knives with hollow handles are marked for John C. Moore II. In a contemporary Reed & Barton case. Consists of: 12 10” knives 12 9” knives 12 fruit knives 12 flat butter spreaders 12 7.5” forks 11 6.75” forks 12 salad forks 11 ice cream forks 12 oyster forks 12 gumbo soup spoons 12 bouillon soup spoons 12 teaspoons 12 dessert spoons 12 citrus spoons 4 serving spoons Approx. 172.5 troy oz. weighable 8,000/12,000

47.

TIFFANY & CO. “CASTILIAN” PATTERN STERLING SILVER SALAD SERVING FORK AND SPOON New York, 1929-47 Not monogrammed. Length 9”. Approx. 7.1 troy oz. 200/300

48.

TIFFANY & CO. STERLING SILVER BUTLER’S TRAY New York, Second Half of the 20th Century Oval tray with molded rim, reeded handles and four scrolled feet. Numbered 18764. Further marked “Reproduction Original by John Crouch & Thos. Hannan London 1792”. Length handle-over-handle 22”. Approx. 75.4 troy oz. 2,000/3,000

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49, two views

49.

FABERGÉ 88 ZOLOTNIK SILVER CIGARETTE CASE St. Petersburg, Russia, 1908-18 Julius Rappoport, workmaster. Ruby cabochon on clasp. Surface textured to simulate leather or parchment. Gilded interior. Cover with Kokoshnik and workmaster marks. Interior with Kokoshnik, workmaster and maker’s marks. Length 3.75”. Approx. 5.6 troy oz. 900/1,200

50, two views

50.

FRENCH ART DECO .950 SILVER AND ENAMEL BOX Circa 1925 Unidentified “JT” maker’s mark. Retailed by Grogan & Co., Pittsburgh. Blue body decorated with mint green stripes. Hinged cover with six coral cabochons and pierced wood carving of flowers in the Chinese taste. Interior with liftout burlwood box featuring an additional coral cabochon. Mounted on a opaque brown bakelite base. Length 3.75”. 1,200/1,800

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51, set

51.

FOUR-PIECE JEAN E. PUIFORCAT ART DECO .950 SILVER TEA AND COFFEE SERVICE France, Circa 1930 Includes a coffeepot, height 7.25”, a teapot, a covered sugar bowl and a creamer, all with paneled bodies and molded feet. Rosewood finials and handles. All with hallmarks, maker’s mark and maker’s name. Approx. 72.7 troy oz. 3,500/4,500

52.

GEORG JENSEN STERLING SILVER TRAY Denmark, Circa 1955 Designed by Harald Nielsen. Oval tray with molded rim and central engraving of the steamship Kate Maersk. Reverse engraved with date “25-8-1955”. Numbered 857C. Length 17.25”. Approx. 51.8 troy oz. 1,800/2,200

53.

FOUR-PIECE EUGEN FERNER STERLING SILVER TEA AND COFFEE SERVICE Stuttgart, Germany, 1962 Together with a Ferner silver plated tray, also dated 1962, with a glass liner. Length handle-over-handle 25.5”. Service includes a coffeepot, a teapot, a creamer and a covered sugar, all with exaggerated pear-form bodies and slender handles. Pots with slender spouts. Covers with stylized blossoms. Coffeepot height 12.25”. Approx. 62.9 troy oz. weighable 1,000/1,500

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54.

ART NOUVEAU HAND-HAMMERED BRONZE JARDINIÈRE Early 20th Century Ovoid form with two applied handles. Raised pinecone, needle and tree branch decoration. Height to handles 13”. Length across handles 17”. 400/600

55.

BRASS WINE COOLER 19th Century Large oval basin raised on applied legs with lion’s-mask drop-ring mounts and paw feet. Height 15”. Length 24”. Width 18.75”. 300/500

56.

PAIR OF COPPER NEW YORK BEAUX-ARTES CORBELS Circa 1880 With scroll and acanthus leaf designs and molded stepped edges. Variegated green patina. Heights 27.5”. Depths 18”. 2,000/3,000

56, pair

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57.

GUSTAV STICKLEY ARTS & CRAFTS LEATHER-TOPPED LIBRARY Circa 1904 In oak. Rectangular overhanging top over two half drawers. Block legs joined by a wide stretcher. Red Stickley label stamped inside of right drawer. Height 30.5”. Width 42”. Depth 30”. 2,000/3,000

58.

CABINET ATTRIBUTED TO HERTER BROTHERS Late 19th Century In solid cherry with cherry secondary wood and inlay of various woods. Original finish. Case surmounted by an enclosed recessed rectangular beveled mirror and two full-turned column supports. Case with a full-width drawer over two cabinet doors over three full-width paneled drawers and carved cloven front feet. Upper drawer with decorative inlaid panel in a stylized flower blossom design; the same design is repeated on upper sides of case. Cupboard doors with floral relief carving. One door functions as a fall-front writing surface and conceals a fitted interior. Sides with two vertical panels below the inlaid panel. Drawers fitted with original brass bail handles. Drawer construction incorporates stainless steel screws to attach backs to bottoms, a technique representative of Herter Brothers. Height 73.5”. Width 46.5”. Depth 20.5”. 1,800/2,200

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59.

FRAMED HERMÈS “ROCAILLE” SILK SCARF 20th Century Multicolored shell and sailor’s valentine design on a pale green ground. Marked “Hermès Paris” below title. 34.5” x 34” sight. Framed 38” x 37.5”. 500/800

60.

THREE-PIECE ENGRAVED SILVER TEA SET BY AL WHITE Includes a teapot, sugar and creamer. Teapot with pineapple-form finial, wooden handle and body with Adam-style floral and foliate engraving. Sugar and creamer with matching engraving and applied scrolled handles. All three pieces monogrammed and marked “AW”. 900/1,200

61.

SCOTTISH-STYLE DIRK BY AL WHITE Walnut handle with relief carving in an entwined rope design. Engraved silver pommel. Sheath with four silver mounts with beautifully engraved foliate designs. Dirk’s guard marked “AW”. Length of dirk in scabbard 19.25”. 600/900

62.

STERLING SILVER HEART-SHAPED BROOCH BY AL WHITE Heart topped with a thistle. Stamped on back “A.A. White Sterling”. Height 2”. Width 1.5”. 100/150

60, set

Alvin “Al” White (Sandwich, Massachusetts, d. 2006), who worked for decades as the master engraver for Colt, has an international reputation for his firearms engravings. He was also a noted gunsmith, scrimshander, sculptor and jewelry maker. He grew up in Attleboro, Massachusetts, and joined the Army Air Corps in 1942, serving in Africa and the Pacific. He began engraving firearms in the 1920s, and throughout his distinguished career he received commissions for presentation weapons for John F. Kennedy, Ronald Reagan, and other officials and celebrities. He retired to Sandwich, Massachusetts and died in 2006 at age 91.

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63.

64.

CASED SET OF LOO COUNTERS French, 18th Century Walnut case. Interior fitted with four hardwood boxes containing bone scoring pieces. Case height 1.5”. Width 7.75”. Depth 5.5”. 2,000/3,000

ROULETTE WHEEL AND TABLE Late 19th/Early 20th Century By the William Ellis Co., Providence, Rhode Island. Wheel with rosewood frame and figured maple interior. Arts & Crafts-style walnut trestle base. Height 35.25”. Length 97”. Width 58”. 2,000/3,000

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65.

66.

67.

FINE DRESSING DESK Late 19th Century In walnut veneer, with geometric inlay to top. Top opens to reveal an interior mirror and two hinged compartments. Front with two doors enclosing seven interior drawers. One door with cabinet on the interior and one with three drawers. Doors and drawers with bone pulls. Height 20”. Width 20”. Depth 11”. 800/1,200

BRASS-INLAID OVAL DRESSER BOX English, Last Half of the 19th Century Select mahogany box with brass banding, brass inlay in a floral and foliate design around perimeter and a central monogrammed brass plaque surrounded by brass inlay in a scroll design. Brass rectangular recessed bail handles at sides. Height 5.75”. Length 14.25”. Width 9.25”. 700/1,000

PAIR OF HEPPLEWHITE KNIFE BOXES Early 19th Century In mahogany with slanted hinged covers and blocked stepped bases. Interior knife partitions with string inlay. Heights 14.75”. Widths 9”. Depths 10”. 800/1,200

68.

TEA CADDY English, 19th Century In mahogany veneer with brass bail handle on lid. Compartmented interior. Height 6.25”. Width 10.25”. Depth 5.25”. 200/400

69.

INLAID BURLWOOD TEA CADDY English, 19th Century Lid with two fruitwood elliptical conch shell inlay, and front with two fruitwood elliptical floral urn inlay. Height 4.25”. Width 7.75”. Depth 4.25”. 200/400

70.

TEA CADDY English, 19th Century In burlwood and rosewood veneer. Two interior lidded compartments. Height 4.75”. Width 8.75”. Depth 4.75”. 200/400

71.

OCTAGONAL TEA CADDY English, 19th Century In mahogany veneer. Top and front with oval floral inlay. Height 4.5”. Width 4.75”. Depth 3.75”. 300/400

72.

INLAID TEA CADDY English, 19th Century In mahogany veneer. Top and front with oval conch shell inlay. Height 4.75”. Width 4.75”. Depth 4.25”. 300/400

73.

LIFT-TOP DRESSER BOX Late 19th Century In burlwood and bird’s-eye maple veneer with poplar interior. Mirror mounted to interior of lid. Interior with compartmented lift-out tray. Height 6.75”. Width 13.5”. Depth 9.25”. 300/500

74.

OCTAGONAL TEA CADDY English, 19th Century In mahogany veneer with fruitwood string inlay and ivory escutcheon. Interior with paper lining. Height 4.75”. Width 3.75”. Depth 4.5”. 200/400

75.

DRESSER BOX WITH MARQUETRY INLAY English, Circa 1835 In fruitwood veneer. Top lifts to reveal a compartmented interior. Front with single drawer. Sides with inlaid compass rose designs. Height 5.5”. Width 12”. Depth 9.5”. 250/350

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66 67, pair

69 68

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76, two views

76.

STEEL VALUABLES BOX Probably German, 17th Century or Earlier Engraved with floral and foliate designs and rectangular figural panels. Lid with bail handle on exterior and elaborate locking mechanism on interior. Ball feet. Height not including handle 6”. Width 8.75”. Depth 5.25”. 3,000/4,000

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77.

RARE SET OF FOUR BRASS PULPIT CANDLESTICKS English, Late 18th Century In a simplistic form as they were designed for church use, where ostentation was frowned upon. Heights 12”. 1,000/1,500

78.

TWO PAIRS OF QUEEN ANNE BRASS CANDLESTICKS English, Mid-18th Century Both pairs with modified lobed feet. Heights 6.75” and 8”. 500/700

79.

PAIR OF BRASS CAPSTAN-FORM CANDLESTICKS English, 18th Century Heights 9”. 1,200/1,500

80.

PAIR OF QUEEN ANNE BRASS CANDLESTICKS English, Mid-18th Century In octagonal form. Heights 8.25”. 300/500

81.

77, four

78, two pairs

PAIR OF BELL METAL CANDLESTICKS English, Late 18th Century Molded flared bobèches on tapered urns, elongated tapered shafts and square stepped molded and beaded bases. Heights 10.5”. 200/400 A similar pair is illustrated in Old Domestic Base-Metal Candlesticks by Ronald F. Michaelis, fig. 178.

79, pair

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80, pair

82.

EXCEPTIONAL CALLIGRAPHIC DRAWING DEPICTING NAPOLEON Probably French, Second Quarter of the 19th Century Napoleon on horseback surrounded by a foliate wreath. From the painting of Napoleon by Jacques Louis David. Inscribed “Executed with the pen by Charles F. Harriman” at lower center. Napoleon executed in sepia, vivid blues and black, and horse executed in sepia tones. 19” x 16.5” sight. Framed 24.75” x 21.5”. 650/950 Provenance: Robert C. Eldred Co., Inc., Summer Americana Auction, August 2013, Lot #1480.

83.

NEEDLEWORK TAPESTRY 20th Century Depicts unicorns in a garden setting with pastel flower blossoms on a rust red ground and green hillside. Marked at bottom “Musée de Cluny XV Siècle”. 33” x 34”. 300/500

84.

CONTINENTAL CARVED WOODEN PLANTER 20th Century Under green and gold paint. Front carved with urn, bird and floral decoration. Foliate-carved legs. Tin liner. Height 27.5”. Width 91”. Depth 16.5”. 600/900

85.

PENNSYLVANIA TAVERN TABLE 18th Century In walnut. Multi-board rectangular top with cut corners. Single drawer in apron. Bold turned legs and stretchers. Height 27.5”. Top 38.5” x 29.5”. 400/600

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86.

KNEEHOLE DESK Continental, 19th Century In walnut. Full-width drawer across top and three drawers on each side of kneehole. All seven drawers with brass bail handles. Mahogany veneer door at back of kneehole encloses a single interior shelf. Shaped bracket base. Height 30.5”. Width 30.75”. Depth 17”. 500/1,000

87.

REGENCY CENTER OR SOFA TABLE Probably London, Circa 1790-1810 In select plum-figured mahogany with boxwood inlay. Molded-edge top with drop leaves. Apron with box and diamond inlay flanking a single drawer at one end and a faux drawer at opposite end. Drawers fitted with original brass knob pulls. Four pillar supports set on a plinth raised on four carved saber legs ending in brass-capped paw feet fitted with original casters. Height 29”. Width 30” plus 13.75” drop leaves. Depth 37”. 1,200/1,800

88.

JOHN JAMES AUDUBON American, 1785-1851 “Cow Bunting”. No. 20, Plate 99. Engraved, printed, and colored by Robert Havell Jr. (1793-1878), London, 1830. Double elephant folio edition. Whatman watermark. Hand-colored engraving, 26.5” x 39”. Framed. 2,000/3,000 Double elephant was the largest size paper available in the 19th Century.

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Emile Louis Picault France, 1833-1915

89, pair

89.

A noble couple. Both signed on base “E. Picault”. Bronzes, heights 32”. 10,000/15,000

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90.

AFTER GIAMBOLOGNA 19th Century Mercury, the Messenger of the Gods, depicted in flight, raised on a puff of air from the mouth of a cherub. He has a winged helmet and winged feet, carries a caduceus in one arm and points a finger of his other hand toward the sky. Stamped on back of cherub’s head “F. Barbadienne Fondeur”. Bronze, height 28”. On a tiered bronze base, height 6”. 2,000/3,000 Giambologna (1529-1608) was a Flemish sculptor based in Italy. He is known for his marble and bronze statues in a late Renaissance or Mannerist style.

91.

FERDINAND BARBEDIENNE France, 1810-1892 A gladiator wearing a helmet and an ivy codpiece and standing in front of a palm tree stump. Marked on square base “F. Barbedienne, Fondeur”. Foundry mark stamp on side of base. Bronze, height 33”. 2,000/3,000

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92.

JOSEPH MICHEL-ANGE POLLET France, 1814-1817 “Eloa Soeur Des Anges”. Inspired by Alfred de Vigny’s poem about the angel Eloa who fell in love with a stranger at odds with God. Signed “J. Pollet”. Mounted on a black marble base. Includes an alabaster pedestal. Bronze, height 26.75” on base. Pedestal height 33.25”. 6,000/10,000

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93.

WALTER HARROWING United Kingdom, 19th Century Portrait of a saddled horse. Signed and dated lower left “Walter Harrowing 1866”. Oil on canvas, 23” x 28”. Framed 26” x 33”. 800/1,200

94.

CLAUDE LORRAINE FERNELEY United Kingdom, 1822-1892 Portrait of a horse in a landscape. Signed and dated lower right “C.L. Ferneley 1850”. Oil on canvas, 17.5” x 22”. Framed 20.5” x 24.5”. 1,000/1,500 Provenance: Arthur Ackermann & Son Ltd., London.

95.

JOHN E. FERNELEY, SR. United Kingdom, 1782-1860 Stable interior with horse and groom. Signed and dated lower left “J. Ferneley 1837”. Oil on canvas, 27” x 35”. Framed 32” x 40”. 1,500/2,500 Provenance: Arthur Ackermann & Son Ltd., London.

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96.

ATTRIBUTED TO GEORGE MORLAND United Kingdom, 1763-1804 Figures and horses on the river bank. Unsigned. Identified on frame plaque. Oil on canvas, 14” x 17”. Framed 18” x 21”. 1,000/2,000 Provenance: Arthur Ackermann & Son Ltd., London.

97.

ATTRIBUTED TO LOUIS GUSTAVE RICARD France/England, 1823-1873 “Rembrandt in his Studio”. Signed illegibly lower left. Handwritten label verso “Rembrandt dans son Atelier”. Oil on board, 12.25” x 9.5”. Framed 20.5” x 18”. 1,000/2,000

98.

ENRIQUE CASTELLS CAPURRO Uruguay, 1913-1987 Rounding up the horses. Signed lower left “E. Castells Capurro ‘57”. Watercolor on paper, 12.5” x 18.5”. Framed 19” x 25”. Together with two loose print portfolios by the artist: Gauchos Prendas Y Costumbres and Escenas Gauchescas Del Rio de la Plata (Gaucho-like scenes of the River Plate, 2nd Edicion). 800/1,000

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99.

PERCY EARL United Kingdom, 1874-1947 “Lord Woolavington’s Blue Boy”. Signed and dated lower right “Earl ‘30”. Titled on frame plaque. Oil on canvas, 28” x 36”. Framed 33” x 41”. 2,000/3,000 Provenance: Arthur Ackerman & Son Ltd., London.

100.

ADOLPHE JOSEPH THOMAS MONTICELLI French, 1824-1886 Classical figures in a garden. Signed lower left “Monticelli”. Oil on cradled board, 13” x 16”. Framed 20” x 23”. 2,500/3,500

100

101.

SCHOOL OF PIETER CORNELISZ VAN SLINGELANDT Continental, 18th Century or Earlier Interior scene with figures. Unsigned. Oil on panel, 15.25” x 12”. Unframed. 1,000/1,500

101

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102.

FRANK MYERS BOGGS Ohio/France, 1855-1926 Boats in a harbor. Signed lower left “Boggs”. Oil on canvas, 15.25” x 20”. Framed 21.25” x 26.25”. 1,500/2,000

103.

HIPPOLYTE CAMILLE DELPY French, 1842-1910 Moonlit river scene. Signed and dated lower right “H.C. Delpy 92”. Oil on cradled board, 13” x 24”. Framed 24” x 35”. 2,000/3,000

104.

CONTINENTAL SCHOOL 19th Century Interior portrait of a family. Four figures surround a round table and two children play with a dog and a cat. Numerous framed paintings adorn the walls of the room. Unsigned. Oil on canvas, 26.25” x 38”. Framed 30.5” x 43”. 800/1,000

102

103

104

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105.

“The River”. Signed lower left “Halswelle”. Titled on label verso. Oil on canvas, 15” x 23”. Framed 26” x 34”. 1,500/2,500

106.

“On the Ouse: Water Lilies and Rushes”. Unsigned. Identified and titled on label verso. Oil on canvas, 26.5” x 16.5”. Framed 35” x 25”. 1,500/2,500

107.

105

“The Bridge”. Unsigned. Identified and titled on label verso. Oil on canvas, 15.5” x 23”. Framed 26” x 33.5”. 1,500/2,500

Keeley Halswelle United Kingdom, 1832-1891 Lots 105-107

107

106

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108

108.

GERMAN SCHOOL 19th Century Group of eight portraits. Presumably from the same family. Some identified verso. Pastels, 6” x 4.5” sight. Framed 8” x 7”. 800/1,000

109.

WATERCOLOR DEPICTING BUST PORTRAITS OF NAPOLEON, MARIE LOUISE AND THEIR SON NAPOLEON II Circa 1815 The three oval portraits framed by flower garlands and surmounted by a spread-wing eagle and lightening bolts. Housed in its original Neoclassical carved giltwood frame with 6.25” circular aperture. Framed 14” x 14”. 800/1,200 Purchased in Lucca, Italy.

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110

110.

EDOUARD LEON CORTES France, 1882-1969 “Boulevard de la Madeleine in 1905”. Signed lower right “Edouard Cortes”. Titled verso. Oil on canvas, 13” x 18”. Framed 20.5” x 25.5”. 10,000/12,000 Provenance: The Fine Arts Gallery of New Orleans. A Cape Cod, Massachusetts Estate.

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112

111

113

111.

JAMES ABBOTT MCNEILL WHISTLER Massachusetts/England/France, 1834-1903 “Rotherhithe”, sixth state. Signed and dated lower left in the matrix. Etching and drypoint on wove paper, 273mm x 198mm plate. Sheet 15.5” x 12”. Unframed. 1,500/2,500

112.

JAMES ABBOTT MCNEILL WHISTLER Massachusetts/England/France, 1834-1903 “Drouet Sculpteur”. Signed, dated and titled in plate. Etching, 9.5” x 6.5” sight. Framed 19” x 15”. 200/300

113.

JOHN FRENCH SLOAN New York/New Mexico/New Hampshire, 1871-1951 “Monkey Man”. Signed in pencil lower right “John Sloan”. Etching on paper, 5.25” x 7” sight. Framed. 500/1,000

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114.

SALVADOR DALI France/Spain, 1904-1989 “Alice’s Evidence”. Marked lower center margin “Salvador Dali Portfolio A”. Numbered lower left 180/300. Signed in pencil lower right above impressed stamp. Colored lithograph on paper, 24” x 17” sheet. Framed 29.5” x 22”. 500/1,000

115.

ROBERT NATKIN Illinois/New York, 1930-2010 Untitled abstract. AP, numbered 1/10. Signed lower center and dated 1976. Label verso for Modern Art Consultants, New York. Silkscreen on paper, 30” x 72”. Unframed. 300/500

114

115

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116.

CURTIS JERE 20th Century Five seagulls in flight. Signed on wing of lowest gull “C. Jere”. Brass, height 26.5”. Variegated stone base, height 6”. 200/400

117.

TWELVE JOSH SIMPSON GLASS PLANETS Massachusetts, Contemporary Both “Habited” and “Inhabited” planets. Diameters 2”. Includes various stands. 800/1,000

118.

JOSH SIMPSON “INHABITED” GLASS PLANET Massachusetts, Contemporary Metal canes and striations in golds, blues and greens with yellow and dark red canes. Signed and serial number on base. Diameter 3”. With stand. 300/500

119.

COLLECTION OF TEN JOSH SIMPSON GLASS PLANETS Massachusetts, Contemporary Diameters from 1.25” to 1.5”. Together with a bird’s-eye maple fitted display case for sixty-five planets. Case height 3”. Length 24”. Width 11”. 600/800

116

117, twelve

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120

122

120.

RANDY PUCKETT California, Contemporary A blue whale. Numbered 55/250. Dated 1984. Bronze, length 17.5”. Height on black marble base 9”. 350/450

122.

LYNN THOMAS American, Contemporary “Life’s a Banquet”, depicting two otters and a fish. Mounted on a wooden base. Signed and titled on plaque on base. Bronze, height on base 10”. Length 10”. 500/700

121.

ELLIS P. OLIVA Cape Cod, Contemporary Carving of a blue whale. Mounted on a mahogany base. Stamped on underside of base “E.P. Oliva Cape Cod”. Height on stand 4”. Length 10”. 150/250

123.

BROOKS KELLY, JR. Massachusetts, 1935-2012 Three works. Two collages on canvas board, “Trio” and “Straw Hat”, and an acrylic on canvas board, “Cruz Bay Ladies #2”. Each signed lower left or right “Kelly”. Titled verso. Collages 11” x 8”. Framed 12” x 9.5”. Acrylic 17” x 13”. Framed 18” x 24”. 500/700

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124.

“Augury”. Signed lower right “Shaw”. Dated 1960. Titled on labels verso for the Parrish Art Museum, Southampton, Long Island, New York, the Albert Landry Galleries, New York and Galerie Scott-Faure, California. Oil on canvas, 48” x 32”. Framed 49” x 33”. 5,000/10,000

125.

“Winter’s End”. Signed lower right “Shaw”. Signed and dated 1957 verso. Titled on Passedoit Gallery label on stretcher. Oil on canvas, 34” x 42”. Framed 35” x 43”. 4,000/6,000

124

Charles Green Shaw New York, 1892-1974 Lots 124-127

125

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126. Abstract “January 1936”. Titled, numbered 207 and signed “Shaw” verso. Oil on canvas, 15” x 18”. Unframed. 1,000/2,000

126

127.

“Equipoise 1962”. Signed lower right “Shaw”. Titled verso on labels for Galerie Scott-Faure, California, and Bertha Schaefer, New York. Oil on canvas, 36” x 30”. Framed 37.5” x 31.25”. 4,000/6,000

127

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Howard Rackliffe Maine, 1917-1987 Lots 128-130

128

128.

Abstract. Signed lower right “Rackliffe”. Mixed media on paper, 21.5” x 28”. Framed 26” x 32”. 400/600

129.

“Old Willows 1951”. Multicolored abstract. Signed lower right “Rackliffe”. Titled in pencil verso. Mixed media on board, 24” x 20”. Framed 30” x 26.5”. 400/600

130.

“Fog Channel”. An abstract in blues, greens and whites. Signed lower right “Rackliffe”. Titled and signed on exhibit label verso. Oil on board, 32” x 48”. Framed 33” x 49”. 500/700

129

130

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132

133

134

131.

Portrait of a woman. Signed and dated in pencil lower right “Max Weber Provincetown May 27, ‘17”. Watercolor on paper, 11.5” x 8”. Framed 17” x 13”. 800/1,200

132.

Houses and trees. Signed and dated lower right “Max Weber Jan. 7, 1918”. Charcoal on paper, 11.75” x 9”. Framed 19” x 16.5”. 700/1,000

133.

Still life of a vase on a table. Signed and dated lower right “Max Weber Jan. 6 ‘18”. Watercolor on paper, 12” x 7.75”. Framed 19.5” x 15.5”. 1,000/1,500

134.

Woman seated in a chair. Signed lower left “Max Weber Jan. 6 ‘18”. Watercolor on paper, 11” x 8” sight. Framed 16” x 12”. 1,000/1,500

Max Weber New York/France/Russia, 1881-1961 Lots 131-134

131

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135.

PETER GEE Massachusetts/New York, 1932-2005 Abstract still life. Signed verso “Peter Gee”. Oil on canvas, 18” x 18”. Framed 21” x 21”. 1,200/1,800

135

136.

OLIVER NEWBERRY CHAFFEE, JR. Massachusetts, 1881-1944 Abstract. Signed lower left “Chaffee”. Gouache on canvas, 26” x 32”. Framed 26.25” x 32.75”. 1,500/2,500 From the Roy and Sheila Mennell Collection of Cape Cod Art.

136

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137.

FRANK BUTLER Massachusetts, 20th Century “From our Window, Marblehead”. Signed in pencil lower right “Frank Butler”. Titled in pencil lower left. Colored woodblock print, 8.5” x 6.5” sight. Framed 14” x 11.5”. 250/350

137

138.

HARRY WILLSON WATROUS New York/California, 1857-1940 Still life of shells, a book and vases. Signed lower left “Watrous”. Oil on board, 12” x 18.5”. Framed 16” x 23”. 800/1,200

138

139.

CATHARINE WHARTON MORRIS WRIGHT Rhode Island/Pennsylvania, 1899-1988 Waves crashing on rocks. Signed lower right “Morris”. Oil on board, 12” x 16”. Framed 15” x 19”. 600/800

139

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Marshall Woodside Joyce Massachusetts, 1912-1988 Lots 140-142

140

140.

141.

Rowboat on the shore with boathouses and figure in the distance. Signed lower left “Marshall W. Joyce A.S.M.A”. Oil on board, 18” x 24”. Framed 20.5” x 26.5”. 800/1,200

Marsh landscape with distant marina and boats. Signed lower left “Marshall W. Joyce A.S.M.A.”. Oil on masonite, 12” x 24”. Framed 16” x 28”. 700/1,000

141

142.

“Pen Berth Cove, Cornwall (England)”. Signed lower left “Marshall W. Joyce A.S.M.A.”. Titled verso. Watercolor on paper, 21.5” x 29.5”. Framed 26” x 34”. 1,000/1,500

142

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143.

EDMUND CHARLES TARBELL Massachusetts, 1862-1938 A fashionable woman in a yellow dress. Monogrammed lower left “T”. Colored pencil on silk, 6.5” x 3.5” sight. Framed 16” x 13”. 2,000/3,000 Illustrated in Edmund C. Tarbell and the Boston School of Painting by Patricia Jobe Pierce, p. 143.

143

144.

PHILIP LESLIE HALE Massachusetts, 1865-1931 Portrait of a bespeckled young man. Signed and dated lower left “Dec 19 91 Hale”. Pencil on paper, 11.25” x 7”. Unframed. 500/1,000

144

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145

145.

WALDO PEIRCE New York/Maine/Massachusetts, 1884-1970 Two children reading in a meadow. Monogrammed verso. Oil on canvas, 20” x 24”. Framed 29” x 33”. 2,000/3,000

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Janet Munro Massachusetts/Florida, b. 1949 Lots 146-148

146.

“View of Lane’s Cove Gloucester”. Signed lower left “Mrs. Munro”. Titled on gallery label verso. Oil on board, 8” x 10”. Framed 12” x 14”. 400/600 Provenance: Art World Gallery, Acton, Massachusetts. Private Collection, Massachusetts.

147.

“A Skating Party”. Signed lower left “Mrs. Munro”. Titled on gallery label verso. Oil on board, 8” x 10”. Framed 12” x 14”. 400/600 Provenance: Art World Gallery, Acton, Massachusetts. Private Collection, Massachusetts.

146

147

148. “A Summer Afternoon, 1980”. Signed lower left “Mrs. Munro”. Titled on gallery label verso. Tempera on board, 12” x 18”. Framed 16” x 22”. 300/500 Provenance: Art World Gallery, Acton, Massachusetts. Private Collection, Massachusetts.

148

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Norman Rockwell New York/Massachusetts, 1894-1978 Lots 149-153

149

149.

“The Rivals”. Signed in pencil lower right “Norman Rockwell”. Marked in pencil lower left “A/P” for artist’s proof. Lithograph on paper, 18.5” x 18.5” sight. Framed 28” x 28”. 500/1,000

150.

“Summer Stock”. Signed in pencil lower right “Norman Rockwell”. Marked in pencil lower left “A/P” for artist’s proof. Lithograph on paper, 23.5” x 19.25” sight. Framed 33” x 29”. 500/1,000

150

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151.

“Prescription”. Signed in pencil lower right “Norman Rockwell”. Marked in pencil lower left “A/P” for artist’s proof. Lithograph on paper, 24.25” x 19.5” sight. Framed 34” x 28.25”. 500/1,000

152. “Gilding the Eagle”. Signed in pencil lower right “Norman Rockwell”. Marked in pencil lower left “A/P” for artist’s proof. Lithograph on paper, 21” x 17” sight. Framed 32” x 27”. 500/1,000

153.

“Top Hat And Tails”. Signed in pencil lower right “Norman Rockwell”. Numbered 187/250 in pencil lower left. Lithograph on paper, 29.25” x 24.75” sight. Framed 38” x 33”. 500/1,000

151

152

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153

154.

VICTOR A. SEARLES American, 19th Century Important group of panels chronicling the life of Christopher Columbus, and an unfinished study of Columbus landing in America. Finished works include views of: Columbus departing from Palos, Spain, on August 3, 1492 Columbus at the Royal Court of Spain in Barcelona Columbus on his deathbed Columbus staking his flag in America Two signed and dated “Victor A. Searles 92”. Two signed and dated “Victor A. Searles 93”. The original works were completed for the World’s Fair Columbian Exposition in Chicago in 1893, which celebrated Columbus’s arrival in America in 1492. Watercolors, 21” x 28”. Unframed. 30,000/50,000

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154, five

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155.

HENRY JARVIS PECK United States/France, 1880-1964 “Spring”. Likely an illustration for a magazine cover. Signed lower right “Henry J. Peck”. Titled in pencil on upper stretcher bar. Oil on canvas, 30” x 20”. Framed 41” x 31”. 1,200/1,800

156.

ANNE HARRIET FISH New York/United Kingdom, 1899-1964 “Leetle Show of Models for Sport”. Inscribed in pencil lower center “Messrs Panniguin freres present their compliments to the Lady Golf Champions of _____ & request the honor of their presence ...”. Depicts a lady’s golf fashion show. Signed lower right “Fish”. Pen and ink on paper, 15” x 11”. Framed 20” x 16”. 500/1,000 Anne Harriet Fish worked in England in the 1920s, including at Conde Nast, where she created many satirical drawings of high society. She helped create the flapper image of the Roaring Twenties.

157.

155

M.R. LONGACRE American, Early 20th Century View of a steel mill. Signed lower right “M.R. Longacre Wardville, PA”. Mixed media, 16” x 29” sight. Framed 27.5” x 40.5”. 800/1,200

157

156

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158

159

158.

PETER HELCK New York, 1893-1988 Original illustration: Wrong Turn. Depicts a driver asking a standing figure for directions after taking a wrong turn in a street race. Signed lower right “Helck”. Mixed media, 14.5” x 19.5”. Framed 16.5” x 22”. 1,000/1,500

159.

PETER HELCK New York, 1893-1988 “Barney’s Near Miss Briarcliff”. Unsigned. Together with an etching of a race car in a European street. Etching signed in pencil lower left “Peter Helck”. Pencil on tissue paper, 8.5” x 11”. Unframed. 250/350

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160.

CHARLES RELYEA New York, 1863-1932 Sailboats off the coast, likely Long Island Sound. Signed lower right “C. Relyea”. Pastel on paper, 10” x 13.5” sight. Framed 18” x 21.5”. 500/1,000 Provenance: A Connecticut Estate. Charles Relyea was a prominent illustrator, whose works appeared in the children’s magazine St. Nicholas as well as in numerous books in the Early 20th Century. He maintained a studio in New Rochelle.

160

161

161.

AMERICAN SCHOOL Late 19th Century Thirteen children’s illustrations. Most monogrammed “CR”. All but one contain a vignette with a poem. Poem titles include “The Lily Bed”, “My Ship”, “At Night”, “Under the Tree”, “A Wish”, “The Comet”, “Lullaby”, “Celia’s Arbor”, “The Little Gallant”, “The Old Tower”, “The Barren Garden”, “Dickie’s Complaint” and “Calling the Birds”. Watercolors on paper, 10.5” x 7.25”. Unframed. 500/1,000

162.

THEODOR GEISEL (DR. SEUESS) Massachusetts/California, 1904-1991 “Faith and Skepticism Bravely in the Post-War World”, a pencil sketch of a nude woman with a telescope perched on the head of a man. Signed lower left “Lt. General T.S. Geisel”. Graphite on paper, 11” x 8.5”. Unframed. 800/1,000

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162

163.

JOSEPH-FELIX BOUCHOR France, 1853-1937 “An Open Doorway With the American Y.M.C.A”. Inscribed upper right “A mon ami Hall Aout 1918 JF Bouchor”. Titled verso. Oil on board, 13.75” x 10.5”. Framed. 2,000/3,000

163

164.

HENRI-CHARLES POURQUET France, 1877-1943 “Our Heros [sic] 1917-1919”. A WWI doughboy at attention. Titled and engraved “Pourquet” and “Val D Osne Paris” on base. Bronze, height 18.5”. 800/1,200

164

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166

165

165.

U.S. ARMY PILOT’S FOOT LOCKER WWI-Era Pine trunk painted green. “Elva C. Young Air Service” on lid and “ECY” on both sides, all in red painted lettering. Ropework handles. Leather and brass tack unit insignia affixed to interior of lid. Height 11.5”. Width 28.5”. Depth 13.25”. 500/1,000

166.

U.S. ARMY PILOT’S FOOT LOCKER WWI-Era Pine trunk painted olive drab. Top with painted “U.S. Air Service”, “HEW” and pilot’s wings in red, white and blue. Front with “H.E. Woit. Milwaukee, Wisc.” in red painted lettering. Ropework handles. Iron hinges. Miniature carved wooden propeller marked “Herbert T. White aviation service” and assorted ephemera affixed to interior of lid. Propeller length 6”. Trunk height approx. 12.5”. 500/1,000

167.

LEATHER PILOT’S HELMET AND GOGGLES Circa 1930 Belonged to Glen McIsdac who worked for Sky Way Air Cape Cod delivering mail in the 1920s and 1930s. Helmet with Spaulding & Brothers label and “Aviation Clothing” mark on interior. Right side of goggle strap marked in ink “CLEM Sky Way Boston.” Helmet length 15.5” including chin strap. 200/400

168.

THREE POWDER HORNS 19th Century One engraved “FB” and very faintly engraved “1849”. One engraved “Charlie”. Lengths from 11” to 13”. 300/500

169.

FIVE POWDER HORNS 19th Century One engraved with a heart. One engraved “DC” with a geometric design. Others are undecorated. Lengths from 6” to 16”. 400/600

170.

FOUR POWDER HORNS 19th Century All with 20th Century engraved decoration. One depicts birds, one depicts an American Native and a settler, one depicts a Liberty shield and bird and one with geometric decoration. Lengths from 9” to 12”. 200/400

171.

AMERICAN FOOT OFFICER’S SWORD 19th Century Possibly War of 1812-era. Eagle-form pommel. Carved bone grip. Blade etched with Liberty shield decoration. Length of blade 30”. Overall length 35”. 300/500

171

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172.

CIVIL WAR SOLDIER’S LETTER Dated September 14, 1861 An unsigned partial letter, with vivid and brutally candid remarks about the soldier’s experience at the Battle of Bull Run and his medical discharge for battle fatigue. He writes [sic], “I hope I will never see such a site again as I seen at bull’s run, to see the poor men the way some of them where mangled ... The men whith their heads arms and legs off I never did see such a sight.” See full text at www.eldreds.com. 300/500

173

173.

