The Fall Sale Including Americana, Sporting Art, Paintings and Decorative Art
November 16-17, 2018
see photos of all lots and view condition reports at www.eldreds.com
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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.
THE FALL SALE AT AUCTION Friday and Saturday, November 16-17, 2018
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. 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.
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.
beginning at 10:00 a.m. both days in East Dennis, Massachusetts
ON EXHIBIT All lots on exhibit at our Cape Cod Headquarters Wednesday, November 14 from 10 a.m. to 5 p.m. Thursday, November 15 from 8:45 a.m. to 5 p.m. And the sale dates beginning at 8:45 a.m.
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.
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.
ROBERT C. ELDRED CO., INC.
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. Items made with whale bone, ivory or other protected species will not be shipped internationally without a CITES permit. Obtaining CITES and any other necessary permits is the obligation of the buyer. Guns marked with an asterisk (*) will be only be delivered to holders of a Federal Firearm’s Dealer’s License. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith.
see photos of all lots and view condition reports at www.eldreds.com
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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Eldred’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 Giddings 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@eldrgeds.com
Madison Morris Photography mmorris@eldreds.com Kathleen Morse Inventory Manager kmorse@eldreds.com
Jennifer Lacker Mystic Representative
Tanya E. Sargent Administrative Assistant tsargent@eldreds.com
Gregg Dietrich Senior Consultant and Specialist Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants
Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com Sarah Eldred Taylor Head of Human Resources sarah@eldreds.com
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eldredsauction
I
t’s hard to believe 2018 is already in its eleventh month, and the holidays are rapidly approaching. It’s been an astonishing year here at Eldred’s, filled with headlinemaking sales and significant growth across most departments. While I haven’t done the math, I think we are on target to sell more lots this year than we ever have in our long history. While I could spend some time reflecting on highlights from the past year, instead we will look ahead at 2019, which we anticipate to be an even bigger year. We have some incredible consignments already inhouse, and we are actively building the spring and summer auctions. We hope you will reach out to us if you are considering selling by calling 508-385-3116 or emailing info@eldreds.com. On behalf of everyone at Eldred’s, we thank you for your patronage and wish you a very happy and healthy holiday season. We look forward to seeing you at the auction. Joshua Eldred President
see photos of all lots and view condition reports at www.eldreds.com
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Index of artists
Adriani, Camillo
639
DeCamp, Joseph Rodefer
769
Amundsen, C. Hjalmar
644
Dohanos, Stevan
832
Arguimbau, Peter Layne
369, 370
Dunbar, Harold
926
Atwood, Robert
829
Durrie, George Henry
815
Audubon, John James
816
Eldred, Lemuel D.
750, 751
Bachelder, Jonathan Badger (after)
504
Enneking, John Joseph
767, 768
Backus, Yvonne Dane
98
Fairman, James
762
Barr, Allan
528
Feeney, Loretta
899
Beckwith, James Carroll
692
Field, Erastus Salisbury (attr.)
681
Berger, Jason
220
Flannigan, Lucy Agnes
778
Bishop, Richard Evett
620
Foley, Marcus
345
Bolles, Reginald F.
618
Foster, Ben
760
Bonnar, James King
638
Fried, Pal
118
Boogar, William F., Jr.
892
Garlock, Joseph
113
Booker, Stephen H. (attr.)
213
Gas, Edna
217
Brackett, Sidney Lawrence
776
Gay, Edward B.
753
Brackman, Robert
105
Gifford, Charles Henry
Braley, Clarence E.
755
Gifford, Sanford R. (school of )
777
Brauner, Olaf Martinius
364
Gisson, Andre
648
Brett, Harold Matthews
916
Glackens, William James
839
Bricher, Alfred Thompson
754
Green, Charles Edwin
817
Brown, Harrison Bird (attr.)
761
Grinnell, George Victor
632
Brown, John George
770
Gruppe, Emile Albert
627
Buchta, Anthony
658
Gwathmey, Robert
221
Buckley, Karen Fitzgerald
621
Halswelle, Keeley
119
Bunn, George
763
Hamilton, Edward Wilbur Dean (school of )
825
Hardie, Charles Martin
122
Bustamante, Sergio (attr.) Bye, Ranulph Cahoon, Ralph Eugene, Jr. Caliste, Canute Cardinal, Robert
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95 636
749, 756, 756A
Hare, John Cuthbert
894
909-911
Harris, Charles Gordon
652
222
Hartley, Katherine Ann
927
Hassam, Childe
835
923, 924
Carlin, James
219
Hill, Edward
Case, Edmund Elisha
759
Hoffbauer, Charles Constantine
Chaffee, Oliver Newberry, Jr.
897
Hoffman, Frank B.
622
Chagall, Marc
111
Hogan, Ruth D.
905
Cleveland, Lucy (attr.)
290
Holberton, Wakeman
757
Cochran, Allen Dean
643
Holden, Herbert W., Jr.
655
Colman, Samuel
775
Howard, Bessie Jeannette
Corey, Bernard
657
Howes, Jerome
353-356
Crotty, Thomas
653
Hunt, Peter
890, 891
Curtis, Edward
223
Huntington, Anna Vaughn Hyatt
106
Cushing, Lily Dunlany Emmet
828
752 107-109
209
Johnson, William Henry
814
Daniels, Fred Hamilton
914, 915
Jones, Albertus Eugene
628
Davis, Charles Harold
626, 818
Joseph, Julien
641
Davis, William R.
868-875
Jules, Mervin M.
361
de Cachard, Regis
102
Kaemmerer, Frederick Hendrik
120
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Index of artists
Kay, Reed
642
Picasso, Pablo
110
Keane, Michael
908
Porto, James
207
Klein, Morris
651
Post, William Merritt
Krafft, Albert
115
Pratt, Elizabeth
920
Kuhlmann, Garrett Edward
650
Quidley, Peter
907
Lamb, Frederick Mortimer
745
Reid, Jane B.
813
Lansil, Walter
764
Riddet, Michael
893
Laske, Oskar
114
Rinehart, Frank A.
224
Laux, August
758
Roark, Robert K.
928-930
Le Corbusier
112
Roseland, Harry Herman
772, 838
Leader, Morris Walton
830
Salmon, Robert
820
Leif, Florence Peers (attr.)
836
Sanchez, Timothy J.
101
Leighton, Clare
895
Sendak, Maurice Bernard
211
Levenson, Sol
212
Sheehan, Dennis
919
Liberte, Jean
922
Silva, Francis Augustus
Lloyd, George
99
Loeb, Dorothy Logan, Robert Henry
821, 822
626A
Sintes, Joseph
117
921
Sloane, Marian Parkhurst
634
654
Smith, Vernon B.
896
Lucioni, Luigi
819
Soderberg, Yngve Edward
Lussier, David
630, 631
Maentel, Jacob
689
Stoltenberg, Donald
Max, Peter
206
Strisik, Paul
Maziarz, John D.
100
Stuart, Jane (attr.)
682
McConnell, George
823
Stuple, Charles
635
McCurl, Joseph
902
Sully, Thomas (school of )
685
McGurl, Joseph
902A
Soyer, Raphael
362 214, 215 925 646, 647
Sword, James Brade
771
Milby, Frank
906
Sykes, S.D. Gilchrist
367
Miller, Arthur
834
Terelak, John Charles
Moffett, Ross E.
917
Titcomb, Mary Bradish
Mongeau, Alice
900
Tworkov, Jack
104
Moore, Charles Herbert (attr.)
831
Walcott, Harry Mills
210
Mosher, Christine A.
649
Warner, Laurie
Movalli, Charles J.
645
Watt, Coulter
Mulhaupt, Frederick John
625
Whiteside, Frank Reed
Mulvany, John
918
Whorf, Nancy
882-889
Wiggins, Guy Carleton
743, 744
Mumford, Elizabeth
912, 913
656 826, 827
903, 904 529 747
Neiman, Leroy
205
Wiggins, J. Carleton
Nicholas, T.M.
637
Willeto, Charles (attr.)
Nichols, Pauline Wright
833
Winskill, Bernard
121
765, 766
Niles, George E.
773 232, 233
Wood, Sarah Lois
779
Ohashi, Yutaka
103
Wood, Sunny
346
Orr, George P.
633
Woodcock, Hartwell Leon
624
Packard, Anne
876-881
Wright, Catharine Wharton Morris
366
Parton, Ernest
123
Zigmond, Michael
216
Perkins, Flo Peters, Carl William
93, 94 640
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Properties From
A Prominent New York Collection The Collection of Dr. T. Berry Brazelton A Massachusetts Collection A Connecticut Estate The Collection of the Late George Makris Private Connecticut Collection The Folk Art & Americana Collection of Carl and Sonia Schmitt A Private Family Estate on Martha's Vineyard A Private Collection, Greenwich, Connecticut A Nantucket Collection A Private Collection, New Bedford, Massachusetts A Private Collection, Florida A Private Collection, New York And numerous other estates and collections
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Session I
Session II
Friday, November 16 at 10 a.m. Lots 1-427
Saturday, November 17 at 10 a.m. Lots 501-938
Jewelry
Weapons & Militaria
Silver
Decoys
Glass
Sporting Art
Ceramics
Fine Art
Books
Furniture
Textiles
Oriental Rugs
Oriental Rugs
Clocks
Ethnographic Art
and more
Chinese Export Fine Art Furniture Folk Art Weather Vanes and more
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Session I Friday, November 16 at 10 a.m. Lots 1-427 Jewelry Silver
1-44
45-62
Glass 66-94, 327-328 Ceramics
74-75, 157-178
Books 136-137 Textiles 149-156 Oriental Rugs
179-204
Ethnographic Art
223-278
Chinese Export
379-427
Also Fine Art, Furniture, Folk Art, Weather Vanes and More
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PAIR OF LILLY FITZGERALD 18KT GOLD, PINK TOURMALINE AND CULTURED PEARL EARRINGS Bezel-set faceted tourmalines in a textured sunburst setting surmounted by small pearls. For pierced ears. Lengths 0.75”. 500/800
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PAIR OF TED MUEHLING GOLD, CULTURED PEARL AND CITRINE “BUG” CLUSTER EARRINGS For pierced ears. Lengths 1.25”. 1,000/1,500
3.
ANGELA CONTY 14KT BICOLOR GOLD AND FRESHWATER PEARL BRACELET Formed as two calla lilies. Clasp formed as looped tendrils. Signed “Conty”. Interior diameter 2.5”. Approx. 4.86 total dwt. 300/400
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NIKKI FELDBAUM SEDACCA 14KT GOLD, SAPPHIRE, RUBY AND CULTURED PEARL CUFF BRACELET Cabochon sapphires and rubies bezel-set on a pierced hand-wrought cuff strung with faceted ruby and pearl beads. Safety chain. Incised marks. Interior length 2.38”. 1,500/2,000
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NIKKI FELDBAUM SEDACCA GOSHENITE NECKLACE Four graduated strands of faceted clear beads featuring irregular pear forms. Sterling silver clasp. Unmarked. Length 26”. 500/700
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PAIR OF 14KT GOLD, CITRINE AND DIAMOND STATEMENT EARRINGS Formed as cascading flowers featuring marquisecut citrines in ombré shades of orange and yellow. Maker’s mark “RV”. Lengths 2.25”. 600/900
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14KT GOLD, EMERALD AND DIAMOND TENNIS BRACELET Twenty-five approx. 4.6mm x 3.6mm x 2.2mm. faceted emeralds. Length 7”. 1,000/2,000
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14KT GOLD, SAPPHIRE AND DIAMOND TENNIS BRACELET Twenty-six approx. 4.6mm x 2.8mm x 2.0mm oval faceted sapphires. Length 7”. 500/800
9.