MOLDED WAX BUST OF ABRAHAM LINCOLN IN A VICTORIAN SHADOW BOX Circa 1880 Painted white and gilt. Bust height 8”. Oval shadow box 16.5” x 14.5”. 1,000/1,500

174

174.

POLYCHROME ENGRAVED STEER HORN Early 20th Century Depicts bust portraits of Presidents George Washington, William McKinley, Abraham Lincoln and Woodrow Wilson, all with red, white and blue borders. “United We Stand Divided We Fall” around center, and “Four of Americas Most Esteemed Patriots” around lower portion. Base covered with leather affixed with brass tacks. Brass plate marked “91” affixed to leather. Length 18.5”. 2,500/3,000

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175.

AFTER HENRY I. MEGUREY New York, Early 20th Century “New-York Taken from the North west angle of Fort Columbus, Governors Island”. Color lithograph, 9.25” x 13.25” sight. Framed 16.25” x 19.75”. 150/250

175

176.

PATRIOTIC CAST IRON WATCH HOLDER 19th Century In the form of a figure sounding a horn and carrying an American flag while riding a St. Bernard wearing a collar marked “Victory”. Central inset wooden sleeve accommodates watch. Height 11”. 250/350

177.

LITHOGRAPHED WOODEN BOX TOP WITH PATRIOTIC DECORATION 19th Century “United States of America” surrounds a central eagle carrying an American flag on pole in its beak. Eagle flanked by vignettes of a farmer, a sailor, a soldier and a train. 5.75” x 6.75”. 150/250

176

178.

BROADSIDE “SALT GRASS AT AUCTION!” Massachusetts, 19th Century “Salt Brass at Auction! Will Be Sold At Auction on Thursday, July 7th ...Terms Cash. If Stormy, The Sale Will Take Place The Next Fair Day. South Marshfield ...”. 19” x 13” sight. Framed 26” x 20”. 600/800

178

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179.

ADVERTISING BROADSIDE FROM CAPE COD, MASSACHUSETTS Circa 1900 “From Israel Crocker, Dealer in Groceries, Dry and Fancy Goods, Paints & Oils, Boots & Shoes, Oil Cloth Carpetings, Small Wares, &c. &c. Ostervile, Mass.” Framed 10.25” x 12.25”. 200/300

180.

ILLUSTRATION “FUTURE HOME DENNERY’S SEA FOOD HOUSE” Text surrounds image of a lobster. Acrylic on paper, 10.75” x 28.25”. Unframed. 300/500 179

181. RICHARD E. HOWARD Massachusetts, 1912-1996 Village Green, Dennis, Massachusetts. Signed in pencil lower left. Numbered 23/500. Photolithograph on paper, 16” x 23” sight. Framed 22.5” x 30”. 500/700

182. RICHARD E. HOWARD Massachusetts, 1912-1996 “Esther’s Place”. Signed lower left “Richard E. Howard”. Watercolor and gouache, 16” x 22” sight. Framed 25.5” x 31”. 600/800 181

183.

TYPED LETTER SIGNED NORMAN MAILER Typed on his letterhead. Dated “22 March 1984” and addressed “Dear Phyllis”. Reads “Thanks for the good words. ... My new book, by the way, is about Provincetown in the winter. It’s a murder mystery, and kind of readable, I expect, but it’ll be a success fou [sic] since everybody will think it’s about people they know in Provincetown, but indeed it isn’t. All the characters are made up, indeed, after you read the book, you’ll say they better be. ...”. Signed “Norman”. Handwritten inscription below signature “Discard after you’ve read it!”. Mailer is referring to his novel Tough Guys Don’t Dance, his favorite and considered his best book, which he wrote under financial pressure in two months. It was made into a movie that he directed on location in 1987. 300/500

184.

HENRY BESTON’S THE OUTERMOST HOUSE: A YEAR OF LIFE ON THE GREAT BEACH OF CAPE COD N.Y.: Rinehart & Co., Inc., 1949. Frontispiece with woodcut illustration by Hope Nash. 12mo. Green cloth with gilt lettering. Original jacket. Spine and back of jacket faded and toned. Edges toned and foxed. 100/200

185.

MAP OF BARNSTABLE HARBOR Dated 1865 in print. Stamped “Office Light House Inspector Received Sep 20 1888 2nd District”. 19.25” x 24.75” sight. Framed 20.75” x 20.5”. 600/800

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183

186

186.

FIVE ANTIQUE MAPS OF THE SOUTHERN AND MIDWESTERN UNITED STATES All disbound from early volumes. 1) “A Map of the Province of Carolina Divided into its Parishes &c. According to the latest Account 1730. By H. Moll Geographer.” Depicts the coastal Carolinas from St. Maria Island north to Cape Charles and the “Bay of Chesapeck” in Virginia, with a large inset titled “A Map of ye most Improved Part of Carolina” showing the area from Edistow Island north to the Santee River. 14.38” x 15.25”. 2) Two maps on one sheet: “A Sketch of the Operations before Charlestown, South Carolina. 1780.” and “A Sketch of Sr. Peter Parker’s Attack on Fort Moultrie, June 28th, 1776.” Charlestown map depicts the peninsula between the Ashley and Cooper rivers and the position of warships. Attack on Fort Moultrie map depicts Sullivan’s Island, the fort and the position of warships. Sheet marked in upper margin “Plate VII. Engraved for Dr. Gordon’s History of the American War. To face Page 358 Vol. III.” Sheet 14.5” x 8”. 3) “A Map of the Country on the Ohio & Muskingum Rivers Showing the Situation of the Indian Towns with respect to the Army under the Command of Colonel Bouquet By Thos. Hutchins Afs Engineer.” Depicts rivers, waterways and settlements from Lake Erie in the north to Pensilvania [sic], Maryland and Virginia to the east. Includes yard widths of waterways and other anecdotes. Title surrounded by a landscape cartouche. 8.5” x 10.38”. 4) “(Facsimile) A Plan of the several Villages in the Illinois Country. with Part of the River Mississippi &c. by Thos. Hutchins.” Depicts St. Louis south to “The Saline”. 8.56” x 5”. 5) “Fort and Settlements of Detroit A.D. 1763”. Depicts Lake Erie northeast to Lake St. Clair. 8.56” x 5.25”. 800/1,200

187

187.

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COLTON’S GENERAL ATLAS 1859 Colton’s General Atlas, Containing One Hundred and Seventy Steel Plate Maps And Plans, On One Hundred Imperial Folio Sheets. N.Y.: Johnson and Browning, 1859. Folio. Half black morocco with brown boards and gilt lettering. Complete with 102 pages of maps. 700/1,000 Provenance: A private collection.

188

188.

EARLY MAP OF THE WESTERN HEMISPHERE AFTER ABRAHAM ORTELIUS Dutch, 16th Century “Americae Sive Novi Orbis, No Va Descriptio”. 14” x 19” sight. Framed 22” x 27”. 1,500/2,500

189

189.

RARE EARLY HAND-COLORED ENGRAVED MAP OF NEW ENGLAND AFTER WILLEM JANSZOON BLAEU Dutch, 17th Century Amsterdam, Circa 1638. McCorkle 635.1; Burden 241. 15.5” x 19.75” sight. Framed 23” x 27.5”. 1,000/1,500

190 191

190.

GIROLAMO RUSCELLI’S “TIERRA NUEVA”, A MAP OF THE EAST COAST OF NORTH AMERICA Published 1562 or 1564 Based on Giacomo Gastaldi’s map of 1548. Engraved on copper by Giulio and Livio Sanuto. First state. Map 7” x 9.5”. Framed 14.5” x 16.5”. 800/1,200

191.

MAP OF THE ARCTIC REGION AFTER HENRICUS HONDIUS Dutch, 17th Century “Poli Arctici, et Circumiacentium Terrarum Descriptio Novissima”, “Hondius, Henricus”. 4th state. 500/1,000

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192

192.

193

CARVED CEDAR HOUSE POST, PROBABLY HAIDA Late 19th Century Nicely carved and painted red, black and blue. Nice patina. Height 34.75”. Width 5.75”. 5,000/8,000 Provenance: J.J. Klejman.

193.

HAIDA CARVED CEDAR HOUSE POST Late 19th Century Beautifully carved and painted red, blue and black. Height 30”. Width 7.88”. 5,000/10,000 Provenance: J.J. Klejman.

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194.

CARVED WHALEBONE AMULET, PROBABLY TLINGIT Early 20th Century In the form of conjoined seabird heads. Length 8”. 1,200/1,800

195.

NORTHWEST COASTAL CARVED BONE TOTEM First Quarter of the 20th Century Height 7.5”. Width 1.5”. 1,200/1,800 Provenance: J.J. Klejman.

196.

ESKIMO OR POSSIBLY HAIDA CARVED WHALEBONE FIGURE OF A BIRD Late 19th/Early 20th Century Nice patina. Height 9”. Width 2”. 1,200/1,800 Provenance:J.J. Klejman.

194

195

197.

INUIT CARVED WHALEBONE ORNAMENT Greenland, Circa 1900 Carved in the form of three faces. Height 8”. Width 2.25”. 1,000/1,500 Provenance: J.J. Klejman, 1963.

198.

CARVED WHALEBONE HUMAN FIGURE Possibly Ogone, Siberia, Early 20th Century Height 9.75”. Width 2”. 800/1,200 Provenance: J.J. Klejman, 1969.

196

197

198

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199

199.

STEATITE FIGURE OF A WHALE, ATTRIBUTED TO THE CHUMASH 19th Century Bone inlaid eyes. Flippers with further bone inlay. Height 4”. Length 4”. 1,800/2,500 Provenance: J.J. Klejman, 1960.

200

200.

ESKIMO CARVED WOODEN EFFIGY OF A MAN Late 19th Century In a leather jacket. Height 5.5”. 400/600 Ex Collection: German.

201

201.

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ESKIMO MOTHER-OF-PEARL CARVED WINGED FIGURE Early 20th Century Height 3”. Width 2.5”. 500/1,000 Provenance: J.J. Klejman, 1969.

203

202

204

202.

HAIDA CARVED WALRUS IVORY AMULET Late 19th/Early 20th Century With sea monster and totem design. 2,000/3,000

203.

ESKIMO CARVED PETRIFIED WALRUS IVORY MASK 19th Century Height 1.5”. Width 1.25”. 600/900

204.

ESKIMO CARVED PETRIFIED WALRUS IVORY AMULET 19th Century or Earlier In an elongated form with two rings at ends and two faces carved into top. Length 3.75”. 800/1,200

205.

CARVED WALRUS IVORY FIGURE OF A MAN, PROBABLY HAIDA Late 19th Century Length 3”. 600/800

206

205

206.

ESKIMO BONE MASKETTE St. Lawrence Island Area, Circa 1900 Height 2.5”. Width 1.63”. 800/1,200 Provenance: Julius Carlebach, 1960.

207.

ESKIMO CARVED BONE FACE Alaska, Circa 1900 Baleen dots inlaid to corners of mouth. Height 1.75”. Width 1.25”. 700/1,000

208.

CARVED ANIMAL BONE TOTEM, POSSIBLY NORTHWEST COASTAL First Half of the 20th Century Height 2.75”. Width 1.13”. 500/700

207

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208

209

209.

RARE EARLY ESKIMO CARVED AND ENGRAVED WALRUS IVORY SMOKING PIPE Third Quarter of the 19th Century Length of pipe with four flat faces, each engraved with scenes of Eskimo life including dwellings, fish drying racks and hunters in various pursuits including paddling kayaks, encountering a standing bear, harpooning a bowhead whale, shooting at a caribou, etc. One end with removable mouthpiece cap with wooden plug. Other end with a small pegged-in section that receives the chimney and is engraved with images of human hands. Length 12”. 2,500/3,500

The style of engraving indicates the piece is from St. Michael, on Norton Sound, Alaska. Signal Corps officer E.W. Nelson was stationed there from 1877 to 1881, collecting items for the Smithsonian. The St. Michael tourist trade was established around the time of Nelson’s stay.

210, obverse and reverse

210.

ESKIMO CARVED WALRUS TUSK Late 19th/Early 20th Century With a full-bodied walrus and kayak, and a relief-carved hunter with rifle and caribou. Probably from Nunivak Island. Length 11.25”. 800/1,200

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211

213

212

211.

ESKIMO WHALEBONE FISH CLUB Alaska, Circa 1900 Relief-carved on both sides. Obverse depicts whale, fish and narwhal. Reverse with full-length human figure. Length 14.5”. 1,000/1,500 Provenance: J.J. Klejman.

212.

ESKIMO WHALE IVORY FACE MASK Alaska, Late 19th Century Height 4.5”. Width 2”. 500/1,000 Provenance: J.J. Klejman.

213.

ESKIMO PETRIFIED WALRUS TUSK CARVED IN THE FORM OF A POLAR BEAR 19th Century or Earlier Height 2”. Length 6”. 500/700

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214.

SEVEN AMERICAN NATIVE BASKETS 19th and Early 20th Century Six Eskimo and one Pomo. In varied forms and weaves. Two with lids. Heights from 2.25” to 6.25”. Diameter of largest 19.25”. 2,000/3,000

215.

NORTHWEST COASTAL CARVED WOODEN CANE 19th Century Handle in the form of a reclining figure with inset tack eyes. Opposite face of handle at top of shaft carved with a figure’s face with tack eyes. Length 36”. 500/800

216.

ESKIMO CARVED BONE VASE Late 19th/Early 20th Century Pierced scalloped rim. Relief-carved kayak on front. Height 3.75”. Width 2.75”. Depth 1.75”. 300/500

217.

THREE AMERICAN NATIVE STONE ITEMS 19th/Early 20th Century 1) Swinging stone with hide-wrapped wooden handle and beadwork and horsehair wrap around stone. Length 18”. Stone width 6.5”. 2) Stone pipe bowl. Height 3.75”. Length 4.5”. 3) Banner stone carved in the form of two axe heads. Height 3”. Length 6.75”. 500/700

214, seven

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218.

NORTHWEST COASTAL CARVED WALRUS IVORY TOTEM Early 20th Century Carved with four anthropomorphized bird and animal figures. Incised “E” signature. Height 8”. 500/1,000

219.

ESKIMO ENGRAVED WALRUS TUSK CRIBBAGE BOARD Mid-20th Century In the manner of Happy Jack. Engraved on one side with scene of an Eskimo in a kayak harpooning a walrus, seals on floating ice floes and the head of a swimming polar bear. Other side engraved with seal hunt scene with three kayaks, seals and a polar bear floating on ice. Sides engraved with quills and harpoons. Base with sliding cap to store pegs. Includes six pegs. Length 23.75”. 1,800/2,000 218

219

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220

221

222

223

220.

ESKIMO ENGRAVED WALRUS TUSK CRIBBAGE BOARD Mid-20th Century Engraved with a salmon design. Includes four ivory pegs. Length 12”. 600/900

221.

ESKIMO ENGRAVED WALRUS TUSK CRIBBAGE BOARD First Half of the 20th Century Six carved petrified walrus ivory seals applied to top, flanking cribbage board. Other side engraved with a detailed coastline of Alaska, with twenty villages identified. Length 22”. 1,400/1,800

222.

ESKIMO ENGRAVED WALRUS TUSK Dated 1939 Obverse depicts a man seated at a table, poised as if he is contemplating what to engrave on the tusk he holds in his hand. Vignette flanked by hunting scenes and numerous animals including an otter, a hare, polar bears, a caribou, a walrus, etc. Reverse depicts assorted Eskimo pursuits including hunting, skinning seals, cooking, etc. Signed at base, approximately transcribed as “Jerehckou Mactepckou T.Y.C.M.N. Mactep. Ehmnpouh”, and dated 1939. Length 16.5”. 900/1,200

223.

ESKIMO ENGRAVED WALRUS TUSK CRIBBAGE BOARD First Half of the 20th Century Base carved in the form of a polar bear’s head, with a fishtail emanating from its mouth. Board engraved with seal, walrus and polar bear heads. Feet carved in the form of seals. Signed on underside “Jerome Koezuna”. Length 14.25”. 900/1,200

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224

225

226

227

224.

ESKIMO POLYCHROME ENGRAVED WALRUS TUSK CRIBBAGE BOARD First Half of the 20th Century One side with cribbage board and engraved with foliate designs, a red floral sprig and an oval cartouche containing a hare. Other side depicts a bird and three animals gliding across the water. Length 13”. 600/900

226.

ESKIMO ENGRAVED WALRUS TUSK CRIBBAGE BOARD First Half of the 20th Century Central cribbage board flanked by a carved salmon and seal. Outrigger-style mounts on edges made with ivory and wood. Length 12.25”. 700/1,000

225.

ESKIMO ENGRAVED WALRUS TUSK CRIBBAGE BOARD First Half of the 20th Century Obverse engraved with seals, walruses and a hunting expedition. Reverse engraved with kayaks, seals and birds. Length 15.75”. 700/1,000

227.

ESKIMO CARVED WALRUS TUSK CRIBBAGE BOARD First Half of the 20th Century Cribbage board with inset baleen dividers. Relief-carved anchor and ship’s wheel flank cribbage board. Base with petrified walrus tusk cap. Length 16.5”. 600/900

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228

228.

MARIA AND SANTANA MARTINEZ BLACKWARE FEATHER CHARGER Circa 1940 Signed on back “Maria & Santana”. Diameter 13”. 600/900

229.

AMERICAN NATIVE BLACK-ON-BLACK POTTERY JAR Mid-20th Century Ovoid form with stylized flower and vine design. Height 17”. 300/400

230.

SAN ILDEFONSO POTTERY BOWL Pre-1920 Attributed to Maria Martinez. Decorated with glossy geometric shapes on a matte black ground. Unsigned. Diameter 7.5”. Includes a copy of Maria: The Potter of San Ildefonso by Alice Marriott. 200/400

231.

THREE AMERICAN NATIVE ITEMS Early 20th Century A beadwork pouch in arrowhead form with red, white and blue beadwork, length 10”, and two pairs of man’s moccasins, one with red, white and blue beadwork. 200/300

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232.

EDWARD S. CURTIS Washington/California, 1868-1952 “The Vanishing Race”. Signed in ink lower right. Embossed studio mark lower left. Photographic print, sheet size 6” x 8”. Framed 12.5” x 14”. 700/900

232

233.

AFTER JOHN MIX STANLEY American, 19th Century “The Sentinel”. Unsigned. 19th Century copy of the original by Stanley. Oil on canvas, 20” x 15.5”. Unframed. 800/1,200 Provenance: The Collection of Julian Kotekas, Manchester, New Hampshire.

233

234.

VERNON HERBERT COLEMAN Massachusetts/Connecticut, 1898-1978 American Native-themed still life of American Native-form bookends and a Navajo rug backdrop. Signed lower right “Vernon Cole...”. Together with the bookends used as models in the work. Marked “C. Vieth” on base. Bookend heights 6.5”. Oil on board, 18” x 13.75”. Framed 24” x 18.5”. 700/1,000

234

235.

COPY OF FREDERIC REMINGTON’S “COMING THROUGH THE RYE” Mounted on black marble base. Height of bronze 24.5”. Length 31”. 1,500/2,000

235

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237

238

236

239 240

241

242

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236.

GRENFELL INUIT DOLL Early 20th Century Composition and cloth doll with sealskin fur trim on coat. Typed on note attached to pants “Esquimo from Newfoundland Brought by the Rupert Morses At Grenfell Mission in St. Anthony”. Height 20”. 700/1,000

237.

WOOD DUCK DRAKE DECOY Canada, 20th Century Maker unknown. Tack eyes. Carved wings. Length 12”. 250/350

238.

NORTHWEST COASTAL WOODEN GRAIN PADDLE 19th Century Carved figural handle. Old brown finish. Height 10.5”. 500/700

239.

NORTHWEST COASTAL POWDER HORN Early 19th Century Engraved with deer, bird, hunter, ship, fish and more. Length 12.5”. 800/1,200

240.

NATIVE AMERICAN ANIMAL HIDE STIRRUP Inscribed in ink on tread “Lost by Indians pursued by U.S.Mtd Rifles[?] after the Massacre near Frt Ewell, Texas, May 2nd 185_”. Height 5”. Width 5”. 200/300

241.

ESKIMO ENGRAVED BONE KNIFE SHEATH Late 19th Century Depicts four stag and multiple geometric designs. Dated 1885. Length 8.75”. 500/700

242. ESKIMO CARVED ANTLER FIGURE OF A STANDING ESKIMO 20th Century Holding a harpoon in his left hand and a primitive shield in his right hand and with a seal at his feet. Engraved on base “78 E.8.612.” Height 9.75”. Length 14”. 500/700

243. MODEL OF AN ESKIMO KAYAK Greenland, Circa 1930 Kayak with sealskin-covered frame. Figure and paddle carved from cedar. Carved seal bone details including fish basket, harpoon tips, stem plate, bow and stern balls, etc. Displayed on a wood and bone stand. Height 5.5”. Length 19”. Width 5.25”. 400/600

244. TWO SEALSKIN KAYAK MODELS Early 20th Century One from Greenland, with a cloth figure in cockpit, and fitted with skegs fore and aft, and fore and aft deck lines with fittings. Figure in tuilik (paddling jacket) holds a small lance or plug. Paddle, lance and incomplete harpoon with throwing board wrapped to deck. Length 21.88”. Other with wooden cockpit. Length 19”. 200/300

243

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245.

TWO WICKER FISH TRAPS In bottle form. Heights 39.5” and 46.5”.

Early 20th Century 200/400

246.

PAIR OF CARVED AND PAINTED WOODEN TROUT 20th Century Mounted on a walnut backboard. Length of trout 14.5”. Length of backboard 14”. 400/600

247.

FOUR DAVID PERKINS AQUATIC LIFE CARVINGS Duluth, Minnesota, 20th Century Two pickerels, a sunfish and a frog. All stamped “DFD”. Lengths from 5.5” to 16”. 300/400

248.

TWO GENE STEFFEN WILDLIFE CARVINGS Missouri, Late 20th Century A bullfrog catching a bumblebee in its tongue, height 4”, and a sunfish, length 5.75”. Both signed “G. Steffen”. 350/450

249.

SIX FISH AND FROG CARVINGS 20th Century Makers unknown. Includes three fish and three frogs. Lengths from 6.5” to 11.5”. 300/500

250.

PAIR OF LLOYD HAVENS MINIATURE CANADA GEESE Dated 1974 With carved wings and tails. Mounted on chip-carved bases. Signed on undersides in electric pen “Lloyd E. Havens 1974”. Heights 9” and 12.5”. 300/500

251.

THREE JIM KEEFER DECOYS Woodstock, Vermont, Circa 1985 Two Canada geese and a brant. All hollow-carved and with an antiqued finish. All signed on undersides “Jim Keefer”. Lengths from 16” to 20”. 500/800

252.

THREE JIM KEEFER DECOYS Woodstock, Vermont, Circa 1985 An oldsquaw drake, a red-breasted merganser drake and an eider drake. All with antiqued finish. Lengths from 18” to 19”. 400/600

253.

CHIEF EUGENE CUFFEE BLUE-WINGED TEAL-FORM DRESSER BOX Easthampton, New York, 1866-1941 In pine. Back slides open. Length 9.5”. 900/1,200

253

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254

254.

255

CAST IRON LOBSTER 255. CAST IRON HIGHLAND LIGHT DOORSTOP DOORSTOP Early 20th Century Early 20th Century Under original polychrome paint. Red lobster on a rockery base. Height 8”. 200/300 Height 12.75”. 1,000/1,500

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256

256.

CAST IRON LIGHTHOUSE DOORSTOP Early 20th Century Polychrome lighthouse on a rockery base. Back with molded mark “T69”. Height 13.5”. 300/400

257.

LITTCO PRODUCTS CAST IRON SAILOR DOORSTOP Early 20th Century Sailor with blue and red cap, red and white striped shirt, white jacket and blue pants mounted on a stepped base. Original paint shows heat crazing. Height 12”. 800/1,200

265.

NATIONAL FOUNDRY CAST IRON WELL-DRESSED RABBIT DOORSTOP Early 20th Century Polychrome rabbit standing on a green base. Height 10”. 300/500

258.

CAST IRON PIRATE DOORSTOP Early 20th Century Polychrome pirate holding a treasure sack on a green rockery base. Height 12”. 800/1,200

266.

CAST IRON SEATED CAT DOORSTOP Early 20th Century Marked “Gibby Foundry Co. East Boston” on base. Height 12.5”. 300/400

259.

CAST IRON FOOTMEN DOORSTOP 20th Century Stepped base engraved “FISH”. Original paint with some wear. Height 12”. 300/500

267.

CAST IRON STANDING FIGURE OF A ROOSTER Late 20th Century Painted white. Height 35”. Length 28”. 300/400

260.

CAST IRON TWO DUCKS IN GRASS DOORSTOP Early 20th Century Height 8.5”. 150/200

268.

TWO BRASS EAGLE-FORM DOOR KNOCKERS Early 20th Century One mounted to a panel. Heights 9”. 300/500

261.

SPENCER MANUFACTURING CO. CAST IRON DRUMMER DOORSTOP Early 20th Century Black drummer wearing a red jacket on a stepped base. Height 7.75”. 300/400

262.

TWO CAST IRON DOORSTOPS Early 20th Century 1) Bradley & Hubbard doorstop in the form of a vase of flowers. Height 11.5”. 2) Doorstop in the form of a duck wearing a blue bonnet. Height 6.5”. 200/300

263.

BRADLEY & HUBBARD CAST IRON BUTLER DOORSTOP Early 20th Century Base with checkered design. Height 11.75”. 400/700

264.

CAST IRON PUNCH DRESSED AS CAESAR DOORSTOP Early 20th Century Standing Punch with a dog to his right on a stepped base. Original polychrome paint shows wear. Height 10.5”. 400/700

266

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257

258

259

261

260

263

262

264

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265

269

269.

FINE C.G. BUSH & CO. PARLOR KALEIDOSCOPE Providence, Rhode Island, Circa 1874 Widely recognized as the best of its kind ever made. Cardboard tube with black faux shagreen wrap. One end with non-magnifying glass lensed-eyepiece. Working end with brass barrel and brass turning spokes. Cell filled with an array of liquid-filled glass vials and other intricate glass objects, providing amazingly colorful and geometrically perfect imagery. Finely turned mahogany stand. Stamped on tube “C.G. Bush & Co. Providence R.I. Patents Reissued November 11 1873” with text surrounding an image of a kaleidoscope. Height 12.75”. Length of tube 10”. 400/600 Charles G. Bush (or Busch) was born in Prussia in 1825 and immigrated to Plymouth, Massachusetts in 1847. He began manufacturing kaleidoscopes in Providence in 1870, and his “extraordinary” pieces quickly found world-wide demand. He was granted several American patents in 1873 and 1874. In 1875 Bush moved to Claremont, New Hampshire and his production ceased.

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270.

ANTIQUE KALEIDOSCOPE Late 19th/Early 20th Century Cardboard tube and brass turning mechanism in the shape of a ship’s wheel. Turned wood base. Dry cell filled with colored glass canes and liquid ampules. Unmarked. Height 14”. 300/600

271.

FRANÇOIS GAULTIER BISQUE-HEAD DOLL Circa 1880 With blonde wig, pierced ears, blue eyes, and open-close mouth and swivel neck. Kid body with bisque limbs. Back of neck stamped “F. 5G”. Includes remnants of a blue and white striped dress and one shoe. Height 14”. 1,000/1,500

272.

THREE BISQUE-HEAD FASHION DOLLS Circa 1890 1) With blonde wig, blue eyes, pierced ears, swivel neck and kid body. Dressed in French leather boots. Back of head stamped “3”. Height 17”. 2) French doll with blonde wig, blue eyes, pierced ears and swivel neck. Height 11”. 3) German Parian-head doll with blonde wig, blue eyes, swivel neck, kid body and bisque limbs. Dressed in a frayed white and green dress. Height 18”. 1,000/2,000

273.

JUMEAU BISQUE-HEAD DOLL French, Circa 1890 With brown wig, brown eyes, pierced ears, open-close mouth and composition ball-jointed body. Dressed in white undergarments and leather shoes. Stamped on back of neck “Depose Tete Jumeau Bte S.G.D.G. 8”. Lower back stamped “Jumeau”. Height 18.5”. 1,000/2,000

273

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274

274.

SHEPARD HARDWARE COMPANY PUNCH AND JUDY CAST IRON MECHANICAL BANK 19th Century Original paint. Height 7.25”. 400/600

275.

J. & E. STEVENS COMPANY “TAMMANY BANK” CAST IRON MECHANICAL BANK 19th Century Original paint. Height 5.75”. 150/200

276.

DENT CAST IRON PULL TOY IN THE FORM OF THE PADDLEWHEELER THE ADIRONDACK 19th Century Painted white and green. Length 15.5”. 200/300

277.

WOODEN CHILD’S SLED 19th Century Painted red with white highlights. “Comet 1847” on top in white and black letting. Iron runners. Height 4.5”. Length 22”. Width 11.5”. 200/300

275

276

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THE MARILYN AND CHICK FULLER collection of fire memorabilia Lots 278-299

278

278.

STURDITOY PRESSED STEEL WATER TOWER FIRE TRUCK Circa 1930 In original paint and retains its original label. Length 34â&#x20AC;?. 400/700

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A collection of fire memorabilia

279

279.

FRAMED MCLOUGHLIN BROTHERS LITHOGRAPHED PUZZLE Circa 1887 Depicts a horse-drawn fire pumper. Also includes original box. Completed puzzle 15” x 23” sight. Framed 22.5” x 31”. 400/700

281.

GAMEWELL FIRE ALARM TELEGRAPH CO. ADVERTISING MIRROR Late 19th/Early 20th Century Tin frame painted red and with an embossed clenched fist at top. “The Gamewell Fire Alarm Telegraph Co. General Offices and Works Newton Upper Falls, Mass.” in black lettering above and below inset mirror glass. Height 17”. Width 12”. 200/400

280.

FRAMED MCLOUGHLIN BROTHERS LITHOGRAPHED PUZZLE Circa 1890 Depicts a horse-drawn fire pumper. Completed puzzle 8.75” x 14.75” sight. Framed 16.75” x 22.5”. 300/400

282.

OVAL CAST IRON FIRE MARK 19th Century Raised “F” and “A” flanks a fire hydrant and hose. Shows traces of original paint. 11.5” x 7.25”. 200/400 This lot is not from the Collection.

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283.

OVAL CAST IRON FIRE MARK 19th Century Raised “F” and “A” flanks a fire hydrant. 10.5” x 7.25”. 200/400

284.

RARE GAMEWELL FIRE ALARM Late 19th/Early 20th Century With oak case and brass bell. Retains original label marked “The Gamewell Fire Alarm Telegraph Co. New York”. Height 23”. Width 12”. 1,000/2,000

285.

APPOINTMENT TO THE BOSTON FIRE DEPARTMENT Dated 1847 “City of Boston. This certifies that Austin Harding is appointed a Member Of The Company of Engine No. 4 by the Mayor & Alderman of the City of Boston and is entitled to all the immunities belonging to said office. Given under my hand this 1st day of June, A.D. 1847.” Signed by “M. Mcleary”, city clerk, and “Josiah Quincy”, mayor. Pre-printed document with handwritten entries. 8.5” x 10.5” sight. Framed 10.5” x 12.5”. 400/600

284

285

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A collection of fire memorabilia

286

286.

N. CURRIER PRINT “THE LIFE OF A FIREMAN” Circa 1855 Fully titled “The Life of a Fireman. The Fire - ‘Now then with a will - Shake her up boys!”. 19.25” x 27.5” sight. Framed 27.5” x 35.5”. 1,400/1,800

287.

SIX HARDENS HAND GRENADE FIRE EXTINGUISHERS Circa 1880 Turquoise blue molded glass grenades with molded maker’s mark. Includes a wire wall-mounted rack. Grenade height 6.5”. Rack 13” x 15”. 600/800

287

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288

288.

SIX HAND GRENADE FIRE EXTINGUISHERS 19th Century Cobalt blue, amber, lime green, clear, electric blue and green molded glass, some with molded maker’s inscriptions and some with labels. Includes two wire carrying racks. Grenade heights approx. 5.25”. 500/800

289.

TWO RARE RAILROAD GRENADE FIRE EXTINGUISHERS 19th Century Both molded glass. One marked “C&A N.W.RY.”, length 18”, and one marked “The Harden Tubular Grenade”, length 17.5”. 300/500

290.

THREE LEATHER FIRE HELMETS Late 19th/Early 20th Century One painted white and with brass eagle-form finial and front plate painted “Salem ORC 1891”. One painted black and with brass eagle-form finial. Third painted black, stamped with patent date 1872 and with molded brass finial in the form of a fireman holding a trumpet. 600/900

290

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A collection of fire memorabilia

291

291.

100

TEN LEATHER FIREMAN’S BELTS 19th Century Marked “New Boston NH”, “Baxter”, “Boston”, “Pittsfield”, “2 Long Reach 2”, “Foreman”, “Augusta”, and “Manchester NH”. Two marked “Cumberland”. Lengths approx. 38”. 1,000/2,000

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292

292.

LEATHER FIRE BUCKET 19th Century “H & L 2” in gold lettering on a brick red ground with black highlights. Retains original handle. Height 12.5”. 400/700

293

293.

294

EARLY TIN FIRE TRUMPET Circa 1820 Painted white with “Chief Engineer” in black lettering. Length 18.75”. 800/1,000

295, pair

295.

PAIR OF LEATHER FIRE BUCKETS 19th Century Found in Maine. Both with “D. Augur” in yellow lettering on a black ground. One marked “No. 1” and the other marked “No. 2”. Heights 12.5”. 500/800

294.

LEATHER FIRE BUCKET 19th Century Decorated with a central yellow star on a green ground. “No. 1” in yellow lettering at top. “United Fire Society” in black lettering on a white banner at bottom. Another banner with mostly illegible lettering above star. Retains original but damaged handle. Height 13”. 400/600

296

296.

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LEATHER FIRE BUCKET 19th Century Painted green. Retains original handle. Height 13”. 200/400

101

A collection of fire memorabilia

297

102

298

297.

SILVER PLATED PRESENTATION FIRE TRUMPET Late 19th Century Etched decoration of various fire gear. Eagle’s-head ring mounts on both sides. Height 21”. 600/900

298.

SILVER PLATED PRESENTATION FIRE TRUMPET Late 19th Century Etched decoration of a hose reel, fire pumper, griffins and females figures. Height 19.5”. 300/500

299

299.

SILVER PLATED PRESENTATION FIRE TRUMPET Late 19th Century Etched decoration of a fire helmet, fire pumper and other gear. Height 17.75”. 600/900

conclusion of this collection

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300

300.

SANDWICH CUT OVERLAY GLASS BANQUET LAMP Circa 1860 In Punty pattern in cranberry cut to clear. Cut frosted globe and clear glass chimney, both of the period. Double-stepped marble base with applied gilt brass. Height 28”. Height to collar 17.5”. 4,000/6,000 This lamp is similar to one illustrated in The Glass Industry in Sandwich Vol. 2 Raymond E. Barlow and Joan E. Kaiser, fig. 2346.

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103

301.

PAIR OF GLASS WAFFLE PATTERN WHALE OIL LAMPS Attributed to Sandwich Glass Company. Heights 12”.

American, 19th Century 250/350

302.

SIX COLORED GLASS COLOGNE BOTTLES 19th Century Includes a pair in medium opaque blue, one in amethyst, one in canary yellow, one in cranberry and one cut overlay in blue cut to clear. Heights from 5.25” to 6.5”. 400/600 From the Claflin Estate in Marion, Massachusetts.

303.

TWO BLOWN-MOLDED BLADDER-FORM GLASS BOTTLES One in light green and one in olive. Heights 8.5” and 10.25”.

19th Century 200/300

304.

BLOWN-MOLDED GLASS PITKIN FLASK In light green with iridescence. Height 5.5”.

19th Century 200/250

305.

JERSEY GLASS COMPANY BLOWN-MOLDED GLASS FLASK In white clambroth. Height 6.75”.

19th Century 100/200

301, pair

104

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306.

TWO BLOWN-MOLDED GLASS BOTTLES 19th Century Both in amber. Both with applied handles. Heights 7.5”. 300/400

306, two

307.

TWO BLOWN GLASS LIQUOR BOTTLES Early 19th Century In green and amber. Both rectangular. Heights 10.5”. 200/300

307, two

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105

308.

THREE FREE-BLOWN GLASS CHESTNUT BOTTLES Early 19th Century In green. Heights from 6.75” to 11”. 600/900

309.

HISTORICAL BLOWN-MOLDED GLASS FLASK 19th Century In amber. Obverse with molded eagle and ring decoration. Reverse with molded Masonic decoration. Height 7.5”. 200/400

310.

311.

312.

313.

314.

HISTORICAL BLOWN-MOLDED GLASS FLASK Circa 1830 In olive amber. Molded portraits of Washington and Jackson. Height 5.5”. 150/250

STODDARD BLOWN-MOLDED GLASS FLASK 19th Century In amber. Both sides with molded eagle and Liberty shield decoration. Height 6.25”. 100/150

WILLINGTON BLOWN-MOLDED GLASS FLASK 19th Century In amber. Obverse with molded eagle and Liberty shield decoration. Reverse with molded text “Willington Glass Co West Willington Conn”. 200/300

TRAVELER’S BLOWN-MOLDED GLASS FLASK 19th Century In amber. Obverse with molded wheat and tool decoration. Reverse with molded text “Traveler’s Companion”. Height 9”. 200/300

315.

WESTFORD BLOWN-MOLDED GLASS FLASK 19th Century In amber. Obverse with molded wheat and tool decoration. Reverse with molded text “Westford Glass Co Westford Conn”. Height 6.25”. 150/250

316.

WILLINGTON BLOWN-MOLDED GLASS FLASK Circa 1850 In brown. Obverse with molded eagle and Liberty shield decoration. Reverse with molded text “Willington Glass Co. West Willington Conn”. Height 9”. 200/400

317.

HISTORICAL BLOWN-MOLDED GLASS FLASK 19th Century In light blue. Obverse with molded “General Taylor Never Surrenders” surrounding a bust portrait of Taylor. Reverse with molded “The Father Of His Country” above a bust portrait of George Washington. Height 8”. 180/220

318.

BLOWN-MOLDED GLASS FLASK 19th Century In light blue. Obverse with molded cornucopia decoration. Reverse with molded eagle and Liberty shield decoration. Height 7”. 200/300

319.

BUNKER HILL MONUMENT COLOGNE BOTTLE 19th Century In deep violet. Height 9.75”. 200/300

320.

GREELEY’S BOURBON BITTERS BLOWN-MOLDED GLASS BOTTLE In copper. Height 9”.

BLOWN-MOLDED GLASS FLASK 19th Century In amber. Obverse with molded fruit compote decoration. Reverse with molded cornucopia decoration. Height 7”. 100/150

308

106

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19th Century 300/500

309

313

317

310

312

311

314

315

318

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316

319

320

107

321

322

321.

HISTORICAL BLOWN-MOLDED GLASS FLASK 19th Century In amber. Both sides with molded eagle and Liberty shield decoration. Height 6”. 200/300

322.

TWO HISTORICAL BLOWN-MOLDED GLASS FLASKS 19th Century Both in amber. One with molded eagle and Liberty shield decoration. One with molded compote and cornucopia decoration. Heights 6.75” and 5.5”. 200/400

323.

BLOWN-MOLDED GLASS STORAGE JAR Early 19th Century Possibly Keene. In olive green. Rectangular form. Height 4.25”. 300/400

end of session i

108

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323

Session II Thursday, August 2 at 10 a.m. Lots 501-820 Chinese Export 524-558, 606-638 Maritime Art 559-605 A Nantucket Collection 639-673 Oriental Rugs 690-715 As well as furniture, paintings, folk art, ceramics and more

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107

108

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501.

UNUSUAL GRAIN-PAINTED LIFT-TOP BLANKET CHEST Chatham, Massachusetts, Mid-19th Century In pine with yellow and brown grainpainted finish. Top surmounted with a one-drawer glove box. Top attached to case with iron hinges. Case with three faux drawers over two working drawers. All drawers with turned wooden pulls painted brown. Applied molding at base. Bracket feet. Height 36.25”. Width 40.75”. Depth 20.5”. 800/1,200 According to an accompanying note, this chest was made by the grandfather or father of Rebecca and Sue Snow, who lived near Oyster Pond in Chatham. In the 1950s, when the sisters were believed to be in their 70s or 80s, the house was torn down to make way for an A&P store. The Snow sisters sold the chest to the Abell family, where it has descended since then.

501

502.

TWO-TIER DRESSING TABLE Circa 1820 In original yellow paint with green trim and fruit and floral decoration. Scrolled backsplash and two-drawer upper tier decorated with floral sprigs. Full-width drawer in base with fruit decoration in red, green, blue and yellow. Drawers fitted with brass circular pulls. Height 32.5”. Width 36.75”. Depth 15.25”. 1,000/1,500 Provenance: Found in a Middlebury, Vermont antique shop in 2013.

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502

109

504

503

503.

CHIPPENDALE SLANT-LID DESK American, Circa 1780 In tiger maple and maple. Interior fitted with pigeonholes and drawers. Case with four full-width drawers and bracket base. Height 41.5”. Width 36”. Depth 19”. 800/1,200

504.

HEPPLEWHITE DROP-LEAF TABLE American, Circa 1820 In strong tiger maple with shaped top and square tapered legs. Height 29”. Length 16” plus two 13.5” drop leaves. Width 36”. 1,000/1,500

505 506

505.

110

HEPPLEWHITE FOUR-DRAWER CHEST American, Early 19th Century In maple and maple veneer, with bird’s-eye maple veneer drawer fronts. Height 36”. Width 41.5”. Depth 19”. 900/1,200

506.

FEDERAL GILT MIRROR Salem or Boston, Late 18th or Early 19th Century Cornice top with ball drops. Original upper eglomise panel depicts a landscape. Fluted Corinthian columns at sides. Height 28”. Width 24”. 400/600

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507

507.

SLANT-LID WRITING DESK ON STAND New England, 18th Century In curly maple. Lid hinged to fold back and rest upon the top. Interior fitted with pigeonholes and small drawers. Stand with full-width drawer and pull-out writing surface. Turned legs joined with box stretcher. Height 45”. Width 36.5”. Depth 20”. 800/1,200

508

508.

CHIPPENDALE FOUR-DRAWER CHEST Coastal Massachusetts, Second Half of the 18th Century In figured maple. Original overhanging top with molded edges and carved front corners. Drawers retain original cast willow hardware. Molded base with original carved bracket feet. Height 37.25”. Width 38”. Depth 20.5”. 500/800

510

509

509.

COUNTRY SHERATON SIX-DRAWER CHEST Circa 1820 In pine. Case with reddish-brown grain-painted finish and drawer fronts with yellow grain-painted finish. Deck top with shaped backsplash and two glove drawers. Backsplash with stenciled decoration of a compote filled with fruit and flowers. Case with four full-width drawers and bulbous turned legs. All drawers with circular brass pulls. Height 52.5”. Width 42”. Depth 17.75”. 300/500

510.

GRAIN-PAINTED ONE-DRAWER WASHSTAND Maine, Circa 1840 With shaped backsplash and turned legs. Drawer with circular wooden pull. Height 34”. Width 30.75”. Depth 16”. 300/400

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111

511.

511

512.

TAVERN TABLE Pennsylvania, Circa 1780 In walnut with an old brown finish. Apron fitted with two drawers with turned wooden knobs. Tapered legs end in pad feet. Height 28”. Top 31” x 48”. 500/800

CHIPPENDALE TIGER MAPLE SLANT-LID DESK Late 18th Century Slant lid conceals a fitted interior. Case with four drawers with later turned wooden pulls. Height 41.5”. Width 36.5”. Depth 20.5”. 1,500/2,500

512

513.

TAVERN TABLE Pennsylvania, Circa 1790 In walnut with an old brown finish. Apron fitted with a full-width drawer with round wooden pull. Legs joined with stretcher and end in knob feet. Height 30”. Top 54.5” x 30”. 300/400

513

112

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517 518

516

514.

SHERATON DROP-LEAF STAND Coastal Massachusetts, First Quarter of the 19th Century In mahogany. Two drawers with crotch-grain mahogany veneer fronts and brass knob pulls. Tapered ring-turned and spiral-carved legs. Height 29”. Width 18.25” plus two 9” drop leaves. Depth 19.75”. 300/500

515.

PAIR OF HEPPLEWHITE SHIELD-BACK SIDE CHAIRS In mahogany with patera, quarter fan and string inlay. Seats with serpentine fronts, floral needlework upholstery and brass tack trim. Square tapered legs joined by H-stretchers. Back heights 38.5”. Seat heights 19”. 400/600

516.

QUEEN ANNE TILT-TOP CANDLESTAND Circa 1790 Walnut shaped square top set on a mahogany base with turned vasiform pedestal and cabriole legs ending in pad feet. Height 27.75”. Top 19.75” x 19.75”. 300/500

517.

HEPPLEWHITE DRESSING TABLE American, First Half of the 19th Century In strong tiger maple. Four drawers with turned brass pulls. Square tapered legs. Height 29.5”. Width 36”. Depth 17.75”. 400/600

518.

SHERATON TWO-DRAWER STAND American, Circa 1815 In cherry, tiger maple and mahogany veneer. Drawer fronts with tiger maple overlay around perimeter and turned wooden pulls. Turned legs fitted with brass casters. Height 28.75”. Width 25.5”. Depth 16.25”. 300/500

519.

SLAT-BACK ARMCHAIR Massachusetts Bay Colony, 1690-1720 In maple and ash with sausage turnings and rush seat. Back height 45”. Seat height 17.5”. 400/600

520.

CAST IRON GARDEN BENCH Late 19th Century With floral and shield designs. Painted green. Seat made of five wooden planks. Height 36”. Length 47”. Depth 26”. 300/500

521.

WHALE-SIDE SHELF 19th Century In walnut with four tiers. Height 33”. Width 23.25”. Depth 7.75”. 400/600

522.

QUEEN ANNE CANDLESTAND American, Second Half of the 18th Century In figured maple with original dark brown finish. Oval one-board top set on an urn-form tapered shaft raised on three arched carved legs ending in slipper feet. Height 27”. Top 15.25” x 21.25”. 300/500

523.

PAIR OF EMPIRE SABER-LEG SIDE CHAIRS American, Circa 1840 In mahogany and mahogany veneer. Backs with cornucopia design. Slip seats with faded pink upholstery. Back heights 31”. Seat heights 17”. 200/300

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113

524.

LARGE CHINESE EXPORT ROSE MANDARIN PORCELAIN WASHBOWL Mid-19th Century Interior with six fan-form figural and floral cartouches. Butterflies, bats and birds about the interior and the rim. Exterior with floral sprays. Height 5”. Diameter 19”. 1,500/2,500

524

525.

CHINESE EXPORT PORCELAIN CACHE POT Mid-19th Century With Mandarin and Famille Rose paneled decoration. Height 15.5”. Diameter at top 10.75”. 400/600

525

526.

PAIR OF CHINESE EXPORT PORCELAIN ROSE MEDALLION POET VASES 19th Century In baluster form with raised gilt dragons about the shoulders and matching dragonform handles at sides. Bodies decorated with Chinese figures and calligraphy. Finely detailed Rose Medallion borders at flared rim and foot. Heights 17”. Diameter of tops 8”. 800/1,000

526, pair

527.

CHINESE EXPORT ROSE MANDARIN PORCELAIN PUNCH BOWL Late 19th/Early 20th Century Detailed figural cartouches on interior and exterior. Flower, fruit and butterfly border. Height 8”. Diameter 18”. 800/1,000 527

114

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528

528.

CHINESE EXPORT ROSE CANTON PORCELAIN TEMPLE JAR Mid -19th Century Finely decorated with floral, landscape and butterfly cartouches on a Famille Rose ground. Cover with gilt knop. Metal strapping about cover and neck. Old staple repair to lip of cover. Height 26”. 800/1,000 Provenance: Private Collection, Duxbury, Massachusetts.

529.

CHINESE EXPORT PORCELAIN SAUCEBOAT WITH UNDERTRAY Second Quarter of the 19th Century Both with figural landscape decoration and lavender geometric borders. Sauceboat length 7.75”. 400/600

530.

CHINESE EXPORT CANTON PORCELAIN PLATTER With traditional blue and white decoration. Length 17”.

531.

BLUE AND WHITE FITZHUGH PORCELAIN LIGHTHOUSE-FORM COFFEEPOT Late 19th Century Made for the export market. Coffeepot with entwined strap handle. Cover with gilt knop. Both cover and pot with gilt highlights. Height 10”. 300/400 Provenance: Elinor Gordon. Private Collection, Cape Cod, Massachusetts.

532.

CHINESE EXPORT CANTON PORCELAIN PLATTER Mid-19th Century In rectangular form with canted corners. Finely detailed traditional blue and white decoration. 19” x 16”. 300/500

533.

TWO CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN DISHES Late 19th/Early 20th Century In lozenge form. Lengths 10” and 11”. 200/300

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Early 20th Century 200/400

115

534.

PAIR OF CHINESE EXPORT BLUE AND WHITE PORCELAIN VASES Second Quarter of the 19th Century With flared rims, and landscape and floral decoration. Heights 10.25”. 1,000/1,500

535.

CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN PLATTER 19th Century In octagonal form. Length 18”. 350/450

536.

RARE CHINESE EXPORT PORCELAIN LIDDED CIDER JUG Mid-19th Century Lid with gilt foo dog-form finial. Jug with blue and white landscape decoration and molded blue and gilt foliate decoration where twist handle is applied to body. Height 11”. 1,000/1,400 Provenance: Polly Latham Asian Art, Boston and Nantucket.

537.

CHINESE EXPORT PORCELAIN LIDDED CIDER JUG Mid-19th Century Lid with blue and white riverscape decoration and blue foo dog-form finial. Jug with blue Fitzhugh border around rim and molded blue foliate design where blue twist handle is applied to body. Height 10.75”. 800/1,200

538.

CHINESE EXPORT NANKING PORCELAIN COVERED TUREEN WITH UNDERTRAY Mid-19th Century With traditional blue and white decoration. Cover with fruit stem finial. Tureen with boar’s-head side handles. Tureen height 8.5”. Length 12.5”. Undertray length 12.5”. 600/900

539.

EIGHT CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN PLATES Early 20th Century With rice pattern border. Diameters 9.5”. 600/800

540.

CHINESE EXPORT CANTON PORCELAIN OCTAGONAL COVERED SOUP TUREEN WITH UNDERTRAY Mid-19th Century With traditional blue and white decoration. Tureen with boar’s-head handles at sides. Tureen height 8.25”. Length 12.75”. Undertray 14.25” x 17.25”. 500/800 Provenance: Jane Wilson, June 1978. A Vermont Collection.

541.

PAIR OF CHINESE EXPORT BLUE AND WHITE PORCELAIN OPEN VEGETABLE DISHES Early 20th Century In oval form. Spearhead borders. Lengths 11.5”. 500/700

534, pair

535

536

116

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538

537

539, eight

540

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541, pair

117

542

543

545 544

118

542.

CHINESE EXPORT PORCELAIN HANDLED MUG Circa 1800 With polychrome figural decoration. Height 5.25”. 300/350

544.

SQUARE CHINESE EXPORT PORCELAIN DEEP DISH Second Quarter of the 19th Century Central figural scene surrounded by a border of multicolored dragons. 9.75” x 9.75”. 450/600

543.

CHINESE EXPORT MANDARIN PORCELAIN BOWL Circa 1800 With polychrome figural decoration. Height 4.5”. Diameter 11.25”. 800/1,000

545.

CHINESE EXPORT PORCELAIN COVERED BOWL WITH UNDERTRAY Mid-19th Century Both bowl and undertray with figural landscape decoration and bird, butterfly and floral borders. Bowl with applied twist handles. Overall height 5.25”. Undertray diameter 8.25”. 600/800

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546.

546

547.

CHINESE EXPORT GILT-ON-BLACK LACQUER GAME BOARD Late 19th Century Exterior with checkerboard edged with detailed figural landscape and floral design. Interior with backgammon board with gilt diamond point design. Includes thirty ivory checkers; fifteen stained red and fifteen in natural color. Height of board closed 3.75”. Length 9.75”. Width 19.5”. 800/1,000

CHINESE EXPORT PORCELAIN WINE EWER Early 19th Century With allover blue and rust red floral decoration on a white ground. Figural landscape cartouche on obverse. Applied dragon-form handle. Height 10”. 800/1,200

548

547

548.

549.

549

RECTANGULAR CHINESE EXPORT PORCELAIN TRAY First Quarter of the 19th Century With shaped rim, lavender diapered border and central figural landscape decoration. 7.75” x 11”. 500/700

OVAL CHINESE EXPORT ROSE MANDARIN PORCELAIN TWO-PART WARMING DISH Mid-19th Century Shallow insert fits into a deeper platter. Both with central figural landscape decoration and butterfly and floral borders on a gilt ground. Deep platter with applied entwined fruit and foliate-form handles. Overall height 3.5”. Platter 9” x 12” 800/1,200

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119

550

551

550.

CHINESE EXPORT ROSE MEDALLION PORCELAIN SPITTOON Mid-19th Century In ovoid form with flared rim. Decorated with alternating figural and floral reserves. Height 6”. Diameter 9”. 400/600

551.

FLORIFORM CHINESE EXPORT ROSE MEDALLION PORCELAIN BOWL Mid-19th Century With alternating figural and floral reserves. Diameter 10”. 400/600

552.

CHINESE EXPORT ROSE MEDALLION CUT-CORNER BOWL Mid-19th Century With finely enameled figural and floral panels and a gilt rim. Interior with central butterfly medallion. Height 5”. Length 9.5”. 700/900

552

553.

PAIR OF CHINESE EXPORT PORCELAIN SAUCEBOATS Second Quarter of the 19th Century With figural landscape decoration and bat, bird and flower borders. Heights 3.25”. Lengths 7.25”. 500/700

554.

OVAL CHINESE EXPORT PORCELAIN SERVING DISH Second Quarter of the 19th Century Central figural landscape decoration surrounded by a bird, bat and flower border. 8.75” x 11.25”. 500/800

554

553, pair

120

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555, two

556

555.

TWO CHINESE EXPORT ROSE MANDARIN PORCELAIN PITCHERS Mid-19th Century Both octagonal with allover figural landscape decoration. Molded designs under spouts and along upper edges. Heights 5” and 6”. 500/700 Provenance: Polly Latham Asian Art, Boston and Nantucket, Massachusetts.

557.

PAIR OF CHINESE EXPORT PORCELAIN BARREL-FORM HANDLED MUGS Second Quarter of the 19th Century Both with large cartouches depicting figural landscapes. Orange diapered ground with intermittent floral cartouches. Heights 5.25”. 500/800

556.

CHINESE EXPORT ROSE MANDARIN PORCELAIN TEAPOT Mid-19th Century Cover with gilt fruit-form finial. Teapot with figural landscape decoration and applied twist handle. Height 6.25”. 500/700

558.

CHINESE EXPORT BLUE FITZHUGH PORCELAIN LIDDED RAZOR BOX Second Quarter of the 19th Century Divided interior. Height 2.75”. Length 7.75”. Width 4”. 500/700

557, pair

558

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121

560

559

559.

TWO-PART CAMPHORWOOD CAMPAIGN CHEST 19th Century Cases with brass banding, ebony trim and brass carrying handles mounted on sides. Upper case with three tiers of full-width drawers, the central tier with a fold-out writing surface flanked on left by a deep bottle drawer and on right by a stack of two small drawers. Writing surface with green leather cover. Lower case with two full-width drawers and turned knob feet. Drawers with inset brass hardware and string inlay around perimeters. Height 49.75”. Width 42.5”. Depth 19.25”. 1,500/2,000

560.

AMERICAN SCHOOL Mid-20th Century Bathers on a cliff-lined beach. Monogrammed lower right “GB” or “BB”. Watercolor and gouache, 7.5” x 6” sight. Framed 12.5” x 11.75”. 400/600

561

561.

122

562

FRANK ADAMS WOOD AND TIN TWO-MASTED SHIP WEATHER VANE West Tisbury, Massachusetts, Circa 1930 Painted black. Includes seven sails. Height 21”. Length 34.” 900/1,200

562.

TWO-PART BRASS-BOUND CAMPAIGN CHEST English, Mid-19th Century In mahogany with brass bail carrying handles at sides and inset brass hardware. Upper case with four small drawers over a full-width drawer. Lower case with two full-width drawers. Height 50.75”. Width 45”. Depth 18.5”. 1,000/1,500

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563

563.

564

FRANK ADAMS WOODEN FOUR-MASTED SHIP WEATHER VANE West Tisbury, Massachusetts, Circa 1930 White sails and black hull. Height 21.5”. Length 44”. 900/1,200

564.

SAILOR’S VALENTINE American, Contemporary Composed of multicolored shells in a floral and geometric design. Octagonal wooden case. No signature noted. 15” x 15”. 300/500

566

565

565.

YASHAREL MANZY Iranian, b. 1947 Sailboats off a rocky coast. Signed lower left “Yasharel”. Oil on board, 15.5” x 23.5”. Framed 22” x 31”. 700/1,000

566.

TWO-PART CAMPAIGN CHEST Late 19th Century In mahogany with brass banding and inset brass hardware. Both upper and lower cases with two full-width drawers. Height 34.25”. Width 36”. Depth 18.5”. 600/800

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123

567

567.

124

MAURITZ FREDERIK HENDRICK DE HAAS New York/Holland, 1832-1895 Rocky coastal scene with figures. Signed lower right “M.F.H. de Haas”. Oil on canvas, 20” x 30”. Framed 31” x 41”. 5,000/7,000

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568

568.

CLARK VOORHEES, JR. Connecticut/Vermont, 1911-1980 Carved and painted wooden bottle-nose dolphin. Stamped verso “C. Voorhees”. Length 18.5”. 1,500/2,500

570.

BENJAMIN C. DOWN New Jersey, Early 19th Century Folk art portrait of a ship. Signed and dated lower center “Drawn by Benjamin C. Down 1822”. Together with a hand-drawn birth announcement by the same artist. Watercolor on paper, 8.5” x 11.25” sight. Framed 11” x 14”. 300/500

569.

GALVANIZED METAL SHIP’S LANTERN Early 20th Century Made for Charles C. Hutchinson, 152 State Street, Boston. Fresnel lens and vented top. Height 12”. Width 5”. Depth 5.5”. 200/300

571.

AMERICAN SCHOOL Early 20th Century Boats on the shore. Unsigned. Oil on canvas, 12” x 18”. Framed 13” x 20”. 300/500

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125

572

572.

BLUEBACK CHART OF THE COAST OF WEST FLORIDA, ALABAMA AND MISSISSIPPI Dated 1834 From the Surveys of Gault, published by E. & G.W. Blunt. 26” x 37”. 800/1,000

573.

CHELSEA U.S. NAVY MARK I DECK CLOCK Mid-20th Century Black dial with white Arabic numerals. Face marked “Mark I Deck Clock U.S. Navy” and “Chelsea”. Black bakelite case. Mounted on a wooden base. Face diameter 5.5” (exclusive of bezel). Height on base 10.5”. Width 16.5”. Depth 6.5”. 400/600 Provenance: A Connecticut Estate.

574.

BANJO BAROMETER English, 19th Century Mahogany case with fruitwood shell and sunflower inlay. Brass face. Height 38.5”. Width 10”. Face diameter 8”. 300/400

573

126

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575

576

575.

“Docks of Gloucester”. Signed lower left “Gordon Grant”. Titled on label verso. Watercolor on paper, 14” x 21” sight. Framed 24” x 30”. 1,500/2,500 Provenance: Harlow, Keppel & Co., New York.

576.

Ships at a pier. Signed lower right “Gordon Grant”. Watercolor on paper, 14.5” x 21”. Framed 21” x 30”. 1,000/1,500

Gordon Hope Grant New York/California/United Kingdom, 1875-1962 Lots 575-576

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127

577

578

577.

“Side by Side Whaling Barks Morning Star & Greyhound”. Signed lower right “BeNeill A.S.M.A”. Titled verso. Oil on canvas, 18” x 24”. Framed 24” x 30”. 600/900

578.

“Number Two Boux”. Signed lower right “BeNeill A.S.M.A”. Titled verso. Oil on canvas, 22” x 28”. Framed 29” x 35”. 600/900

Ben Neill Massachusetts, 1914-2001 Lots 577-578

128

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579.

AMERICAN SCHOOL Early 20th Century The steamer Morro Castle. Signed lower right “A. Zellinger[?]”. Titled lower center “Morro Castle Ward Liner”. Oil on board, 11” x 21”. Framed 13” x 23”. 700/900

The Morro Castle, which traveled between New York and Cuba in the 1930s, was named for the Morro Castle fortress at the entrance to Havana Bay. She famously burned in 1934, and the disaster led to increased fire safety onboard ships. 579

580.

HUDSON RIVER SCHOOL 19th Century Boating on the river. Unsigned. Oil on board, 5” x 8”. Framed 9” x 12”. 600/900

580

581.

GEORGE M. HATHAWAY Maine/United Kingdom, 1852-1903 River through a wooded valley, with rocky outcropping and evergreens in foreground and a tree-lined hill in distance. Signed lower left “G.M. Hathaway”. Oil on panel, 6” x 4.5”. Framed 7.75” x 6.25”. 400/600

581

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129

Baskets marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state.

582

583

582.

* OVAL NANTUCKET FRIENDSHIP BASKET PURSE Dated 1968 By Jose Formoso Reyes (Nantucket, 1902-1980). Swing handle. Lid with oval wooden plaque surmounted by an ivory sperm whale-form plaque. Signed on underside “Made in Nantucket Jose Formoso Reyes 1968”. Height 7”. Length 10”. Width 7”. 1,000/1,500

583.

* OVAL NANTUCKET FRIENDSHIP BASKET PURSE Circa 1960 By Jose Formoso Reyes (Nantucket, 1902-1980). Swing handle. Lid with oval walnut plaque surmounted by a sperm-whale form plaque. Signed on underside of base “Made in Nantucket Jose Formoso Reyes”. Height 6.75”. Length 9”. Width 7”. 1,000/1,500

586, set of nine

130

584

584.

585

* OVAL NANTUCKET FRIENDSHIP BASKET PURSE Dated 1960 By Jose Formoso Reyes (Nantucket, 1902-1980). Swing handle. Lid with oval ebony plaque surmounted by a sperm whale-form plaque. Signed on underside of base “Made in Nantucket Jose Formoso Reyes 1960”. Height 6”. Length 7”. Width 6”. 1,000/1,500

585. * OVAL NANTUCKET FRIENDSHIP BASKET PURSE 20th Century By R.J. Leichter. Swing handle. Lid with oval rosewood plaque surmounted by a sperm whale-form plaque. Branded on underside of base “Nantucket Leichter”. Height 5”. Length 8”. Width 5”. 400/700

586. SET OF NINE ROUND NESTING NANTUCKET BASKETS By Ainsley Rockwood (Cape Cod, Massachusetts, 20th Century). All with cherry handles. Smallest basket contains a wooden robin’s egg. All signed “A.D.R.” on undersides. Heights from 4” to 13.75” including handles. Diameters from 1.5” to 12.5”. 2,500/3,500

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587

588

587.

* OVAL NANTUCKET FRIENDSHIP BASKET PURSE Dated 1965 By Jose Formoso Reyes (Nantucket, 1902-1980). Swing handle. Lid with ebony plaque surmounted by an ivory seagull-form plaque carved by Charles F. Sayle. Basket signed on underside “Made in Nantucket by Jose Formosa Reyes 1965”. Height inclusive of handle 10.5”. Width 9”. Depth 7”. 2,000/3,000

588.

* OVAL NANTUCKET FRIENDSHIP BASKET PURSE Circa 1973 Swing handle. Lid with ivory clasp and oval ivory plaque surmounted by an ivory seagull-form plaque carved by Paul Morris. Basket signed on underside “S. Gibbs Maker Nantucket Mass”. Height inclusive of handle 11.5”. Width 9”. Depth 6.5”. 1,500/2,500

589.

ROUND NANTUCKET BASKET Dated 1954 By Herbert Sandsbury (Nantucket, 1911-1984). Whalebone discs inlaid on both sides of base plate. Inscribed “1954” on underside. Height inclusive of handle 15.5”. Diameter 10.5”. 1,000/1,500 Provenance: Purchased from the Sandsbury family by the current consignor. Herbert Sandsbury was a carpenter and cabinetmaker who made quaterboards and signs for island businesses.

590

589

590.

SHALLOW ROUND NANTUCKET LIGHTSHIP BASKET 19th Century Attributed to William R. “Penn” Sandsbury (1833-1899) who was the brother of Captain Andrew Sandsbury (18301902) and who worked aboard the South Shoal Lightship. Incised mahogany base plate. Remnants of paper label on underside of base. Height inclusive of handle 10”. Diameter 9.75”. 2,000/3,000 Provenance: David Wood Collection.

591.

SET OF SEVEN OVAL NESTING NANTUCKET BASKETS By Ainsley Rockwood (Cape Cod, Massachusetts, 20th Century). All with cherry handles. Smallest basket contains a wooden robin’s egg. All signed “A.D.R.” on undersides. Heights from 4.75” to 13.5” including handles. Diameters from 3.75” to 14”. 2,500/3,500

591, set of seven

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131

592

595

596

132

TWO-EGG NANTUCKET BASKET Nantucket, Early 20th Century Signed and dated on base “G.R. 36”. Note inside attributes the basket to George Ray. Height inclusive of handle 5”. Diameter 4”. 400/600

593.

TWO-EGG NANTUCKET BASKET Early 20th Century By Ferdinand Sylvaro (Nantucket, 1868-1962). Signed and dated on label on base plate “F. Sylvaro”. 400/600

594.

ROUND NANTUCKET BASKET Circa 1920 By A.D. Williams (Nantucket, 1857-). Swing handle. Retains traces of original label on underside. Height 4.25”. Diameter 7.5”. 700/1,000

595.

ROUND NANTUCKET BASKET Circa 1940 By Ferdinand Sylvaro (Nantucket, 1868-1962). Swing handle. Paper label on underside marked “Made by Ferdinand Sylvaro 97 Orange Street Nantucket Mass.”. Height 4.5”. Diameter 7.5”. 700/1,000

596.

ROUND NANTUCKET BASKET Height 4.25”. Diameter 10”.

597.

NANTUCKET LIGHTSHIP BASKET Circa 1880 Attributed to Andrew Jackson Sandsbury (Nantucket, 1830-1902). Swing handle. Height 5.75”. Diameter 9”. 700/1,000

598.

ROUND NANTUCKET LIGHTSHIP BASKET Circa 1920 By A.D. Williams (Nantucket, 1857-). Signed on underside of base “Lightship basket made by A.D. Williams Nantucket Mass.” Height 8.5”. Diameter 14.25”. 1,000/1,500

593

594

597

592.

598

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Circa 1940 300/500

600

599

599.

OVAL NANTUCKET LIGHTSHIP BASKET Circa 1890 Attributed to William D. Appleton (Nantucket, 18511918). Inscribed on underside “Sarah Bringhurst”. Height inclusive of handle 10”. Length 10.75”. Width 7.5”. 1,200/1,800

600.

NANTUCKET LIGHTSHIP BASKET Circa 1880 With shaped handle, notched wooden ears and doublewrap rim. Unknown maker. Height inclusive of handle 9”. Diameter 7”. 500/700

601.

ROUND NANTUCKET BASKET Circa 1940-1950 With oak handle and ears, and double-wrap rim. Branded on base plate “R.S.” Height inclusive of handle 9.5”. Diameter 7.5”. 500/700

602.

ROUND NANTUCKET LIGHTSHIP BASKET Late 19th Century With swing handle. Unmarked. Height 6.25”. Diameter 9”. 600/800 The Cap Vinal Collection.

601

603.

FLAT-BACK NANTUCKET BASKET Dated 2002 Made by Sherry Tinney (Cape Cod, Massachusetts, Contemporary). With swing handle and bone knobs. Signed on underside “Sherry Tinney #72 1/2002”. Height 5.25”. Width 9.25”. Depth 5”. 400/600

604.

OVAL NANTUCKET BASKET Dated 2001 Made by Sherry Tinney (Cape Cod, Massachusetts, Contemporary). With swing handle and bone knobs. Signed on underside “Sherry Tinney #22 1/2001”. Height 3.5”. Length 10.25”. Width 9”. 600/900

605.

OVAL NANTUCKET BASKET Dated 1999 Made by Sherry Tinney (Cape Cod, Massachusetts, Contemporary). With swing handle and bone knobs. Signed on underside “Sherry Tinney #2 12/1999”. Height 3.5”. Length 10.25”. Width 9”. 400/600

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133

606

606.

607.

608.

607

CHINESE EXPORT GILT-ON-BLACK LACQUER SEWING BOX 19th Century In shaped rectangular form. Painted figural decoration of bats, birds and flowers in a gilt floral landscape. Lift top’s interior with raised Chinese figure above a “love” floral medallion. Interior fitted with two covered compartments containing many ivory and wood oddments and four small hardstone plaques in a frame. Front of box with single drawer. Four giltwood claw feet. Two carrying handles. Height 7”. Width 14”. Depth 11”. 800/1,000

CHINESE EXPORT LACQUER TEA CADDY 19th Century Finely detailed gilt decoration of cranes and flowers on a deep red ground. Gilt dragon-form feet. Height 6”. Width 9.5”. Depth 7”. 500/700

608

609.

SET OF FOUR CHINESE EXPORT ROSE MANDARIN PORCELAIN PLATES Mid-19th Century Each with central figural landscape decoration, and bird, flower and butterfly borders. Diameters 9.75”. 600/1,000

610.

CHINESE EXPORT STRAP-HANDLED MUG Late 18th/Early 19th Century With floral decoration surrounding a monogrammed medallion on a “chicken skin” ground. Height 4.5”. 200/400

611.

TWO PIECES OF CHINESE EXPORT ROSE MEDALLION PORCELAIN Mid-19th Century A shaped oval covered tureen with gilt finial, length 11”, and a rectangular shallow tray with fluted gilt edge, length 15.5”. 400/600

CHINESE EXPORT LACQUER TEA CADDY Mid-19th Century In melon form. Gilt decoration on a black ground. Conforming pewter insert with finely detailed engraving of birds and flowers. Height 6.5”. Diameter 10”. 800/1,200

609, set of four

134

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612.

OVAL CHINESE EXPORT PORCELAIN PLATTER Late 19th Century In “Thousand Butterfly” pattern. Length 18”. 800/1,000

612

613.

CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE Mid-19th Century In baluster form with applied gilt baby dragon about the neck. Finely enameled figural and floral decoration highlighted by phoenix and brocade designs. Floral sprays to the interior. Height 25”. 1,000/1,500

613

614.

CHINESE EXPORT ROSE MEDALLION PORCELAIN PLATTER Last Half of the 19th Century With floral central medallion. Length 15”. 400/600

614

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135

615.

CHINESE EXPORT LEATHER-COVERED CAMPHORWOOD TRUNK Late 19th Century With painted floral decoration on a green ground. Brass hardware. Height 12.25”. Length 29.5”. Depth 14.5”. 600/900

620.

CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN WATER DISH Late 19th/Early 20th Century Central floral and dragon medallion, and spearhead border. Length 11”. 400/600

616.

CHINESE EXPORT ROSE MEDALLION PORCELAIN PITCHER Mid-19th Century In squat decagonal form, with alternating figural and floral panels and a gilt-decorated handle. Height 8”. 350/450

621.

617.

CHINESE EXPORT ROSE MEDALLION PORCELAIN PITCHER Mid-19th Century Height 10.5”. 400/600

CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN COVERED DISH Late 19th/Early 20th Century In quatrefoil form with ruffled edge. Decorated with floral sprays about the exterior. Cover and interior with paneled floral decoration. Cover with strawberry finial. Length 11”. 400/600

622.

TWO CHINESE EXPORT ROSE MANDARIN PORCELAIN VASES Mid-19th Century Both with flared rims and cylindrical bodies with figural landscape decoration. Heights 11.25” and 11.75”. 1,000/1,500

623.

CHINESE EXPORT PORCELAIN PLATTER Late 18th/Early 19th Century With canted and pinched corners. Central floral and scenic decoration, including two boats, all in shades of peach, pink and cobalt blue. Floral decoration on rim. 11.5” x 14.5”. 200/400

624.

CHINESE EXPORT PORCELAIN SQUARE BOUGH POT Fourth Quarter of the 18th Century Original partitioned cover with raised insect and other decoration. Base with gilt handles, Famille Rose decoration on each side and raised foliate decoration at each corner. Retains label indicating it is from the collection of Matthew and Elizabeth Sharp. Height 8.25”. 1,000/1,600

618.

619.

OVAL CHINESE EXPORT ROSE MANDARIN PORCELAIN HOT WATER PLATTER WITH DOMED LID Mid-19th Century Lid and platter with figural landscape designs, identical cartouche elements and gilt highlights. Lid with gilt fruitform finial and bird, butterfly and floral border. Platter with floral sides. Height with lid 7.25”. Platter 11” x 15.75”. 1,500/2,500

CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN VEGETABLE DISH Late 19th Century Cover with chestnut finial. Length 12”. 300/500

615

136

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616

618

617

620 621 619

623

624

622, two

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137

625.

PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN CANDLESTICKS Mid-19th Century In trumpet form. Height 10.25”. 400/600

625, pair

626.

CHINESE EXPORT PORCELAIN COVERED DEEP DISH Mid-19th Century With alternating figural and floral panels. Monogrammed on both cover and center of dish. Length 14”. 900/1,000

626

627.

TWO CHINESE EXPORT ROSE MEDALLION PORCELAIN VASES Mid-19th Century Both in hexagonal form with figural decoration and animalistic handles. One with green painted interior rim. Heights 12”. 800/1,000

627, two

628.

CHINESE EXPORT ROSE MANDARIN PORCELAIN PUNCH BOWL Mid-19th Century Finely detailed edge. Interior with enameled figural decoration. Height 7.5”. Diameter 15.5”. 1,000/1,200 628

138

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629.

OVAL CHINESE EXPORT NANKING PORCELAIN PLATTER Early 20th Century With blue and white decoration. Length 11.75”. 200/400

634.

ASSEMBLED SET OF ELEVEN CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN PLATES Mid-19th Century Diameters 9.75”. 300/500

630.

CHINESE EXPORT CANTON PORCELAIN DISH Early 20th Century In ruyi form with traditional medium blue and white landscape decoration. Length 10”. 200/300

635.

CHINESE EXPORT BLUE AND WHITE NANKING PORCELAIN COVERED VEGETABLE DISH Early 20th Century In quatrefoil form. Cover with strawberry finial. Decorated with floral sprays and traditional landscapes. Length 10”. 300/500

631.