TIFFANY & CO. 18KT GOLD, PLATINUM AND DIAMOND GINKGO BROOCH Hand-wrought leaf with fifteen diamonds set in stem. Length 1.75”. Includes original box. 400/600
10.
JEAN SCHLUMBERGER FOR TIFFANY & CO. 18KT GOLD AND MALACHITE “ACORN” CUFF LINKS Signed. Lengths 1.25”. Includes original box. 600/800
11.
18KT GOLD AND DIAMOND ETOILE-STYLE BANGLE BRACELET Bezel-set with nine diamonds. Hinged. Unidentified maker’s mark. Interior length 2.5”. Approx. 12.48 total dwt. 800/1,200
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HARRY WINSTON 18KT GOLD, DIAMOND AND CULTURED PEARL TORSADE NECKLACE Composed of twelve strands of small cultured pearls terminating in a pair of fluted gold and diamond caps joined to a heart-shaped link set with eight round diamonds. Signed “Winston”. Length 16.25”. Includes four silk passementerie cords and removable unmarked 18kt gold and diamond caps for suspending heart link. Necklace in original navy suede case and other components in original burgundy suede Harry Winston case. Copies of correspondence and receipts for all elements also accompany the lot. 5,000/7,000
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PAIR OF 14KT GOLD, CULTURED PEARL AND DIAMOND EARRINGS Cream-colored pearls, approx. 7.6mm, surrounded by thirteen brilliant-cut diamonds. For pierced ears with omega clip backs. 700/1,000
20.
MINAS SPIRIDIS 18KT GOLD “LOVERS” PENDANT Formed as an embracing couple. On a black cord with gold toggle. Pendant and toggle signed. Pendant length 1.25”. Cord length 24”. 1,000/1,500
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PAIR OF 14KT GOLD AND CULTURED PEARL STUD EARRINGS WITH 14KT GOLD AND SAPPHIRE JACKETS Cream-colored pearls approx. 6.4mm. Jackets each with ten small marquise-cut sapphires in a wreathform setting. Unidentified maker’s mark. For pierced ears. 500/800
21.
MINAS SPIRIDIS GOLD PENDANT Formed as a stylized heart, or perhaps a claw. On a black cord with gold toggle. Pendant signed. Pendant length 0.75”. Cord length 26”. 1,000/1,500
22.
THREE PIECES OF RUBY BEAD JEWELRY 1) Necklace strung with graduated beads. 14kt gold clasp. Length 17.75”. 2) Pair of 14kt gold, cultured pearl and diamond earrings with clusters of pendant ruby beads. For pierced ears. Length 1.5”. 3) Circular 14kt gold pendant with seventeen ruby beads. Diameter 1.25”. 700/1,000
23.
ANTIQUE ROSE GOLD, CITRINE AND CULTURED PEARL BROOCH PENDANT Continental, Late 19th Century Citrine approx. 35mm x 21mm x 13mm. Unidentified marks. Length 2”. 500/800
24.
14KT GOLD, SYNTHETIC CORUNDUM AND SEED PEARL RING Stone approx. 15.0mm x 11.8mm x 6.4mm. Size 8¾. 800/1,200
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14KT GOLD, CORAL CAMEO AND DIAMOND RING Coral carved as a profile portrait of a young woman in high relief. Openwork setting with four bezel-set diamonds. Size 8. 300/500
26.
14KT GOLD, AMETHYST AND DIAMOND COCKTAIL RING Prong-set amethyst, approx. 29mm x 11.8mm, flanked by two small diamonds. Size 4½. 600/900
15.
PAIR OF 14KT GOLD AND BLUE DIAMOND STUD EARRINGS Bezel-set. Post backs for pierced ears. 400/600
16.
PAIR OF 18KT GOLD, DIAMOND AND RUBY DROP EARRINGS Quatrefoil bezel-set diamonds above rings suspending three faceted ruby beads, gold bars and diamonds. French wires. Lengths 2.5”. 300/400
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GREEK 18KT GOLD AND RUBY RING Four bezel-set rubies. Diamond-form shank with beaded edges. Size 7½. 400/600
18.
14KT GOLD AND DIAMOND RING Ten diamonds in a leaf-like design. 400/600
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LALAOUNIS 18KT GOLD RING Domed form with rope-twist and tassel details. Size 5¾. Approx. 3.14 dwt. 1,000/1,500
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PAIR OF SONIA BITTON WHITE GOLD, DIAMOND AND CULTURED PEARL STATEMENT EARRINGS Formed as pavé-set discs joined in an undulating column, terminating in cream-colored pear-form pearls. Lengths 2.75”. 1,000/1,500
28.
PAIR OF 14KT GOLD AND DIAMOND EARRINGS WITH PLUMERIA FLOWERS Hawaii, Contemporary For pierced ears. Lengths 0.5”. 500/600
29.
CONCORD RETRO 14KT GOLD AND DIAMOND LADY’S WRIST WATCH Bezel and sticks set with small diamonds. Case numbered 21 62 145C25 699312. Case diameter 22mm. Bracelet length 7.5”. Approx. 37.65 total dwt. 2,000/3,000
30.
PAIR OF 14KT GOLD, BLUE TOPAZ AND DIAMOND EARRINGS Each set with three approx. 6.6mm x 5.0mm x 3.2mm topaz surrounded by small diamonds in an openwork setting. Maker’s mark “KN”. For pierced ears with omega clip backs. Lengths 1”. 400/600
31.
14KT GOLD AND DIAMOND SOLITAIRE AND MATCHING BAND Pear-form solitaire, approx. 8.8mm x 6.0mm, surrounded by twenty-four small prong-set diamonds. Size 3¼. Band with twelve prong-set diamonds in a sinuous curve. Size 5. 800/1,200
32.
PAIR OF TAGLIAMONTE-STYLE 14KT GOLD, RUBY AND CULTURED PEARL EARRINGS With cabochon rubies, oval medallions depicting three children, and pendant pearls. Marked “Italy”. For pierced ears. Lengths 1.5”. 500/800
33.
PAIR OF 14KT WHITE GOLD, SAPPHIRE AND DIAMOND EARRINGS Four channel-set sapphires with pendant bezel-set diamonds. For pierced ears. Lengths 0.5”. 500/600
34.
PAIR OF 14KT GOLD STATEMENT EARRINGS Textured overlapping diamond and loop design. Maker’s mark “LJ”. Posts with screw backs. Length 2.5”. Approx. 13.94 dwt. 500/800
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35.
ITALIAN 14KT GOLD AND DIAMOND NECKLACE The diamond, approx. 7.2mm x 5.4mm x 3.4mm, prong-set in a V-form pendant affixed to a herringbone chain. Length 17.5”. 800/1,200
36.
18KT GOLD AND DIAMOND BANGLE BRACELET Fifty-two diamonds in two channel-set rows. Hinged and with safety chain. Unidentified jeweler’s mark. Interior diameter 2.25”. 500/700
37.
EFFY 14KT WHITE GOLD AND DIAMOND RING Four rows of undulating prong-set diamonds alternating with three rows of channel-set diamonds. Approx. 2cts total. Size 9. 300/400
38.
ROSS COPPELMAN 18KT GOLD, PINK TOURMALINE AND CULTURED PEARL RING East Dennis, Massachusetts With kinetic cultured pearl bead and prong-set tourmaline in a textured, industrial setting. Size 8½. 1,000/1,500
39.
PAIR OF MICHAEL BAKSA 14KT GOLD, BLUE DIAMOND AND CULTURED PEARL EARRINGS Cape Cod, Contemporary French wires with three graduated gold beads suspend bezel-set white and blue diamonds and terminate in cream-colored cultured pearl drops. Blue diamonds approx. 5.6mm x 3.4mm. Unsigned. Lengths 1.25”. 1,500/2,000
40.
EDEN HAND ARTS STERLING SILVER HORSE AND JOCKEY WEATHER VANE-FORM BROOCH East Dennis, Massachusetts Includes silver and wood display stand. Impressed marks. Length 2.25”. Height including stand 3.5”. Approx. 0.2 troy oz. weighable. 300/500
41.
EDEN HAND ARTS STERLING SILVER ARCHANGEL GABRIEL BROOCH East Dennis, Massachusetts, Depicted in profile while playing the trumpet. Impressed marks. Length 2.75”. Approx. 0.5 troy oz. 300/500
42.
SILVER AND CERAMIC NECKLACE ATTRIBUTED TO LAUREL BURCH San Francisco, Early 1970s Composed of various elements. Central or South American donkey-form pendant suspends Chinese foo dog charm. Beads are American Native or PreColumbian. Signed “Laurel”. Length 25”. 200/400
43.
HARDSTONE BEAD NECKLACE FEATURING CHINESE CARVED JADE BELT SLIDE AND BOXWOOD PLAQUE Probably San Francisco, 1970s Belt slide carved with a boy carrying a peach and a seal mark. Boxwood plaque carved with lily pads and a carp. Other bead materials include serpentine, marble, jade, glass, silver and stone. Unsigned. Length 30.25”. 500/700
44.
MARGOT DE TAXCO ENAMELED SILVER ARTICULATED FISH BROOCH Mid-20th Century Polychrome shaded enamel with a glass eye. Numbered 5644. Impressed marks. Length 3.25”. Approx. 0.7 troy oz. 400/600
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45.
GEORGE III STERLING SILVER TEAPOT London, 1787 Hester Bateman, maker. Shaped form with ebony pineapple-form finial and handle. Bright-cut engraved with flower garlands, oval medallions and stylized borders. Not monogrammed. Length 10.5”. Approx. 13.8 troy oz. 200/300
46.
NINE PIECES OF GEORGE III HESTER BATEMAN STERLING SILVER TABLEWARE London 1) Toddy ladle with twisted baleen handle. 1790. Length 14”. 2-3) Two bright-cut engraved and monogrammed tablespoons. 1786. 4-5) Two open salt cellars with shell-form knees and hoof-form feet. 1776. 6) Similar open salt. 1777. 7-8) Two salt spoons with shellform bowls. Lacking date letters. 9) Teaspoon with brightcut engraving. 1790. Period monogram. Approx. 11.2 total troy oz. 300/500
47.
FIVE GEORGE III PETER AND ANN BATEMAN SILVER TABLEWARES London 1) Helmet-form creamer. 1796. Period monogram on base. Height 5.5”. 2) Pair of tea tongs with reeded handles. 1792. Later monogram. Length 5.5”. 3) Pair of tea tongs with bright-cut engraved foliate decoration. 1790. Later monogram. Length 5.75”. 4-5) Two Peter, Ann & William Bateman teaspoons. 1801. Later repoussé fruit design on bowls. Approx. 6.3 total troy oz. 300/500
48.
AMERICAN SILVER WATER PITCHER BY WILLIAM THOMSON New York, Early 19th Century Handle and lower half of body with exquisite raised acanthus and foliate design. Shoulder, upper rim and foot with floral and foliate moldings. Both sides with a central circular medallion depicting an American-flagged threemasted ship. Stamped twice on underside “Wm. Thomson”. Height 11.25”. Approx. 36.0 troy oz. 1,000/1,500
49.