FOUR PIECES OF CHINESE EXPORT NANKING PORCELAIN TABLEWARE Late 19th Century A master salt, a gravy boat with entwined handle, length 7”, an egg cup and a demitasse cup with scalloped edge. All with traditional blue and white decoration. 200/400

636.

CHINESE EXPORT GILT-ON-BLACK LACQUER LIFT-TOP BOX Late 19th Century In octagonal form with chinoiserie decoration of insects, leaves and vines. Claw & ball feet, one missing. Handles at sides. Interior with lift-out tray. Height 5.5”. Width 13”. Depth 9”. 600/800

637.

BRASS-BOUND CAMPHORWOOD TRUNK 19th Century Brass bail handles at front of lid, and iron bail handles at sides of trunk. Height 19”. Width 41”. Depth 20.5”. 300/400

638.

CHINA TRADE BRASS-BOUND CAMPHORWOOD TRUNK Mid-19th Century Blind dovetail construction. Height 21.5”. Width 44”. Depth 22”. 400/600

632.

633.

CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN COVERED DISH Late 19th Century Interior, exterior and cover with spearhead border. Cover with strawberry finial. Length 8.5”. 200/300

CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN CUT-CORNER BOWL Late 19th/Early 20th Century Height 4.5”. Length 9.75” across. 200/300

637 638

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139

items from a

Nantucket Collection Lots 639-673

639

639.

140

SUNNY WOOD Nantucket, Contemporary Large “salvaged wood” sperm whale. Signed verso “Sunny B. Wood 2015”. Length 67”. 4,000/6,000

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640

640.

MARCUS FOLEY Nantucket, Contemporary Carved wooden whale. Signed verso “M. Foley”. Length 61”. 2,500/3,500

641.

CARVED AND PAINTED SPERM WHALE American, 20th Century Mounted on a framed backboard. Signed verso “Luigi Rossi”. Backboard 15” x 32”. 400/600

641

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141

Items from a

antucket Collection

643 642 644

642.

TWO-DOOR CABINET American, Contemporary Intentionally distressed blue finish. Molded cornice. Two paneled doors enclose three shaped shelves. Height 65”. Width 41.5”. Depth 15”. 400/600

643.

CHIPPENDALE-STYLE MIRROR 20th Century Crest with applied eagle. Painted foliate and whale decoration. Height 35”. Width 20”. 200/300

645.

645, two

142

644.

PAINTED CUPBOARD American, Contemporary With molded cornice and paneled door. Height 73”. Width 34”. Depth 15”. 300/500

TWO LITHOGRAPHS OF SHELLS 20th Century After 18th Century works by Pierre Tanje. 18” x 22” sight. Framed 28” x 32”. 400/600

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646

646.

THIRTEEN-STAR AMERICAN FLAG Circa 1876 Hand-stitched flag with thirteen handstitched stars. Likely a U.S. Navy boat ensign. 59” x 30”. Framed 42” x 70”. 4,000/6,000 Provenance: Jeff R. Bridgman American Antiques.

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143

Items from a

antucket Collection

647

647.

AFTER JONATHAN BADGER BACHELDER American, Mid-19th Century “Review of the Mass. Volunteer Militia at Concord, Sept. 9, 1859th, By His Excellency (Commander In Chief ) Nathaniel P. Banks”. Published by Endicott & Co. Hand-colored lithograph on paper, 29” x 43” sight. Framed 36” x 50”. 1,500/2,500 Provenance: Hirschl & Adler Galleries, New York.

648.

BRASS-BOUND AND INLAID QUARTER SAWN OAK TOOL CHEST First Half of the 20th Century Fitted interior with geometric inlay on compartment covers. Interior of lid with geometric inlay surrounding a central rectangular mirror. 800/1,200

649.

VICTORIAN STEAMER TRUNK Late 19th Century Domed top opens to reveal an immaculate fitted and lithographed interior. Wonderfully restored. Height 25.5”. Width 33”. Depth 20”. 500/1,000

650.

DOME-TOP TRUNK American, 19th Century Under an old red finish. Height 18”. Width 38”. Depth 17.5”. 150/250

648

649

144

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651

651.

STEVAN DOHANOS Connecticut/Ohio, 1907-1994 “Lordship Light”. Signed lower right “Stevan Dohanos”. Titled on gallery label verso. Lordship Light, more commonly known as Stratford Point Lighthouse, sits at the entrance to Stratford Harbor, Connecticut. Oil on panel, 21” x 27”. Framed 27” x 34”. 30,000/50,000 Provenance: American Illustrators Gallery/Judy Goffman Cutler Fine Art, New York.

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145

Items from a

antucket Collection

652.

AFTER EMILE LOUIS PICAULT France, 1833-1915 “The Whaler”. Signed on base “E. Picault”. Bronze, height 24”. 3,000/5,000 Provenance: Capo Auctions, New York.

653.

COPPER SPERM WHALE WEATHER VANE American, Contemporary Verdigris finish. Adjustment clamp on post in the form of a Labrador retriever. Finders attached. Includes mounting bracket for installation on a roof. Length 29”. 500/1,000

652

653

146

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654.

CARVED AND GILT AMERICAN EAGLE Late 19th Century Height 15.5”. Length 25”. 1,000/1,500

654

655.

CARVED AND GILT AMERICAN EAGLE 20th Century Clutching an American shield flanked by American flags. Height 24”. Width 24”. 1,000/1,500

655

656.

TWO CANES WITH REMOVABLE TELESCOPE HANDLES 20th Century Wooden shafts with brass tops that unscrew and form miniature telescopes. Lengths 36”. 200/300

656, two

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147

Items from a

antucket Collection

657.

POTTERY TOBACCO JAR Likely English, Late 19th Century In the form of a seated gentleman holding a book and umbrella. Height 13”. 200/300

658.

TEN BAWO DOTTER LIMOGES PORCELAIN PLATES French, Early 20th Century Polychrome transfer decoration of a central fish surrounded by pink flower sprays. Factory marks. Diameters 8.5”. 200/300

659.

TWELVE PIECES OF TRE ART POTTERY Italian, Late 20th Century A covered soup tureen, serving bowl and ten plates, all decorated with lobsters, seashells and lemon wedges under a blue glaze. Plate diameters 10”. 200/400

660.

SEVEN CAST IRON DOORSTOPS Early 20th Century Includes four in floral motifs, a ship at sea, a ship and anchor design and a basket of apples. All painted. 300/500

661.

LARGE LOT OF BOOKS AND PAMPHLETS PERTAINING TO NANTUCKET 200/300

662.

HARRY SUNTER Massachusetts/New York, 1850-1900 Mending the nets, Nantucket, Massachusetts. Signed and dated lower left “Sunter 85”. Oil on canvas, 24” x 40”. Framed 32” x 48”. 20,000/30,000 Provenance: Rafael Osona Auctions, August 6, 2016, Lot #138.

663.

AMERICAN SCHOOL Circa 1840 Portraits of Captain Robert Jay and Mrs. Sarah Hussey Jay of Nantucket. Both with inscriptions verso providing information on the sitter. Oils on board, 27.25” x 23.5”. Framed 32” x 28.5”. 15,000/25,000

657

148

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662

663, pair

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149

Items from a

antucket Collection

664

665, two

664.

CARVED AND PAINTED PANEL DEPICTING A WHALING SCENE 20th Century 9.25” x 66”. 300/500

665.

TWO CARVED AND PAINTED QUARTERBOARDS “MAD SHACK” Contemporary One with black lettering on a slate gray ground and one with white lettering on a dark blue ground. Both with gilt carved pineapples flanking lettering. Lengths 37” and 62”. 300/500

666.

COLLECTION OF PAINTED LOBSTER BUOYS AND A TRAP Nantucket, 20th Century 500/1,000

666

150

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667.

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

667

668.

MIKE BUTLER American, Contemporary A red and white lighthouse. Signed lower left “Mike Butler”. Oil on pine boards, 40” x 33”. Unframed. 400/600

668

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151

Items from a

antucket Collection

669

669.

152

ROBERT W. STARK, JR. Massachusetts, 1933-2014 “Madaket Seiners at Dawn”. Signed lower right “R. Stark”. Oil on canvas, 16” x 20”. Framed 23” x 27”. 8,000/12,000 Provenance: Rafael Osona Auctions, Nantucket.

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670.

NANTUCKET BASKET WINE COOLER AND VASE Nantucket, Late 20th Century Vase with removable glass liner. Signed on base “R. Sylvia”. Height 7.75”. Height of wine cooler inclusive of handle 14”. 300/500

670, two

671.

SET OF THREE GRADUATED ROUND NANTUCKET BASKETS Nantucket, Late 20th Century By Jeanne Reis. All with impressed signature on base plates “Made by Jeanne Reis Nantucket Island”. Largest with an owner’s name plaque on handle. Height of largest inclusive of handle 16”. Diameter 12”. 800/1,200

671, three

672.

PAUL ARSENAULT American, Contemporary Nantucket Harbor. Signed lower right “Arsenault”. Oil on canvas, 20” x 30”. Framed 25” x 35”. 800/1,200

673.

NAUTILUS SHELL WITH SILVER PLATED MOUNTS Second Half of the 20th Century Base cast as branches of coral with sea stars and shells. Unmarked. Height 9”. 250/350 672

conclusion of this collection

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153

674

675

676

154

677

674.

AMERICAN SCHOOL 19th Century Pathway leading to seaside homes. Unsigned. Pencil notation verso attributes the work to Edward Wilbur Dean Hamilton (Massachusetts/Ohio, 1864-1943). Oil on canvas, 9.5” x 13.5”. Framed 14.5” x 18.5”. 600/900

676.

AMERICAN SCHOOL 19th Century Rural landscape with haystacks and barn. Signed lower left “G. Inness[?]”. Oil on board, 4” x 6”. Unframed. 200/400

675.

AMERICAN SCHOOL 19th Century Brilliant sunset over a forest pond. Unsigned. Oil on board, 7” x 6.5”. Framed 13” x 12”. 600/900

677.

AMERICAN SCHOOL Late 19th Century Lilacs in a blue bowl. Oil on board, 9.5” x 12.5”. Framed 14.75” x 17.5”. 200/300

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678.

EMILY L. HOFFMEIER Massachusetts, 1888-1952 “Nantucket, August 1930”. Signed lower right “Emily L. Hoffmeier”. Signed and inscribed in artist’s hand verso. Oil on canvas board, 10” x 14”. Framed 13” x 17”. 1,500/2,500

678

679.

WILLIAM FERDINAND MACY Massachusetts/New York, 1852-1901 A beached boat, possibly a Nantucket scene. Signed lower left “W. Ferdinand Macy”. Oil on canvas, 12” x 10”. Framed 16.5” x 14.5”. 1,200/1,800 Provenance: A Connecticut Estate.

679

680.

JANE B. REID New York/Illinois, 1862-1966 Nantucket house with roses and picket fence. Signed lower right “J.B. Reid”. Watercolor on paper, 10.25” x 12.5” sight. Framed 16.5” x 18.75”. 800/1,200

680

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155

Jerome Howes New York/Massachusetts/Vermont, b. 1955 Lots 681-686

681

682

681.

The sidewheel steamer Islander off Provincetown. Signed lower right “Jerome Howes”. Oil on masonite, 22” x 36”. Framed 26.5” x 40.5”. 2,000/3,000

682.

Catboats off Brant Point, Nantucket. Signed lower right “Jerome Howes”. Oil on masonite, 33” x 33”. Framed 37.5” x 37.5”. 2,000/3,000

683.

The ship Fannie. Signed lower left “Jerome Howes”. Oil on canvas, 24” x 36”. Framed 29.5” x 41.75”. 1,000/1,500

683

156

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684.

A mermaid riding a whale. Signed lower right “Jerome Howes”. Oil on board, 18” x 24”. Framed 21.5” x 27.5”. 1,200/1,800

684

685

685.

686.

The Rainbow Fleet. Signed lower right “Jerome Howes”. Oil on masonite, 6” x 36”. Framed 10” x 40”. 1,000/1,500

Trompe l’oeil of a revolver and an ace of diamonds in a box. Signed lower right “Jerome Howes”. Oil on masonite, 16” x 11”. Framed 21” x 16”. 700/900

686

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157

687.

PAIR OF CAST IRON LOBSTER ANDIRONS Late 19th/Early 20th Century Painted red. Heights 12.25”. Depths 13”. 1,200/1,500

687

688.

COPPER FISH WEATHER VANE 19th Century Re-gilded in the 20th Century. Mounted on wooden base. Height 13.75”. Length 34”. 400/700

688

689.

CARVED WOODEN TROUT WEATHER VANE 20th Century With glass eyes. Traces of original paint with considerable wear. Mounted on a black painted base. Found in Maine. Height 7”. Length 26”. 800/1,200

689

158

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690

690.

691.

ORIENTAL RUG: PICTORIAL 6’0” x 9’0” Four large fish rendered in light blue, dark red, brown, dark green, tan and shades of gray on a light pearl gray field surrounded by a narrow dark green border. 1,000/2,000

ORIENTAL RUG: PICTORIAL 6’0” x 9’0” Four large fish rendered in dark blue, slate blue, olive green, sky blue, yellow and pale shades of gray on a variegated salmon red field with a narrow smoke gray border. 1,000/2,000

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691

159

692.

ORIENTAL RUG: OUSHAK DESIGN 5’9” x 9’0” Light brown garrus vine is surrounded by neatly arrayed stylized flowering branches of tan, khaki, gray and a subtle greenish-blue on an ivory field. Light gray and greenishblue borders. 350/650

693.

ORIENTAL RUG: HAMADAN RUNNER 3’6” x 12’2” Rust red field with red and blue geometric medallions flanked by anchor pendants. Medallions contain a bold Herati pattern. Additional flower blossoms and bird figures on field. Blue and red floral borders. 250/450

694

694.

ORIENTAL RUG: SULTANABAD DESIGN 9’0” x 12’0” Dark blue field with bold stylized blossoms and leaves of dark red, light blue, green, khaki, salmon pink and pale yellow. Khaki guard borders and dark red main border. 900/1,200

695

695.

ORIENTAL RUG: PERSIAN DESIGN 8’2” x 10’0” Gray field is traversed by meandering vines bearing broad leaves, grape clusters and flower blossoms in tan, taupe and pale lavender. Several lion figures interspersed throughout the arrangement. Taupe guard borders and ivory main border. 700/1,000

696. ORIENTAL RUG: SERAPI DESIGN 9’0” x 12’0” Dark rust red gabled medallion with ivory center and light blue outline and pendants contains and is surrounded by traditional flowering branches in light shades of tan, gold, brown and subtle green. Ivory subfield and guard borders. Red spandrels and main border. 800/1,000 696

160

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697.

ORIENTAL RUG: MAHAL DESIGN 8’3” x 10’2” Terra cotta field is traversed by five rows of stylized blossoms, palmettes, serrated leaves and delicate vines rendered in shades of gray, tan, pale gold, aqua, light green and dark blue. Light tan guard borders. Dark gold main border features turtles and stylized blossoms. 800/1,000

697

698.

ORIENTAL RUG: SULTANABAD DESIGN 9’3” x 11’9” Cream-colored field is traversed by traditional meandering vines and bold blossoms rendered in light blue, smoke gray and a dark bronze-gold. Bronze-gold guard borders and light blue main border contain meandering vines echoing the field. 800/1,200

698

699.

ORIENTAL RUG: HERIZ 6’7” x 9’2” Dark red field with central gabled medallion of ivory and midnight blue. Ivory subfield and dark red spandrels. Traditional blossoming branches and serrated leaves throughout in blues, olive, red and pink. 500/800

699

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161

700.

ORIENTAL RUG: SERAPI DESIGN RUNNER 2’6” x 20’3” A series of gabled medallions rendered in blues, rust red, pale yellow and light green are surrounded by delicate flowering vines of light blue, peach, ivory and green on a rust red field. Taupe and bright ivory guard borders. Navy blue main border features turtle motif. 600/900

701.

ORIENTAL RUG: CAUCASIAN 3’2” x 3’11” Broad blue band forms a mihrab above a red and ivory field filled with repeated stylized floral elements and a pair of animal figures. Multiple red and blue borders feature simple stylized motifs. 200/400

702.

ORIENTAL RUG: SENNA 4’4” x 6’2” Faded red medallion on an abrashed olive green and brown field with ivory subfield. Lattice of delicate vine and boteh in blue, brown and pink throughout. Red guard borders. Blue main border. 200/400

703.

ORIENTAL RUG: QASHQAI DESIGN 4’2” x 5’9” Large traditional bird figures are surrounded by a variety of smaller stylized blossoms rendered in blues, ivory, pale yellow, celadon and subtle peach and amethyst on a bright red field. Dark blue guard borders. Colorful repeating stylized element throughout ivory main border. 350/550

704.

ORIENTAL RUG: PORTUGUESE FLATWEAVE 6’0” x 8’10” Central gold and tan medallion above a large green cross motif spanning the length and width of a gold field. Variety of stylized vines and blossoms throughout. Gold guard borders and green main border feature motifs that echo the field. 500/700

705.

ORIENTAL RUG: MESHED 9’10” x 12’8” Overlapping medallions of ivory, salmon pink and navy blue are surrounded by traditional blue flowering vines bearing colorful blossoms throughout a red field. Blue spandrels echo medallion. Ivory, dark pink and navy blue borders. 500/700

700

162

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707

706

706.

ORIENTAL RUG: OUSHAK DESIGN 10’2” x 13’9” Slate blue field with a bold ivory garrus vine surrounded by stylized flowering branches of moss green, smoke gray, khaki and brassy gold. Gray and ivory borders. 1,000/1,500

709.

ORIENTAL RUG: KAZAK DESIGN RUNNER 2’8” x 9’9” Rich blue field with traditional bold medallions and blossoms of red, gold, amethyst, light green, ivory and salmon pink connected by a meandering ivory vine. Red and ivory borders. 400/600

707.

ORIENTAL RUG: HERIZ 10’0” x 12’11” Overlapping geometric medallions of ivory, dark red and navy blue on a dark red field above a bright red subfield with red spandrels. Flowering branches of reds, blues, olive green and pink radiate diagonally through field. Charcoal main border with turtle motif. 800/1,200

710.

ORIENTAL RUG: TURKISH PRAYER 2’11” x 4’5” Tree of life motif flanked by tall columns below a scalloped mihrab rendered in pastel shades of peach, pink, tan, gray and dark brown on a light gray field. Stylized floral elements throughout multiple borders to match the field. 100/200

708.

ORIENTAL RUGS: TWO SAROUK MATS 2’0” x 2’0” and 1’10” x 2’7” Both with quatrefoil elements at center of red and blue fields surrounded by dark red and dark blue borders. 200/400

711.

ORIENTAL RUG: BELOUCH 3’6” x 6’8” Madder red field is occupied by two geometric medallions in madder red, ivory and dark orange. Medallions are surrounded by several columns of stylized flowering branches in matching colors. Traditional repeating elements throughout red, dark orange, ivory and charcoal borders. 200/300

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163

712.

ORIENTAL RUG: PERSIAN DESIGN 6’0” x 9’1” Midnight blue field with an elaborate array of garrus vines, elegantly rendered flower blossoms and grape clusters in dark red, pink, tan, ivory, bright blue and subtle shades of gray. Taupe and dark blue guard borders. Dark red main border. 600/900

712

713.

ORIENTAL RUG: CAUCASIAN DESIGN 6’0” x 9’2” Rich red field is traversed by three columns of bold stylized elements rendered in blues, green, pale yellow, peach, ivory and amethyst. Medium blue and ivory borders. 600/900

713

714.

ORIENTAL RUG: HERIZ 7’10” x 9’7” Broad navy blue medallion with a bright ivory center occupies a dark red field above an ivory subfield with dark red spandrels. Midnight blue main border with red, blue and ivory turtles. 700/1,000

714

164

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715.

ORIENTAL RUG: SHIRVAN DESIGN RUNNER 2’7” x 16’0” Several colorful gabled medallions, containing and surrounded by a variety of flowering vines, run the length of a dark blue field. Medallion and vines rendered in shades of dark red, pale gold, ivory, turquoise, light blue and terra cotta. Dark red main border, and pale yellow and turquoise guard borders. 800/1,200

716.

ORIENTAL RUG: JOSAN SAROUK MAT 2’1” x 2’10” Midnight blue central medallion occupies a dark salmon red field. Light blue spandrels with neatly arranged flower blossoms and delicate vine in light blue, pink, red and pale greens. Midnight blue main border. 150/250

717.

ORIENTAL RUG: CHINESE 2’1” x 4’1” Dark ivory field with a variety of figures of horses rendered in shades of blue. Key-fret borders. 200/300

718.

ORIENTAL RUG: CHINESE 8’0” x 9’6” Central medallion composed of dark blue flowering branches and peachcolored blossoms is surrounded by several clusters of flowering sprigs in light blue, dark blue and peach. Tan field. Interior guard border with cloud-band motif in blue and tan. Flowering branch meanders through tan main border. 500/700

719.

ORIENTAL RUG: SAROUK DESIGN RUNNER 2’0” x 6’2” Rose red field is covered in a variety of neatly arrayed flower branch clusters. Similar elements throughout midnight blue main border. 250/350

715

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165

720

720.

PORTRAIT OF MARY “POLLY” TURNER BARKER Circa 1830 Together with a needlework sampler she wrought in 1806 at age 12, 7.25” x 10” sight, a cased oval daguerreotype of Barker, 3.75” x 3.25” overall, and a framed photograph of Barker and her husband, 6” x 4.75” overall. In the portrait Barker (Pembroke, Massachusetts, 1794-1866) is dressed in a white cap and is holding a book. Oil on board, 33” x 27” sight. Framed 39.75” x 33”. 500/1,000

721

721.

722.

OVAL HAND-CARVED TRENCHER 19th Century Under its original red paint. 25.5” x 14”. 600/900

PENNSYLVANIA FRAKTUR Circa 1837 With heart, sun, moon, and flower design. Watercolor on paper, 12.75” x 15.25” sight. Framed 17” x 19.5”. 600/900

722

166

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723.

724.

H. GILBERT Late 19th Century/Early 20th Century A gentleman and his dog. Signed lower left “H. Gilbert”. Watercolor, 16” x 13” sight. Framed 23” x 20”. 500/1,000

STONEWARE OVOID HANDLED CROCK American, 19th Century With bold cobalt blue flower and vine design. Height 11”. 300/500

723

724

725.

FLAMING BIRCH BOX American, Circa 1830 Dovetail construction. Retains original hinges and bail handle. Height 10”. Width 24”. Depth 12.75”. Mounted on a contemporary stand. Height on stand 20”. 700/1,000

725

726

726.

PAIR OF CAST IRON ANCHOR AND DOLPHIN ANDIRONS Early 20th Century Stamped on back “142”. Heights 16.5”. Widths at base 9.5”. Depths 18”. 600/900

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167

727.

SHERATON BOWFRONT CHEST American, 19th Century In mahogany. Four full-width drawers with tiger maple fronts and American eagle and shield brasses. Drawers flanked by reeded columns terminating in turned legs. Height 39”. Width 43”. Depth 26”. 1,200/1,800

727

728

728.

729. 729

168

AMERICAN SCHOOL 19th Century Portraits of a husband and wife. Unsigned. Possibly from the Nickerson family. Oils on canvas, 30” x 25”. Framed 34” x 29”. 800/1,200 Provenance: Private Collection, Cape Cod, Massachusetts.

SHERATON BUREAU American, Circa 1820 In mahogany and mahogany veneer. Recessed upper tier with shaped backsplash and two glove drawers. Case with four fullwidth drawers. All drawers fitted with turned wooden knobs. Both upper tier and case are fronted by three-quarter rope-turned columns. Height 50”. Width 40”. Depth 17.5”. 300/500

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730.

AMERICAN SCHOOL 19th Century Portrait of a woman. Unsigned. Oil on canvas, 18” x 14”. Framed 21” x 17”. 800/1,200 Provenance: Private Collection, Cape Cod, Massachusetts.

731.

ATTRIBUTED TO ARY SCHEFFER United Kingdom/France, 1795-1858 “Portrait of Dr. ... B. Young”. Unsigned. Identified on label verso. Oil on board, 7” x 6”. Framed 10.75” x 9.5”. 500/1,000

732.

AMERICAN SCHOOL 19th Century Portrait of a child holding a cup. Unsigned. Oil on canvas, 27.5” x 22.5”. Framed 34” x 28”. 500/1,000

730

731

732

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169

170

733

734

735

736

733.

WHITNEY MYRON HUBBARD New York/Connecticut, 1875-1965 “Cornfield, Greenport, Long Island, N.Y.” Signed lower right “Whitney M. Hubbard”. Titled verso. Oil on canvas, 10” x 12”. Framed 13.75” x 15.75”. 700/1,000

735.

WHITNEY MYRON HUBBARD New York/Connecticut, 1875-1965 Harbor scene, likely Long Island. Signed faintly lower left “Whitney M. Hubbard”. Oil on canvas, 10” x 12”. Framed 13.75” x 15.75”. 700/1,000

734.

ATTRIBUTED TO WHITNEY MYRON HUBBARD New York/Connecticut, 1875-1965 New England home in winter. Unsigned. Oil on board, 9” x 11”. Framed 12.5” x 14.5”. 700/1,000

736.

WHITNEY MYRON HUBBARD New York/Connecticut, 1875-1965 Harbor scene. Signed faintly lower right “Hubbard”. 700/1,000

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737.

JOHN APPLETON BROWN Massachusetts, 1844-1902 Apple blossoms. Signed lower right “J. Appleton Brown”. Oil on canvas, 20” x 27.25”. Framed 27” x 34”. 800/1,200

738.

MARIAN PARKHURST SLOANE Massachusetts, 1876-1954 Coastal landscape viewed through trees. Signed lower right “Marian P. Sloane”. Oil on canvas, 24” x 30”. Framed 30” x 36”. 800/1,000

737

738

739.

AMERICAN SCHOOL Late 19th Century Pair of Hudson River landscapes. Oils on board, 9.25” x 12.25”. Framed 12.75” x 15.5”. 300/400

740.

AMERICAN SCHOOL Late 19th Century Three framed works: 1) Marsh landscape with haystacks, in the manner of Martin Johnson Heade. Inscribed verso “Parker River, ... Painted by Harry S. Moody -- 1898”. Watercolor, 5” x 11” sight. 2) “Country Doctor Charles Prentiss Savory ...”. Charcoal on paper, 10.5” x 6” sight. 3) “The Clam Digger Uncle Joseph Moody ...”. Charcoal on paper, 8” x 6” sight. 300/500

739, pair

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171

741.

EUGENE HIGGINS New York/Connecticut/Kansas/ Missouri, 1874-1958 “Storm Warning”. Signed and titled on label verso. Oil on canvas, 22” x 30”. Framed 27” x 35”. 1,800/2,500

741

742.

AMERICAN SCHOOL 19th Century Hiker on a mountain path. Unsigned. Inscribed in pencil verso “Hotchkiss”, possibly for Thomas Hiram Hotchkiss (New York/New Hampshire/Italy, 1834-1869). New York framer’s label verso. Oil on board, 8” x 6”. Framed 14” x 12”. 500/1,000 Thomas Hiram Hotchkiss is closely associated with the Hudson River School and was a friend of Asher B. Durand.

742

743.

BELMORE BROWNE Canada/United States, 1880-1954 “Afternoon, Sawback Lake”. Signed lower right “Belmore Browne”. Titled verso. Oil on canvas board, 9” x 11.75”. Framed 14” x 16”. 1,500/2,500 Provenance: Private Collection, Maryland.

743

172

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744.

LADDERBACK RUSH-SEAT ARMCHAIR 18th Century Under later black paint. Back with sausage-turned stiles and four slats. Front legs joined with bulbous turned stretchers. Back height 46.25”. Seat height 17”. 400/600

745.

SHERATON CARD TABLE American, Circa 1810 In mahogany and mahogany veneer. Serpentine top on a conforming apron fitted with a single drawer. Drawer with brass inlay around the perimeter and a turned wooden pull. Turned and reeded tapered legs. Height 30”. Width 36”. Depth 18”. 500/800

746.

TWO PIECES OF TIGER MAPLE FURNITURE American, Circa 1820 1) Sheraton two-drawer stand with mahogany veneer, turned wooden pulls and bulbous turned legs. Height 29”. Width 22”. Depth 20”. 2) Cane-seat side chair with saber legs. Back height 33”. Seat height 17”. 300/500

747.

HEPPLEWHITE TWO-DRAWER STAND Coastal Massachusetts or Rhode Island, Early 19th Century In figured hardwood with overhanging top and square tapered legs. Drawers with original brass knob pulls. Height 29.75”. Width 18.5”. Depth 15”. 200/400

748.

SHERATON BED American, Circa 1830 In maple and tiger maple. Posts and head and footboards with bulbous turnings. Height of posts 56.75”. Width between bolt holes 53”. 300/500

749.

SHERATON RUSH-SEAT SETTEE Circa 1810 Painted black and red. Nicely scrolled arms. Back height 34”. Seat height 18”. Length 78”. 700/900

749

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173

750.

MAPLE BUSK Pennsylvania, Dated 1761 With chip-carved heart and flower pattern. Length 12.3”. 400/600

751.

EARLY NEW ENGLAND CANDLE BOX 19th Century Under later reddish-brown paint with foliate decoration. Slightly domed sliding lid. Height 6”. Length 19.5”. Width 7”. 200/300

752.

STONEWARE HANDLED JUG 19th Century With 20th Century painted decoration of pintail ducks. Height 12”. 150/200

753.

TWO DEDHAM POTTERY CUPS AND SAUCERS 1929-1943 In Elephant and Two-Ear Rabbit patterns. Marked with square blue printed mark over “Registered”. Saucer diameters 6”. 130/180

754.

TWO DEDHAM POTTERY PLATES In Rabbit pattern. Diameters 8.75” and 8.5”.

755.

THREE BLUE SPATTERWARE PLATES Early 19th Century One with a schoolhouse design, diameter 8.25”, and two with peafowl designs, diameters 5” and 9.625”. 300/400 Bea Cohen Antiques, Easton, Pennsylvania, 1988.

756.

TWO SPATTERWARE ITEMS Early 19th Century A covered teapot in red and blue Rainbow pattern, height 7”, and a covered sugar bowl with blue and red sponge decoration and red floral accents, height 4.5”. 300/400 Bea Cohen Antiques, Easton, Pennsylvania, 1989.

750, enlarged to show detail

174

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Early 20th Century 200/300

757.

LATE 19TH CENTURY PICTORIAL HOOKED RUG 30” x 59” Depicts a recumbent lion in foreground and a standing lion figure in background, with palm trees and floral designs. Multicolored striped border. 600/900

758.

HAND-HOOKED RUG 20.5” x 27” Depicts a “Soap” bar, a red pail marked “TS”, a small handled mop and a geometric arrangement of multicolored striped squares in upper left corner, all on a dark gray ground. Dated lower right “’92”. 150/200

759.

TWO HOOKED RUG FRAGMENTS WITH A TRANSPORTATION THEME 30” x 30” and 30” x 37” One depicts a horse and buggy, locomotive, automobile and airplane. Other depicts Viking longboats, a horse-drawn sleigh and camels. 400/600

760.

PAIR OF WROUGHT IRON GOOSE-NECK ANDIRONS New England, Late 17th/Early 18th Century Together with two brass-handled hearth tools, an iron peel with ram’s-horn handle, length 41”, and an early wafer iron, length 32”. Andirons with modified heart plinths and original log stands. Heights 22”. Depths 17”. 400/600

761.

BRONZE SUNDIAL Late 18th Century Etched with a sun and “Tempus Labile”. Height 5”. Top 9” x 9”. 300/500

762.

PAIR OF CARVED WOODEN CODFISH 20th Century With painted eyes and painted leather fins. Antiqued finish. Lengths 16.5”. 300/500

763.

FOLK ART WOODEN CANE CARVED IN THE FORM OF A SNAKE Late 19th/Early 20th Century Painted red, black and silver. Length 37.5”. Includes contemporary stand. 400/600

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757

759, two

175

764.

PAIR OF FEDERAL BRASS ANDIRONS Late 18th/Early 19th Century With ball and ring-turned shafts and arched scrolled legs ending in ball feet. Heights 18.5”. Depths 20”. 200/300

765.

PAIR OF FEDERAL BRASS ANDIRONS American, Late 18th/Early 19th Century With double-lemon tops on hexagonal plinths. High arched legs end in ball feet. Heights 18.25”. Depths 19.5”. 200/300 A nearly identical pair is illustrated in The Brass Book by Peter, Nancy and Herbert Schiffer, p. 79.

766

176

768.

TWO QUEEN ANNE RUSH-SEAT CHAIRS Mid-18th Century A near pair. In maple with vasiform backs and block and turned front legs ending in Spanishinfluenced feet. Back heights 40.25”. 400/600

769.

WINDSOR-INFLUENCED CANDLESTAND New England, Late 18th/Early 19th Century Under soft blue paint over older, possibly original, reddish brown paint. One-board circular top set on a tapered turned shaft with thick circular plinth. Three carved and whittled splayed legs. Height 29”. Diameter 15”. 400/600

764

765

766.

SHERATON PEMBROKE TABLE New York, Circa 1800-1815 In mahogany. Top with rounded drop leaves and ebony string inlay. Single drawer with contrasting wood inlaid panels. Delicate reeded and turned tapered legs. Height 29.25”. Width 21” plus two 10” drop leaves. Depth 31.5”. 600/900

767.

HEPPLEWHITE TAVERN TABLE American, Circa 1810 In pine under red paint. Rectangular top with breadboard ends. Single drawer with circular brass pull. Square tapered legs. Height 28.75”. Length 38”. Width 28”. 300/500

767

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770.

PAL FRIED New York/California/Hungary, 1893-1976 Portrait of a woman in a hat. Signed lower right “Pal Fried”. Oil on board, 24” x 18”. Framed 31.5” x 35.5”. 1,000/1,500 Provenance: A Connecticut Estate.

771.

RAPHAEL SOYER Russia/New York, 1899-1987 Figural sketch of “Cirosky” and “Moses”. Men identified above their images. Inscribed lower right “For Anne Adams with best wishes, Raphael Soyer 1942”. Moses was the artist’s twin brother and Cirosky was a friend. Ink on paper, 9.25” x 6.25” sight. Framed 17” x 13.5”. 400/600

772.

AMERICAN SCHOOL Mid-19th Century Portrait of a gentleman. Oil on board, 18.5” x 15.5”. Framed 26.25” x 23.25”. 400/600 770

772 771

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177

773.

TWO-PART CORNER CUPBOARD Massachusetts, Circa 1820 In hardwood under an old, possibly the original, dark stained finish. Upper case with molded flat cornice and single twelve-pane glazed door enclosing three interior shelves. Lower case with two paneled doors enclosing a single interior shelf. Flat bracket feet. Height 87.25”. Takes a 24.25” corner. 1,500/2,500

774.

ONE-DRAWER STAND Circa 1820 In wavy birch. Drawer with circular glass pull. Turned legs. Height 27.75”. Width 19.25”. Depth 17.75”. 150/250

775.

TILT-TOP CANDLESTAND Circa 1810 In mahogany. Octagonal top with chamfered edge. Turned pedestal raised on three spider legs. Height 30.5”. Top 26.5” x 19.75”. 200/300

776.

DRESSING MIRROR American, Mid-19th Century In mahogany and mahogany veneer. Mirror supported by floral-carved brackets. Shaped base. Height 24”. Width of base 31”. Depth of base 11.5”. Mirror 20” x 16”. 150/250

773

178

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777

777.

778.

779.

QUEEN ANNE TILT-TOP CANDLESTAND Massachusetts, Mid-18th Century In select Cuban mahogany. Square one-board flamegrained top. Ring- and urn-turned shaft raised on three arched carved legs ending in elongated slipper feet. Height 26.75”. top 14.75” x 15”. 400/600 EARLY POLE SCREEN Massachusetts, Mid-18th Century Ring- and urn-turned spiral-carved stem with finial and three arched carved legs ending in padded slipper feet. Rectangular screen with fern decoration, possibly painted on silk. Height 56”. 800/1,200 SHERATON THREE-DRAWER STAND American, 19th Century In tiger maple. Drawers with glass pulls. Turned legs fitted with casters. Height 28.5”. Width 21.75”. Depth 18.75”. 300/500

780

779

778

780.

ONE-DRAWER STAND American, Circa 1820 In maple. Drawer with tiger maple front and circular brass pull. Turned legs. Height 25.5”. Width 17.5”. Depth 17.5”. 150/250

781.

TWO-DRAWER STAND American, Circa 1810 In maple and tiger maple. Drawers with circular brass pulls. Turned legs. Height 27.5”. Width 19”. Depth 19.5”. 300/400

782.

SHERATON DROP-LEAF STAND American, Circa 1810 In tiger maple. Single drawer simulates two, with two sets of turned wooden knobs. Turned legs. Height 29.5”. Width 15.25” plus two 6.75” drop leaves. Depth 19.5”. 350/450

781

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782

179

784 783

783.

SHERATON BOWFRONT BUREAU American, Circa 1810 In tiger maple and maple. Top with chamfered edge. Four drawers, all with replaced oval bail pulls. Paneled sides. Turned legs end in ball feet. Height 39.5”. Width 40.5”. Depth 21”. 600/900

784.

WILLIAM & MARY DROP-LEAF TABLE Massachusetts, Early 18th Century In maple and curly maple. Long single drawer at one end of apron. Nicely turned base with swing-leg drop-leaf supports. Height 27”. Length 36.75”. Width 14.25” plus two 16” drop leaves. 1,400/1,800

785

786

785.