DOLPHIN-FORM DESK STANDISH Third Quarter of the 19th Century Dolphin made from a ram’s horn with silver plated head and tail. A bell is suspended from the dolphin’s tail and an inkwell is affixed to its back. Dolphin mounted to a walnut base with groved pen tray and single drawer. Bell includes silver plated striker. Height 11”. Width 13.5”. Depth 7.5”. 800/1,000
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50, set
50.
FOUR-PIECE AMERICAN COIN SILVER TEA SERVICE New York, Second Quarter of the 19th Century Gerardus Boyce teapot, creamer and covered sugar bowl. William Adams waste bowl. All in urn form with die-cast leaftip borders. Finials formed as baskets of flowers. Shoulders engraved with owner’s name. Teapot height 10.75”. Approx. 94.3 troy oz. 1,000/1,500
51.
VICTORIAN SILVER BASKET London, 1841 William Bateman & Daniel Ball, maker. Reeded and feathered swing handle. Circular bowl with chased flower and rocaille design, and cast floral border. Molded foot. Diameter 11”. Approx. 25.8 troy oz. 400/600
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52.
VICTORIAN STERLING SILVER SALVER London, 1884 Elkington & Co. (Frederick Elkington), maker. Molded border with cast shell and scroll rim. Engraved with the Lowe family crest and inscribed “Presented to John Lowe Esquire M.D. Honorary Physician to H.R.H. Prince of Wales on his retirement after 14 years attendance on the Royal Family at Sandringham. From Their Royal Highnesses the Prince and Princess of Wales May 1885.” Three scrolled feet. Diameter 14.5”. Approx. 47.8 troy oz. 1,000/1,500
52
53.
COLLECTION OF NINETEEN ANTIQUE BABY RATTLES AND TEETHING RINGS 19th and Early 20th Century Silver and silver-plated with coral, agate, ivory, bone and mother-of-pearl handles. Forms include a seated dog, a bird on a branch, a cat playing the fiddle, a stork and baby, and a cow jumping over the moon. Mounted on green velvet in a shadow box frame. Frame 22.25” x 16.25”. 3,000/4,000
53
20
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54.
TIFFANY & CO. STERLING SILVER PORTABLE SPIRIT BURNER New York, 1902-07 For use with a curling iron. Rectangular form with raised, lozenge-form trim. Hinged cover encloses two collapsible arms and burner with screw-on cover. Length 3.5”. Approx. 11.5 total troy oz. 300/500
55.
TWELVE TIFFANY & CO. “RENAISSANCE” PATTERN STERLING SILVER OYSTER FORKS New York, 1905-07 Monogrammed. Lengths 6”. Approx. 11.5 troy oz. 300/500
56.
TIFFANY & CO. “HAMPTON” PATTERN STERLING SILVER FLATWARE SERVICE New York, 1934-47 Not monogrammed. Includes: 7 10” knives 7 7.5” forks 6 7” forks 1 salad fork 7 teaspoons 7 oval soup/dessert spoons 1 salad-serving fork and spoon 1 gravy ladle Approx. 63.7 troy oz. weighable 1,500/2,000
57.
TWELVE TIFFANY & CO. “PALM” PATTERN STERLING SILVER FISH FORKS New York, 1907-47 Monogrammed. Lengths 6.75”. Approx. 19.5 troy oz. 300/500
58.
STERLING SILVER PRESENTATION VASE PERTAINING TO THE KNIGHTS OF THE GOLDEN HORSESHOE EXPEDITION American, Early 20th Century In trumpet form with rim and foot rim cast with carnations. Engraved with a horseshoe bearing the motto “Sic Juvat Transcendere Montes”. Retailed by Rodgers & Krull, Louisville, Kentucky. Lacking maker’s mark. Height 17.5”. Approx. 29.4 troy oz. 1,500/2,500 Provenance: A Prominent New York Collection. The Knights of the Golden Horseshoe Expedition was a 1716 exploratory expedition to the Shenandoah Valley led by Alexander Spotswood, the Colonial governor of Virginia. Upon their return, Spotswood gave each officer a gold horseshoe-shaped stickpin inscribed “Sic juvat transcendere montes”, or “Thus, it is pleasant to cross the mountains”.
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58
21
59.
DOLPHIN-FORM FOUR-LIGHT SILVER PLATED CANDELABRUM 20th Century Cast with four dolphins supporting scallop shell-form sconces on their tails. Weighted. Unmarked. Heights 4.5”. 500/700 Provenance: A Prominent New York Collection.
60.
FOUR STAVRE GREGOR PANIS STERLING SILVER CANDLESTICKS Falmouth, Massachusetts, 1930s Cups formed as elongated and stylized flower buds. Floriform domed and spreading feet with registers of pierced nautical motifs. All with maker’s mark. Heights 4”. Approx. 14.5 troy oz. 300/500
61.
SIX STAVRE GREGOR PANIS STERLING SILVER SPOONS Falmouth, Massachusetts, 1930s Four iced tea spoons with nautical terminals and two demitasse spoons with floral terminals. All with maker’s mark. Approx. 2.3 troy oz. 150/250
62.
FOUR-PIECE TANE ORFEBRES STERLING SILVER TEA SERVICE Mexico, Second Half of the 20th Century Includes a coffeepot, teapot, covered sugar bowl and covered creamer, all in melon form with floriform finials and flat spreading bases ending in four feet. Coffeepot height 9”. Approx. 140.8 troy oz. 1,200/1,800 Provenance: A Prominent New York Collection.
60, four
62, set
22
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63
65
63.
CARDEILHAC ART NOUVEAU GILT-.950 SILVER AND CARVED AND PAINTED BONE VASE Paris, Late 19th/Early 20th Century Four sinuous foliate tendrils issuing from the bulbous neck. Tapered bone carved with stylized flowers painted deep green. Stepped base. Underside stamped with maker’s mark, “O”, and “Cardeilhac Paris”. Base stamped with maker’s mark “O”, “Cardeilhac” and Minerva mark. Neck stamped with Minerva mark. Height 5.25”. 2,000/3,000
64.
ART MODERNE COPPER AND CARVED CARNELIAN CENTER BOWL Circa 1925 Circular bowl with spreading foot and two flat handles above two loops with foliate terminals. Handles inset with Chinese oval carnelian plaques carved with flowers. Partially rubbed maker’s mark. Numbered 551. Diameter 9.75”. 400/600
65.
AUSTRIAN JEWELED GILT SILVER AUTOMATON BIRD BOX Late 19th Century Rectangular case in a bird and flower design. Hinged cover opens to reveal a feathered bird. Length 4”. 4,000/5,000
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23
66
66.
TIFFANY STUDIOS LEADED GLASS AND BRONZE TEA SCREEN New York, Early 20th Century Three panels depicting purple blossoms and foliage. Unmarked. Each panel 8” x 5.25”. 5,000/7,000
67.
TIFFANY STUDIOS GOLD FAVRILE GLASS BOWL New York, Early 20th Century With flaring rim. Signed “L.C.T. 8909C”. Height 3”. Diameter 5”. 250/350
68.
69.
24
70.
KEW BLAS GLASS VASE Balustroid form with pulled iridescent green design on a gold iridescent ground. Underside signed. Height 7.5”. 600/800
71.
KEW BLAS GLASS GOBLET In iridescent gold with tulip-form bowl above a knopped stem. Underside signed. Height 4.75”. 200/400
72.
FOUR-PIECE TIFFANY STUDIOS “ZODIAC” PATTERN BRONZE DESK SET New York, Early 20th Century Includes a letter rack, blotter ends, a humidor and a shallow box. All with impressed marks. Letter rack height 8.25”. Blotter end lengths 19.25”. 600/800
73.
TIFFANY STUDIOS “ZODIAC” PATTERN BRONZE BOOKENDS New York, Early 20th Century Copper-colored patina; interiors with verdigris. One marked “Tiffany Studios New York 1091”. Heights 5.5”. 300/500
TIFFANY STUDIOS GOLD FAVRILE GLASS GOBLET New York, Early 20th Century Tulip-form bowl above flattened knop and inverse balustroid stem. Signed “L.C.T. Q5993”. Height 8.75”. 500/700
TWO TIFFANY STUDIOS GOLD FAVRILE GLASS PLATES New York, Early 20th Century Signed “L.C.T. 1421”. Diameters 8”. 300/500
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74.
ART NOUVEAU ART POTTERY VASE ATTRIBUTED TO HELIOSINE Bohemia, Early 20th Century Organic form with molded poppy flower design and iridescent glaze. Unmarked. Height 9”. 400/600
75.
HELIOSINE ART NOUVEAU ART POTTERY VASE Bohemia, Late 19th/Early 20th Century Squat organic form decorated with repeating green iridescent floral design against a black ground. Base marked “Niellosine Ware Austria”. Numbered 21047 and 2D. Height 5.5”. 400/600
76.
PAIR OF ENAMELED GLASS VASES IN THE CHINESE TASTE Probably France, Late 19th Century Decorated with figural scenes against a black ground. Mounted to bronze bases. Apparently unmarked. Total height 15”. 1,000/1,500
77.
BACCARAT JAPONISME HAND-PAINTED OPALINE GLASS VASE France, Circa 1880 Polychrome enamel decoration of flowering prunus branch, bird, hand fan and scroll painting against a mottled gray ground. Signed “Baccarat” on lower side. Numbered 8 on the underside. Height 9.75”. 400/600
78.
HANDEL LAMP AND SHADE Circa 1920 Reverse hand-painted glass shade depicts a moonlit river scene. Signed “Handel” on lower lip. Bronze base signed “Handel” on underside. Copper fitting on shade also stamped “Handel”. Height including finial 30.25”. Height of shade 11”. 1,000/1,500
79.
CLEAR BLOWN GLASS PORTLAND-STYLE VASE England, Late 19th Century Unknown maker. Classical figural design beautifully etched around circumference of body. Typical applied handles at sides of neck. Polished pontil. Height 9.5”. 300/500
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78
25
82
80
81
83
26
80.
CUT OVERLAY GLASS DECANTER ATTRIBUTED TO STEVENS & WILLIAMS England, Late 19th/Early 20th Century In amethyst cut to clear. Retains original stopper. Body with shell and floral design. Height 12.5”. 500/1,000
81.
SANDWICH GLASS DOUBLE CUT OVERLAY LAMP Third Quarter of the 19th Century In emerald green cut to clear in four-petal design. Brass stem set on a double stepped marble base with ormolu mount on lower tier. Height 11.25”. 700/1,000
82.
CUT OVERLAY GLASS WINE URN WITH COVER Early 20th Century In ruby red cut to clear. Possibly made for a World’s Fair. Inscribed “Paris” above brass spigot. Height 26”. 500/1,000
83.
CAMEO TRIPLE CUT OVERLAY GLASS COMPOTE England, Late 19th Century In medium blue cut to white cut to clear. Bowl with scalloped rim and cameo cutting in grape and leaf designs around perimeter. Bulbous stem on a circular foot. Retains Maude Feld label on underside. Height 7.25”. 500/1,000
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84.
DAUM NANCY CAMEO GLASS VASE France, Late 19th/Early 20th Century Balustroid form. Depicts a marsh scene in shades of brown and orange against a mottled yellow ground. Signed “Daum Nancy France” with the Cross of Lorraine. Height 9.25”. 600/800
85.
DAUM NANCY CAMEO GLASS VASE France, Late 19th Century Balustroid form with wide shoulder. Depicts a marsh scene in shades of green against a mottled yellow and orange ground. Signed “Daum Nancy” with the Cross of Lorraine. Height 9”. 600/800
86.
BURMESE GLASS FAIRY LAMP Late 19th Century Shade by Thomas Webb and Sons with hand-painted foliate decoration. Base by S. Clark with molded floral design on underside. Raised Clark mark at center of base. Height 5”. 300/500
87.
WHEELING PEACHBLOW MORGAN-STYLE GLASS VASE England, Late 19th Century Vase in deep red graduating to honeycomb color. Amber glass base with seahorse-form feet. Overall height 10”. 1,000/1,500
88.
MOUNT WASHINGTON GLASS COMPANY PEACHBLOW GLASS FOOTED BOWL 19th Century Gauffered rim. Applied strawberry mark on underside. Also retains Brookside Antiques label on underside. Height 5.5”. 600/900
89.
WHEELING PEACHBLOW GLASS CRUET England, Late 19th Century With amber stopper. Retains Maude Feld label on underside. Height 6.75”. 200/300
84
85
86
87
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88
27
90.
KIT KARBLER AND MICHAEL DAVID STUDIO GLASS SCULPTURE In the form of two arms extending skyward. Layered glass with thin concentric lines of color in clear glass. Signed and numbered 28749. Height 16.25”. 600/800
91.
GLASS SCULPTURE IN THE MANNER OF LIVIO SEGUSO Italy, 20th Century Clear and black orb with numerous trapped air bubbles. Illegible signature. Height 8.75”. 600/800
92.
JOSH SIMPSON STUDIO “BLUE NEW MEXICO” GLASS PLATTER Dated 1998 With red rim. Signed. Diameter 17”. 400/600
93.
FLO PERKINS Massachusetts/New Mexico, b. 1951 Glass and silicone cactus. Signed and dated “F. Perkins 1986/1990”. Height 9.5”. 1,500/2,500
94.
FLO PERKINS Massachusetts/New Mexico, b. 1951 Glass and silicone cactus. Signed and dated “F. Perkins 1986”. Height 12.5”. 1,500/2,500
93
94
28
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95
95.
ATTRIBUTED TO SERGIO BUSTAMANTE Mexico/Holland, b. 1942/43 Copper parrot with glass eyes. Unsigned. Height 21”. Wingspan 32”. Together with the hardcover volume The Mexico of Sergio Bustamante by Clint Clemens. 1,400/1,800
96.
CURTIS JERE California/China, 1910-2008 Brass sculpture of two sailboats, a buoy and a flock of seagulls. Signed on bow “Curtis Jere 1977”. Height 32”. Length 34”. 300/500
97.
CAST IRON SCULPTURE OF A CLASSICAL WOMAN HOLDING A PARROT Late 19th Century Painted black and red. Mounted on contemporary base. Height 33”. 600/900
98.
YVONNE DANE BACKUS Massachusetts/Washington/Germany, 1910-2001 Three bronze female figures on marble bases. Each with label on base. Also includes personal correspondence from the artist. Figures: 1) “Muse”. Height 6.5”. 2) “Salome”. Height 7.5”. 3) Title illegible. Dated 1968. Height 12.5”. 800/1,000 Yvonne Dane Backus maintained a home in Eastham, Massachusetts.
98
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29
99
99.
GEORGE LLOYD California/Maine, b. 1945 “Exasperated Figure”. Signed and dated lower right “George Llyod ‘91”. Titled verso. Acrylic on paper, 24” x 19”. Framed 32” x 26.5”. 1,200/1,800
100.
JOHN D. MAZIARZ Massachusetts, 1934-2008 “Michael & Lucifer”. Signed and dated lower right “John Maziarz ‘62”. Titled on Berskshire Art Association Exhibition label verso. Oil and collage on canvas, 48” x 39”. Framed 49” x 40”. 500/1,000
100 101
101.
TIMOTHY J. SANCHEZ United States, b. 1945 Abstract. Signed lower right “Timothy Sanchez”. Signed and dated 2013 verso. Mixed media on canvas, 48” x 48”. Framed 50.5” x 50.5”. 400/600
102.
REGIS DE CACHARD California/France, b. 1929 Floral abstract. Signed lower left “de Cachard 59”. Oil on board, 30” x 22”. Framed 41” x 33”. 600/800
102
30
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103
103.
YUTAKA OHASHI Japan/United States, 1923-1989 “Dusk No. 9”. Signed, titled and dated 1960 verso. Virginia Museum label verso indicates the painting was once owned by Boston’s Swetzoff Gallery. Oil on canvas, 40” x 54”. Framed 41” x 55”. 4,000/6,000
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31
104 105
104.
JACK TWORKOV Massachusetts/New York, 1900-1982 Abstract. Marked on label verso “Jack Tworkov - 1962”. Charcoal on paper, 7.25” x 4.75” sight. Framed 14.50” x 12.5”. 1,000/1,500
105.
ROBERT BRACKMAN Connecticut, 1898-1933 Untitled study of three nudes. Signed lower right in red “Brackman”. Pastel on paper, 24” x 27”. Framed 34” x 37”. 1,000/1,500
106.
ANNA VAUGHN HYATT HUNTINGTON United States, 1876-1973 Cast bronze “Yawning Tiger”. Deep brown patina. Impressed “Anna V. Hyatt” and “Gorham Co. Founders Q492” on the inside of rear legs. Side impressed “#97”. Length 13.25”. On a marble base, length 15.5”. 2,500/3,000
106
32
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Charles Constantine Hoffbauer Massachusetts/France, 1875-1957 Lots 107-109
107
107.
“Je Suis des Opera de Carmen...”. Depicts an African American opera singer under stage lights. Signed lower left with an encircled monogram “CH”, part of a pencil inscription written in French. Housed in a Guido frame. Watercolor and gouache on paper, 5” x 3.5” sight. Framed 19” x 15.25”. 1,000/1,500
108.
Four pencil sketches. 1) “La Paouta”, depicting two masked and caped figures. Titled upper right. 2) A seated nude. 3-4) Both depict fashionable women. Each monogrammed or signed lower right or left. Housed in Guido frames. Graphites on paper, approx 9” x 12” sight. Framed 22” x 17.75”. 800/1,000
109.
Studies for “The Storming of the Bastille”. Circa 1903. Signed lower right “C. Hoffbauer”. Titled verso. Pencil and gouache, 6” x 12” sight. Guido frame 18” x 22”. 300/500
108, four
109
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33
110.
PABLO PICASSO Spain/France, 1881-1973 Painted and glazed earthenware plate depicting a flute player. Circa 1951, from an edition of 40. Stamped on underside “Empreinte Originale De Picasso” and “Madoura Plein Feu”, and written in blue “Edition Picasso”. Height 1.5”. Diameter 9.75”. 800/1,000
110
111.
MARC CHAGALL Russia/France, 1887-1985 “Then He Spent the Night with Her Embracing and Clipping”. Numbered III/10 lower left. Signed in pencil lower right. Plate 3 from “Four Tales from the Arabian Nights”. Mourlot 38. Color lithograph, sheet size 17” x 13”. Framed 24” x 18.5”. 2,000/3,000 Provenance: Gallery Östermalm, Stockholm.
111
34
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112
112.
LE CORBUSIER (CHARLES-EDOUARD JEANNERET) Switzerland/France, 1887-1965 Untitled composition with three figures. Signed and dated 1933 in the matrix lower right. Further signed and with presentation inscription dated 1950 beneath the matting. Applied stamp from Paul Schuster Art Gallery, Cambridge, Massachusetts and a label from Owings Gallery, Santa Fe, New Mexico on the reverse. Pencil and crayon on paper, image 12” x 8”. Framed 20.5” x 16.5”. 15,000/20,000 Provenance: The collection of Dr. T. Berry Brazelton. Purportedly gifted in exchange for pediatric medical services in the 1960s.
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35
113.
JOSEPH GARLOCK New Jersey/Russia, 1884-1980 Homecoming/Lighthouse. Signed and dated lower left “J. Garlock ‘50”. Gouache, 13” x 22” sight. Framed 21” x 30”. 3,000/5,000 Provenance: Julie Heller Gallery, Provincetown, Massachusetts, 2005.
113
114.
OSKAR LASKE United States/Russia, 1874-1951 “Buffal Herde [sic]”. Signed lower right “O. Laske”. Watercolor and gouache on paper, 13” x 19” sight. Framed 16” x 22”. 500/1,000
114
115.
ALBERT KRAFFT, AFTER GUIDO RENI 19th Century Portrait of Beatrice Cenci. A 19th Century copy of the famous work by Reni, depicting Cenci on the eve of her execution, having been charged with the murder of her cruel and abusive father Francesco. Unsigned. Inscribed verso “Copy of Guido Reni by Albert Krafft”. Oil on canvas, 25” x 19”. Framed 34” x 38”. 1,000/1,500
115
36
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116
116.
RUSSIAN ICON “THE PRESENTATION OF CHRIST AT THE TEMPLE” 14th/15th Century Depicts Mary and Joseph bringing the baby Jesus to the temple in Jeruselum forty days after his birth. Distinct early structures in background. 18.75” x 13”. 6,000/8,000
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37
117.
JOSEPH SINTES Continental, 1829-1913 Middle Eastern courtyard. Signed lower left “Sintes”. Oil on canvas, 25.5” x 21.5”. Framed 33” x 29”. 1,000/1,500
118.
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”. 800/1,000 Provenance: A Connecticut Estate.
119. 117
KEELEY HALSWELLE United Kingdom, 1832-1891 “Gypsy Encampment, Danbury Common”. Inscribed, signed and dated lower left “Gypsy Encampment Keeley H. Halswelle 1889”. Titled on label verso. Oil on canvas, 15.5” x 23”. Framed 26” x 25”. 1,200/1,800
119`
118
38
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120
120.
FREDERICK HENDRIK KAEMMERER Holland/France, 1839-1902 An interior scene with gentlemen engaged in a duel. Signed lower left “F.H. Kaemmerer”. Oil on canvas, 8” x 11”. Framed 16” x 19”. 3,000/5,000
121.
BERNARD WINSKILL United Kingdom, d. 1980 Cast bronze “The Minstrel and Lester Piggott”, 1978. Identified on copper plaque on underside. Royal Worcester Bronze, numbered four of twenty-five. Height 16”. Length 20.5”. 1,000/1,500 121
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39
122.
CHARLES MARTIN HARDIE Scotland/United Kingdom, 1858-1916 Portrait of Mary, the artist’s wife. Signed upper left “C.M.H. Pinx”. Oil on canvas, 27” x 21”. Framed 32” x 26”. 1,000/1,500
123.
ERNEST PARTON New York/United Kingdom, 1845-1933 Cliffside seascape. Signed lower right “Ernest Parton”. Signed verso. Oil on canvas, 16” x 24”. Framed 21.5” x 29”. 1,000/1,500
124.
PAINTING OF A VICTORIAN-ERA BEACH SCENE Late 20th Century Appears to be unsigned. Oil on panel, 8” x 10”. Framed 12” x 14”. 600/800
122
123
124
40
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125
125.
ENGLISH SCHOOL 19th Century Family portrait including a young child with her dog. Unsigned. Inscribed verso “Property of Spencer Kellogg Jr. Lent Children’s Hospital. Courtesy of Mr. Howard Kellogg.” Oil on canvas, 51.5” x 42.75”. Framed 61” x 52”. 3,000/5,000
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41
126
126.