180

QUEEN ANNE TAVERN TABLE New England, Last Half of the 18th Century In figured maple. Original two-board rectangular top with shaped corners. Turned tapered splayed legs. Height 25.5”. Top 32.75” x 27”. 500/1,000

786.

THREE-DRAWER BUREAU American, 19th Century In maple with strong tiger maple drawer fronts. Circular wooden drawer pulls. Shaped bracket base. Height 33.25”. Width 36.5”. Depth 15.5”. 300/400

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787, three

787.

J.H. KEELEY Massachusetts, 1817-1871 Three portraits of the Clark family: Mary Fitch, Lafayette Clark and a younger male Clark. Two signed and dated verso “J.H. Keeley Pinxt 1863”. Oils on canvas, 30” x 25”. Framed 37” x 32”. 1,500/2,500

789.

FEDERAL CANDLESTAND Late 18th/Early 19th Century In cherry. Square one-board top with shaped corners and chamfered lower edge. Tapered ring-turned shaft raised on three arched carved legs. Height 29”. Top 16.75” x 17”. 200/400

788.

PAIR OF CLASSICAL BRASS ANDIRONS First Quarter of the 19th Century Together with a matching pair of tongs and a shovel in a similar design to the andirons. Andirons in the style of John Hunneman of Boston, with ball finials over ring and bulbous turnings. Retain original iron log rests. Heights 15.25”. Depths 22”. 200/400

790.

HARVEST TABLE 19th Century In maple with an old brown finish. Two drawers at both ends of apron, both with circular wooden pulls. Square tapered legs. Height 30.25”. Top 82.5” x 31.75”. 500/700

790

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181

792

791

791.

792.

182

LIVERPOOL PITCHER English, 19th Century With grisaille decoration. Both sides depict pastoral scenes. Area under spout with “William Felt Rachel Felt” contained within an oval swagged border. Retains partial labels on underside for the Boston Marine Society and Shreve, Crump and Low. Height 9.75”. 400/800

793

795.

PAIR OF IRONSTONE WARMING DISHES English, 19th Century Diameters 10.25”. Together with a pair of ironstone plates, diameters 10.5”. All with brightly colored decoration and gilt trim. 200/400

796.

MINIATURE LIFT-TOP BLANKET CHEST 19th Century In pine with grain-painted decoration. Interior ditty box. Bracket base. Height 10.3”. Width 19.5”. 150/250

797.

INLAID DRESSER BOX American, Circa 1940 In walnut. Top with inlaid “Maggie” is surmounted by two boxes and a central mirrored compartment. Both boxes with light and dark wood parquetry inlay; one box has a lift-top and functions as a storage compartment and the other is fitted with a pincushion. Central compartment’s mirrored lid folds down to reveal three shelves. Front of dresser box with eight drawers of varying sizes, seven with star inlay and the central with American shield inlay. Height 15”. Width 15.5”. Depth 9”. Includes a card with handwritten inscription “Made by Charles H. Webster for Margaret C. Webster ... given to Peggy on her eighth birthday. Jan 21-1940.” 500/800

798.

BLANKET CHEST New England, Late 18th/Early 19th Century In pine with red-washed finish. Top attached with wrought iron strap hinges. Bootjack ends. Height 23”. Width 45”. Depth 17.5”. 200/400

WHIELDON-STYLE TOBY JUG Likely American, 19th Century In a Rockingham-style brown glaze. Height 9”. 150/250

793.

SUNDERLAND PINK LUSTRE TRANSFER-DECORATED PITCHER English, 19th Century Obverse decorated with the “Sailor’s Farewell” and reverse decorated with “The Token of Jack’s Safe Return”. Area under spout with a poem enclosed within a foliate wreath. Height 10.25”. 250/350

794.

SUNDERLAND PINK LUSTRE TRANSFER-DECORATED PITCHER English, Mid-19th Century Obverse decorated with an English brig and reverse decorated with a figural scene titled “Sailor’s Farewell”. Area under spout with eight-line verse. Height 9”. 300/500

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799.

COPPER RUNNING HORSE WEATHER VANE Circa 1880 Painted gold. Restored. Includes stand and period finders. Height 64”. Length 34”. 600/900

799

800.

CAST IRON “THE MAN IN KHAKI” UMBRELLA HOLDER Early 20th Century In the form of a British soldier. Height 27.5”. Width 15”. Depth 8”. 400/600

800

801.

SPHERICAL BRASS SUNDIAL 20th Century On three dolphin-form feet. Height 30”. Diameter 23.5”. 800/1,200

801

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183

802.

CHARLES ARTHUR FRIES California/New York/Ohio, 1854-1940 “Eucalyptus Near La Jolla”. Signed lower right “C.A. Fries”. Titled on label verso. Oil on canvas, 14” x 16”. Framed 16.5” x 18.5”. 2,500/3,500

803.

ELLEN FRANCES BURPEE FARR California/New Hampshire/Italy, 1840-1907 Blossoming pepper tree. Signed lower left “Ellen B. Farr”. Oil on canvas, 28” x 18”. Framed 32” x 22”. 2,000/3,000

802

804

803

804.

ATTRIBUTED TO CARL HOERMAN Michigan/California, 1885-1955 Western landscape. Unsigned. Inscribed in pencil verso “Carl Hoerman”. Oil on board, 12.5” x 14”. Framed 17.5” x 19.5”. 1,000/1,500

805.

AMERICAN SCHOOL Late 19th/Early 20th Century “Navaho [sic] Dwellig [sic] West Range Area New Mexico”. Unsigned. Titled on typewritten label verso. Oil on board, 7.5” x 9.5”. Framed 17” x 20”. 500/1,000 805

184

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806, four

806.

ROBERT MILFORD CAPLES California/Oregon/Arizona, 1918-1996 Group of four landscapes. One signed lower right “Caples”. Three identified verso as “Clearwater”, “Bar Harbor, Maine” and “Smokey Mountains”. Oils on canvas, 14” x 18”. Framed 20” x 24”. 2,000/3,000 Provenance: A relative of the artist.

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185

807

807.

ALFRED GUNNAR BJAREBY Massachusetts/Sweden, 1899-1967 “Tidal Pool at Folly Cove”. Signed lower left “G. Bjareby 1954”. Titled on label on frame. Watercolor on paper, 14.5” x 18” sight. Framed 22” x 26”. 800/1,000

809.

WALLACE NUTTING COMB-BACK WINDSOR CHAIR Early 20th Century Old brown finish. Stamped “311” and Wallace Nutting brand on underside of seat. Retains Wallace Nutting paper label. Back height 46”. Seat height 18”. 300/500

808.

WALLACE NUTTING SACK-BACK WINDSOR ARMCHAIR Early 20th Century Old brown finish. Wallace Nutting brand on underside of seat. Retains traces of Wallace Nutting paper label. Back height 45”. Seat height 18”. 500/700

810.

D.R. DIMES FAN-BACK WINDSOR ARMCHAIR New Hampshire, Contemporary With antiqued finish. Back height 46.25”. Seat height 17.5”. 500/800

808

186

809

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810

811, with detail of top

811.

FARM TABLE American, 20th Century Painted green. Stretched canvas top painted in a floral motif. Height 29”. Length 72.5”. Width 28”. 600/900 Collection of a Noted American.

813.

CUSTOM-MADE TAVERN TABLE 20th Century In pine under red paint with gold highlights on legs. Circular top. Turned legs joined with stretcher and end in ball feet. Height 28”. Diameter of top 35.5”. 300/500

812.

19TH CENTURY-STYLE BLANKET CHEST WITH HAND-PAINTED DECORATION 20th Century Chest with lift top, single drawer below blanket compartment and bracket base. Decoration in the manner of Rufus Porter depicts landscapes on a yellow ground. Height 36.5”. Width 38”. Depth 24”. 500/1,000

814.

WALLACE NUTTING QUEEN ANNE-STYLE MIRROR Early 20th Century In maple with brown finish. Scrolled top. Branded “Wallace Nutting” on back. Height 35”. Width 17.75”. 200/400

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187

815

815.

816, pair

CURLY MAPLE BEDSIDE STAND Bench-made. Square overhanging top with chamfered edge over a single drawer. Square tapered legs also support a medial drawer with galleried top edge. Height 28”. Top 15.25” x 15.25”. 200/300

817.

816.

PAIR OF WARREN CHAIR WORKS WINDSOR-STYLE BRACE-BACK ARMCHAIRS Warren, Rhode Island, Contemporary Under black paint. Both branded on undersides. Back heights 44”. Seat heights 17.5”. 400/700

EIGHT ROBERT FRANCIS WINDSOR-STYLE SIDE CHAIRS Massachusetts, Contemporary Under “Nantucket red” paint. All branded on undersides. Back heights 36.5”. Seat heights 17.5”. 1,000/1,500

817, eight

188

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818

818.

ELDRED WHEELER “DUNLAP” HIGHBOY Massachusetts, Contemporary In tiger maple. Removable cornice with basketweave and shell carvings. Upper case with five graduated full-width drawers, the top drawer simulating three side-by-side drawers. Lower case with three graduated full-width graduated drawers, the bottom drawer simulating three sideby-side drawers. All drawers with Chippendale-style brass pulls. Skirt with central scroll design flanked by two carved shells. Cabriole legs end in pad feet. Retains Eldred Wheeler paper label. Height 77.5”. Width 37.5”. Depth 19”. 2,000/3,000

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189

819

819.

820

D.R. DIMES CHIPPENDALE-STYLE TIGER MAPLE TALL CHEST New Hampshire, Contemporary Upper drawer simulates five drawers, the central with pinwheel carving. Five graduated full-width drawers below. Ogee bracket base. Height 57”. Width 39.25”. Depth 19.5”. 2,000/3,000

820.

ELDRED WHEELER LINEN PRESS Massachusetts, Contemporary In tiger maple. Upper case with stepped cornice over two paneled doors with brass knob pulls. Doors conceal two interior shelves. Lower case with three full-width drawers with brass bail pulls. Ogee bracket base. Retains Eldred Wheeler paper label in top drawer. Height 80”. Width 43”. Depth 25.5”. 2,500/3,500

end of session ii

190

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Session III Friday, August 3 at 10 a.m. Lots 1001-1395 The Collection of Carl & Sonia Schmitt Important Weather Vanes The Myers Estate Clocks Oriental Rugs Prominent Collection of John F. Kennedy Material (Separate Catalog)

1001-1053 1041-1058 1122-1162 1157-1162 1253-1271 1322-1343

As well as paintings, furniture and more

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191

The Collection of Carl and Sonia Schmitt Lots 1001-1053

192

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They

were, first and foremost, wonderful people – tall, imposing, energetic, enthusiastic, curious and knowledgeable, with big smiles and throaty laughs. I met them in May of 1986 at a sale of Americana and American folk art at Sotheby’s. For some inexplicable reason, I thought Sonia’s name was Ursula – which I called her, repeatedly, through our walk-about the Americana exhibition. Finally, with a big smile, Carl said, “Nancy, why are you calling Sonia ‘Ursula’???”. Big laughs all around. We became friends. They had retired to Walla Walla, Washington – just the sound of Walla Walla was exotic, something I had never encountered before. In fact, Carl seemed to me to be the very embodiment of a frontier man from the Pacific Northwest. They both seemed larger than life – radiating warmth and enthusiasm. They were fascinated and reverential and proud of the history of American creativity, artistry and inventiveness. They loved and were serious collectors of antique cars. And they loved serious antique Americana. They traveled to the East Coast, attending auctions and visiting dealers who presented the material they loved. They were captivated by American 19th Century weather vanes – a molded copper “Goddess of Liberty” made at the Cushing and White Company of Waltham, Massachusetts was purchased in 1986, one of their first acquisitions, followed by a majestic, anatomically correct carved wooden sperm whale weather vane from Nantucket. The Schmitts loved many more categories of Americana. They collected 19th Century fire memorabilia, cigar store figures, gameboards, folk art portraits, schoolgirl samplers, political banners and advertising posters. In addition to Carl and Sonia’s love of 19th Century Americana art and artifacts, they treasured the richness of America’s natural world. They founded the Blue Mountain Trust, to preserve the farmland and forest around their retirement home in Walla Walla, and while living in California, they explored the California coastline from Monterey to Mendocino – developing a special interest in marine life and history. This interest started the Schmitts

collecting an extraordinary group of marine art – treasures within this category are a ship’s figurehead in the form of a winged mermaid, from the school of renowned Philadelphia carver William Rush; Nantucket baskets; sailor’s valentines; a China trade painting depicting the anchorage at Whampoa; and an extraordinary group of scrimshaw articles including a 19th Century whale’s tooth engraved by James A. Bute while he served aboard Charles Darwin’s H.M.S. Beagle. There are panbone plaques engraved with whaling vessels, yarn-winding swifts, elegant whalebone baskets, bodkins and pie crimpers, and a beautiful lap desk, executed in 1840, for Captain Douglas, inlaid in ivory with an American eagle, stars and patriotic motifs. Finally, there is a splendid group of children’s toys, even a doll’s bedstead fashioned from whalebone. A feeling of excitement and joy and knowledge and discernment is palpable in the Schmitt’s collection of Americana and Marine Art. Because of their reverence for American ingenuity, art and history, Carl and Sonia Schmitt amassed a colorful and evocative, near-encyclopedic collection of Americana, one which documents and preserves the history and culture of America. Nancy Druckman New York, March 2018

N.b.: A portion of the Collection was sold in our Marine Sale in July. see photos of all lots and view condition reports at www.eldreds.com

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1001, obverse and reverse

1002, obverse and reverse

1001. HAND-PAINTED CEREMONIAL PARADE FIRE HAT First Half of the 19th Century With gold and red lettering on a black ground. Decorated with “Morris Hose” and a sun on front, “W.R.W.” on top and “1831” on back. Height 6”. Length 13”. 3,000/4,000 Provenance: Sotheby’s Americana Auction, June 19, 1992, Lot #168.

1002. HAND-PAINTED CEREMONIAL PARADE FIRE HAT First Half of the 19th Century With gold and red lettering and decoration on a black ground. Marked “America 1790” on front, “J.F.” surrounded by a decorative border on top, and “F.A.” flanking an image of a fire hydrant on back. Underside painted red. Height 6.25”. Length 13.75”. 3,000/4,000 Provenance: Sotheby’s Americana Auction, June 19, 199, Lot #167. This hat could be commemorating Benjamin Franklin, who helped establish the Philadelphia fire department and who died in 1790.

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1003. CAST IRON “EAGLE HOSE NO. 2” COMPANY PLAQUE 19th Century Raised lettering surrounds a relief-cast spread-wing eagle. Traces of original paint. 11” x 8.5”. 1,200/1,500 Provenance: Christie’s Americana Auction, January 20, 2001, Lot #578.

1003

1004. CAST IRON “GERMANTOWN MUTUAL FIRE” FIRE PLAQUE 19th Century Raised lettering surrounds a relief-cast handshake and “1843”. 8” x 11.5”. 800/1,200 Provenance: Christie’s Americana Auction, January 20, 2001, Lot #582.

1004

1005. WOOD AND METAL LIBERTY TREE “NO. 852” FIRE PLAQUE Late 18th Century Metal tree showing traces of white paint affixed to an oval wooden plaque with raised lettering. Mounted on an oval wooden backboard painted red. Overall 16.5” x 11.25”. 800/1,200 Provenance: Christie’s Americana Auction, January 20, 2001, Lot #582.

1005

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1006

1006. LEATHER FIRE BUCKET Early 19th Century Painted brick red and decorated with a black spread-wing eagle, “No. 2”, “D.W. Jones” in a black cartouche with gold foliate border, and “1791”. Eagle has an American shield at its breast and grasps a blue banner in its beak and arrows in its talons. Stamped “A. Fitz [?]” on underside. Retains what appears to be its original handle. Height not including handle 13”. 2,500/3,500 Provenance: Sotheby’s Auction, January 16, 1997, Lot #148.

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1007

1007. LEATHER FIRE BUCKET First Half of the 19th Century Painted “H.M.S. Victory” on obverse and “Fougueux[?]” on reverse in gold on a black ground. Stamped on underside “HER”. Retains what appears to be its original handle. Height not including handle 11”. 1,200/1,500 Provenance: Estate of June Montgomery. Auction of Montgomery’s Estate, June 22, 1992, Lot #34.

1008

1008. LEATHER FIRE BUCKET WITH PORTRAIT OF A GENTLEMAN First Half of the 19th Century Painted oval portrait with gold border on a red ground with black and yellow highlights. Man has short white hair and is wearing a white shirt and red jacket. Bucket retains what appears to be its original leather handle. Height not including handle 12”. 2,000/3,000 Provenance: Sotheby’s Auction, January 16, 1997, Lot #148.

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1009. CEREMONIAL FIRE HELMET 19th Century Black painted leather helmet with gold-tone metal eagleform finial. Leather front plate with “Firemens Active Phila” in raised lettering surrounding a painted image of a horse-drawn fire wagon. Yellow and red painted “1736” on rear brim and red painted “L. King” on underside of brim. Height approx. 10”. Length approx. 14”. 2,000/3,000 Provenance: Sotheby’s Auction, January 16, 1997, Lot #148.

Under the goading of Benjamin Franklin, who felt the city of Boston was far better prepared to fight a fire than the city of Philadelphia, thirty men formed the Union Fire Company of Philadelphia on December 7, 1736.

1009

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1010

1010. SILK-EMBROIDERED AND WATERCOLOR PICTURE OF A WEEPING WOMAN AND A SWAN Circa 1807 By Ann Clap, worked at Saunders & Beach Academy in Dorchester, Massachusetts, circa 1807. Woman is leaning against a memorial inscribed “Sacred to the Memory of Ebenezer Clap Esqr who died Jan. 29th 1802 Aged 70, Not Lost But Gone Before”. Housed in its original frame with white eglomise mat by John Doggett. Inscribed on mat “Wrought by Ann Clap at Mrs. Saunders & Miss Beach’s Academy Dorchester 1807”. 16.75” x 12.5” sight. Framed 23.5” x 18”. 10,000/15,000 Provenance: Stephen and Carol Huber, Old Saybrook, Connecticut, November 28, 2005.

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Judith Foster Saunders and Clementina Beach opened their academy in Dorchester around 1803, one of many such schools that opened in the Late 18th and Early 19th Centuries. Saunders had already operated a school in Gloucester and was known for her exceptional skill in teaching needlework. The school ran until about 1834, possibly longer, and advertised for enrollment consistently through 1827. An 1810 census indicates forty people resided in the school’s home at the corner of Adams and East Streets in Dorchester. Saunders & Beach was noteworthy for the silk embroideries created by its students, some of which are in the permanent collections of Winterthur and Boston’s Museum of Fine Arts.

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Source: Dorchester Atheneum

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1011

1011. NEEDLEWORK AND CUT PAPER MEMORIAL Massachusetts, Circa 1808 Depicts a weeping willow arching above a woman weeping before a three-urn memorial to the children of Gideon and Mary Moody. Urns with handwritten initials “T.H.M.”, “M.M.” and “L.A.M.”. Paper label at center of memorial with handwritten inscription, believed to be “In memory of 3 children of Gideon and Mary Moody who died as follows viz T.H. Sept. ... aged 1 year ... L.A. August 2 ... 1803 ... Malinda [?] August 31, 1808 ... Aged 2 years & six months”. Housed in a frame with a black and gilt eglomise mat with oval aperture. 12.5” x 11” sight. Framed 16.5” x 14”. 3,000/5,000 Provenance: Stephen and Carol Huber, Old Saybrook, Connecticut, January 18, 2001.

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1012. NEEDLEWORK SAMPLER Dated 1800 “Sophie Curgie Her Work Done By Her In the 16th year of her Age 1800”. Maker’s inscription and verse “This work in Hand My Friends We Have When I am Dead And Laid in The Grave And All my .... When this you see remember me ...” in center section. Alphabets and numerals at upper section. Flowering plants at lower section. Vine and floral border. 21.25” x 16”. Framed 26” x 20”. 1,200/1,800

1012

1013. NEEDLEWORK SAMPLER Dated 1843 “Mary Stafford Finished This Work 1843”. Depicts a red house on a green lawn with scattered flower blossoms, dog figures and butterflies. Verse above house “Our friend and sister Lo is Dead The Gold And Lif-Eless Clay Hath Made In Dust Her Silent bed and ther [sic] It Must Decay”. Verse flanked by geometric sunbursts and house flanked by red flowering plants. 16.75” x 16.75” sight. Framed 22.75” x 22.75”. 300/500 Provenance: Sotheby’s Silver, Decorations, Furniture, Rugs and Carpets Auction, January 24, 1996, Lot #749.

1013

1014. CUT PAPER MEMORIAL American, 19th Century Two weeping willows flank a woman and a memorial urn on pedestal. 7.5” x 9.5” sight. Framed 9.25” x 11.25”. 300/500 Provenance: Christie’s Americana Auction, January 19, 2002, Lot #44.

1014

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1015. EXTRAORDINARY CARVED AND PAINTED PINE CIGAR STORE FIGURE OF PUNCH American, Third Quarter of the 19th Century Restored and taken down to its original painted surfaces showing wonderful dry patina. Punch clad in traditional jester’s costume of a blue-green hat with red, blue and yellow trim and yellow bauble, a large frilly white collar, a red leotard with gilt geometric patterns, frilly cuffs at the legs, blue-green socks and black shoes. A wonderful sense of personality and animation is conveyed through his facial details, including furrowed brows, wide eyes, a large hooked nose, black sideburns, protruding ears, a wide, toothy grin and a jutted chin, and in his hands, one of which is outstretched holding a bundle of cigars and the other raised in a beckoning position. He stands with legs set apart on a black base marked “Cigars” and “Tobacco” in yellow lettering. Base raised on original cast iron wheels. Height not including wheels 70”. Base width 18”. Depth 21”. 100,000/150,000 Accompanied by extensive conservation documents by Fodera Fine Art Conservation, Ltd. Provenance: Sotheby’s Americana Auction, October 19, 1996, Lot #36.

1015

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1016. CARVED AND PAINTED PINE CIGAR STORE INDIAN PRINCESS Late 19th Century Attributed to Samuel Robb of New York. Serenely postured woman with finely carved and painted facial details and long black hair. She is clad in a feathered headdress, a red shawl and a blue dress with yellow trim. She is holding a bundle of cigars in her outstretched right hand and her shawl against her chest in her left hand. Her left foot is gracefully positioned slightly forward of her right, and she is standing on a square black base. Height 41.5”. Base width 12.25”. Depth 14.75”. 15,000/20,000 Provenance: Collection of William Holland. Sotheby’s, January 28, 1995, Lot #536.

Samuel A. Robb (1851-1928) apprenticed to a shipbuilder for five years before becoming a wood carver, carving tobacco store figures by day and studying at the National Academy of Design and Cooper Union at night. In 1876 he opened his own shop, the largest in New York City in the 19th Century. He is known for his traditional cigar store Indian figures and also for the ventriloquist dummies and the circus wagons he carved for the likes of Barnum & Bailey.

1016

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1017. CARVED AND PAINTED PINE CIGAR STORE FIGURE OF “RISING STAR” American, Third Quarter of the 19th Century A patriotic woman clad in a star crown, a beaded necklace, a short-sleeve, knee-length red and blue dress and tall lace-up boots. Her dark hair is in a ponytail that hangs down her back. Metal globe earrings are suspended from her ears. Her right arm is crossed over her chest and she holds a bundle of cigars in her left hand by her side. Her legs are set apart, giving a wonderful sense of movement, and she stands on a square red base with “Cigars” in mustard yellow lettering on front. Height 57”. Base width 15.75”. Depth 12.25”. 15,000/25,000 Accompanied by a conservation report from Fodera Fine Art Conservation, Ltd., New York. Provenance: Sotheby’s Americana Auction, January 16, 1999, Lot #363.

1017

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1018, detail

1018. CARVED AND PAINTED WOODEN BAND ORGAN FIGURE Paris, Circa 1900 By the Ludovic Gavioli Company. Made for the band organ used at the Hippodrome Carousel in Revere Beach, Massachusetts. Full figure of a standing woman dressed in a parade uniform with her right arm raised in a salute and her left hand reaching downward and clutching a baton decorated with American flags. Figure stands on its original round painted wooden base. Original base mounted some time ago to an old square base painted black. Figure retains its amazing untouched original surface and has exquisitely rendered details throughout. The uniform consists of a three-corner hat topped with carved feathers, a jacket with original lime-green paint and beautifully articulated collar, sleeves and buttons, epaulets at the shoulders suspending multiple carved rope patterns that loop around the figure’s chest, white gloves, tight white pants, and beige high-heeled boots with scalloped tops and carved hanging tassels. The jacket, pants and boots all have elaborate and magnificently executed gold leaf patterns which add to the visual interest of the piece. The life-like precision of the piece is enhanced by its delicately carved facial features, painted rosy cheeks, and wrinkles in the clothing at elbows, waist and knees. Height of figure and original base 37.13”. Overall height inclusive of added base 42.75”. Width at base 10”. Depth at base 10.5”. 20,000/30,000 Provenance: Hyland Granby Antiques, January 30, 2007.

206

Ludovic Gavioli (1786-1875), considered one of the greatest of all band organ makers, founded the Societe Gavioli et Cie. He worked in Modena, Italy before moving to Paris in 1845. Ludovic’s son Anselme (1828-1902) took over the business in 1863. Anselme’s son, Ludovic II (1850-1923), continued manufacturing organs until 1912, when the Gavioli Company closed its doors. The firm spanned four generations of family involvement, had more than 300 employees and operated branches in Waldkirch, Germany, London and New York. In A Pictorial History of the Carousel by Frederick Fried (N.Y.: Bonanza Books, 1954) there are photographs of two Gavioli band organs mounted with figures similar to this example. Further information about Gavioli “French Fairground Organs” can be found in The Golden Age of Automatic Musical Instruments by Arthur A. Reblitz (N.H.: Mechanical Music Press, 2001). The Hippodrome Carousel in Revere was built in 1903. The carousel platform originally had three horses abreast but was later extended to accommodate five horses abreast, a configuration unique to this carousel. The carousel was equipped with a Gavioli organ on which this figure was mounted. The Hippodrome Carousel operated until May 1973.

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1018

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1019

1019. SCHOOL OF WILLIAM RUSH American, 19th Century Architectural carved wooden figure of a winged mermaid, with exceptional carved details at hair, wings, scales and scrolled designs near tail. Retains some original blue and brown painted surfaces. Length approx. 60â&#x20AC;?. 12,000/18,000 Provenance: Sothebyâ&#x20AC;&#x2122;s Americana Auction, January 16, 1999, Lot #475.

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1021

1020

1020. “TAMMANY BANK” CAST IRON MECHANICAL BANK Last Quarter of the 19th Century In original paint. Height 5.75”. 250/350 Provenance: Collection of Kendra and Allan Daniel. Christie’s, January 20, 2001, Lot #667.

1021. LEHMANN “ZICK-ZACK” DRIVER AND WHEEL TOY Early 20th Century Lithographed tin with red, white and blue decoration. Height 5”. Length 5.25”. 400/600

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1022

1022. J. & E. STEVENS COMPANY “HALL’S LILLIPUT” CAST IRON MECHANICAL BANK Impressed with patent date of May 1875. Original paint. Height 4.5”. 300/500

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1023

1023. PATENT MODEL OF A FARM MACHINE Circa 1875 A stainless steel, painted iron and wood display model of an Adriance Buckeye Mowing Machine #136 made by Adriance, Platt and Company, Poughkeepsie, New York. Folding blade cuts through a worm-driven mechanism. Tongue inscribed “CE Dressler & Bro New York”, probably a sales representative. Length 21.5”. Width with blade in cutting position 18”. Includes box and alternate chain-driven mechanism. 3,000/5,000 Provenance: Hyland Granby Antiques, January 30, 1996.

1024. KENTUCKY POLITICAL BANNER Mid-19th Century Painted canvas banner with an American flag background, a banner with “Kentucky” and a bordered vignette titled “United We Stand Divided We Fall”. Vignette depicts an interior scene of two men shaking hands; the man on the right is possibly Henry Clay. Banner 62.5” x 33.5”. Affixed to a dowel painted red with acorn finials painted gold. 3,000/5,000 Provenance: Collection of Kendra and Allan Daniel. Christie’s, January 20, 2001, Lot #661.

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1024

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1025. PAINTED WOODEN GAMEBOARD Early 20th Century In red and white. 23” x 16”. 500/800

1025

1026. LEAD SUN FACE PLAQUE 18th or Early 19th Century Relief-molded sun above impressed numbers, possibly “777646”. Approx. 6.75” x 6.75”. 500/1,000 Provenance: Christie’s Americana Auction, January 20, 2001, Lot #582.

1026

1027. N.E. RUM DISTILLERS ADVERTISING COLORED LITHOGRAPH Late 19th Century “N.E. Rum Crystal Spring Distillery. Felton & Son Distillers. Boston, Mass. ...” surrounding an image of the Luther Feltons Distillery, with casks of rum at lower right corners. Marked lower right “The Kellogg & Burkelly Co. Hartford, Conn.” Label verso for the Old Print Shop, New York. 17.5” x 23.5” sight. Framed 21.5” x 27.5”. 500/1,000 Provenance: Hyland Granby Antiques, November 18, 2000.

1027

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1028, pair

1028. PAIR OF IRON ANDIRONS IN THE FORM OF GEORGE WASHINGTON Last Quarter of the 19th Century Washington holds his hat in his right hand, leans his left elbow on a draped column and stands on a plinth with a drape and star design. Heights 21.5”. Depths 17.5”. 2,000/3,000 Provenance: Christie’s Americana Auction, January 18, 1997, Lot #172.

1029. QUEEN ANNE CARVED AND PARCEL-GILT MIRROR Circa 1740 Walnut veneer frame with pierced giltwood leaf at center of arched scrolled crest. Two-part mirror glass with a gilded and crossbanded surround. Height 51.5”. Width 18.5”. 2,000/3,000 Provenance: Sotheby’s Important Americana Auction, January 19, 1996, Lot #1501.

1029

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1030. PHRENOLOGY HEAD CANE English, Circa 1880 Elephant ivory handle carved in the form of a male bust with exceptionally well-detailed facial features. The top of the head is divided into thirty-seven numbered areas that correlate to a chronological legend at the base of the bust. Dividing lines and lettering are engraved and inked black. Bamboo shaft with thin silver-tone collar and original metal ferrule. Length 37.5”. 2,000/3,000 Provenance: Hyland Granby Antiques, January 26, 1999. Most phrenologic canes had manufactured ceramic heads. Very few were carved from ivory and hand-engraved like this example. An almost identical cane to this is illustrated and described in Cane Curiosa From Gun to Gadget by Catherine Dike (Paris: Les Editions De L’Amateur, 1983), p. 233.

1030

1031

1031. COMPASS WALKING STICK English, Circa 1880 Ivory handle inset with compass. Tapered bamboo-like shaft with engraved silver collar and silver tip. Compass with ivory face and subsidiary degree dial. Silver components with hallmarks. Length 34.75”. 500/1,000 Provenance: Hyland Granby Antiques, January 26, 1995.

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1032, above and right

214

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1032. DENT 30-DAY ASTRONOMICAL REGULATOR #1277 CLOCK Circa 1860 Very clean and almost futuristic in its appearance. Retains its original delicate ebonized case with glazed panels on the top, sides and front. Front panel aperture has a swing-over brass dust cap, allowing the clock to be wound through the case, thus keeping out impurities in the air. Three brass mounting screws and a threaded brass key locks the glazed portion of the case to its backboard and bottom support. Original silvered beat scale mounted to backboard. Astronomical format dial with outer minutes ring enclosing subsidiary seconds and hour dials. Magnificent Dent movement with beautifully finished damascened plates with chamfered top corners. External deadbeat escapement with jeweled pallets. Stop-work is provided and the wheelwork has five crossings. The long crotch is split to avoid damage. Has beat regulation and the pallets are protected by stop pins. Retains its original “Dent style” mercury-filled steel canister pendulum with steel pointer. Typical of Dent pendulums, this example is fitted with a brass ring that can slide up the pendulum rod to help as a fine regulation adjustment. Also retains its original “Dent style” pulley and weight. Dent 8-day regulator clocks are quite rare and desirable; 30-day versions are even rarer and more prized. This clock was so accurate that at one point it was used as a master clock and was provided with electrical contacts used to send signals to slave clocks. This system was dismantled when the clock returned to normal regulator use. Height 57.75”. Width 12”. Depth 8.88”. 18,000/25,000 Provenance: Hyland Granby Antiques, February 14, 2002. Edward John Dent (1790-1853), credited with more significant innovations than almost any clockmaker of the 19th Century, is regarded as one of the greatest horologists of all time. His most famous achievement was the clock for Westminster Tower, fondly referred to as “Big Ben”. After learning the trade from his cousin, master watchmaker Richard Rippon, Dent founded his own company in 1814. The firm’s reputation for accurate chronometers earned it commissions from the Royal Navy, Robert FitzRoy, captain of the H.M.S. Beagle during Darwin’s famed explorations, and David Livingston, who took a Dent chronometer on his explorations of Africa. In 1814 Dent constructed the first Standard Astronomical Clock for the Admiralty. He and his firm would go on to supply Standard Clocks throughout the 19th Century to Switzerland, Italy, Spain, Belgium, Russia, Japan, the United States and the Royal Observatory at Greenwich, which was used to keep “Greenwich Mean Time”, the time to which all others in the British Empire were referred. Edward John Dent died in 1853 and the business was inherited by his two stepsons, Richard and Frederick. The two brothers and their descendants continued the Dent business separately and competitively until 1920, when they merged to form E. Dent & Co. Ltd. More information on Dent and similar regulator clocks can be found in “Edward John Dent” by Vaudrey Mercer (The Antiquarian Horological Society, 1977).

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1033. JACOB MAENTEL Pennsylvania/Maryland/Indiana/Germany, 1763-1863 Pair of portraits: A man wearing white stock, a black coat and black pants, and a woman wearing a blue bonnet and dress and holding a floral sprig in her right hand. Both figures standing on green grass. Watercolors on paper, 10.5” x 8.25” and 10.5” x 8”. Framed 15.25” x 13.25”. 2,500/3,500 Provenance: Christie’s Important Americana Auction, January 25, 1997, Lot #167.

1033, pair

1034. AMMI PHILLIPS New York/Connecticut, 1788-1865 Portrait of Jane Kinney wearing a black dress with lace trim at the collar and cuffs, and a beautifully rendered multicolored shawl draped over her shoulders. Oil on canvas, 32” x 27”. Framed 40.5” x 32”. 3,000/4,000 Provenance: Christie’s Americana Auction, October 5, 2000, Lot #22.

1034

216

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1035, pair

1035. ATTRIBUTED TO AMMI PHILLIPS New York/Connecticut, 1788-1865 Pair of portraits. A formally dressed man holding a white newspaper marked “Plough Boy”, and a woman wearing a hair comb and a black dress with lace collar holding berries in one hand and a Bible in the other. Both figures are seated in yellow and green Windsor thumb-back chairs. Oils on canvas, 31” x 25”. Framed 35” x 29”. 12,000/15,000 Provenance: Estate of Jean Montgomery. Auction of Montgomery Estate, June 1992, Lot #86.

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1036. WILLIAM MATTHEW PRIOR Massachusetts/Maine, 1806-1873 Primitive portrait of a young woman with rosy cheeks wearing gold earrings, a floral pin and a black dress with white lace trim on the shoulders. Sprig of pink flowers behind her left shoulder. Oil on heavy paper laid down on board, 13.5” x 10.5” sight. Framed 19.5” x 16.5”. 2,500/3,500 Provenance: Sotheby’s Americana Auction, June 22, 1995, Lot #114.

1036

1037. PORTRAIT OF A YOUNG GIRL Circa 1820-1840 Wearing a pink dress and seated with her arms crossed over her knees while holding a flower in her left hand. Bucolic landscape fills the background. Discovered in Portland, Maine. Oil on canvas, 30” x 24”. Framed 33.5” x 27”. 1,000/1,500 Provenance: Montgomery Antiques, Los Gatos, California, 1991.

1037

218

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1038

1038. JACKKNIFE TRADE SIGN Late 19th/Early 20th Century A wonderfully detailed rendition of a folding knife that opens and closes. Walnut handle with metal hanging loop at end, an inset unengraved metal plaque at center and a wall mount on reverse. Steel blade with nail nick and decorative spine. Length 39.5”. 3,000/4,000 Provenance: Sotheby’s Important American Furniture, Silver, Folk Art and Decorative Arts Auction, June 29, 1994, Lot #104.

1039. CARVED AND PAINTED PINE DOUBLE-SIDED MAN WITH TOP HAT WHIRLIGIG Circa 1920 With black and red hat, a black jacket with red buttons, and pants that are yellow on one side and yellow and black striped on the other side. Charmingly rendered faces with painted oversize eyes and mustaches and carved noses. Height 14”. 2,000/3,000 Provenance: Sotheby’s Americana Auction, January 28, 1994, Lot #983.

1040. CARVED AND PAINTED WOODEN CODFISH SIGN First Half of the 20th Century With metal fins. Length 37”. 500/1,000 Provenance: Estate of Jean Montgomery. Auction of the Montgomery Estate, Kansas City, Missouri, June 1992.

1039

1040

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1041. GILDED COPPER GRASSHOPPER WEATHER VANE Second Half of the 19th Century By L.W. Cushing & Sons, Waltham, Massachusetts. Nice patina. Height 17”. Length 42”. 20,000/30,000 The 1883 L.W. Cushing & Sons “Catalogue No. 9” lists an identical Grasshopper weather vane on page 17. The catalog listing indicates the form was number 410 and was copyrighted in 1883. Provenance: Sotheby’s Important Americana Auction, June 22, 1992, Lot #47.