42
IMPRESSIVE CONTINENTAL SLANT-LID DESK 19th Century In walnut and burled walnut veneer. Lidded compartment in bombé form with brass and wood gallery along perimeter of top and boldly proportioned brass handles at sides. Interior fitted with shaped drawers and a central compartment with mirrored door. Bold twist legs end in bun feet. Double arched stretcher with central inlaid compass rose. Height 47.5”. Width approx. 50”. Depth 24.75”. 3,000/5,000
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127.
RARE GEORGIAN FOOTSTOOL England, Circa 1750 In walnut with cabriole legs ending in pad feet. Slip seat with needlework floral upholstery. Height 16.5”. Top 17.5” x 17.5”. 2,000/3,000
127
128. 128
GEORGE III ONE-DRAWER PEMBROKE TABLE Circa 1800 In mahogany and mahogany veneer. Top with satinwood banding along perimeter and central oval patera. Single drawer at one end of apron. Repetitive oval patera at tops of square tapered legs. Spade feet fitted with brass casters. Height 28.5”. Width 19” plus two 7” drop leaves. Length 27”. 500/700
129
129.
QUEEN ANNE GAMES TABLE England, Circa 1790 In mahogany and mahogany veneer. Shaped fold-out top covered with green felt. Legs end in pad feet. Height 27.75”. Width 35”. Depth 17”. 600/900
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43
130.
SECRETAIRE ABATTANT 19th Century In select mahogany veneer with white marble top. Case with full-width drawer over a fall front over three full-width drawers, all flanked by full-length flat columns with ormolu mounts at tops. Upper drawer with wreath and lion-form ormolu mounts on escutcheon. Fall front opens to reveal drawers and an arched full-width cupboard. Block legs. Height 56”. Width 37.5”. Depth 15.75”. 3,000/4,000
130
44
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131
131.
LINLEY MARQUETRY ARCHITECTURAL TRIPTYCH England, Late 20th/Early 21st Century Inlaid in a variety of burlwood, exotic fruitwood and hardwood. Unsigned. Central panel 48.5” x 25”. Flanking panels 45.5” x 24.5” each. 3,000/5,000 Provenance: The Collection of the Late George Makris.
132.
J. & J.W. MEEKS EASTLAKE-STYLE PARLOR MIRROR Accented with exotic wood inlay and gilding. Original mirror plate. Stenciled label on the reverse. Height 65.5”. Width 24”. 700/1,000
132
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45
133, three
133.
THREE VINTAGE LOUIS VUITTON SUITCASES With red, black and yellow racing stripes. Ends inscribed with owner’s name. 1) 9.5” x 21” x 18.25”. 2) 8.75” x 27.75” x 17.25”. 3) 8.5” x 26” x 16.5”. 1,500/2,000
135.
BRONZE SUNDIAL Late 19th Century Engraved “Time is Valuable”. New York manufacturer’s mark. Diameter 14”. 600/800
134.
ELEVEN CORKSCREWS AND OTHER TOOLS 19th Century Varying sizes. 400/600
136.
COMPLETE WORKS OF CHARLES DICKENS 1900 Chapman & Hall, Limited (c.), London, 1900. Thirty vols. Introductions by the editor with etchings and engravings. O. Three-quarter gilt-ruled red morocco over marbled boards. Brown spines with five gilt-ruled bands and gilt stamped rosettes. Teg. Marbled endpapers. 400/600
Provenance: A Prominent New York Collection.
134, eleven
46
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137.
A COLLECTION OF DESIGNS IN ARCHITECTURE BY ARCHITECT ABRAHAM SWAN 1775 “Proposals, For Printing by Subscription, in Numbers to be published Monthly. A Collection of Designs in Architecture Containing New Plans and Elevations of Houses, for General Use. With A great Variety of Sections of Rooms; from a common Room, to the most grand and magnificent ... In two volumes, each containing sixty plates ...”. Philadelphia: Printed by R. Bell, M, DCC, LXXV. This volume, one of two, was to contain sixty large scale plates, though it is missing five. 5,000/10,000 British Architect Abraham Swan first published The British Architect in London in 1745, and this American version became the second architectural book to be published in the United States. Dated June 26th, 1775, this is one of two volumes of “Proposals, For Printing by Subscription, in Numbers to be published Monthly.” This collection of designs illustrates rococo architectural embellishments on a classical framework, appropriately published in Philadelphia, then a hotbed of the rococo style. Swan’s designs are said to be more influential on American architecture than Chippendale’s were on American furniture. The plans illustrated here can be seen in the work of colonial architects such as Peter Harrison and William Buckland. Copies of the printed Collection of Designs in Architecture, much less these Proposals for it, are extremely rare. The few other known examples are in the holdings of The New York Public Library, Columbia University Special Collections, Winterthur Museum and Libraries, and the Met Museum. See more at www.eldreds.com.
137
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47
138
139
142 140 141
144 143
145
48
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138.
SARCOPHAGUS-FORM SHELL TEA CADDY England, First Half of the 19th Century With ivory moldings and four ivory ball feet. Interior fitted with two cut glass tea jars. Height 7.25”. Width 7.75”. Depth 5.75”. 1,800/2,500
144.
COROMANDEL VENEER TEA CADDY England, 19th Century Compartmented interior. Height 5.5”. Width 8.25”. Depth 5.5”. 300/400
139.
EXCEPTIONAL ROSEWOOD VENEER TEA CADDY England, 19th Century In sarcophagus form with circular feet. Interior fitted with two satinwood compartments and a cut glass waste bowl. Height 10”. Width 16.5”. Depth 8.25”. 500/700
145.
INLAID TEA CADDY England, 19th Century In mahogany and maple veneer. Underside of lid with floral inlay. Interior with two compartments. Ball feet. Height 5.75”. Width 9”. Depth 4.75”. 350/450
140.
INLAID TEA CADDY England, 19th Century In mahogany. Both top and front inlaid with two oval fruitwood patera. Interior with two compartments. Height 5”. Width 8.25”. Depth 4.25”. 400/600
146.
OVAL FRUITWOOD TEA CADDY England, 19th Century Painted floral decoration on top and sides. Height 4.75”. Width 6.25”. 350/450
141.
INLAID TEA CADDY England, 19th Century In mahogany with fruitwood and bird’s-eye maple inlay. Interior with two compartments. Height 4.75”. Width 7”. Depth 4”. 350/450
147.
TEA CADDY IN THE FORM OF A COAL BUCKET England, 19th Century With brass banding. Height 6”. Diameter 5”. 300/400
142.
PAPIER-MÂCHÉ TEA CADDY England, 19th Century With painted floral and gilt decoration. Fitted interior. Height 5.25”. Width 9”. 300/400
148.
OCTAGONAL TEA CADDY England, 19th Century In mahogany and maple with oval contrasting wood inlay on each side. Fitted interior. Height 5”. Width 7.25”. 350/450
143.
BURLWOOD AND FRUITWOOD TEA CADDY England, 19th Century Front with two oval inlay. Underside of lid with shell inlay. Interior with two compartments. Four brass ball feet. Height 4.5”. Width 9”. Depth 4.5”. 350/450
148
146
147
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49
149
149.
NEEDLEWORK SAMPLER Dated 1787 “Wrought by Ann Channing Huntington”. Dated “September ...1787”. Beautifully executed floral border surrounds three sets of alphabets, one set of numerals and a verse. 12” x 15.5” sight. Framed 14.5” x 17.5”. 2,500/3,500 Ann Huntington was the daughter of Revolutionary War General Jedediah Huntington.
50
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150. NEEDLEWORK Wrought “1827 Martha Towers her Work April 23”. Upper half with flowering plants above verse “If now the rose of health adorns your cheek And youthful spirits doth your health bespeak ...”. Lower half with maker’s inscription below a scene of figures, probably Adam and Eve, flanking a tree with a snake wrapped around its trunk. Tree also flanked by stag and dog figures. Additional flowering plants, birds, urns of fruit, etc. throughout. Floral vine and geometric borders. 14.5” x 12.75” sight. Framed 17.75” x 16”. 1,000/1,500
150
151. NEEDLEWORK Wrought by “Sarah Hulbert Aged 12 Years 1825”. Tree at center has a snake wrapped around its trunk and is flanked by figures, probably Adam and Eve. Verse “Let my first enterprize Almighty God be this to seek Virtue ...” and maker’s inscription below tree. Additional trees as well as assorted birds, potted plants, crowned lions, stags, hearts, etc. throughout. Fruiting vine border. 16.25” x 13.25” sight. Framed 18” x 15.25”. 900/1,200 Provenance: The Antique Sampler, Guilford, Connecticut, 2004. Private Connecticut Collection.
151
152. NEEDLEWORK Wrought by “Hannah Owers December 8 1823”. Upper half with verse “Jesus permit thy gracious name to stand ...”. Lower half with maker’s inscription below leaves, floral sprigs, animal figures, a crown, hearts, fruit compotes and assorted flowering plants. Floral vine border. 12” x 13” sight. Framed 12.75” x 15.5”. 700/1,000 Provenance: The Antique Sampler, Guilford, Connecticut, 2004. Private Connecticut Collection.
152
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51
153.
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”. 1,500/2,500 Provenance: Stephen and Carol Huber, Old Saybrook, Connecticut, January 18, 2001. From the Folk Art & Americana Collection of Carl and Sonia Schmitt.
153
154.
NEEDLEWORK ON SILK Late 19th Century Depicts a girl in a landscape with a sheep and a dog. Rendered in a variety of wool and silk stitchery with painted facial details. 16” x 26” sight. Framed 20” x 29”. 500/1,000
154
52
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155.
NEEDLEWORK FAMILY REGISTER Dated 1833 From the family of Henry Richardson. “Executed by Betsey Richardson. Aged 11 years”, with birthdate of “August 9th 1822”. Floral and foliate border surrounds a list of seven members of the Richardson family and a verse. 16.25” x 16.75” sight. Framed 19” x 19.5”. 500/700
155
156.
NEEDLEWORK AND MIXED MEDIA ON SILK “VUE PRISE DANS LES APENNINS” French, Circa 1800 Needlework woodland landscape with painted mountainous background, reclining nude figure in the foreground and two standing figures at center. Housed in its original reverse-painted glass frame. 11.5” x 14.25” sight. Framed 15.5” x 18.25”. 2,000/3,000 Provenance: G. Sergeant Antiques, Woodbury, Connecticut, 2007. Private Connecticut Collection.
156
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53
157
157.
54
CERALENE A. RAYNAUD ET CIE “PAVOT” PATTERN PORCELAIN DINNER SERVICE Limoges, France, Second Half of the 20th Century Poppy and delphinium design inspired by an 18th Century painting by Jan van Huysum at the Pinakothek, Munich. Includes original packing straw. Service consists of: 12 10.75” plates 12 7.5” plates 12 6.5” plates 12 cups 11 saucers 2 covered tureens 1 oblong serving bowl 1 sauce tureen 1 teapot 1 covered sugar bowl 1 creamer 2 oval platters, lengths 14” and 16” 1,000/1,500
158.
ROYAL COPENHAGEN “BLUE FLOWERS” PATTERN PORCELAIN SOUP SERVICE Includes a covered soup tureen with undertray, an oval dish, six soup bowls and seven underplates. Oval dish length 9”. 600/800
159.
TWELVE ROYAL CROWN DERBY PORCELAIN SOUP BOWLS England, Early 19th Century Decorated with hand-painted pink rose sprays. Dotted turquoise borders interrupted by lobed cartouches with additional roses. Gilded rims. Red factory marks. Diameters 9.75”. 300/500
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160.
SIXTEEN WEDGWOOD MOONLIGHT LUSTRE SCALLOP SHELL-FORM DISHES England, Early 19th Century Impressed factory marks. Lengths 8”. 500/1,000
162.
SET OF FIVE WEDGWOOD SCALLOP-FORM DISHES England, 19th Century With pink-tinted edges. Marked on bases. Lengths 8.5”. 300/500
161.
SIX ASSORTED WEDGWOOD MOONLIGHT LUSTRE DISHES England, Early 19th Century Two in seashell form, lengths 10”, two in a differing seashell form, lengths 11.5”, and two shell-form compote underplates, lengths 9.25” and 11.25”. Impressed marks. 300/500
163.
PAIR OF WEDGWOOD CREAMWARE LOZENGE-FORM DISHES England, Circa 1840 With pierced galleries and central molded medallions depicting classical figures. Impressed “Wedgwood” and “Etruria England”. Lengths 10.25”. 500/800
164.
WEDGWOOD LAVENDER JASPER DIP URN England, 19th Century Neoclassical ornament. Impressed “Wedgwood”. Height 9”. 200/400
160
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55
165.
ZSOLNAY GREEN EOSIN-GLAZED FIGURAL VASE Hungary, 1900-10 Modeled with two satyrs. Mottled green and deep purple glaze. Impressed five churches seal mark. Numbered 6701. Height 8.5”. 2,500/3,500
165
166.
ZSOLNAY RED EOSIN-GLAZED FIGURAL INKWELL Hungary, Late 19th Century Modeled as a seated figure of Dante wearing robes and writing in a book. Base with molded title “Anonymous”. Seal-form five churches mark. Numbered 1111 and I. Height 8.5”. Length 9.25”. 800/1,000
166
167.
ZSOLNAY RED EOSIN-GLAZED FIGURAL VASE Hungary, 1900-10 Modeled with a merman, mermaid and two fish. Stamped five churches mark. Numbered 8[?]108. Height 7.5”. 2,000/3,000
167
56
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168
169
168.
ZSOLNAY GREEN EOSIN-GLAZED FIGURE GROUP Hungary, 1900-10 Modeled as two children holding hands. Glaze with deep purple accents. Five churches mark. Numbered 7733 and incised “E”. Height 10”. 800/1,000
169.
ZSOLNAY GREEN EOSIN-GLAZED FIGURE GROUP Hungary, Late 19th/Early 20th Century Modeled as two male figures carrying a basket. Stamped five churches mark. Impressed 7232. Height 8”. 800/1,200
170.
ZSOLNAY GREEN EOSIN-GLAZED FIGURAL INKWELL Hungary, 1900-10 Modeled with four vultures perched on an Egyptian tomb. Stamped five churches mark. Numbered 8800. Height 9”. 600/800
171.
TWO ZSOLNAY BOWLS WITH SIMILAR DECORATION Hungary, 1880-90 A quatrefoil bowl with pierced scrollwork along edges, length 9.5”, and a bowl with undulating rim and pierced feet, length 6”. Both decorated with pink flowers in the Persian style. Underglaze blue five churches marks. 400/600
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170
57
173
174
58
172.
ZSOLNAY CENTERPIECE Hungary, 1880-90 Shell-form bowl on a conforming stem and foot. Pierced strapwork features shells and scrolling foliage. Interior with hand-painted flowers. Underglaze blue and impressed factory marks. Numbered 3852. Height 9.75”. 300/500
173.
ZSOLNAY EOSIN-GLAZED MINIATURE JUG Hungary, Late 19th/Early 20th Century Middle Eastern-inspired, with a turquoise and gilt floral design against a deep red ground. Five churches mark. Height 3.5”. 800/1,000
174.
ZSOLNAY MIDDLE EASTERN-INSPIRED VASE Hungary, 1880-90 In bottle form. Wide rim decorated with a graduated fish scale pattern. Narrow neck and bulbous reeded body with stylized floral designs in green, blue and gilt against a mauve ground. Underglaze blue five churches mark. Numbered 821. Height 13”. 1,200/1,800
175.
TRIPLE-GOURD PORCELAIN VASE ATTRIBUTED TO FISCHER BUDAPEST Hungary, Late 19th Century Polychrome enamel and gilt decoration in the Japanese taste, with flowering branch and fan designs. Underside with old paper label. Height 14.75”. 300/500
176.
FISCHER BUDAPEST FLOOR VASE Hungary, 1880s With four brown handles and all-over decoration of stylized flowers with gilt accents. Underglaze blue and impressed factory marks. Numbered 713. 600/800
177.
TWO ZSOLNAY VESSELS Hungary, 1880-90 A bottle-form vase with two birds perched atop pierced wheel-form handles, height 7.5”, and a ewer with domed and pierced medallions, height 8”. Underglaze blue and impressed factory marks. Vase numbered 1728 and 16. Ewer illegible. 500/700
178.
ZSOLNAY MOORISH-STYLE VASE Hungary, Late 19th/Early 20th Century Tulip-form bowl, knop and spreading foot with pierced stylized foliate design. Glazed in green and yellow with gilt accents. Impressed mark. Numbered 3046 and 25. Height 8.25”. 300/500
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180 179 181
179.
ORIENTAL RUG: KAZAK 3’9” x 5’0” Field composed of eight contiguous squares, each containing a colorful latch hook medallion rendered in shades of red, blue, brown, yellow, ivory and subtle pink. Traditional stylized elements throughout red, blue and ivory borders. Green abrash in border. 500/700
180.
ORIENTAL RUG: PEREPEDIL PRAYER 2’8” x 3’8” Midnight blue field with a variety of traditional stylized motifs and peacock figures rendered in ivory, red, blue, subtle gold and brown. Multiple blue, brown and ivory borders. Main border features wine cups and serrated leaves. 250/350
181.
ORIENTAL RUG: CAUCASIAN 4’3” x 6’6” Six Lesghi stars rendered in light blue, navy blue, ivory, dark red and salmon pink contain and are surrounded by traditional stylized elements. Navy blue field with salmon pink interior border, dark red and blue guard borders and ivory main border. 700/1,000
182.
ORIENTAL RUG: TURKOMAN 4’4” x 8’4” Series of linked geometric medallions are rendered in faded shades of brown, tan and dark ivory, with some remains of orange. A variety of stylized elements and subtle bird figures throughout field and stylized organic elements throughout borders. 300/500
183.
ORIENTAL RUG: HAMADAN 5’8” x 11’0” Rust red field is covered in a Herati pattern in ivory, green, dark brown, subtle pink, blue and faded yellow. Ivory subfield contains pink boteh. Multiple green, ivory, red and midnight blue borders. 350/550
184.
ORIENTAL RUG: PERSIAN MAT 2’0” x 2’7” Overlapping geometric medallions in dark ivory and celadon green contain and are surrounded by a delicate dark copper vine bearing blossoms and leaves in shades of blue, copper and tan. Similar floral motifs repeat through borders. 180/250
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59
185.
ORIENTAL RUG: SOUMAC 7’3” x 12’1” Dark red field with staggered rows of large blue and red geometric medallions containing dark red, blue, green, orange and dark gold stylized blossoms. Meandering vines, serrated leaves and wine cups throughout borders. 500/800
186.
ORIENTAL RUG: HERIZ 7’5” x 10’10” A dark slate blue geometric medallion is orbited by a symmetrical arrangement of bold curvate and serrated leaves in shades of light blue, faded gold, pink, pastel green and ivory. Brick red field. Faded gold and dark slate blue borders. 800/1,200
187.
ORIENTAL RUG: MAHAL 7’10” x 10’9” Rust red field contains cascading columns of vines, blossoms and Shah Abbas motifs rendered in greens, blues, faded tans and salmon red. Stylized motifs repeat throughout dark blue and faded red borders. 800/1,200
188.
ORIENTAL RUG: MAZLAGHAN 4’2” x 6’5” Central navy blue medallion with light blue serrated edge rests on a dark red field over a navy blue subfield. Colorful vines and blossoms in dark gold, tan, red, ivory and blue throughout. Brown guard borders with a floral motif. Ivory main border with blossoms and leaves. 600/900
185
186
60
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187
189.
ORIENTAL RUG: HERIZ 8’8” x 11’0” Dark red field with a bright red and midnight blue gabled medallion, an ivory subfield and red spandrels. Flowering vines of red, blue, pink, and ivory throughout. Dark blue main border with turtle motif. 600/900
190.
ORIENTAL RUG: KAZAK DESIGN 4’1” x 5’9” Dark red field with overlapping ivory, dark red and dark blue geometric medallions. Dark green perimeter features a repeating stylized motif. Dark blue guard borders and an ivory main border. 500/700
189
191.
ORIENTAL RUG: HERIZ 9’0” x 11’9” Gabled medallion of dark blue, light blue and red occupies a dark red field with an ivory subfield. Ivory vine with red, blue and green blossoms and leaves throughout. Midnight blue main border with turtle motif. 700/1,000
192.
ORIENTAL RUG: TURKOMAN MAFRASH PANEL 1’2” x 5’0” Geometric guls and panels rendered in light red, dark red, ivory and midnight blue run the length of the field. Geometric motifs throughout borders. 200/300
191
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61
193
194
62
193.
ORIENTAL RUG: TABRIZ DESIGN 4’8” x 7’8” Dark red field filled with beasts of prey pursuing their quarry, including deer and exotic birds rendered in colorful shades of blue, green, gray, ivory and copper. Copper main border with motifs matching the field. 600/900
194.
ORIENTAL RUG: KURD BIDJAR 4’5” x 5’0” Dark blue field with three colorful clusters of rose blossoms flanked by delicate clusters of stylized vines. Red and bright ivory borders. 500/800
195.
ORIENTAL RUG: NORTHWEST PERSIAN 3’9” x 8’6” Tan field with multiple staggered rows of a repeated stylized flower branch rendered in ivory, bright red, blue, brown and faded gold. Faded gold and tan borders also with repeated stylized elements. 150/300
196.
ORIENTAL RUG: CAUCASIAN 3’9” x 6’4” Dark blue field is traversed by multiple rows of repeated stylized blossoms rendered in oxblood, salmon pink, brown, tan, light blue and ivory. Subtle stylized elements run along each edge. Narrow ivory, light blue and oxblood borders. 700/1,000
197.
ORIENTAL RUG: SOUTH PERSIAN 2’10” x 3’2” Ivory field with two columns of bold pink flower blossoms on a serpentine gold vine with navy blue leaves. Red and midnight blue main border. 100/200
198.
ORIENTAL RUG: SALOR BAG FACE 1’4” x 2’11” Red field with three rows of four rectangles, each containing a geometric medallion, all rendered in dark red, light red, dark blue and ivory. Multiple borders feature repeating stylized motifs. 120/180
199.
ORIENTAL RUG: JOSHEGHAN 4’4” x 6’7” Diamond-shaped flower blossoms and clusters rendered in blue, green, peach and ivory are arranged diagonally across a red field. Red and green guard borders and ivory main border. 600/900
200.
ORIENTAL RUG: FLATWEAVE GEOMETRIC DESIGN 5’9” x 8’3” Six diamond-shaped medallions arranged in two columns contain and are surrounded by neatly arranged diamonds and triangles. All rendered in ivory, brown and pale blue on a pale blue field. A serpentine of diamonds and triangles runs through main border. 300/500
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201
201.