A gilded grasshopper weather vane by coppersmith Shem Drowne has sat atop Boston’s Faneuil Hall since 1742, an enduring emblem of the city. Although numerous legends on its history and symbolism exist, the most probable is that it was modeled after the grasshopper weather vane that tops London’s Royal Exchange, built in 1565 by Sir Thomas Gresham, whose coat of arms incorporates a grasshopper. As the Royal Exchange helped London become the center of international finance, the grasshopper motif became a symbol of commerce. By topping Faneuil Hall with a grasshopper weather vane, Peter Faneuil was probably intending to attract the same spirit of commerce to his city and his new marketplace. The design was then replicated by later manufacturers, including L.W. Cushing. The weather vane manufacturer that became Cushing & White, then L.W. Cushing & Sons, was founded by Alvin L. Jewell in 1852. A.L. Jewell & Co. operated in Waltham, Massachusetts until Jewell’s accidental death in 1867. The company, including its molds, and patents, was then purchased at auction by Leonard W. Cushing and Stillman White for the purported sum of $7950. Under Cushing, who had been a civil engineer, and White, who had been a machinist, the company continued to thrive and the two added more designs to Jewell’s line. In 1872, Cushing bought out his partner and his sons joined the firm, thus the change in name to L.W. Cushing & Co. and finally L.W. Cushing & Sons.

1041

L.W. Cushing & Sons catalog showing grasshopper vane

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1041

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1042

1042. COPPER ARROW AND CASK WEATHER VANE Late 19th/Early 20th Century Arrow supports banner with “Pflug & Ackley” in silhouette lettering. Green patination. Height 39”. Length 58”. 6,000/9,000 Pflug & Ackley was a soft drink manufacturer and bottler in Hempstead, Long Island, New York, from about 1890 to the mid-1930s. Provenance: Sotheby’s Americana Auction, June 19, 1992, Lot 196.

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1043

1043. CARVED WOODEN SPERM WHALE WEATHER VANE American, Last Quarter of the 19th Century Discovered on Nantucket Island. A beautifully rendered and accurate representation of the form of a sperm whale. The whale’s mouth is open and his tail swings out. Retains its original ball-on-base mount, which was originally attached to a building. Mounted on a contemporary stand. Overall height 29.75”. Whale height 12”. Length 42.5”. 8,000/12,000 Provenance: Diana Bittel. Hyland Granby Antiques, February 2, 2005.

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1044

1044. CARVED AND PAINTED PINE TRUMPETING ANGEL GABRIEL SILHOUETTE WEATHER VANE Probably New England, Late 19th/Early 20th Century Paint worn mostly away. Length 50”. 2,000/3,000 Provenance: Collection of William Holland. Sotheby’s, January 28, 1995, Lot #571.

1045. CARVED AND PAINTED PINE “DR. HEX” WEATHER VANE Possibly Bucks County, Pennsylvania, Late 19th Century In a top hat and green jacket and with his fingers pointing out. Length 25.5”. 1,500/2,500 Provenance: Collection of William Holland. Sotheby’s, January 28, 1995, Lot #663.

1046. PIERCED SHEET COPPER AND BRASS ARROW BANNERETTE WEATHER VANE Late 18th Century With crown and fleur-de-lis design. Stamped “1776 GRIII”. Height 12.25”. Length 20”. 500/1,000 Provenance: Sotheby’s Americana Auction, January 28, 1993, Lot #774.

1046 1045

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1047

A version of this weather vane by Cushing & White, also dated 1865, is illustrated in A Gallery of American Weathervanes and Whirligigs by Robert Bishop and Patricia Coblentz (N.Y.: E.P. Dutton, 1981), p. 48, fig. 70.

1047. MOLDED COPPER “GODDESS OF LIBERTY” WEATHER VANE Third Quarter of the 19th Century By Cushing & White of Waltham, Massachusetts. Swellbodied form with remnants of old polychrome and gilding. Liberty draped in a sash and has a laurel leaf crown on her head. Flag with pierced stars. Retains oval maker’s label impressed “Cushing & White Waltham, Mass Pat’d Sep’t 12 1865”. Height 22.5”. Width 16”. On shallow wooden stand. 20,000/30,000 Provenance: Sotheby’s Important Americana Auction, January 30, 1986, Lot #491. Sotheby’s Americana Auction, May 19, 2015, Lot #114.

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1048

1048. GILDED COPPER QUILL WEATHER VANE American, Circa 1885 Outstanding weathered patina. Length 36”. 4,000/6,000 Provenance: Giampietro American Antiques & Art, New Haven, Connecticut, February 1, 1994.

1049

1049. RARE MOLDED COPPER FIREMAN’S HOOK & LADDER WEATHER VANE Last Quarter of the 19th Century Hooks on poles crossed over a seven-rung ladder. Nice green patina. Length 40”. 6,000/8,000 Provenance: Sotheby’s Americana Auction, October 26, 1991, Lot #41.

1050

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1050. PAINTED SHEET METAL TRUMPETING ANGEL GABRIEL WEATHER VANE Early 20th Century Topless angel with long flowing black hair, gold wings and red skirt. Length 42”. 1,200/1,800 Provenance: Christie’s Americana Auction, June 22, 1994, Lot #123.

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1051

1051. PAINTED SHEET IRON LOOPED SERPENT WEATHER VANE Late 19th/Early 20th Century With green and yellow stripes. Includes wooden stand. Height on stand 57.5”. Length 51.75”. 8,000/12,000 Provenance: The John Gordon Collection of Folk Americana. Christie’s, January 22, 1999, Lot #295.

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1052

1052. SHEET AND MOLDED COPPER FIRE HOSE WAGON WEATHER VANE First Half of the 20th Century Height 18.5”. Length 36”. 2,000/3,000 Provenance: Sotheby’s Americana Auction, October 26, 1991, Lot #33.

1053. CARVED PINE ARROW WEATHER VANE Last Half of the 19th Century Length 32”. 300/400 Provenance: The Collection of William Holland. Sotheby’s, January 28, 1995, Lot #524.

1053

conclusion of this collection

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1054

1054. EXTREMELY RARE COPPER AND ZINC HORSE, SLEIGH AND DRIVER WEATHER VANE American, 19th Century Attributed to J.W. Fiske & Company, New York. Verdigris finish. Height 18.25”. Length 43”. Width 5.5”. 20,000/30,000

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1055

1055. GILDED COPPER HORSE AND RIDER WEATHER VANE American, Late 19th Century Height 19.5”. Length 31”. 6,000/8,000

1056

1056. COPPER TROTTING BLACK HAWK WEATHER VANE American, Late 19th Century Gilt and verdigris surface. Height 19”. Length 26”. 3,000/5,000

1057

1057. COPPER BIPLANE WEATHER VANE American, Early 20th Century Shows traces of gilt. Height 12”. Length 34.5”. Wingspan 36”. 6,000/9,000

1058

1058. SHEET METAL TROTTING HORSE WEATHER VANE Second Half of the 19th Century Made in two halves, with a support brace down the horizontal center. Height 24.75”. Length 36”. Includes contemporary stand. 1,000/1,500

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John Haley Bellamy Maine/New Hampshire, 1836-1914

1059

1059. Carved and Painted American Eagle With a “’Don’t Give Up the Ship.’” banner and a shield. Eagle and shield painted white with red and blue highlights. Banner with blue and red lettering. Height 9”. Length 25”. 15,000/25,000

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1060

1060. WONDERFUL WHALE-FORM WOODEN SIGN Martha’s Vineyard, Massachusetts, Mid-20th Century Painted dark blue lettering “ ... Edgartown, Mass.” on a painted green-blue ground. Length 41.5”. 3,500/4,500

1061. CAROUSEL LION Circa 1920 By D.C. Muller & Bro., Philadelphia. A carved and painted wooden strolling lion with cherub and ribbon adornment near saddle. Repainted and restored. Height 54”. Length 71”. Width 16”. 2,000/4,000 A portion of the proceeds from the sale of this lot will go to Heritage Museums and Gardens, Sandwich, Massachusetts.

1061

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1062

1062. AMERICAN SCHOOL 18th Century Lady Liberty and an American eagle, set within an oval vignette on a brown ground with gilt highlights at each corner. Oil on panel, 7.5â&#x20AC;? x 8.5â&#x20AC;?. Unframed. 3,500/4,500

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233

1063

1063. UNUSUAL THEOREM DEPICTING NEW YORK’S BROOKLYN BRIDGE American, Circa 1935 Unsigned. 21.5” x 37.5”. Framed 24” x 40”. 2,500/3,500

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1064

1064. SOUTHEAST AMERICAN SCHOOL Mid-19th Century Still life of a watermelon and other fruit. Unsigned. Label verso for Robert M. Hicklin Jr., Inc., Spartanburg, South Carolina. Oil on canvas, relined, 20” x 32”. Framed 27” x 38.25”. 2,000/3,000

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235

1065

1066

1065. AARON DEAN FLETCHER Vermont/New York, 1817-1902 Portrait of Mary Allen, age 6, wearing a pink dress and holding an apple while seated on a patterned carpet with a basket of apples to her right. Inscribed and signed verso. Oil on canvas, 32” x 25.25”. Framed 37” x 30”. 2,000/3,000

236

1066. AMERICAN SCHOOL Late 19th Century A man and woman in a sailboat. Unsigned. Oil on canvas, 12” x 22”. Framed 17” x 27”. 800/1,200

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Clarence E. Braley Massachusetts, 1854-1927

1067

1068

1067. Fish Island, New Bedford in 1893. A rare and highly desirable Braley oil depicting New Bedford. Signed and dated lower right “Clarence E. Braley 1917”. Inscribed verso “East Side of Fish Island looking southeast Place now occupied by David Duff and Son coal packets. From a sketch made in 1893 Clarence E. Braley”. Oil on canvas, 18” x 24”. Framed 24” x 30”. 5,000/7,000 Provenance: A Connecticut Estate.

1068. A beach party. Signed faintly lower right. Oil on canvas, 24” x 36”. Framed 34” x 46”. 4,000/6,000 Provenance: The Buffington Estate, Fairhaven, Massachusetts. Louis St. Aubin Jr., New Bedford, Massachusetts.

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237

1069. GEORGE WILLIAM WHITAKER Rhode Island/New York/Massachusetts, 1841-1916 Expansive landscape looking out to the sea. Signed lower left “G.W. Whitaker”. Oil on canvas, 22” x 28”. Unframed. 800/1,200

1069

1070. GEORGE WILLIAM WHITAKER Rhode Island/New York/Massachusetts, 1841-1916 Still life of fruit. Signed and dated lower left “G.W. Whitaker 1901”. Oil on canvas, 15” x 20”. Framed 19” x 24”. 500/800

1070

1071. EDWARD CHALMERS LEAVITT Rhode Island, 1842-1904 Still life of apples. Signed and dated lower left “E.C. Leavitt 1894”. Oil on canvas, 12” x 20”. Framed 18” x 26”. 800/1,200

1071

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1072. LEMUEL D. ELDRED Massachusetts, 1848-1921 Sorting clams off Gay Head. Signed lower right “Eldred”. Oil on board, 2.5” x 4” sight. Framed 11” x 12.25”. 2,000/3,000

1072

1073. WESLEY ELBRIDGE WEBBER Massachusetts/Maine, 1841-1914 Rising from the fog. One of the finest Webbers we have seen. Signed lower left “W. Webber”. Oil on canvas, 16” x 25”. Framed 24” x 32”. 6,000/9,000

1073

1074. AMERICAN SCHOOL Late 19th Century “White Head Light”. Signed lower left “Heard”. Titled lower left. Oil on canvas, 10” x 18”. Framed 16” x 24”. 4,000/6,000 Whitehead Light is located on Whitehead Island in Maine’s Penobscot Bay. It is one Maine’s oldest stations; its present tower was constructed in 1852. The light is still an active navigational aid and is maintained by the U.S. Coast Guard. 1074

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239

1075

1076

Edmund Darch Lewis

1075. Sunset over a bay. Signed lower right “Edmund D. Lewis”. Watercolor and gouache, 21” x 33” sight. Framed 32” x 44”. 1,200/1,800

Pennsylvania, 1835-1910 1076. Women with parasols on the shore. Signed and dated lower right “Edmund D. Lewis 18...”. Watercolor on paper, 9” x 19” sight. Framed 14” x 25”. 1,200/1,800

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1077

1078

1077. Boats at sunset. Signed lower right “C.H. Gifford”. Oil on canvas, 8” x 12”. Framed 15.5” x 19.5”. 15,000/20,000

Charles Henry Gifford 1078. Hauling the lobster pots. One of the most finely detailed Giffords we have seen. Signed and dated lower right “C.H. Gifford ‘82”. Oil on canvas, 9” x 14”. Framed 16” x 21”. 12,000/15,000

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Massachusetts, 1839-1904 Lots 1077-1081

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Charles Henry Gifford Massachusetts, 1839-1904 Lots 1077-1081

1079

1079. The wreck of the Provincetown whaler Antarctica. Signed lower right “C.H. Gifford”. Together with a copy of Whale Ships and Whaling by Albert Church Cook (N.Y.: Bonanza Books/W.W. Norton & Company, 1938), which has a black and white photographic image of the Antarctica, fig. 157. Oil on canvas, 18” x 24”. Framed 24” x 30”. 8,000/12,000

1080. Minots Ledge Light, Boston. Signed and dated lower left “C.H. Gifford 1896”. Watercolor, 19” x 29” sight. Framed 27” x 37”. 3,000/5,000

1080

1081. “Marsh Island”. Signed and dated lower left “C.H. Gifford 1894”. Watercolor on paper, 12” x 20.75” sight. Framed 20” x 29.5”. 8,000/12,000 Illustrated: Reproduced in color The Magazine Antiques, November 1986, plate X, p. 1034. Exhibited: Old Dartmouth Society Whaling Museum: November 7, 1986-January 11, 1987. Old Dartmouth Society Whaling Museum: May 5, 1988-October 2, 1988. The Katonah Gallery: January 25 - March 8, 1987. Provenance: Retains original label from the Fairhaven Art Show, purchased by Evelyn G. Campbell. Jean Campbell. Private Collection, Massachusetts.

1081

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1082. JOHN JOSEPH ENNEKING Massachusetts/New York/Maine/Ohio, 1841-1916 “The Mill Pond, Milton, MA (Baker Chocolate)”. Signed lower right “Enneking”. Titled on gallery label verso. Oil on canvas, 25” x 30”. Framed 33.5” x 38.5”. 16,000/18,000 Provenance: Vose Galleries, Boston. A Cape Cod, Massachusetts Estate. The Baker Chocolate Factory, which can be seen in the distance in this painting, was on the Neponset River in Milton, Massachusetts.

1082

1083. CLIFFORD WARREN ASHLEY Massachusetts, 1881-1947 Center Street, New Bedford, looking across to Fairhaven. Signed and dated lower right “C.W. Ashley 16”. Housed in its original hand-carved frame, likely by Ashley. Oil on canvas, 26.25” x 30”. Framed 33.25” x 37”. 15,000/25,000 Provenance: Private Collection, Massachusetts.

1083

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1084

1085

1084. ABBOTT FULLER GRAVES Massachusetts/Maine, 1859-1936 Mending the dress. Signed and dated lower left “Abbott Graves 95”. Oil on canvas, 32” x 46”. Framed 37” x 51”. 12,000/18,000

244

1085. ROBERT EMMETT OWEN New York/Connecticut/Massachusetts, 1878-1957 “Steeple Jump”. Signed lower left “R. Emmett Owen”. Titled on frame plaque. Oil on canvas, 25” x 34”. Framed 33” x 42”. 2,500/3,500

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1086

1087

1086. WARREN W. SHEPPARD New Jersey, 1858-1937 Sunset sail off the coast. Signed lower right “Warren Sheppard”. Oil on canvas, 24” x 37”. Framed 32” x 45.75”. 8,000/12,000

1087. CHARLES CARYL COLEMAN New York/Italy, 1840-1928 A woman gathering red flowers along the coast. Conjoined “CCC” monogram lower left above “Capri 1891”. Housed in an ornate frame. Oil on canvas backed by board, 22.5” x 37”. Framed 34.5” x 38.5”. 4,000/6,000

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245

1088

1088. BOSTON SCHOOL Late 19th Century Boston Harbor with the city and the Statehouse in the background. Unsigned. Oil on canvas, 16” x 26”. Framed 23” x 33”. 1,500/2,500

1089

1089. THEODORE GEGOUX United States/Canada, 1850-1931 “The MacIntyre Range of the Adirondacks”. Signed lower right “T. Gegoux”. Oil on canvas, 28” x 48”. Framed 40” x 60”. 3,000/5,000 Works by Theodore Gegoux are rarely seen on the market and are highly desirable. This example is likely from his time in New York.

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1090

1091

1092

1090. JOHN GEORGE BROWN New York/California, 1831-1913 Study of a young musician and his dog. Signed lower right “Copyright J.G. Brown”. Etched verso “New York Public Library”. Oil on board, 10” x 7.25”. Framed 18” x 14.5”. 4,000/6,000 Provenance: A Connecticut Estate.

1091. CARL REICHERT Germany/Austria, 1836-1918 Dachshund warily eyeing a whip. Signed lower left “Hartung”. “J. Hartung” was a known pseudonym of Reichert’s. Oil, 10.25” x 8”. Framed 15” x 13”. 1,200/1,800

1092. JOHN WILLIAM HILL New Jersey/California, 1812-1879 Shepherd on a mountain path. Signed lower left “J.W. Hill”. Oil on canvas, 8.5” x 7”. Framed 12.5” x 11”. 600/900

1093. SIDNEY LAWRENCE BRACKETT Massachusetts, 1852-1910 Kittens eyeing a burning candle. Signed lower right “Sid Brackett”. Oil on canvas, 20” x 16”. Framed 25.5” x 21.5”. 1,500/2,000

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1093

247

1094. WINFIELD SCOTT CLIME Connecticut, 1881-1958 “The Church of Round Hill’. Signed lower right “Winfield Scott Clime”. Inscribed in pencil verso “The Church of Round Hill, Conn. Winfield Scott Clime Old Lyme, Conn.” The First Church of Round is in Greenwich, Connecticut. Oil on canvas board, 16” x 20”. Framed 22.5” x 27”. 1,200/1,800 Provenance: A Connecticut Estate.

1094

1095. GEORGE LOFTUS NOYES Massachusetts/New Hampshire, 1864-1954 Floral still life. Signed lower right “G.L. Noyes”. Gouache on board, 20” x 15”. Framed 28” x 23”. 1,500/2,500

1095

1096. WILLIAM MERRITT POST Connecticut/New York, 1856-1935 Autumnal stream. Signed lower right “W. Merritt Post”. Watercolor, 14” x 16” sight. Framed 20.5” x 22.5”. 800/1,200 Provenance: A Connecticut Estate.

1096

1097. ALBERT LOREY GROLL New Mexico/Arizona, 1866-1952 “Landscape”. Signed lower left “A.L. Groll”. Titled on label verso. Oil on canvas, 25” x 35”. Framed 32” x 42”. 1,500/2,500 1097

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1098

1098. QUEEN ANNE HIGHBOY ATTRIBUTED TO AARON CHAPIN Hartford, Connecticut, Circa 1760 In cherry with a rich, deep patina. 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 repetitive fan carving. Nicely scrolled skirt. Cabriole legs end in pad feet. Two old labels on back indicate the piece belonged to Elizabeth Pelton, wife of Daniel Phelps, born 1766. Height 74.5”. Width 36.75”. Depth 18.75”. 5,000/8,000 Provenance: Private Collection, Cape Cod, Massachusetts, having descended in the family for multiple generations.

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249

1099. RARE QUEEN ANNE SLIPPER CHAIR Boston, Circa 1760 An exceedingly rare form. In walnut. Yoke back with vasiform splat. Balloon slip seat, possibly original, with floral needlework upholstery. Cabriole legs joined with turned H-stretcher and end in pad feet. Back height 36.25”. Seat height 14.5”. 3,000/5,000

1099

1100. BOSTON QUEEN ANNE SIDE CHAIR Circa 1750 In mahogany with an early alligatored finish. Back with vasiform splat. Cabriole legs joined with turned stretchers and end in duck feet. Back height 40.25”. 600/800

1100

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1101

1101. QUEEN ANNE CHEST-ON-CHEST ATTRIBUTED TO JOHN DUNLAP New Hampshire, Second Half of the 18th Century Probably maple, under an old, possibly original, red stained finish. Upper case with five graduated full-width drawers. Lower case with four graduated fullwidth drawers. Reverse love bird drop at skirt. Cabriole legs end in pad feet. Height 76”. Width 40.25”. Depth 20”. 15,000/20,000

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1102

1103

1102. QUEEN ANNE DROP-LEAF TABLE 18th Century In maple with shaped apron and cabriole legs ending in pad feet. Desirable small size. Height 29”. Length 13” plus two 12” drop leaves. Width 36.5”. 800/1,200

1103. CHIPPENDALE LOOKING GLASS Late 18th/Early 19th Century Mahogany frame with gilt liner. Crest with central gilt phoenix. Height 39.5”. Width 22.5”. 500/700

1105

1104

1104. CHIPPENDALE SLANT-LID DESK American, Late 18th Century Slant lid conceals a fitted interior with serpentine pigeonholes and drawers flanking a central stack of drawers, the top with fan carving. Case with four graduated full-width drawers. Shaped bracket base. Height 42”. Width 36.5”. Depth 20”. 700/1,000

252

1105. QUEEN ANNE DROP-LEAF BREAKFAST TABLE Portsmouth, New Hampshire, Circa 1760 In mahogany with nicely shaped skirt and high cabriole legs ending in pad feet. Height 26.5”. Length 15” plus two 12.75” drop leaves. Width 39.5”. 1,400/1,800

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1106

1106. QUEEN ANNE HIGHBOY ATTRIBUTED TO MOSES HAZEN Weare, New Hampshire, Circa 1760 In maple and curly maple. Upper case with four graduated fullwidth drawers, the top drawer simulating three drawers with central butterfly-style fan carving. Lower case with two graduated full-width drawers, the lower drawer with repetitive simulated three-drawer fancarved design. Nicely stylized skirt with bootjack design at front and sides, and central scroll design at front. Cabriole legs end in pad feet. Height 76.5”. Width 40”. Depth 20.75”. 18,000/25,000

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253

1107

1107. QUEEN ANNE SLANT-LID SECRETARY ON FRAME ATTRIBUTED TO THE WILLIAMS FAMILY East Hartford, Connecticut, Last Quarter of the 18th Century In cherry. Upper case with two closed-face paneled cupboard doors. Interior fitted with two shelves; top shelf with two dividers. Lower case with slant lid over four graduated full-width drawers. Slant lid encloses a drop-well stepped interior fitted with pigeonholes, drawers, two letter slides and beautifully carved scrolled dividers. Original frame with cabriole legs ending in pad feet. Bottoms of upper and lower cases show original surfaces with minimal abrasions, indicating very little movement in the lifetime of the piece. Height 82.5”. Width 42.5”. Depth 22.5”. 15,000/20,000

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1108, two

1108. NEAR-MATCHING PAIR OF SHERATON CARD TABLES New Hampshire, Circa 1805 Made by the same cabinetmaker but with slightly different dimensions. In mahogany and mahogany veneer with satinwood veneer at tops of legs. Serpentine tops with porringer corners. Reeded front legs and turned back legs. Family history on old label applied to underside of tops. Heights 29.5” and 28.5”. Widths 34.5” and 38”. Depths 17.75” and 17.5”. 1,500/2,500

1109

1110

1109. QUEEN ANNE LOWBOY Coastal Massachusetts, Circa 1730-1750 In walnut. Overhanging top with molded edge. Case with full-width drawer over three side-by-side drawers, the center with concave arch. Drawers with original engraved brass pulls. Nicely shaped apron and cabriole legs ending in pad feet. Height 30”. Width 34”. Depth 22”. 3,000/5,000 For a similar example, see Fine Points of Furniture by Albert Sack, p. 192.

1110. FEDERAL SWELL-FRONT BUREAU Providence, Rhode Island, Circa 1800 In mahogany with string inlay to edge of top and drawer fronts. Four full-width drawers with cock-bead molding. High flat bracket feet. Height 35.5”. Width 38.5”. Depth 21.25”. 2,000/3,000

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255

1111. FEDERAL TILT-TOP CANDLESTAND American, 19th Century Oval top with line inlay around the perimeter and a central oval inlaid cartouche of a Federal eagle with shield. Eagle topped with thirteen stars over five stars, indicating a post-1812 date as Louisiana was the eighteenth state admitted in 1812. Height 29”. Top 23.5” x 16”. 1,500/1,800 Provenance: Miliken Estate, Duxbury, Massachusetts.

1111

1112. SUPERB CHIPPENDALE TILT-TOP CANDLESTAND Newport, Rhode Island, Circa 1780 In mahogany. Serpentine molded-edge top set on a fluted carved shaft terminating in a swirl-carved ball. Three cabriole legs end in pad feet. Height 28”. Top 17.5” x 17”. 3,500/4,500 1112

1113. FEDERAL CARD TABLE Connecticut, Late 18th Century Apron fitted with a single drawer with string inlay and original brasses. Square tapered legs with string inlay and banded inlay at ankles. Height 29”. Width 32”. Depth 15.75”. 800/1,200

1113

1114. CHIPPENDALE SLANT-LID DESK American, Circa 1780 In tiger maple. Interior fitted with pigeonholes and drawers; the central top drawer has pinwheel carving. Case with four drawers and shaped bracket base. Case drawers fitted with brass bail pulls. Height 42”. Width 36”. Depth 18.5”. 1,000/1,500 1114

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1115

1115. FEDERAL THREE-PART DINING TABLE In mahogany. Vasiform pedestals raised on reverse-arched legs ending in brass-capped feet fitted with casters. Center pedestal with four legs; other two with three legs. 800/1,200

1116. CHIPPENDALE SLANT-LID DESK New England, Second Half of the 18th Century In figured maple. Lid attached with wrought iron butterfly hinges. Interior fitted with central stack of three drawers, the top with pinwheel carving, flanked on each side by four valenced letter slots over two half drawers over open compartments. Case with four full-width graduated drawers, molded base and bracket feet. Case drawers with brass willow hardware. Height 41.75”. Writing height 30.5”. Width 35.75”. Depth 20”. 1,200/1,800

1116

1117. FEDERAL SIDE CHAIR American, 19th Century Back with applied eagle on crest rail and three columnar splats. Back height 35.5”. Seat height 19”. 500/700 1117

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257

1118

1119

1118. DIMINUTIVE CHEST-ON-CHEST New England, Second Half of the 18th Century In maple under a dark stain. Married. Both cases with four graduated full-width drawers, all with later cast brass escutcheons and willow pulls. Upper case with molded cornice and lower case with applied molded upper edge. Molded base with bracket feet. Height 63”. Width 36.5”. Depth 17.5”. 1,200/1,800

258

1119. QUEEN ANNE HIGHBOY American, 18th Century In maple. Upper section with two half drawers over three graduated full-width drawers. Lower section with a fullwidth drawer over three side-by-side drawers. Cabriole legs end in pad feet. Height 67”. Width 39”. Depth 21”. 1,500/2,500

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1120

1120. SHERATON TWO-PART SECRETARY American, Circa 1820 In mahogany veneer. Upper case with broken arch pediment, three wooden urn-form finials and two paneled doors that conceal a fitted interior. Lower case with fold-out writing surface, three drawers and turned legs ending in ball feet. Fluted carving at sides of case. Drawers with circular brass bail pulls. Height 62”. Width 40”. Depth 20.25”. 500/800

1121

1121. SHERATON TWO-PART SECRETARY American, Circa 1810 In mahogany veneer. Upper case with broken arch pediment, three wooden flame finials and two geometric glazed doors. Interior fitted with shelves and drawers. Lower case with fold-out writing surface over three full-width drawers, the upper protruding. Two lower drawers flanked by rope-turned columns that terminate in turned legs ending in ball feet. Height 77”. Width 38.75”. Depth 19.5”. 500/700

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259

Items from the Estate of Minor Myers, Jr. of Mystic, Connecticut Lots 1-19 and 1122-1162

1122

1122. GUY CARLETON WIGGINS New York/Connecticut/Florida, 1883-1962 Noank Pier. Signed lower right “Guy C. Wiggins”. Accompanied by a copy of a letter from Natalie Wiggins stating the painting was inherited by her late husband, the artist’s brother Grafton Wiggins. According to the note the painting was exhibited at the Lyme Academy College of Fine Art and the Florence Griswold Museum. Oil on board, 8” x 10”. Framed 9” x 11”. 7,000/10,000 Provenance: The artist to his brother Grafton Wiggins. Mrs. Grafton Wiggins. Russ Antiques Auctions, June 5, 2004.

260

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1123

1123. EMILE ALBERT GRUPPE Massachusetts, 1896-1978 “New England Street”, depicting a harbor scene. Signed lower right “Emile A. Gruppe”. Title verso. Oil on canvas, 20” x 24”. Framed 24” x 28”. 4,000/6,000

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261

Items from the Myers Estate

1124. WILLIAM LIVINGSTONE ANDERSON United States/United Kingdom, 1856-1893 Venetian canal scene. Signed lower right “W. Livingstone Anderson”. Oil on canvas, 27” x 48”. Framed 33” x 53”. 1,200/1,800

1124

1125. ATTRIBUTED TO FRANCIS PHILIP STEPHANOFF United Kingdom, 1788-1860 Interior scene with figures around a table. Unsigned. Identified on label verso. Oil on panel, 6” x 6.5”. Framed 11.5” x 12”. 500/1,000

1125

1126. WILLIAM MERRITT POST Connecticut/New York, 1856-1935 Sunset over the marsh. Signed lower left “W. Merritt Post”. Oil on board, 9” x 12”. Framed 14” x 17”. 800/1,200

1126

262

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1127

1128

1127. JOHANN BERTHELSEN New York/Connecticut/Denmark, 1883-1972 Washington Square Park, New York. Signed lower right “Johann Berthelsen”. Oil on canvas, 12” x 9”. Framed 18.5” x 15.5”. 3,000/5,000

1128. JANE PETERSON Massachusetts, 1876-1965 Sailboat at sunset. Signed lower right “Jane Peterson”. Oil on board, 9” x 8”. Framed 18” x 16.5”. 2,000/3,000

1129. WINFIELD SCOTT CLIME Connecticut, 1881-1958 “The Copenhagen Dog”, a still life of vases and a dog figurine. Signed lower right “Winfield Scott Clime”. Titled on Lyme Art Association label verso. Housed in a Newcomb-Macklin frame. Oil on canvas, 20” x 24”. Framed 24.5” x 28.5”. 1,200/1,800

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1129

263

Items from the Myers Estate

1130

1131

1132

Arrah Lee Gaul Pennsylvania, 1883-1989 Lots 1130-1136 Arrah Lee Gaul was an original member of the Philadelphia Ten, a group of female artists who exhibited together from 1917 to 1945. Gaul was born in Philadelphia in 1888, a member of a long line of Philadelphians whose ancestors fought in the Revolution. She studied at the University of Pennsylvania and at the Philadelphia School of Design for Women, where she eventually became the head of the art department. (The school changed its name to the Moore College of Art and Design in 1932). She was the first woman to have a solo exhibition at the Philadelphia Art Club, and her work was also on display at the Art Institute of Chicago, the National Academy of Design in New York, the Beaux Arts Gallery in London and the Pennsylvania Academy of Fine Arts. She traveled extensively, often with fellow artist Jane Peterson, capturing landscapes and portraits of locals from Philadelphia to the Mediterranean to the Far East. Considered a guiding force in the Philadelphia art scene for many years, she was designated the official artist of the city’s Sesquicentennial celebration.

264

1130. Covered bridge over a lily pond. Signed lower right “Arrah Lee Gaul”. Oil on canvas,12” x 9”. Framed 16.5” x 19.5”. 500/700

1131. Valley landscape. Signed lower left “Arrah Lee Gaul”. Oil on canvas board, 16” x 20”. Framed 20” x 24”. 1,200/1,800

1132. “Rittenhouse Sq.” Depicts the famous statue “Lion Crushing a Serpent” by French sculptor Antoine-Louis Barye in Philadelphia’s Rittenhouse Square public park. Signed lower right “Arrah Lee Gaul”. Titled verso. Oil on canvas board, 20” x 16”. Framed 24” x 20”. 1,000/1,500 Provenance: The artist’s estate (stamped verso).

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1133. “Impasse Du Pouet”. Signed and dared lower left “Arrah Lee Gaul 1923”. Titled verso. Oil on board, 20” x 16”. Framed 25.5” x 29.5”. 1,000/1,500

1134. “Canaan of Galilee”. Signed lower right “Arrah Lee Gaul”. Tited verso. Oil on board, 24.5” x 29”. Framed 28.5” x 33.5”. 1,500/2,500

1133

1134 1135

1135. “Bellman’s Cove”, Nova Scotia. Signed lower right “Arrah Lee Gaul”. Tited on label verso. Oil on canvas, 30” x 25”. Framed 34” x 29”. 1,500/2,500

1136. “Close Up View of Garden Bridge”. Signed lower right “Arrah Lee Gaul”. Titled on label verso. Oil on canvas, 25” x 30”. Framed 29” x 34”. 1,500/2,500

1136

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265

Items from the Myers Estate

1137. ANNE ROGERS MINOR Connecticut, 1864-1947 “Indian Summer”. Signed lower right “Minor”. Titled on label verso. Oil on board, 16” x 20”. Framed 24” x 28”. 800/1,200

1137

1138. TWO SIMILAR GEORGIAN KNIFE BOXES English, 19th Century In flame mahogany veneer. Sloped lids with conch shell inlay. Both include knife partitions. Heights 15”. Widths 8.75”. Depths 11” and 13”. 400/600

1138, two

1139. FRANK (FRANKLIN) WHITING ROGERS Massachusetts, 1854-1917 Hingham, Massachusetts landscape. Initialed lower right “F.W.R”. Inscribed in pencil verso “By F.W. Rogers Hingham, Mass”. Oil on board, 5.5” x 9.25”. Framed 12” x 15”. 500/700

1139

266

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1140

1140. DWIGHT WILLIAM TRYON Massachusetts/New York/Connecticut, 1849-1925 Coastal landscape. Signed and dated lower right “D.W. Tryon 1907”. Oil on canvas, 20” x 30”. Framed 42” x 32”. 4,000/6,000

1141

1141. HENRY PEMBER SMITH New York/Connecticut/New Jersey, 1854-1907 “October Morning by the Lily Pond”. Signed lower right “Henry P. Smith”. Titled on label verso. Oil on canvas, 20” x 28”. Framed 26” x 32”. 2,000/3,000

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267

Items from the Myers Estate

1142

1142. AMERICAN SCHOOL Circa 1850 Full-length portrait of a boy seated on a green upholstered classical sofa, with a column over his right shoulder and a multicolored geometric rug on the floor. He is dressed in a black suit, white shirt and ascot, and he his holding a green book. Unsigned. Oil on canvas, 47” x 34”. Framed 54” x 41”. 2,000/3,000

268

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1143

1143. CHIPPENDALE TWO-PART BONNET-TOP SECRETARY New London County, Connecticut, Circa 1780 In cherry. Bonnet top with three gilt turned wooden finials and a broken arch with rosettes at end of scrolls. Upper case with fluted moldings flanking two paneled cupboard doors that enclose a compartmented interior. Lower case with a slant lid, four full-width graduated drawers, wave-scrolled skirt and claw & ball feet. Slant lid encloses interior pigeonholes, drawers and two letter slides. Design of skirt is indicative of the New London County area. Height 92.5”. Width 39.75”. Depth 21.5”. 12,000/18,000 This piece, particularly the apron design, is similar to a chest-on-chest in the permanent collection of the Baltimore Museum of Art.