202.
ORIENTAL RUG: OUSHAK DESIGN 12’2” x 14’9” Gray meandering vine bears bold stylized blossoms in gray, ivory and a subtle moss green. Dark gray field with light gray guard borders. Ivory main border with motifs that match field. 1,200/1,800
ORIENTAL RUG: KURD BIDJAR 6’2” x 5’2” Central medallion on a red floral ground. Three floral guard borders. 400/800
203.
ORIENTAL RUG: SHIRAZ BAG FACE 1’8” x 2’0” Medallion at center. 250/350
204.
ORIENTAL RUG: SERAB 4’5” x 9’11” Four rows of diamond-shaped medallions alternate with bands of stylized light blue vines on a typical camel’s-hair colored field. Camel’s-hair and navy blue interior border. Reciprocal point main border. Empty camel’s-hair exterior border. 200/400
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63
205.
LEROY NEIMAN New York/Illinois/Minnesota, 1912-2012 Willie Stargell. Signed in pencil by both Stargell and Neiman. Numbered 205/300. Lithograph on paper, 43” x 32” sight. Framed 44.5” x 33”. 2,000/3,000
206.
PETER MAX New York/Germany, b. 1937 “Facing Waves (Gemini)”. Numbered 105/300 lower left. Signed lower right “Max”. Serigraph on paper, 26” x 20”. Framed 30.5” x 24”. 500/700
207.
JAMES PORTO United States, Contemporary Two surreal works featuring a winged human. Both signed lower right “Porto 1999”. Photo illustrations on paper, 14” x 12” sight. Framed 27” x 21”. 500/1,000
205
207, two
206
64
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208
208.
AMERICAN SCHOOL 20th Century “Auto Race: Chicago to Evanston, Illinois 1917”. Unsigned. Titled on frame plaque. Oil on canvas, 30” x 40”. Framed 36” x 46”. 6,000/8,000
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65
209
209.
BESSIE JEANNETTE HOWARD Massachusetts, 1890-1962 Portrait of a Red Cross nurse. Signed lower right “B.J. Howard”. Accompanied by a handwritten note indicating Howard was commissioned by the American Red Cross to do a portrait of a nurse, and she used her sister as a model. The completed work hung for a time at the Jordan Marsh store in Boston. This work is a copy the artist made for her own collection. Oil on canvas, 18” x 12”. Framed 19.5” x 13.5”. 500/1,000
210.
HARRY MILLS WALCOTT New Jersey/California/Connecticut, 1870-1944 Dancing muzzled bear and its two handlers in a town square, possibly Paris. Signed and dated lower left “H.M. Walcott ‘95”. Watercolor and gouache on paper, 16” x 20” sight. Framed 27” x 33”. 1,200/2,000
211.
MAURICE BERNARD SENDAK Connecticut/New York, 1928-2012 Two images from the book Brundibar. 1) Pen and ink cover art. Signed in pencil lower right “Maurice Sendak”. 8.5” x 11”. 2) Lithograph depicting two main characters from the book and “Good Morning How Are You!” in a speech bubble. Signed in pen lower center “Tony Kushner” (the author) and “Maurice Sendak”. 10” x 9” sight. Both framed 16” x 14”. 500/1,000
212.
SOL LEVENSON Vermont, 1910-2006 Boxing scene. Signed lower right “Sol Levenson”. 14” x 20” sight. Framed 21.5” x 27.5”. 500/1,000
210
212
66
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214
213
213.
ATTRIBUTED TO STEPHEN H. BOOKER New York/West Virginia, 1933-2016 Portrait of Enos McEachoem from the “Birch Family Album Series”. Unsigned. Identified and titled verso. Oil on canvas board, 24” x 20”. Framed 31” x 26”. 800/1,200
214.
RAPHAEL SOYER New York, 1899-1987 Profile portrait of a woman. Signed lower left. Oil on canvas, 10” x 8”. Framed 18.25” x 16.25”. 1,200/1,500
215.
RAPHAEL SOYER New York, 1899-1987 Three works: 1) “Woman with Cross”. Numbered 83/85. Signed in pencil lower right. Aquatint and etching on paper, 10” x 7” to the plateline. 2) Two dancers. Numbered 44/93. Signed in pencil lower right. Black and white lithograph on paper, 19.5” x 15” sight. 3) Figures on the pier. Numbered 129/150. Signed in pencil lower right. Color lithograph, 16” x 15.5” sight. Largest frame 28” x 22”. 600/800
216.
MICHAEL ZIGMOND Ohio, b. 1962 “Orchid #3”. Signed lower right “M. Zigmond”. Titled on label verso. Oil on linen, 42” x 32”. Framed 43.5” x 33”. 1,200/1,800 216
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67
219
218
220
68
217.
EDNA GAS United States, 20th Century “Le Chale Rouge”. Inscribed “for my friend Juanita”. Signed lower right “Edna Gas”. Mixed media, image size 12” x 9”. Framed 21” x 17”. 200/400
218.
SMIRA SHAOUL Israel, b. 1939 “Fisherman”. Signed lower left. Titled on label verso. Watercolor on paper, 28” x 20”. Framed. 2,000/3,000
219.
JAMES CARLIN New Jersey, 1906-2005 The beach, as seen through a fence. Signed lower right “James Carlin”. Oil on canvas, 29” x 39”. Framed 35” x 45”. 1,000/1,500
220.
JASON BERGER Massachusetts, 1924-2010 “Lisbon 1985”. Signed lower right “Jason Berger”. Titled verso. Oil on canvas, 32” x 39”. Unframed. 700/1,000
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221
221.
ROBERT GWATHMEY New York/Virginia, 1903-1988 “Darning and Strumming”. Signed upper left “Gwathmey”. Gouache on board, 12” x 14.5”. Framed 16” x 18”. 4,000/6,000 Provenance: Christie’s East, New York, May 4, 1993, Lot #273.
222.
CANUTE CALISTE Grenada, 1914-2005 Five works depicting island pursuits. Each titled, dated and signed lower center. Also includes the book The Mermaid Wakes, Paintings of a Caribbean Isle by the artist. Oils on board, 11” x 13.75” to 12” x 24”. Unframed. 500/1,000 222, five
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69
223
223.
70
EDWARD CURTIS Washington/California, 1868-1952 “Canon de Chelly, Navaho [sic]”. Depicts American Natives on horseback beneath towering cliffs. Housed in an oak frame (probably original) with sun symbol in lower right corner. Gold-toned platinum print, 15” x 19.5”. Framed 20.75” x 20.25”. 5,000/7,000
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224
224.
FRANK A. RINEHART Illinois, 1861-1928 Eneas Michel, Flatheads #760, standing and holding a bow. Dated 1898. Silver print photograph, 9” x 7”. 700/1,000
225.
PHOTOGRAPH OF TAOS PUEBLO Circa 1930 Depicts a myriad of American Natives and government people in ceremonial dress. 13” x 19.5” sight. Framed. 400/700
226.
HOPI POTTERY CANTEEN
227.
19th Century In handled ovoid form with spear point design in black on a tan ground with red highlights. Reverse painted red. Height 8.25”. 400/600
225
226
PAIR OF PLAINS INDIAN MOCCASINS Early 20th Century With geometric designs on a turquoise ground. 200/300
227
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71
228.
HIDE AND BEADWORK DOLL With beadwork facial details and trim. Height 9.75”.
Plains, Circa 1940 200/300
229.
PAIR OF BEADWORK AND FUR-DECORATED MOCCASINS Circa 1930 In a floral pattern. 100/150
230.
PAIR OF BEADWORK MOCCASINS With white cross and circle design.
231.
BEADWORK BELT Circa 1930 With green, blue, red and yellow geometric designs on a white ground. Length 26”. 150/200
232.
ATTRIBUTED TO CHARLES WILLETO New Mexico, 1897-1964 Collection of six painted wood Kachina dolls. 1) Owl figure. Height 10.5”. 2) Black and white figure. Height 19.5”. 3) White owl figure. Height 10.5”. 4) Black, white and red standing figure. Height 16.75”. 5) Green and white figure. Height 20”. 6) Red, blue, white and black figure. Height 13.25”. 1,500/2,000
233.
ATTRIBUTED TO CHARLES WILLETO New Mexico, 1897-1964 Carved and painted wood figure of a red, white and brown spotted lizard. Length 12.25”. 200/300
Circa 1930 150/200
232
72
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234
236 235
237
234.
UNUSUAL UNFINISHED YUROK HAT BASKET 1915 By Rose Ray, Klamath, California. In circular form with repeated triangular designs. Interior selvage grasses unscraped. Diameter 6.5”. 300/400 Ex Collection: John Steven McGroarty.
235.
POMO BASKET Early 20th Century In circular form with zigzag and triangle design. Diameter 5.6”. 400/500
238.
FOUR AMERICAN NATIVE ITEMS 20th Century A pair of beadwork moccasins, lengths 10”, an oval basket, length 8.5”, a triangular covered basket, height 3”, and a circular basket, height 3”. 400/700
239.
AMERICAN NATIVE WOODEN WAR CLUB Late 19th Century With geometric carving. Length 19.5”. 300/500
KARUK WOMAN’S HAT BASKET 1915 By Mollie Steve, Klamath River, Humboldt County, California. In a black and brown geometric design. Diameter 6.75”. 300/400 Ex Collection: John Steven McGroarty.
236.
237.
YUROK WOMAN’S HAT BASKET 1915 By Nettie Waukeke Harry, Klamath River, Humboldt County, California. In a repeated triangular design. Diameter 7.25”. 300/400 Ex Collection: John Steven McGroarty.
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73
240
241, two
74
240.
NAVAJO SILVER AND TURQUOISE SQUASH BLOSSOM NECKLACE Length 20.5”. 300/500
241.
TWO NAVAJO SILVER AND TURQUOISE CONCHO BELTS Circa 1930 One with ten multi-stone oval conchos and one with eleven single-stone oval conchos. 500/700
242.
THREE SILVER AND TURQUOISE BRACELETS 20th Century By Pearline Spence, Anthony Skeet and Roseline Francisco. 350/450
243.
GERMANTOWN NAVAJO RUG 2’1” x 3’3” Circa 1920. An unusually small size, with diamonds and serrated diagonal bands in gray, pale green and ivory on a red ground. 300/500
244.
NAVAJO RUG 4’5” x 6’7” Circa 1930. With a red, brown, white, and gray medallion design. 250/350
243
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245
247
245.
NAVAJO RUG 4’4” x 6’5” Circa 1935. In Yei design with nine separate standing figures. 800/1,000
247.
NAVAJO RUG 8’8” x 4’6” Circa 1935. In a red, black and white medallion design. 700/900
246.
NAVAJO RUG 4’2” x 6’6” Circa 1930. In a red, black, gray and orange serape design. Made in two parts. 250/350
248.
NAVAJO RUG 4’8” x 5’9” Circa 1920. In a red, black, gray and pink blanket design. 200/300
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75
249
253
76
249.
NAVAJO RUG 4’5” x 6’4” Circa 1930. Red field filled with large brown and ivory diamond motifs, some with serrated edges and some composed of broad brown and ivory bands. 500/700
250.
NAVAJO RUG 3’8” x 4’1” Circa 1940. In a brown, beige, black and white diamond design. 300/400
251.