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269

Items from the myers estate

1144. SCHOOL OF CHARLES H. GIFFORD American, 19th Century Pair of luminous seascapes. Initialed illegibly lower left and right, possibly “A.F.M.” Oils on board, 8” x 6”. Framed 12” x 10”. 1,200/1,800

1144, pair

1145. HEPPLEWHITE TWO-PART CUPBOARD SECRETARY Massachusetts, Circa 1790 In mahogany and mahogany veneer with matching banded inlay on both cases. Upper case with geometric glazed doors enclosing interior pigeonholes and drawers. Lower case with fold-out writing surface over four graduated full-width drawers. High French splayed bracket feet. Height 58.25”. Width 39.5”. Depth 20”. 1,000/1,500

1145

270

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1146

1146. AMERICAN SCHOOL 19th Century Portrait of a man wearing a mortarboard. Unsigned. Oil on canvas, 30” x 25”. Framed 35” x 29”. 800/1,200

1147. ATTRIBUTED TO ERASTUS SALISBURY FIELD Massachusetts/New York, 1805-1900 Portrait of a woman holding a book. Unsigned. Oil on canvas, 30” x 25”. Framed 38” x 30”. 1,000/1,500

1147

1148. ASSEMBLED SET OF EIGHT HEPPLEWHITE SIDE CHAIRS New England, Circa 1790 Probably by Kneeland and Adams of Hartford, Connecticut. In mahogany. Arched backs with pierced vertical splats with central carved urns. Tapered front legs joined with H-stretchers. Four with slip seats and four overupholstered, all in green striped fabric. Back heights 37.5”. Seat heights 18”. 600/900 1149. HEPPLEWHITE THREE-PART DINING TABLE 19th Century In mahogany. Two D-form ends, both with a drop leaf, and a central section with drop leaves. Height 29.25”. Length fully extended 140”. Width 47.25”. 500/1,000

1148, eight

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271

Items from the Myers Estate

1150. QUEEN ANNE LOWBOY Connecticut, Circa 1760 In cherry. Molded top. Case with a full-width drawer over three side-by-side drawers, the central with fan carving. Skirt with urn-form drops. Cabriole legs end in pad feet. Height 31”. Width 35”. Depth 21.75”. 2,500/3,500 1150

1151. FEDERAL FOUR-DRAWER BOWFRONT CHEST American, Dated 1807 In mahogany and mahogany veneer with line inlay on drawer fronts. Shaped skirt. Signed and dated on underside of base “JD 1807”. Height 35.5”. Width 42”. Depth 22”. 500/700

1151

1152. CHIPPENDALE BLOCK-FRONT CHEST Connecticut, Circa 1780 Possibly by Felix Huntington of Norwich, Connecticut, or a Colchester, Connecticut cabinetmaker. In cherry. Four graduated full-width drawers flanked by recessed spiralturned columns. Bold ogee bracket feet. Height 34.75”. Width 45.25”. Depth 26.5”. 1,500/2,500

1152

272

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1153

1153. QUEEN ANNE HIGHBOY Connecticut, Circa 1760 In cherry. Upper case with four small drawers flanking a central fan-carved drawer, all over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Skirt with acorn drops. Cabriole legs end in pad feet. Height 75”. Width 39”. Depth 19”. 4,000/6,000

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273

Items from the Myers Estate

1155, pair

1154

1156

1154. FEDERAL CARD TABLE Massachusetts, Circa 1800 In mahogany and mahogany veneer, with wonderfully grained top and flame mahogany veneer on front. Edge of top and bottom edge of skirt with blocked string inlay. Skirt with oval panels above legs. Square tapered legs with string inlay down the lengths. Height 29.75”. Width 35.5”. Depth 17.25”. 1,000/1,500

274

1155. PAIR OF FEDERAL FIRE SCREENS New York, First Quarter of the 19th Century In mahogany with molded rectangular yellow fabric-covered panels. Both with acorn finials at top of poles and turned bases on three reverse-arched legs. Heights 54.25”. Panels 21.75” x 17.75”. 500/1,000

1156. HEPPLEWHITE SEWING TABLE Massachusetts, Circa 1800 In mahogany. Octagonal top on a conforming case fitted with a single drawer and basket slide. Square tapered legs. String inlay on sides and legs. Height 29.25”. Width 19.75”. Depth 15.5”. 700/1,000

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1157, above and at right

1157. WILLIAM CUMMENS TALL-CASE CLOCK Massachusetts, Early 19th Century Cherry Roxbury-style case. Bonnet with three turned brass steeple finials on fluted plinths joined by pierced fretwork. Full fluted columns flank glazed dial door and brass-capped fluted quarter columns flank rectangular pendulum door. Dial door with diminutive bellflower inlay and pendulum door with ebonized and light wood string inlay and central oval mahogany veneer panel. Base panel with repetitive oval veneer panel. Ogee bracket feet. Painted metal dial with Roman numerals, second sweep and calendar dial. Portrait of an American flagged ship in lunette. Gilt scrollwork and green and mustard yellow oval pateras at corners of dial. Face signed “Warranted by Wm. Cummens”. Height 94.75”. Width 18”. Depth 11.5”. 8,00/12,000

conclusion of this collection

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275

1158

1159

1158. ENGLISH GALLERY CLOCK 19th Century Large painted white dial with black Roman and Arabic numerals. Lower panel with painted signature “Thos. Olive Cranbrook” above painted decoration of a man and woman in a garden setting. Height 59”. Width 28.5”. 2,000/3,000

276

1159. SAMUEL MULLIKEN FEDERAL TALL-CASE CLOCK Massachusetts, 19th Century Mahogany case. Arched bonnet with fretwork and three brass finals. Dial door flanked by brass-capped fluted and stop-fluted columns. Arched pendulum door. Base section with scalloped molding. Roman numeral dial with painted floral decoration at corners and in lunette. Face signed “S. Mulliken Salem”. Height 83”. Width 18”. Depth 10.25”. 1,500/2,500

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1160 1162

1161

1160. WILLARD’S PATENT BANJO CLOCK First Quarter of the 19th Century Mahogany case with turned acornform finial, string inlay on throat and door frame, and brass side arms. Reverse-painted throat and door glass; throat glass with a foliate and star design and “Willard’s Patent”, and door glass with a city street scene. Height 32”. Width 10”. 2,000/3,000

1161. TALL-CASE CLOCK Early 19th Century English works by Osborne of Birmingham. Nicely figured mahogany case attributed to Michael and Richard Allison of New York. Bonnet with broken arch pediment and two full brass-capped fluted columns flanking dial door. Arched pendulum door flanked by fluted half columns. Both pendulum door and base panel with satinwood string inlay. Painted Roman numeral dial with farmhouse scene in lunette. Includes pendulum and weights. Height 91”. Width 19.75”. Depth 9.5”. 700/1,000

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1162. ELMER STENNES BANJO CLOCK 20th Century Mahogany case with gilt acorn finial, throat frame, door frame and presentation bracket. Roman numeral dial. Reverse-painted throat and door glass; throat glass with oval bust portrait of George Washington and door glass with view of Mount Vernon. Face signed “Elmer O. Stennes Weymouth, Mass.” Height 40.5”. 1,500/2,500

277

1163

1164

Aldro Thompson Hibbard Massachusetts/Vermont, 1886-1972

1163. Crashing waves, possibly Monhegan Island, Maine. Signed lower right “A.T. Hibbard”. Oil on canvas, 22” x 32”. Framed 28” x 38”. 2,500/3,500

278

1164. Winter mountain landscape. Signed faintly lower left “A.T. Hibbard”. Oil on board, 18” x 23.75”. Framed 26” x 32”. 3,000/5,000 Provenance: Purchased in 1973 at the Ogunquit Art Center, Ogunquit, Maine for $450. A Connecticut Estate.

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1165

1166

1165. FRANCIS SETH (SHEDD) FROST Massachusetts, 1825-1902 A scene on Mount Desert Island, Maine, likely Thunder Hole. Signed faintly lower center. Oil on paper laid down on board, 10” x 14”. Framed 16.5” x 20.5”. 3,000/5,000

1166. CHARLES P. APPEL New Jersey, 1857-1928 Rural scene with stone wall and figures on a path. Signed lower right “C.P. Appel”. Oil on canvas, 14” x 20”. Framed 21” x 27”. 1,500/2,500

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279

1167. BERNARD COREY Massachusetts, 1914-2000 “Late Fall Grafton Mass”. Signed lower right “Bernard Corey”. Titled on label verso. Oil on board, 9” x 12”. Framed 15.5” x 19.5”. 800/1,200

1167

1168. BERNARD COREY Massachusetts, 1914-2000 Barn in a winter landscape. Signed lower right “Bernard Corey”. Oil on board, 9” x 14”. Framed 14” x 19”. 800/1,200 Provenance: A Montana Estate.

1168

1169. BERNARD COREY Massachusetts, 1914-2000 Houses in rolling hills. Signed lower right “Bernard Corey”. Oil on board, 9” x 14”. Framed 14” x 19”. 800/1,200 Provenance: A Montana Estate.

1169

1170. MORRIS HALL PANCOAST Massachusetts/Pennsylvania/New Jersey, 1877-1963 “Ipswich Bay from Lanesville”. Signed lower right “Morris Hall Pancoast”. Titled in pencil verso. Oil on board, 8” x 10”. Framed 10.5” x 12.5”. 800/1,200

1170

280

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1171. WILLIAM LESTER STEVENS Massachusetts, 1888-1969 A Northshore harbor, likely Gloucester, Massachusetts. Signed lower right “W. Lester Stevens”. Housed in a period hand-carved frame. Oil on canvas, 25” x 30”. Framed 29” x 34”. 8,000/12,000

1171

1172. WILLIAM LESTER STEVENS Massachusetts, 1888-1969 Harbor scene with docks and fishing shacks. Signed lower right “W. Lester Stevens N.A.”.Watercolor on paper, 21” x 28.5”. Framed 30” x 37”. 2,000/3,000 Provenance: Skinner Inc., May 9, 1997, Lot #111.

1172

1173. ROBERT ATWOOD Tennessee/New Jersey, 1892-1970 Boats in a harbor. Signed lower left “Robert Atwood”. Oil on canvas board, 8” x 10”. Framed 15” x 17”. 500/1,000

1173

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281

Otis Pierce Cook, Jr. Massachusetts, 1900-1980

1174

1174. Rockport Harbor. Signed lower “Otis Cook”. Oil on canvas, 25” x 30”. Framed 30” x 35”. 4,000/6,000

1175. North Shore street scene. Signed lower right “Otis Cook”. Oil on canvas, 20” x 24”. Framed 24” x 28”. 2,000/3,000

1175

1176. “Motif #1 in Snow”. Signed lower left “Otis Cook”. Titled on gallery label verso. Oil on canvas board, 10” x 12”. Framed 14” x 16”. 1,800/2,200

1176

282

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Emile Albert Gruppe Massachusetts/Vermont, 1896-1978

1177

1177. “Drying the Sails”. Signed lower right “Emile A. Gruppe”. Titled verso. Oil on canvas board, 16” x 12”. Framed 24” x 20”. 2,500/3,500

1178. “Bass Rocks”. Signed lower right “Emile A. Gruppe”. Titled verso. Oil on canvas, 30” x 36”. Framed 36.5” x 42.5”. 5,000/7,000 Provenance: Private Collection, Cape Cod, Massachusetts.

1179. “Fish House”. Likely a scene in Naples, Florida. Signed lower right “Emile A. Gruppe”. Oil on canvas, 25” x 30”. Framed 29” x 34”. 7,000/10,000 Provenance: Purchased in a Naples, Florida gallery in the 1970s. By descent in the family.

1178

1179

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283

Wayne Beam Morrell Massachusetts/New Jersey, 1923-2013

1180

1182

1181

1183

1180. “Above Epping & Raymond, N.H.” Signed lower left “Wayne Morrell”. Titled verso. Oil on board, 18” x 24”. Framed 23” x 29”. 500/700

1184

1183. Wintertime landscape with brook. Signed lower left “Wayne Morrell”. Oil on board, 14” x 18”. Framed 21” x 24.5”. 600/800 Provenance: Private Collection, Duxbury, Massachusetts.

1181. “Spring Reflections”. Signed lower left “Wayne Morrell”. Titled verso. Oil on masonite, 24” x 30”. Framed 29” x 35”. 600/900

1182. “Garden by the Sea, Rockport”. Signed lower left “Wayne Morrell”. Titled verso. Oil on board, 12” x 16”. Framed 19” x 24”. 400/600

284

1184. “North View of Taos, New Mexico from Merrials Ranch 1979”. Signed lower left “Taos N. Mexico Wayne Morrell”. Oil on masonite, 18” x 24”. Framed 22” x 26”. 500/700

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1185. BERNARD JOHANNES BLOMMERS Netherlands/Massachusetts, 1845-1914 Children swimming. Signed lower left “B.J. Blommers”. Oil on canvas, 25” x 30”. Framed 30” x 35”. 2,500/3,500

1185

1186. DIXIE SELDEN Ohio/Kentucky, 1871-1936 “Boats at Gloucester”. Unsigned. Oil on canvas, 20” x 16”. Framed 25” x 21”. 5,000/10,000 Exhibited: Cincinnati Art Galleries: Dixie Selden Exhibition, July-August, 2002. Provenance: Mr. and Mrs. Minor Raymond.

1186

1187. REYNOLDS BEAL Massachusetts/Rhode Island/New York, 1866-1951 “Mason Island Oak”. Signed lower right “Reynolds Beal”. Titled on frame plaque. Oil on canvas, 36” x 29”. Framed 45” x 37”. 6,000/8,000 Provenance: Quester Gallery, Connecticut. Private Collection, Connecticut.

1187

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285

1188. JAMES KING BONNAR Massachusetts, 1885-1961 “’South Street Sunshine & Shadow’ Rockport Mass”. Signed lower right “James K. Bonnar”. Titled verso. Oil on canvas board, 20” x 24”. Framed 26” x 30”. 800/1,200

1188

1189. JAMES KING BONNAR Massachusetts, 1885-1961 Green fishing boat. Signed lower right “Jas K. Bonnar”. Inscribed on stretcher verso “Original by James K. Bonnar Newtonville - Mass”. Oil on canvas, 14” x 12”. Framed 19” x 17”. 800/1,200

1189

1190. JAMES KING BONNAR Massachusetts, 1885-1961 “Gloucester Harbor Dockside”. Signed lower right “James King Bonnar”. Titled on gallery label verso. Oil on canvas, 25” x 30”. Framed 31” x 36”. 2,000/3,000

1190

1191. PAUL CHIDLAW Ohio, 1900-1989 “Maine”. Signed lower left “Chidlaw”. Titled verso. Oil on masonite, 12” x 19.5”. Framed 16” x 23.5”. 1,500/2,500

1191

286

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1192

1192. JOHN CHARLES TERELAK New York/Massachusetts, b. 1942 “Autumn”. Signed and dated lower left “J.C. Terelak 97”. Inscribed verso “One of my very best of Vermont”. Oil on canvas, 30” x 40”. Framed 38” x 48”. 4,000/6,000

1193. KEN GORE Massachusetts/Illinois, 1911-1990 “Harbor Pattern”. Signed lower right “Ken Gore”. Titled verso. Oil on board, 16” x 20”. Framed 21” x 25”. 800/1,200 1193

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287

1195

1194

1194. SAMUEL A. MOSS American, 20th Century Path to the sea, likely North Shore, Massachusetts. Signed lower right “S.A. Moss”. Oil on canvas, 24” x 30”. Framed 29” x 36”. 500/700

1195. GEORGE OBERTEUFFER Illinois/Massachusetts, 1878-1940 “Boothbay Harbor, Maine”. Signed lower left “Oberteuffer”. Titled on gallery label verso. Oil on board, 15” x 18”. Framed 21” x 24”. 800/1,200 Provenance: Graham Gallery, New York.

1197

1196, two

1196. GARRETT EDWARD KUHLMANN Delaware/Wisconsin, 1882-1973 Two works: 1) “Ferry Landing”. Signed lower right “Edw. Kuhlmann”. Titled on label verso. 2) Figures and storefronts. Unsigned. Oils on canvas, 18” x 22” and 18” x 24”. Framed 21” x 25” and 21” x 27”. 800/1,000

288

1197. NELL GERTRUDE WALKER WARNER California/Nebraska, 1891-1970 Two figures on a seaside street. Signed lower left “Nell Walker Warner”. Oil on canvas, 19.5” x 24”. Framed 27” x 31.5”. 800/1,000

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1198. ANTONIO CIRINO Rhode Island/Italy, 1889-1983 Winter scene. Signed lower right “A. Cirino”. Oil on canvas, 24” x 20”. Framed 29.5” x 25.5”. 2,000/3,000

1198

1199. PAUL STRISIK Massachusetts, 1918-1998 “Clearing, Gloucester”. Signed lower right “Strisik”. Titled on artist’s label verso. Oil on canvas, 20” x 30”. Framed 25” x 35”. 2,000/3,000

1199

1200. ROY WILHELM Ohio, 1895-1954 “Cape Ann Street”. Signed lower left “R. Wilhelm”. Titled on label verso. Oil on canvas, 20” x 22”. Framed 26” x 28”. 800/1,200

1200

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289

1201. EDWARD A. PAGE Massachusetts, 1850-1928 Cows resting by the marsh. Likely depicts the Swampscott marshes. Signed lower right “E.A. Page”. Oil on canvas, 14” x 22”. Framed 19” x 27”. 1,000/1,500 Edward Page was a core member of the “Lynn Beach Painters” along with Nathaniel Berry, Charles Greene, Thomas Clark Oliver, William Partridge Burpeee, Charles Woodbury and Edward Burrill.

1201

1202. JOSEF M. ARENTZ Maine/Maryland/Germany, 1903-1969 Sunset on the ocean. Signed lower right “Josef M. Arentz”. Oil on canvas, 20” x 30”. Framed 23” x 33”. 600/900

1202

1203. JACOB I. GREENLEAF Massachusetts, 1887–1968 “October Afternoon”, Pigeon Cove, Rockport, Massachusetts. Signed lower right “J. Greenleaf ”. Titled on label verso. Oil on canvas board, 9.25” x 12”. Framed 14.75” x 17.75”. 800/1,200

1203

290

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Anthony Thieme Massachusetts, 1888-1954

1204. “Cove Hill”, Rockport, Massachusetts. Signed lower right “A. Thieme”. Titled verso. Oil on canvas, 20” x 24”. Framed 23.5” x 27.5”. 5,000/7,000 Provenance: Shannon’s, October 29, 2009, Lot #34.

1205. “Autumn Reflections”. Signed lower right “A. Thieme”. Titled verso. Oil on canvas, 20” x 24”. Framed 26” x 30”. 3,000/5,000 Exhibited: Rockport Art Association: “Anthony Thieme, Master Artist, Gifted Teacher”, June 26-July 28, 1998.

1206. “Reflective Light”. Signed lower right “A. Thieme”. Titled verso. Oil on canvas, 20” x 24”. Framed 26” x 30”. 3,000/5,000 1204

1205

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1206

291

1207

1208

1209

1210

1207. Barn in a winter landscape. Signed lower left “George Carpenter”. Oil on board, 14” x 18”. Framed 19” x 23”. 800/1,200 1208. Bridge over a harbor. Signed lower left “George Carpenter”. Oil on board, 10” x 14”. Framed 17” x 21”. 800/1,200

George Carpenter Maine/Massachusetts, 1928-2006

1209. Beached sailboat. Signed lower right “Carpenter”. Watercolor on paper, 9.25” x 13” sight. Framed 13” x 18”. 400/600 1210. Houses in a winter landscape. Signed lower left “George Carpenter”. Watercolor on paper, 10.5” x 14.5” sight. Framed 18.5” x 23.5”. 800/1,200

292

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1211

1211. GUY CARLETON WIGGINS New York/Connecticut/Florida, 1883-1962 “Docks and Boats, Essex, Conn.”. Signed lower left “Guy Wiggins N.A.” Titled verso. Oil on canvas, 25” x 30”. Framed 33” x 38”. 20,000/30,000 Provenance: Maxwell Galleries, Ltd., San Francisco.

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293

1212. TUNIS PONSEN Illinois, 1891-1968 Cape Ann harbor, likely Gloucester, Massachusetts. Signed lower left “Tunis Ponsen”. Oil on board, 21” x 25”. Framed 26” x 30”. 2,500/3,500

1213. NELLIE AUGUSTA KNOPF Illinois/California, 1875-1962 “Harbor and Boats - Gloucester”. Signed lower right “N.A. Knopf ”. Oil on board, 16” x 20”. Framed 19.5” x 23.5”. 3,000/5,000

1212

1214. JAMES CALVERT SMITH New York/Florida, 1878-1962 New York City scene with the Empire State Building. Signed and dated lower left “James Calvert Smith 1931”. Oil on canvas, 30” x 20”. Framed 32” x 22”. 2,000/3,000

1215. WILLIAM JAMES GLACKENS Pennsylvania/New York/Connecticut/France, 1870-1938 Portrait of a lady. Signed lower right “W. Glackens”. Pencil on paper, 7.75” x 4.25” sight. Framed 15.5” x 12.5”. 1,000/1,500

1213

1215 1214

294

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1216. ARTHUR S. CUMMING Massachusetts/Illinois/England, 1847-1913 “Nonquitt Boat House”, Dartmouth, Massachusetts. Signed lower right “Arthur S. Cumming”. Oil on canvas, 22” x 28”. Framed 36” x 40”. 3,000/5,000

1216

1217. PAUL BERNARD KING New York/Pennsylvania, 1867-1947 “Harbor Concarneau”. Signed lower right “Paul King”. Inscribed verso “Paul King Stony Brook L.I. NY Harbor Concarneau”. Oil on canvas, 16” x 12”. Framed 22” x 18”. 1,200/1,800

1217

1218. JOSEPH BENJAMIN DAVOL Maine/New York, 1864-1923 Sunlit shore. Signed and dated lower right “Davol 15”. Oil on board, 14” x 17”. Framed 17” x 20”. 3,000/5,000

1218

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295

1219

1219. SHERATON SIDEBOARD ATTRIBUTED TO THOMAS SEYMOUR Circa 1805 In mahogany and mahogany veneer. Top with satinwood banding along edge. Case with three drawers across top, all with cock-bead molding. Below the drawers, a central compartment is flanked by bottle drawers and paneled cupboard doors. Drawers with lion’s-mask pulls with circular wreath-molded bails. Tapered reeded legs. Height 42.75”. Width 74”. Depth 22”. 25,000/35,000

Born in Dorset, England, in 1738, John Seymour is believed to have spent much of his early career doing carpentry and repair work for the Axminster parish church and making furniture for wealthy landowners. He immigrated to the United States with his wife and six children in 1784, first moving to Portland, Maine, and finally settling in Boston in 1793. By that time, Thomas Seymour, John’s fourth child, was 22 years old and had been working as his father’s apprentice. The prosperous city’s elite were avidly seeking high quality items to furnish their luxurious new homes, and the Seymours, though they struggled to gain patrons for several years, eventually found great prosperity. As a port city, Boston also had ample supplies of exotic woods the Seymours used in their elegant and fastidiously crafted pieces. In the early years of the 19th Century, Thomas founded the Boston Furniture Warehouse and introduced new forms and techniques, including applied moldings and lyre bases. The business suffered during the 1807 embargo and the War of 1812, and John died in 1818 at a Boston almshouse. Thomas gave up his business in 1817 and retired in 1824. Source: Peabody Essex Museum

296

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1220. HEPPLEWHITE CARD TABLE ATTRIBUTED TO JOHN SEYMOUR Late 18th Century In mahogany. Shaped top with nice ebony banding. Conforming skirt with string inlay, lighter wood oval panel at center and matching rectangular panels at tops of front legs. Tapered legs with string inlay and banded cuffs. Height 28.5”. Width 35.5”. Depth 17.25”. 5,000/7,000

1220

1221. HEPPLEWHITE CARD TABLE ATTRIBUTED TO JOHN SEYMOUR Late 18th Century In mahogany. Shaped top with veneer banding along edge. Skirt with raised central panel with lighter wood oval inlay. Tapered legs with string inlay and cuff banding. Height 29”. Width 36”. Depth 17.5”. 5,000/7,000

1221

1222. CHIPPENDALE SWELL-FRONT BUREAU IN THE MANNER OF JOHN SEYMOUR Boston, Circa 1780 In mahogany. Top with nice side overhang. Case with four graduated full-width drawers and bold ogee bracket feet. Height 33.5”. Width 42.5”. Depth 24”. 1,200/1,800

1222

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297

1223

1223. FEDERAL SECRETARY ATTRIBUTED TO NEHEMIAH ADAMS Salem, Massachusetts, Last Quarter of the 18th Century In mahogany with string inlay throughout. Upper case with removable broken arch pediment over two geometric glazed paneled doors. Pediment with beautifully executed scrolls ending in a foliate and berry design. Interior fitted with two adjustable shelves. Lower case with folddown secretary drawer over three graduated full-width drawers and high flat bracket feet. Drawers with cock-bead molding. Interior fitted with two drawers, eight pigeonholes and central compartment with paneled door. Height 94.5”. Width 43”. Depth 23.5”. 5,000/8,000

298

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1224. FEDERAL TWO-PART SECRETARY BY THOMAS NEEDHAM Salem, Massachusetts, Circa 1800 In mahogany. Upper case’s raised pediment with three period turned brass steeple-top finials; central finial topped with an eagle. Diamond glazed paneled doors enclose a shelf over drawers and pigeonholes. Lower case with fold-out writing surface over four graduated fullwidth drawers with cock-bead molding. High French splayed bracket feet. Stained serifed “TN” signature on underside of lower case. Height 74”. Width 41.25”. Depth 20.5”. 3,000/5,000

1224

1225. CHIPPENDALE BUREAU BY THOMAS NEEDHAM Salem, Massachusetts, Circa 1780 In mahogany. Serpentine top on a conforming case with four graduated full-width drawers with cock-bead molding. High bracket feet. Branded on backboard “TN”. Provenance information on old label on back. Height 33.75”. Width 40.75”. Depth 20.75”. 8,000/10,000

1225, branded maker’s mark at left

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299

1226. FEDERAL TWO-DRAWER STAND IN THE MANNER OF THOMAS SEYMOUR Boston, Circa 1820 In mahogany and bird’s-eye maple veneer. Top with select flame mahogany panel surrounded by wide bird’s-eye maple bands. Drawer fronts with bird’s-eye maple veneer. Drawers flanked by threequarter turned columns with acorn drops. Spiralcarved pedestal supported by four reverse-curved legs, with delicate foliate carving on top of curve. Brass-capped feet. Height 30”. Width 19.75”. Depth 15.75”. 1,500/2,500

1226

1227. RARE SHERATON SERVER ATTRIBUTED TO SAMUEL MCINTIRE Salem, Massachusetts, Circa 1805 In mahogany. Cookie-corner top with applied vertical ribbing along edge. Case with three drawers over a central compartment flanked on each side by a stack of three small drawers. Reeded three-quarter columns at sides of case terminate in tapered reeded legs. Top of legs with acanthus and star punch carving, typical of McIntire’s work. Height 39.75”. Width 42.25”. Depth 23.25”. 4,000/6,000

1227

300

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1228

1228. HEPPLEWHITE SIDEBOARD North Shore of Massachusetts, Circa 1790 In select mahogany and mahogany veneer. Serpentine top on a conforming case fitted with three drawers and four cabinet doors. Narrow banded inlay at skirt. Tapered legs with string inlay down the lengths. Retains original brass hardware. Height 42”. Width 68”. Depth 24.5”. 10,000/15,000

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301

1229

1230

1229. SHERATON CARD TABLE Newburyport, Circa 1800-1815 In mahogany. Bowed top with porringer corners and banded and string inlay along edge. Conforming apron with central oval inlay. Ring-turned and reeded tapered legs. Height 30”. Width 36”. Depth 17.5”. 1,200/1,800 Descended in the Currier family of Newburyport, Massachusetts.

1231

1232

1231. SHERATON DROP-LEAF SEWING TABLE Eastern Massachusetts, probably Boston, First Quarter of the 19th Century In mahogany. Rectangular top with molded edge over two drawers and sewing basket slide. Upper drawer with fitted interior. Old, possibly original brass lion’s-mask ring pulls. Tapered ring-turned and spiral-carved legs fitted with original brass ferrules and casters. Height 28”. Width 21” plus two 9” drop leaves. Depth 18”. 800/1,200

302

1230. FEDERAL LOOKING GLASS Boston, Circa 1810 Original eglomise upper panel depicts Mount Vernon. Panel and mirror glass flanked by inverted columns with delicate turnings. Height 30.5”. Width 18.5”. 1,200/1,800 Similar to an example described as “best” in Albert Sack’s Fine Points of Furniture.

1232. QUEEN ANNE CANDLESTAND American, Mid-18th Century In maple and curly maple with old, possibly original surface. Round top with molded edge. Ring- and urnturned shaft raised on three arched carved legs ending in elongated slipper feet. Height 27”. Diameter 15.75”, with approx. .5” shrinkage. 600/900

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1234 1235

1233

1233. SHERATON DROP-LEAF SEWING TABLE Boston, Circa 1815 In mahogany. Molded-edge top over two cock-bead molded drawers and a yarn basket made from blue floral damask. Rope-turned legs fitted with original brass casters. Brass drawer pulls with English cut glass inserts. Height 29”. Width 19.75” plus two 9” drop leaves. Depth 18”. 1,200/1,500

1234. SHERATON DROP-LEAF SEWING TABLE Boston, Circa 1810 In mahogany. Molded-edge top over two full-width drawers and a yarn basket made from blue floral damask. Tapered reeded legs fitted with original brass casters. Height 30.75”. Width 18.5” plus two 9” drop leaves. Depth 17”. 1,000/1,500

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1235. SHERATON DROP-LEAF TABLE IN THE MANNER OF JOHN SEYMOUR Circa 1805 In mahogany. Concave skirt with single drawer at one end. Beautifully tapered reeded legs. Height 28.25”. Length 22” plus two 10.5” drop leaves. Width 44.5”. 1,000/2,000

303

1236

1236. SHERATON TWO-PART SECRETARY IN THE MANNER OF THOMAS SEYMOUR First Quarter of the 19th Century In mahogany. Raised cornice with three original turned mahogany urn-form finials. Two glazed Gothic arch paneled doors enclose interior fitted with a single shelf, pigeonholes and drawers. Lower case with four full-width cock-bead molded drawers and turned legs. Height 83.5”. Width 43.5”. Depth 23.5”. 4,000/6,000

304

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1237. CHIPPENDALE GAMES TABLE Charlestown, Massachusetts, Circa 1780 In Cuban mahogany. Top with considerable overhang at front and sides. Skirt with full-width drawer. Block linenfold legs similar to the work of Benjamin Frothingham. Height 28”. Width 36”. Depth 17.75”. 5,000/7,000

1237

1238. SHERATON SOFA North Shore of Massachusetts, Circa 1805 With eight mahogany legs, including tapered reeded front legs. Beige striped upholstery. Back height 33.75”. Seat height 16.25”. Length 78.5”. 2,000/3,000

1238

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305

1239. GAMES TABLE ATTRIBUTED TO SAMUEL MCINTIRE Salem, Massachusetts, Late 18th Century In mahogany and mahogany veneer. Cutcorner rectangular top on a conforming paneled apron. Exceptionally carved and rope-turned pedestal raised on four reversecurved legs ending in brass-capped lion’s-paw feet fitted with brass casters. Height 30”. Width 36.25”. Depth 18”. 800/1,200

1239

1240. FEDERAL WING CHAIR Salem, Massachusetts, Late 18th Century High serpentine back and bold wings. Mahogany tapered front legs joined with H-stretcher. Recently reupholstered in a blue floral damask with brass tacks at lower edge of seat frame. Back height 45.25”. Seat height approx. 20”. 2,500/3,500

1240

306

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1241. FEDERAL WING CHAIR Salem, Massachusetts, Late 18th Century Serpentine back and nicely scrolled-out arms. Mahogany H-stretcher and slightly tapered block-front legs. Legs with bellflower inlay and are fitted with original brass casters. Recently reupholstered in a blue floral damask with brass tacks along lower edge of seat frame. Back height 50.25”. Seat height 20”. 2,500/3,500

1241

1242

1242. SHERATON CARD TABLE ATTRIBUTED TO NEHEMIAH ADAMS Salem, Massachusetts, Circa 1805 In mahogany. Ovolo top with satinwood banding along edge. Conforming skirt with satinwood banding, string and ebonized inlay, and oval design at center. Delicate tapered reeded legs. Height 29”. Width 37.75”. Depth 18.75”. 2,000/3,000

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307

1245 1243 1244

308

1243. ORIENTAL RUG: QASHQAI 3’8” x 4’10” Red diamond-shaped central medallion on a dark blue field above a red subfield. Delicate floral elements and subtle bird figures throughout. Bold ivory medallions at corners. Multiple narrow borders of red, blue, ivory, green and subtle peach. 400/600

1245. ORIENTAL RUG: ANATOLIAN CARPET 3’1” x 5’0” Dark mulberry red field depicts rows of mausoleums amidst cypress trees. Floral ribbon of faded light blue and ivory bears colorful blossoms. Stylized elements throughout ivory and dark brown borders. 700/900

1244. ORIENTAL RUG: KAZAK 4’2” x 5’10” Pair of green and rust red gabled medallions contain and are surrounded by colorful stylized elements and ivory bird figures on a dark blue field. Tan and ivory borders feature repeating geometric and floral elements. 650/850

1246. ORIENTAL RUG: KURD HAMADAN RUNNER 3’6” x 12’10” Single column of a bold Herati pattern rendered in red, blue, faded gold, pink and ivory on a dark blue field. Blue and red borders feature colorful stylized floral elements. 350/450

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1247. ORIENTAL RUG: OUSHAK DESIGN 8’0” x 10’2” Central gray and bright ivory medallion is surrounded by a symmetrical arrangement of stylized blossoms in dark turquoise, tan, gray and faded gold on a bright ivory field. Faded gold guard borders. Dark turquoise main border. 600/900

1247

1248. ORIENTAL RUG: BESARABIAN KILIM 8’5” x 10’0” Bright red field with five large cornucopias in green, gray and dark brown. Each cornucopia filled with a pair of rose blossoms in deep scarlet red and ivory. Gray and dark charcoal floral borders contain similar motifs. 3,000/4,000

1248

1249. ORIENTAL RUG: SULTANABAD DESIGN 9’0” x 11’8” Light taupe field is traversed by a delicate tan vine bearing bold blossoms and palmettes of moss green, celadon, dark gray, dark red, pale blue and faded gold. Pale yellow guard borders. Taupe main border. 1,500/2,000

1249

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309

1250. ORIENTAL RUG: INDO-MAHAL 12’0” x 15’7” Several columns of bold stylized flower blossoms in gold, tan, blue, amethyst, pink and turquoise run the length of a navy blue field. Gold guard borders and burgundy main border, both with motifs echoing the field. 1,500/2,500

1250

1251. ORIENTAL RUG: BOUKARA 11’10” x 16’10” Madder red field with multiple columns of traditional geometric guls rendered in midnight blue, bright ivory, terra cotta and dark red. Multiple narrow borders in midnight blue, dark tan, terra cotta and subtle ivory. 5,000/8,000 From the Estate of Ambassador Charles Richard Crane.

According to the consignor, when Ambassador Crane ordered this rug, a matching one was also ordered for the White House.

1251

310

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1252. ORIENTAL RUG: SERAPI 9’5” x 11’9” Overlapping gabled medallions of light blue, red and ivory on a salmon pink field. Light blue and salmon pink spandrels. Traditional flowering vine motifs throughout in blues, pink, red, ivory and olive green. Abrashed blue main border with flowering meandering vine. 8,000/12,000

1252

1253. ORIENTAL RUG: BIDJAR 8’0” x 12’7” Ivory central medallion and anchor pendants on a red field covered in a Herati design. Abrashed light blue subfield traversed by yellow garrus vine. Red and ivory floral guard borders. Dark blue main border with turtle motif. Ivory exterior border with floral and geometric panels. 10,000/12,000

1253

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311

1254. ORIENTAL RUG: HAMADAN RUNNER 3’0” x 14’7” Dark blue geometric medallions contain red and yellow serrated leaves and are surrounded by colorful flower blossoms on an abrashed coral field. Blue and yellow borders. 500/1,000 From a Nantucket Collection.

1255. ORIENTAL RUG: CABISTAN 3’7” x 6’2” Traditional geometric medallions contain and are surrounded by stylized flower blossoms, all rendered in blue, ivory, tan and dark brown. Abrashed blue field. Serrated leaf and wine cup main border. 300/500

1256. ORIENTAL RUG: AFGHANI 5’0” x 6’3” Midnight blue geometric medallions rest at the center of each quadrant of a dark red field. Field is surrounded by orbiting delicate vines, leaves and blossoms in midnight blue, dark red and subtle brown. Multiple borders feature a variety of repeating traditional elements. 400/600

1257. ORIENTAL RUG: HAMADAN 4’8” x 6’7” Midnight blue geometric medallions and pendants contain floral elements of red, ivory, subtle blue and green. Abrashed dark tan field with blue spandrels. Broad ivory main border with red meandering vine and blue blossoms. 350/550 From the Estate of Minor Myers, Jr. of Mystic, Connecticut.

1258. ORIENTAL RUG: KAZAK 4’1” x 5’10” Red field with geometric red, blue, ivory and faded yellow medallions with latch hook perimeters. Blue main border with serrated leaf and wine cup motif in red, blue, ivory, brown and faded yellow. 600/900

1259. ORIENTAL RUG: BIDJAR 3’8” x 5’7” Herati design in pink, red, light blue, bright ivory and subtle gray throughout a midnight blue field. Narrow blue guard borders. Rose red main border features serpentine serrated leaves and palmettes. 350/450

1260. ORIENTAL RUG: KAZAK DESIGN 5’6” x 7’10” Three blue and ivory geometric medallions are surrounded by multiple stylized flower blossoms in blues, tans, greens and ivory on a dark red field. Dark blue subfield. Borders of blues and pale yellow. 450/650

1254

312

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1262 1261

1261. ORIENTAL RUG: AFSHAR 5’0” x 9’2” Three red and ivory linked geometric medallions occupy the center of a dark blue field that contains and is surrounded by numerous small stylized flower blossoms in a variety of colors. Red and yellow borders. 800/1,200

1262. ORIENTAL RUG: CAUCASIAN 3’11” x 7’9” Colorful barber’s pole field filled with repeating boteh. Blue and ivory guard borders. Red main border features a repeated geometric element. 500/700

1263

1263. ORIENTAL RUG: BAKHTIARI 5’1” x 8’3” Prayer design with a red panel depicting serpents devouring birds above a navy blue field featuring a colorful flowering Tree of Life, with green cypress trees, eagles, lions and deer at the base of the field. Dark red guard borders. Ivory main border with pink roses and green leaves. 600/900 From the Estate of Minor Myers, Jr. of Mystic, Connecticut.

1264

1264. ORIENTAL RUG: KIRMAN PRAYER 6’5” x 9’5” Light blue garrus vines meander through a red panel above a mihrab containing a large flower vase. Below mihrab is a Tree of Life rendered in red, pink, blues and faded gold. Antique ivory field. Floral borders in red and blue. 300/600

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313

1265

1266

314

1265. ORIENTAL RUG: KURD HAMADAN 5’4” x 12’3” Dark blue field with numerous colorful boteh running down the center and a red and ivory geometric serpentine perimeter. Multiple borders feature barber’s pole motif, meandering vines and stylized elements. 500/800

1267. ORIENTAL RUG: YAMOUD ASMALYK 2’1” x 3’8” Staggered rows of contiguous ivory, dark blue, brown and salmon red geometric medallions are surrounded by borders with traditional repeating motifs. 250/350 From the Estate of Ambassador Charles Richard Crane.

1266. ORIENTAL RUG: KIRMAN 11’5” x 19’10” Two columns of a bold Shah Abbas motif are surrounded by a dense array of meandering flowering vines, all rendered in blues, red, pink, rust red, dark brown and antique ivory on a dark blue field. Ivory, dark red and dark blue borders. 1,000/2,000

1268. ORIENTAL RUG: HAMADAN 3’0” x 6’0” Ivory field with a navy blue lattice filled with clusters of flowering branches in blue and faded red. Navy blue spandrels. Boteh and meandering vines throughout rust red, dark brown and ivory borders. 250/350

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1269. ORIENTAL RUG: SERAPI DESIGN 12’0” x 15’0” Rust red field with central ivory vine bearing bold serrated leaves and blossoms in shades of light blue, light greens, celadon, tan and pale gray. Broad indigo main border features turtles and palmettes. 1,500/2,000

1269

1270. ORIENTAL RUG: OUSHAK DESIGN 12’0” x 15’2” Slate blue field with bold blossoms and delicate branches of tans, gray, ivory, mustard yellow and celadon, all arranged symmetrically around the center lines of the carpet. Mustard yellow guard borders. Broad ivory main border. 1,400/1,800

1270

1271. ORIENTAL RUG: KESHAN 10’0” x 14’0” Lozenge-form medallion in light blue, ivory and dark red occupies the center of a navy blue field with overlapping spandrels to match the medallion. Light blue and dark red borders. Blossoming vines of green, blue, ivory, red and orange throughout. 1,200/1,600

1271 see photos of all lots and view condition reports at www.eldreds.com

315

Alfred Thompson Bricher New York/New Hampshire, 1837-1908

1272, detail at right

1272. ALFRED THOMPSON BRICHER New York/New Hampshire, 1837-1908 Landscape with numerous figures and a winding river. Signed lower left “AT Bricher”. Oil on canvas, 16” x 24”. Framed 26” x 34”. 25,000/35,000 Provenance: Private Collection, Massachusetts.

316

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317

1273

1274

1273. THOMAS HICKS Pennsylvania/New York, 1823-1890 Still life of apples. Signed and dated upper left “T. Hicks 1880”. Oil on canvas, 12” x 14”. Framed 17.5” x 19.5”. 5,000/7,000

318

1274. JOHN NEWTON HOWITT New York, 1885-1958 “Westchester Yacht Club 1931”. Signed lower right “John Newton Howitt”. Titled and dated in a later hand verso. Oil on board, 8.75” x 21.75”. Framed 12.5” x 25.5”. 3,000/5,000

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1275. ARVID FREDERICK NYHOLM Illinois/New York/Sweden, 1866-1927 “At Her Vanity”. Signed lower left “A. Nyholm”. Oil on board, 15.25” x 11.75”. Framed 19.5” x 16.5”. 10,000/15,000 Provenance: Shannon’s, October 29, 2009, Lot #87.

1275

1276. CHARLES COURTNEY CURRAN New York/Ohio, 1861-1942 “Venus Veiling Pandora”. Inscribed verso “Charles C. Curran N.A.” Oil on canvas, 22” x 18”. Framed 30.5” x 24”. 6,000/9,000

1276

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319

1277. HARRY HERMAN ROSELAND New York, c. 1867-1950 In the attic. Signed lower left “Harry Roseland”. Oil on canvas, 24” x 30”. Framed 37” x 42”. 8,000/12,000

1277

1278. HAROLD C. DUNBAR Cape Cod, Massachusetts, 1882-1953 “Kettle Pond Cape Cod”. Signed and dated lower left “H.C. Dunbar 08”. Titled on frame plaque. Oil on canvas, 27” x 36”. Framed 34” x 42”. 4,000/6,000

1278

320

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1279

1279. WILLIAM PRESTON PHELPS New Hampshire, 1848-1923 Driving the cattle through the snow. Signed lower right “W.P. Phelps”. Oil on canvas, 30.5” x 50.25”. Framed 41” x 60”. 3,000/5,000 Provenance: Private Collection, Cape Cod, Massachusetts.

1280

1280. WILLIAM EDWARD NORTON Massachusetts, 1843-1916 Figures and a dory on the coast. Signed and dated lower right “W.E. Norton 77”. Oil on canvas, 34” x 60”. Framed 44” x 70”. 10,000/15,000 Provenance: Private Collection, Connecticut.

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321

1281

1282

1281. GEORGE LORING BROWN Massachusetts, 1814-1889 “Bridgewater Mt. from Plymouth, N.H.”. Signed and dated lower center “G.L. Brown 1876”. Titled verso. Oil on canvas, 13” x 22”. Framed 24” x 33”. 4,000/6,000

322

1282. CHARLES WILSON KNAPP Pennsylvania/New York, 1823-1900 “Pastoral Landscape”. Signed lower left “C.W. Knapp”. Titled on frame plaque. Oil on canvas, 18” x 32”. Framed 26.5” x 40.5”. 3,000/5,000

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1283

1283. LYNN BOGUE HUNT New York, 1878-1960 Man and his son protecting a chicken coop from a hawk. Signed lower left “Lynn Bogue Hunt”. Oil on board, 35.5” x 27”. Framed 38.5” x 29.5”. 10,000/15,000

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323

1284

1286

324

1285

1287

1284. SCHOOL OF EDWARD WILBUR DEAN HAMILTON American, 19th Century Cornstalks and pumpkins. Unsigned. Housed in a fine period frame. Oil on canvas, 28” x 36”. Framed 36” x 44”. 2,500/3,500

1286. FREDERIC RONDEL, SR. New York/California/France, 1826-1892 Hudson River scene. Signed lower right “F Rondel”. Oil on canvas, 11” x 15” sight. Framed 17” x 20.5”. 1,500/2,500

1285. ROSWELL MORSE SHURTLEFF New Hampshire, 1838-1915 Figure on a forest path. Signed lower right “R.M. Shurtleff”. Oil on canvas, 18” x 15”. Framed 25” x 21”. 2,000/3,000

1287. WILLIAM MERRITT POST Connecticut/New York, 1856-1935 A forest stream. Signed lower left “W. Merritt Post”. Oil on canvas, 18” x 24”. Framed 25” x 30”. 2,000/3,000

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1288

1289

1290

1288. WILLIAM LOUIS SONNTAG SR. Ohio/New York, 1822-1900 MacIntyre Range, Adirondacks. Signed lower left “W.L. Sonntag”. Oil on board, 5” x 9”. Framed 10” x 14”. 2,000/3,000

1289. WILLIAM HENRY COFFIN Nantucket, 1812-1898 “The Merchantman”. Signed and dated lower right “W.H. Coffin ‘86”. Titled on frame plaque. Oil on canvas, 10” x 14”. Framed 18.5” x 22.5”. 1,200/1,800 Provenance: A Connecticut Estate.

1291

1290. THOMAS HEWES HINCKLEY Massachusetts, 1813-1896 “Wolomolopog Pond -- Sharon, Mass.” Inscribed verso “Wolomolopog Pond -- Sharon, Mass. Painted by Thos. H. Hinkley Milton, Mass. 1837”. Oil on board, 12” x 15”. Framed 17” x 20”. 2,000/3,000

1291. GEORGE NELSON CASS Massachusetts, 1831-1882 Sunlight over a pond. Signed lower left “G.N. Cass”. Oil on canvas, 9” x 16”. Framed 15” x 23”. 700/1,000 Provenance: Private Collection, Cape Cod, Massachusetts.

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325

1292. RAOUL MAUCHERAT DE LONGPRE France, 1843-1911 Still life of lilacs and yellow roses. Signed lower right “Raoul M. De Longpre”. Gouache on paper, 25” x 19”. Framed 40” x 31”. 1,500/2,500

1292

1293. LOUIS COMFORT TIFFANY New York/California, 1848-1933 “Street in Tunis”. Monogrammed lower left “LCT”. Titled in pencil lower center. Watercolor on paper, 10” x 7”. Framed 12” x 9”. 4,000/6,000

1293

1294. ALFRED T. ORDWAY Massachusetts/New Hampshire, 1819-1897 Fishing off a footbridge. Signed lower left “A.T. Ordway”.Oil on canvas, 15” x 25”. Framed 20” x 30”. 1,000/1,500

1294

326

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1295. CARL E. LAWLESS Connecticut/Pennsylvania/Illinois, 1894-1964 “Forest Brook”. Signed lower left “Carl Lawless”. Titled verso. Housed in a period Arts and Crafts gilt frame. Oil on canvas, 30” x 30”. Framed 39.5” x 39.5”. 5,000/7,000 Provenance: Grand Central Galleries, New York. Private Collection, Cape Cod, Massachusetts.

1295

1296. AIDEN LASSELL RIPLEY Massachusetts/New York, 1896-1969 Boston Harbor. Signed lower left “A.L. Ripley 31”. Watercolor on paper, 19” x 25” sight. Framed 27” x 33”. 4,000/6,000

1296

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327

1297. ATTRIBUTED TO ALVAN FISHER Massachusetts, 1792-1863 A young girl and her dog. Unsigned. Oil on canvas, 28.5” x 22.5”. Unframed. 800/1,200

1298. SCHOOL OF SEYMOUR JOSEPH GUY American, 19th Century A hooded girl carrying a woven basket. Unsigned. Oil on canvas, 13” x 10.5”. Framed 16.5” x 14”. 2,000/3,000

1299. FINELY EXECUTED PORTRAIT OF A YOUNG MAN 19th Century Housed in a fine gilt frame. Pastel on canvas, 22” x 17”. Framed 32” x 26”. 1,500/2,500

1297

1298

328

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1299

1300. FEDERAL SECRETARY Baltimore, Circa 1800 In mahogany and mahogany veneer. Broken arch pediment with central carved wooden finial and dentil molding along lower edge. Upper case with two glazed Gothic arched doors enclosing four adjustable interior shelves. Lower case with cylinder front, pull-out writing surface, three graduated full-width drawers and high French splayed bracket feet. Writing surface is mechanized to open the cylinder top. Drawers with cock-bead molding. Height 107”. Width 48”. Depth 23”. 3,000/5,000

1300

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329

1301

1301. FEDERAL SOFA Baltimore, Circa 1790 Upholstered flat crest rail and diminutive arms. Six tapered mahogany legs; front legs with bellflower and string inlay. Back height 31”. Seat height 19.5”. Length 76”. 1,500/2,500 Provenance: Israel Sack. Illustrated in Fine Points of Furniture by Albert Sack, p. 229. Described as a “best” example. Also illustrated in American Antiques from the Israel Sack Collection Vol. I published Highland House, p. 203, fig. 514.

1302. HEPPLEWHITE SIDEBOARD Baltimore, Circa 1790 In mahogany. Serpentine top on conforming case. Central long drawer over two cabinet doors, all flanked by a cabinet door on both sides. Tapered legs. String inlay on edge of top, door and drawer facings and down the front of each leg. Height 40.5”. Width 72.5”. Depth 26”. 1,500/2,500

1302

330

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1303

1304

1303. SHERATON PEMBROKE TABLE ATTRIBUTED TO ROBERT WALKER Charleston, South Carolina, Circa 1805 In mahogany and plum pudding mahogany veneer. Single drawer at one end of apron and faux drawer at opposite end. Delicate tapered reeded legs end in original brass casters. Height 29.5”. Length 19.5” plus two 9.75” drop leaves. Width 31.5”. 1,500/2,500

1304. HEPPLEWHITE PEMBROKE TABLE ATTRIBUTED TO WILLIAM WHITEHEAD New York, Circa 1790 In mahogany. Top with string inlay. Single drawer at one end of apron. Tapered legs with graduated floral inlay and cuff banding at ankles. Height 29”. Width 21.5” plus two 10.75” drop leaves. Depth 33”. 4,000/6,000

1305. HEPPLEWHITE PEMBROKE TABLE Baltimore, Circa 1790 In mahogany, with string inlay to top, skirt and legs. Oval panels with floral inlay at tops of tapered legs, which also have graduated bellflower inlay and cuff banding at ankles. Height 28”. Length 19.5” plus two 9.75” drop leaves. Width 33.5”. 4,000/6,000

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1305

331

1306. HEPPLEWHITE DEMILUNE CARD TABLE Mid-Atlantic, Probably Baltimore, Fourth Quarter of the 18th Century In mahogany with extensive boxwood inlay. Square tapered legs end in nicely shaped spade feet. Double-swing rear legs. Retains old Baltimore company label on underside. Height 29.5”. Width 34”. Depth 17”. 1,000/1,500

1306

1307. CLASSICAL GAMES TABLE Circa 1800-1815 Attributed to the workshop of Duncan Phyfe. In mahogany. Hinged top with canted corners and molded edge opens and rotates on base. Four reeded, turned and leaf-carved supports set on an incurvate plinth raised on four leaf-carved saber legs ending in brass-capped paw feet fitted with casters. Height 29.5”. Width 36”. Depth 19.5”. 1,200/1,800

1308. CHIPPENDALE CANDLESTAND New York, Circa 1775 In walnut. Circular top with beveled tiger maple cleat on underside. Bold turned base raised on three cabriole legs with carved foliate knees and claw & ball feet. Height 26.25”. Diameter of top 22”. 800/1,200

1308 1307

332

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1309. FEDERAL BUTLER’S SECRETARY ATTRIBUTED TO MICHAEL ALLISON New York City, Circa 1800 In mahogany and mahogany veneer. Case with four full-width drawers, the top folding down to reveal interior drawers, pigeonholes and central compartment with oval satinwood panel. Drawer fronts with hollow-corner string inlay about perimeter, and upper drawer with oval panels outlined with string inlay, all typical of Allison’s work. Skirt with beautifully shaped sides and front. Delicate French splayed bracket feet. Height 44.75”. Width 46.5”. Depth 22.5”. 4,500/6,000

1309

1310. CLASSICAL-STYLE PEDESTAL EXTENSION DINING TABLE Mid- to Late 19th Century Circular mahogany veneer top opens to fit leaves. Base with eight columnar supports on a plinth raised on four bold and elaborately carved hairy paw feet. Height 30.25”. Diameter of top without leaves 61”. 1,000/1,500

1310

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333

1311. DIMINUTIVE FEDERAL SECRETARY New York, Circa 1800-1810 In mahogany. Upper case with architectural pediment, turned finials, glazed doors and single drawer with cast brass knob pulls. Doors enclose three interior shelves. Lower case with a single drawer and reeded tapered legs ending in ball feet. Height 65”. Width 26”. Depth 18.25”. 1,400/2,000

1312. PAIR OF CHIPPENDALE UPHOLSTERED SIDE CHAIRS Late 18th Century Light blue upholstery. Molded front legs and chamfered back legs. Back heights 38.5”. Seat heights 18”. 500/800

1311

334

1313. FEDERAL TWO-DRAWER STAND American, Early 19th Century In cherry. Top with turret corners. Two drawers with circular brass pulls. Vasiform pedestal base raised on carved lion’s-paw feet. Height 29.75”. Width 19”. Depth 14”. 300/500

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1314 1315

1314. CLASSICAL TWO-DRAWER DROP-LEAF STAND Circa 1820 In mahogany. Boldly carved and turned pedestal on an extensively carved four-legged base ending in claw feet. Height 31.5”. Width 24” plus two 12” drop leaves. Depth 18.5”. 700/1,000

1315. FEDERAL LOOKING GLASS Boston, Circa 1810 Stepped molded cornice with fifteen drops. Original eglomise upper panel depicts the U.S.S. Constitution. Panel and mirror glass flanked by inverted columns with delicate turnings. Height 30.75”. Width 18”. 1,200/1,800 Similar to an example described as “Best” in Albert Sack’s Fine Points of Furniture.

1317

1316

1316. PARCEL GILT LOOKING GLASS Probably Massachusetts, Mid-18th Century Mahogany frame with gilt liner. Crest with recessed carved gilt shell. Height 33.5”. Width 17.5”. 600/900 For a similar example, see Fine Points of Furniture by Albert Sack, p. 205.

1317. QUEEN ANNE LOWBOY Pennsylvania, Circa 1750 In hardwood under a dark stain. Cut-corner top over a fullwidth drawer over three side-by-side drawers. Cabriole legs with carved shell and tassel knees end in trifid feet. Height 28.75”. Width 36”. Depth 21”. 1,000/2,000

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335

1319

1318

1318. CHIPPENDALE MIRROR 19th Century Mahogany frame with extensive gilt trim and gilt foliate side arms. Broken arch crest surrounds a gilt flower basket. Height 49”. Width 24.5”. 300/500

336

1319. QUEEN ANNE CORNER CHAIR Van Rensselaer, New York, Circa 1770 In Cuban mahogany with nice patina to old finish. Low crest rail and out-scrolled arms. Beautiful pierced and scrolled vertical splats. Slip seat. Cabriole front leg with pad foot. Nicely turned back legs. Back height 31”. Seat height 18”. 3,000/4,000

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1320

1320. FEDERAL DROP-LEAF TABLE American, Circa 1820 In mahogany and mahogany veneer. Turned pedestal raised on chamfered carved legs ending in brass-capped lion’s-paw feet fitted with brass casters. Height 28”. Length 24” plus two 14” drop leaves. Width 41.75”. 700/1,000

1321. CHIPPENDALE BUREAU Virginia, Circa 1780 In walnut. Molded-edge top over four graduated full-width drawers flanked by fluted quarter columns. Ogee bracket feet. Vertical backboards, indicative of the Virginia area. Height 40”. Width 38.5”. Depth 22.75”. 1,000/1,500

1321

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337

A Prominent Collection of

John F. Kennedy Material Lots 1322-1343

Please see separate catalog for these lots.

338

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An important rocking chair belonging to President Kennedy

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339

1344

Frederick Judd Waugh New Jersey/Massachusetts, 1861-1940

1345

1344. “Storm Clouds”. Signed lower right “Waugh”. Titled on label verso. Oil on canvas, 29.5” x 36”. Framed 36” x 42.5”. 4,000/6,000 Exhibited: New Britain Museum of Art (label verso).

340

1345. “Edge of the Bay”. Signed lower right “Waugh”. Titled on gallery label verso. Oil on board, 25” x 35”. Framed 31” x 36”. 5,000/7,000 Provenance: Grand Central Art Galleries, New York. Private Collection, Cape Cod, Massachusetts.

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1346. GERRIT ALBERTUS BENEKER Massachusetts/New York/Michigan, 1882-1934 “From My Studio Window -Provincetown”. Signed lower right “Gerrit A. Beneker”. Titled and signed verso “From my studio window -Provincetown by Gerrit A. Beneker, Provincetown, Mass.” Oil on board, 8” x 10”. Framed 13.5” x 15.5”. 7,000/9,000

1347. MABEL MAY WOODWARD Rhode Island, 1877-1945 Houses on Telegraph Hill, Provincetown, Massachusetts. Signed lower right “M.M. Woodward”. Housed in a NewcombMacklin frame. Oil on canvas, relined, 25” x 30”. Framed 30” x 34”. 8,000/12,000

1346

1347

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341

1348

Wendell Rogers Massachusetts, 1890-1973

1348. WENDELL M. ROGERS Massachusetts, 1890-1973 Stage Harbor, Chatham - Powell’s Pier. Stage Island in the background. Signed lower right “Wendell Rogers”. Oil on canvas board, 25.25” x 36”. Framed 30.75” x 42”. 3,000/5,000

1349

1349. WENDELL M. ROGERS Massachusetts, 1890-1973 Fitting out the boat. Signed lower left “Wendell Rogers”. Oil on canvas, 25” x 30”. Framed 29” x 34”. 1,500/2,000

1350. WENDELL M. ROGERS Massachusetts, 1890-1973 Marine-themed still life. Signed lower left “Wendell M. Rogers”. Oil on canvas, 25” x 30”. Framed 29” x 34”. 1,000/1,500

1350

342

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Anne Packard Massachusetts/New Jersey, b. 1933 Lots 1351-1353

1351

1351. ANNE PACKARD Massachusetts/New Jersey, b. 1933 Moody sky over a coastal landscape. Signed lower left “A. Packard 87”. Oil on canvas, 47.5” x 71.5”. Framed 49.75” x 73.75”. 30,000/35,000

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343

1352 1353

1352. ANNE PACKARD Massachusetts/New Jersey, b. 1933 A stand of trees. Signed lower left “A. Packard”. Oil on board, 5” x 7”. Framed 7.5” x 9.5”. 1,500/2,500

1353. ANNE PACKARD Massachusetts/New Jersey, b. 1933 Dune scene. Signed and dated lower left “A. Packard ‘88”. Oil on canvas, 12” x 14”. Framed 19” x 21”. 3,000/5,000

1355, two

1354

1354. JOHN CUTHBERT HARE Massachusetts, 1908-1978 “Cape Cod Light”. Signed lower right “John Hare”. Watercolor, 7” x 8.25”. Framed 13” x 15”. 700/900

344

1355. LILLIAN BURK MEESER Pennsylvania/Michigan, 1864-1942 Two coastal views: Rockport Harbor and a Cape Cod house on the bay. Both signed “Meeser” in the image. Normandy, Vellum, France watermark along bottom margin of house. Hand-colored prints on vellum, 8” x 8.5”. Unframed. 300/500

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William R. Davis Massachusetts, b. 1952

1356. “Take One”. Signed lower right “W. Davis”. Inspired by “Free Sample, Take One” by De Scott Evans (American, 1847–1898). Oil on canvas, 10” x 8”. Framed 15” x 13”. 4,000/6,000

1357. “Storm Break Off Minot’s Light”. Signed lower right “William R. Davis”. Signed on stretcher verso “William R. Davis A.S.M.A.” Mystic Maritime Gallery label also on reverse. Oil on canvas, 8” x 12”. Framed 13” x 17”. 2,500/3,500 1356

1357

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345

1359

1358. ELIZABETH MUMFORD Cape Cod, Contemporary Lift-top box with painted decoration on lid of a three-masted schooner. Signed lower right “E.M. 1982”. Height 2.75”. Top 7.25” x 5.25”. 300/500

1359. ROBERT CARDINAL Massachusetts/New York/Canada, b. 1936 “Pond Village”. Titled on stretcher. Housed in a Guido frame. Oil on canvas, 24” x 36”. Framed 29.5” x 41.5”. 4,000/6,000

1360

1360. PETER HUNT Cape Cod, 1896-1967 Bench with painted decoration. Top with figural, heart and floral design. Legs painted green. Signed on top “Peter Hunt”. Height 17”. Top 49” x 14”. 1,000/2,000

1361. ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Beached sailing vessel. Signed and dated lower left “Arthur V. Diehl 1915”. Oil on canvas, 12” x 18”. Framed 17” x 23”. 1,200/1,800 1361

1362. ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Crashing waves. Signed lower left “A.V. Diehl”. Oil on board, 3.5” x 5.5”. Framed 7” x 9”. 600/900

1362

346

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1363. FRED HAMILTON DANIELS Massachusetts/New York, 1872Dories by the shore, possibly Menemsha, Martha’s Vineyard, Massachusetts. Signed and dated lower right “F.H. Daniels 1929”. Oil on board, 12” x 16”. Framed 14.5” x 18.5”. 1,000/1,500 Provenance: Private Collection, California.

1363

1364. ARTHUR HOEBER New Jersey/New York, 1854-1915 “Afterglow. Cape Cod Marshes. 1902”. Signed faintly lower right “Arthur Hoeber”. Titled verso. Oil on canvas, 12” x 30”. Framed 21” x 40”. 8,000/12,000 Provenance: MME Fine Art, New York. Private Collection, Cape Cod, Massachusetts. 1364

1365. NANCY MAYBIN FERGUSON Pennsylvania, 1872-1967 Cape Cod house overlooking the bay. Unsigned. Oil on canvas, 20” x 24”. Framed 24” x 28”. 1,200/1,800 Provenance: The estate of the artist.

1365

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347

1366

1367

1368

1366. CHARLES DREW CAHOON Massachusetts, 1861-1951 Cape Cod dunes. Unsigned. Oil on board, 4.25” x 7.5”. Framed 5” x 8.25”. 800/1,200

1368. JOHN WHORF Massachusetts, 1903-1959 A sled on a snowy path. Signed lower right “John Whorf ”. Watercolor on paper, 15” x 22” sight. Framed 24” x 29.5”. 2,000/3,000

1367. CHARLES DREW CAHOON Massachusetts, 1861-1951 Cape Cod dunes. Signed lower right “C.D. Cahoon”. Oil on board, 9” x 14”. Framed 11.5” x 14”. 1,000/1,500

348

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Ralph Eugene Cahoon, Jr. and Martha Farham Cahoon Cape Cod, 1910-1982 and 1905-1999 Lots 1369-51-1382

1369

1369. RALPH EUGENE CAHOON, JR. On the shore for repairs. Signed lower right “R. Cahoon”. Oil on masonite, 28” x 36”. Framed 34” x 41”. 30,000/40,000 Provenance: Purchased by the consignor’s parents from the artist in the 1970s. This is the first time it has been available for purchase on the public market.

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349

1370. RALPH EUGENE CAHOON, JR. Two shorebirds. Signed lower right “R. Cahoon”. Oil on masonite, 6” x 7”. Framed 10” x 11”. 2,000/3,000 Provenance: Private Collection, Maryland.

1370

1371. MARTHA FARHAM CAHOON Shorebirds. Signed lower right “Martha Cahoon”. Oil on masonite, 11” x 13”. Framed 14” x 17”. 1,000/1,500

1371

350

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1372. RALPH EUGENE CAHOON, JR. Mermaids and a sailor stranded on a raft. Signed lower right “R. Cahoon Pinxt”. Oil on masonite, 16” x 19.5”. Framed 19.5” x 23”. 6,000/9,000 Provenance: Private Collection, Philadelphia.

1372

1373. MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Standing tiger. Signed and dated lower right “Martha Cahoon 71”. Oil on masonite, 9” x 12”. Framed 11” x 14”. 1,200/1,800 Provenance: Private Collection, Maryland.

1373

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351

1374

1374. MARTHA FARHAM CAHOON Boating party departing shore. Signed lower right “Martha Cahoon”. Oil on masonite, 10” x 12”. Framed 11.5” x 13.5”. 1,500/2,000

1375. MARTHA FARHAM CAHOON “Sky High in 1800”. Signed and dated lower right “Martha Cahoon 1987”. Titled lower left. Crayon and pencil on paper, 14” x 10”. Framed 20” x 16”. 600/900

1375

1376. RALPH EUGENE CAHOON, JR. “The Lobster Pound”. A wonderfully active scene with mermaids and sailors having a clambake, while a mischievous yellow lab helps himself to the lobsters. Two hot air balloons float over ships and a lighthouse. Signed lower right “R. Cahoon 1978”. Oil on masonite, 22” x 30”. Framed. 35,000/45,000 Provenance: The collection of F.W. and C.H. Collins, Massachusetts. Eldred’s, November 18, 1995, Lot #598. Private Collection, Cape Cod, Massachusetts. Eldred’s, August 3, 2011, Lot #1223. Private Collection, New York.

1377. RALPH EUGENE CAHOON, JR. “A Sailor’s Wedding”, depicting a wedding party onshore making their way to a reception at the “Mermaid Inn”. A lighthouse and two ships fill the background. Signed lower right “R. Cahoon Pinxt”. Oil on masonite, 25” x 34”. Framed 30.25” x 39”. 25,000/30,000 Provenance: Private Collection, Massachusetts.

352

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1376

1377

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353

1378

1378. RALPH EUGENE CAHOON JR. Summertime on Cape Cod. Depicts a man on a sailfish waving to a woman relaxing on a motor yacht with a Wianno Yacht Club burgee flying from the bow. Signed lower right “R. Cahoon”. Oil on masonite, 10” x 15”. Framed 15.25” x 19.5”. 6,000/9,000

1379. RALPH EUGENE CAHOON JR. Box with painted decoration. Lid with a ship at sea and a sailor and young boy onshore. Remainder of box painted yellow. Unsigned. Height 10”. Width 21”. Depth 11”. 1,500/2,500

354

1379, below and top above

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1380. MARTHA FARHAM CAHOON Bench/table with painted decoration on top of a moonlit scene of mermaids and a sailor seated on a rock. Signed in border “Martha Cahoon”. Wrought iron base. Height 16”.Top 39” x 18”. 3,000/5,000 Provenance: Private Collection, California.

1380, below and top above

1381. MARTHA FARHAM CAHOON Shore scene. Signed and dated lower right “Martha Cahoon ‘72”. Oil on masonite, 16” x 20”. Framed 21” x 16.5”. 3,000/5,000

1382. MARTHA FARHAM CAHOON Balloon ride. Signed and dated lower right “Martha Cahoon Mar. 1960”. Oil on masonite, 17.25” x 13.5”. Framed 21” x 16.5”. 3,000/5,000

1381

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1382

355

Vernon B. Smith Massachusetts, 1894-1969

1383. Fish abstract. Signed lower left “Vernon Smith”. Mixed media on paper, 22” x 14”. Framed 29.5” x 22”. 800/1,000 Provenance: Private Collection, Cape Cod, Massachusetts.

1383

1384. Tree-lined street, Provincetown, Massachusetts. Signed lower right “Vernon Smith”. Oil on board, 16” x 20”. Framed 19.5” x 23”. 1,000/2,000 Provenance: Private Collection, Cape Cod, Massachusetts.

1384

356

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1385. WENDELL M. ROGERS Massachusetts, 1890-1973 Chatham Fish Pier with boats and Tern Island in background. Signed lower right “Wendell Rogers”. Oil on canvas, 22” x 36”. Framed 27” x 41”. 2,000/3,000

1385

1386. HAROLD DUNBAR Cape Cod, 1882–1953 “Pleasant Bay from near Joshua Nickerson’s Estate”, providing a view of Chatham, Massachusetts. Signed and titled lower right. Another signed painting by Dunbar on the reverse depicts a seaside building. Oil on canvas board, 17.5” x 23.25”. Framed 22.5” x 28.25”. 1,000/1,500

1386

1387. ROBERT K. ROARK Massachusetts/New York, b. 1944 “The Perfect Breeze”. Signed lower right “Roark”. Signed and titled on stretcher. Oil on canvas, 14” x 17”. Framed 19.5” x 24”. 1,000/1,500

1387

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357

1388. BONNIE WHITTINGHAM Massachusetts/New York/ California, 1921-1997 Beached boats, Provincetown, Massachusetts. Signed lower right “Whittingham”. Oil on canvas, 15” x 33”. Framed 22” x 40”. 2,000/3,000 1388

1389. GERRIT HONDIUS New York, 1891-1970 House on the bay, Truro, Cape Cod, Massachusetts. Signed on stretcher “By G. Hondius”. Oil on canvas, 12” x 16”. Framed 20” x 24”. 700/900

1389

358

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1390. ARTHUR G. HOEL Massachusetts, 20th Century Coastal landscape, Truro, Massachusetts. Signed lower left “A.H”. Oil on panel, 6” x 10”. Framed 8” x 12”. 300/400

1390

1391. PROVINCETOWN SCHOOL Early to Mid-20th Century Provincetown wharf. Unsigned. Oil on canvas, 18” x 20”. Framed 25” x 27”. 500/700

1391

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359

1392

1393

1392. AMERICAN SCHOOL Early 20th Century Brooks Academy, Harwich, Massachusetts. Signed and dated lower left “ ... Powers 1939”. Oil on canvas, 26” x 34”. Framed 33.5” x 42.5”. 500/1,000

360

1393. WENDELL M. ROGERS Massachusetts, 1890-1973 “Rock Harbor”. Signed lower right “Wendell Rogers”. Titled on stretcher. Oil on canvas, 20” x 30”. Framed 24” x 34”. 800/1,000

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1394. GEORGE LEAR Pennsylvania, 1879-1956 The Congregational Church, Nantucket, Massachusetts. Signed and dated lower right “George Lear 1945”. Oil on canvas, 19” x 18”. Framed 24” x 23”. 1,000/1,500

1394

1395. ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Sunrise over the dunes of Provincetown, Massachusetts. Signed and dated lower left “Arthur V. Diehl 1925”. Oil on board, 12” x 18”. Framed 15.5” x 21.5”. 1,000/1,500

1395

end of auction

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361

BIDDER INFORMATION Advice to Bidders

Shipping Information

1. Carefully read the Conditions of Sale.

We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale.

2. Pre-sale estimates are provided by the auctioneers for the convenience of our customers. They are not meant to be taken as a guide to the value of an item, but as a guide to its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision.

If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready.

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 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. 6. Online bidding is available through Eldred’s Live! at www.eldreds.com, powered by Invaluable.com, with a 25% buyer’s premium. Prospective bidders must register and be approved prior to placing bids or bidding live online. 7. Eldred’s reserves the right to refuse to issue, or to revoke, bidding credentials, or to reject any bid, if deemed necessary and proper in its sole discretion, for the conduct of the auction process, and to insure fairness to consignors and other bidders.

The property listed in this catalog will be offered and sold subject to the terms and conditions listed in this catalog.

362

We provide shipping services directly from our gallery for select merchandise including small items, small paintings and rugs. Our staff can assist with determining if your items qualify for in-house shipping. Shipments from our gallery may take four to six weeks from receipt of payment. You will be charged for the shipping or carrier fees, packing and handling fees, and required insurance. There is a minimum handling charge of $15.00 for all shipments. Depending on the carrier, insurance limits may exist (i.e., Federal Express will only insure up to $500). If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent. We require seven to ten business days for your payment to clear our banking system before releasing purchases to your chosen shipping agent.

Shipping estimates can be provided only AFTER we receive payment for your invoice.

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

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

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

bidding by telephone may be allowed by the auctioneer at his discretion. A deposit of 10% of the anticipated top bid is required. Eldred’s shall not be held responsible for any failure to properly execute such a bid whether it be due to equipment failure, loss of connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder. 9. CONDITION: If for any cause whatsoever any article sold cannot be delivered, or cannot be delivered in as good condition as the same may have been at the time of sale, due to a failure or damage on the company’s part, the sale will be cancelled, and any amount that may have been paid on account of the sale will be returned to the purchaser. EXCEPTION: Eldred’s will not be held responsible for damage to picture frames or lampshades. 10. SALES TAX: All purchases are subject to the Massachusetts sales tax (currently 6.25%) unless the purchaser: a) possesses a Massachusetts sales tax exemption or resale number and registers that number with the company; b) is an out‑of‑state vendor who meets all the requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89‑10 and registers with the company prior to each purchase; or c) has purchases shipped out of state directly from Eldred’s by a bona fide shipping agent. 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. Items made with whalebone, whale ivory or other protected species will not be shipped internationally without necessary permits. Obtaining said permits is the obligation of the buyer. 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. Revised 1/08/15

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363

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

Phone:

Company:

Alternate Phone:

Address:

Email: MA Resale #:

City:

State:

ZIP:

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

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

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

SIGNATURE (required):

Date:

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

Please send form and deposit to The Robert C. Eldred Co., Inc. P.O. Box 796, E. Dennis MA 02641 364

www.eldreds.com

info@eldreds.com

Phone: 508-385-3116

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

Fax: 508-385-7201

ABSENTEE BID FORM 1.

Please clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow the bidding increments outlined in this catalog. Carefully check your bid form. Although we attempt to confirm the description against the lot number, bids are posted by lot number.

All bids should be received prior to the day of the sale. Submitting your bids in a timely manner avoids the chance of a posting error. In the event of identical bids, the earliest received by Eldred’s will take precedence. All bids are kept in strict confidence.

On the day of the auction, a member of our staff will act as your agent and bid for you, attempting to obtain the lot(s) for you for the lowest possible amount. If you have indicated the highest amount you are willing to pay, you should not be disappointed if you lose an item. Many times you will actually buy it for less than your bid.

Are you a new bidder with Eldred’s? Yes:

No:

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

A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount of your deposit will be returned promptly to you.

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 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. All invoices must be paid in full within seven (7) business days of the close of the auction. All sales subject to sales tax unless the item is shipped outside of Massachusetts or Connecticut by a licensed carrier, or if we have a copy of your valid re-sale certificate on file. All sales are subject to the Conditions of Sale printed in this catalog.

The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.

SALE TITLE: SALE DATE:

NAME: Lot #

Item Description

Maximum Bid

or “phone” for Telephone Bid

ADDRESS: check if change in address

PHONE: ALTERNATE PHONE: EMAIL: Signature (required): By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc.

Date: SHIPPING Do you have a tax resale #? Yes: Will pick up:

No:

Ship to address above:

20% 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, E. Dennis MA 02641 www.eldreds.com

info@eldreds.com

Phone: 508-385-3116

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

Fax: 508-385-7201

365

Contemporary Paintings AT A U C T I O N

evening of Thursday, August 9

“FAR HORIZON” BY YASEMIN KYRENA TOMAKAN oil on canvas, 24” X 36” estimate of $3,000/4,000 366

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Invitation to Consign email info@eldreds.com or call 508-385-3116

Complimentary Estimates Competitive Commission Rates Prompt Payment Personalized Service More than 60 Years of Experience And Exceptional Prices Realized

Edward Burdett Scrimshaw Whaleâ&#x20AC;&#x2122;s Tooth Sold for world-record $456,000

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367

Ilustrations Front Cover

1047

Back Cover

1369, 25, 1211, 1106 (clockwise from top left)

Page 3

1364

Page 5 Artist Index

655 1281

Session I Index 1322-1343 Session II Index 739 Page 108

723

Session III Index 1382 This Page

368

1135

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