NAVAJO RUG 4’7” x 5’10” Circa 1930. Eye Dazzler design with dark brown, pink, beige and cream bands. 300/400
252.
SIX NAVAJO RUGS Circa 1930. 1) Striped design in red, orange, dark brown, black, gray and cream. 3’0” x 4’9”. 2) Six-medallion design in red, gray, black and cream. 3’8” x 6’6”. 3) Brown, tan and cream geometric pattern. 3’1” x 4’6”. 4) Double medallion design in red, black and cream. 3’2” x 4’4”. 5) Rectangular central design. 2’9” x 5’0”. 6) Repeated medallion design in red, gold, gray, and orange. 3’8” x 6’6”. 300/500
253.
SEPIK RIVER CARVING Mid-20th Century Depicts human and snake-like creatures. Colored with red, black and beige pigments. Height 36.25”. 200/300
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254.
APACHE BASKET Circa 1910 With white-on-black animal and figural design. Diameter 20.8”. 1,200/1,600
255.
APACHE BASKETRY OLLA Circa 1910 With geometric and animal designs. Height 18”. 2,000/2,500
256.
PREHISTORIC MIMBRES POTTERY OLLA In ovoid form with black swirl and claw design. Height 18”. 3,000/5,000
257.
ZIA POT Circa 1970 By Pino Reyes. Signed. Height 5.5”. 400/700
254
255
256
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77
258
258.
ACOMA POTTERY JAR Circa 1935 In ovoid form with bird design. Height 10.5”. Mounted as a table lamp. Overall height 24”. 600/800
259.
ACOMA POTTERY JAR Circa 1930 In ovoid form with red, black and white bird and flower design. Height 9.25”. 400/600
260.
ACOMA POTTERY JAR Circa 1940 In ovoid form with black and white geometric decoration. Height 9.25”. 400/600
261.
BLACK-ON-BLACK POTTERY JAR By Lucie Zete Mata Ortiz. In pear shape with geometric design. Height 11”. 700/900
262.
SOUTHWEST POTTERY JAR Circa 1930 In ovoid form with black and beige geometric design. Height 9.75”. 300/500
263.
PENOBSCOT TRIBE WOVEN SPLINT GATHERING BASKET Maine, Late 19th Century Natural brown patina with some breaks and overall wear. Height 19”. 250/300
264.
PAIR OF WOODLANDS BEADED AND FELT BOOTS 20th Century In a floral design with hide band. 100/150
265.
PAIR OF MINIATURE WOODEN SOUVENIR PADDLES Early 20th Century From “Sylvan Beach NY”. Applied decoration of an American Native chief in headdress. Length 19”. 250/300
259
260
78
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267
266
266.
HUPA COVERED BASKET Circa 1915 In ovoid form with duck-wing design. Height 9.25”. Diameter 11”. 500/700
267.
NORTHWEST COASTAL BASKETRY-COVERED BOTTLE Circa 1900 Together with a second basketry-covered bottle, height 8.25”. Northwest Coastal example in a chevron design. Height 10.5”. 500/800
268.
NORTHWEST COASTAL SPRUCE MASK Early 20th Century Probably Haida or Tlingit. Depicts a man with red and black details. Length 9.75”. 800/1,200
269.
TWO TLINGIT TOTEM CARVINGS A staghorn bear, length 5.25”, and a bone beaver with three-mask design, length 2.3”. 200/400
270.
268
HAIDA PAINTED SPRUCE CANOE MODEL Early 20th Century Together with two original painted paddles. Canoe with raven and beaver designs in red, black and gray-blue. Length 16.5”. 1,000/2,000
270
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79
271, obverse and reverse
271.
272.
ESKIMO CARVED WHALEBONE HEAD By Evee. Length 4.75”.
273.
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”. 500/700
274.
80
ESKIMO ENGRAVED WALRUS TUSK CRIBBAGE BOARD 20th Century Top with cribbage board track flanking images of salmon, knives and two hares in a landscape. Cribbage board surrounded by geometric designs, some emulating igloos, and flanked by scenes of a stag in a hilly landscape and an Eskimo hunter crawling across the ice toward a polar bear clutching a seal. Underside with a detailed coastal landscape with an Eskimo in kayak, a hunter with gun crawling across an ice floe toward a seal, two ships caught in the ice, multiple seals on ice floes, and a hilly coastline with distant village and an owl and other birds in the foreground. Signed on edge “’Charles’ 22 904 Nome City”. Tusk cut to solid ivory. Does not include pegs. Length 15.5”. 600/900
Circa 1960 200/400
ESKIMO CARVED WALRUS TUSK Late 19th/Early 20th Century Probably from Nunivak Island. Depicts a full-bodied walrus and kayak, and a relief-carved hunter with rifle and caribou. Length 11.25”. 600/800
275.
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”. 1,000/1,500
276.
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”. 500/800
277.
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”. 700/1,000
278.
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”. 500/800
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273
274
275
276
277
278
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81
281
279.
280.
281.
82
TWO GRENFELL-STYLE HOOKED MATS DEPICTING WINTER SCENES Canada, 20th Century Both framed. 10” x 16.5” and 10” x 12”. Framed 13.5” x 20” and 13” x 15.5”. 300/500
GRENFELL HOOKED RUG DEPICTING FIVE FISH Canada, Early 20th Century With blue and green wave/seaweed design and borders. Grenfell tag attached to reverse. 26” x 40”. 600/900
MOLDED TIN SHEEP WEATHER VANE Early 20th Century Hollow construction with flat molded sides. Some verdigris surfaces with some rusting. Mounted on a contemporary stand. Height on stand 21.5”. Length 25.5”. 400/600
282.
CAST IRON FIREBACK 20th Century With relief decoration of flying ducks. Height 24”. Width 22”. 300/500
283.
WOOD AND PAPER FIREBACK WITH PAINTED DECORATION 19th Century Depicts two resting dogs. Black and gold border. Height 35.75”. Width 46”. 700/1,000
284.
PAIR OF CAST IRON LIGHTHOUSE-FORM ANDIRONS Circa 1910 Heights 19.5”. 500/600
285.
PAIR OF STYLIZED SUNFLOWER GOOSENECK ANDIRONS England, 20th Century Pierced brass floral design on cast iron shafts. Heights 28”. Depths 15”. 400/700
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286.
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”. 800/1,200 Provenance: Christie’s Americana Auction, January 18, 1997, Lot #172. From the Folk Art & Americana Collection of Carl and Sonia Schmitt.
286, pair
287.
PAIR OF MINIATURE PORTRAITS ON IVORY American, Early 19th Century Half-length seated portraits of a father and son, identified verso as Samuel Gilbert and Benjamin Gilbert. Drapes and a view of the ocean visible behind the sitters. 4.25” x 3.5” sight. Framed 9” x 8”. 1,400/2,000
288.
PAIR OF MINIATURE PORTRAITS ON IVORY American, First Quarter of the 19th Century Seated half-length portraits of a husband and wife. The husband is wearing a U.S. Naval officer uniform, has a child standing beside him and a ship at sea is visible in the distance. The wife holds a young child in her lap. 2” x 2.75” sight. Framed 5” x 5.5”. 1,000/1,500
287, pair
288, pair
289.
PAIR OF FEDERAL-STYLE URN-FORM KNIFE BOXES Late 19th Century In mahogany with alternating wood string inlay. Tops with acorn finials lift to reveal fitted interiors. Square bases with ogee bracket feet. Heights 24”. Bases 8” x 8”. 1,000/2,000
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289, pair
83
290.
ATTRIBUTED TO LUCY CLEVELAND Massachusetts, 1780-1866 Mid-19th Century “Drunkard Figure”, a hand-stitched male figure holding a bottle and a candle. On a leather-wrapped base. Figure height 8.5”. 2,000/3,000 Similar figures are in the permanent collection of the Peabody Essex Museum in Salem, Massachusetts, and Cleveland’s works were the subject of a featured spread in the August 2000 issue of the The Magazine Antiques.
290, enlarged to show detail
291.
SMALL BRASS-BOUND OAK BOX ON STAND 19th Century Height on stand 22.5”. Width 12.5”. Depth 10”. 300/500 Provenance: A Prominent New York Collection.
291
292. 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”. 150/250 Provenance: Christie’s Americana Auction, January 19, 2002, Lot #44. From the Folk Art & Americana Collection of Carl and Sonia Schmitt. 292
84
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293.
CARVED WOODEN SPREAD-WING EAGLE Late 19th Century With glass eye. Contemporary note verso attributes the work to Joseph Villers of Rockport, Maine, and indicates it was purchased at Sotheby’s, circa 1980. Length 22”. 500/700
293
294.
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”. 700/1,000 Provenance: Christie’s Americana Auction, January 20, 2001, Lot #578. From the Folk Art & Americana Collection of Carl and Sonia Schmitt.
294
295.
CAST IRON “GERMANTOWN MUTUAL FIRE” PLAQUE 19th Century Raised lettering surrounds a relief-cast handshake and “1843”. 8” x 11.5”. 400/600 Provenance: Christie’s Americana Auction, January 20, 2001, Lot #582. From the Folk Art & Americana Collection of Carl and Sonia Schmitt. 295
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85
296.
HUBLEY CAST IRON SEATED BLACK CAT DOORSTOP Circa 1920 With yellow-green eyes. Height 7”. 150/200
297.
CAST IRON STANDING FIGURE OF A ROOSTER Late 20th Century Painted white. Height 35”. Length 28”. 250/350
298.
LARGE COPPER PUDDING MOLD Height 7.5”. Diameter 14.5”.
299.
TWO WOODEN CANES Late 19th Century One with bird-form handle and one with fish-form handle. Lengths 36.25” and 44”. 400/600
300.
WOODEN GENERAL STORE SIGN Early 19th Century “Stationery, Toys, Fancy Goods, Shopping Bags, Baskets, Children’s Carriages, Boy’s Carts, Games &c. Confectionery, &c.” in white and black lettering on a faded red ground. Inscribed verso “N. Holden[?] Attleboro, Mass. C.O.D.”. Height 72”. Width 14.25”. 700/1,000
300
86
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19th Century 200/300
301
302
301.
TRADE SIGN FROM HARWICH, MASSACHUSETTS Early 20th Century “Ozias. H. Bassett. Talking Machines, Tonics, Confectionery, Cigars, Job Printing” in black block lettering on a white ground. Constructed from a single pine plank with rudimentary surrounding moldings. According to genealogical records, Bassett was born in Harwich in 1881 and was married in 1906. Height 12.5”. Length 54”. 1,500/2,500
302.
TIN ADVERTISING SIGN Early 20th Century “Use Dr. A.C. Daniels’ Horse And Dog Medicines For Home Treatment” in white lettering on a blue-black ground. Height 17.5”. Width 27.75”. 500/700 Discovered in the Brewster General Store, Brewster, Massachusetts.
303.
FAIRBANK’S WOODEN SOAP BOX Late 19th/Early 20th Century “Fairy” in faded blue and gold lettering on front, and additional lettering on sides. Interior of lid with lithographed advertisement depicting a fairy and a rose. Height 8”. Width 17”. Depth 16”. 250/350
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87
304.
CIRCUS SIDESHOW BANNER Circa 1930 Painted canvas depicts a Hawaiian dancer. Printed label lower right. 82” x 62”. 700/1,000
304
305.
RARE SIDESHOW BANNER Circa 1930 Painted canvas depicts “The Prehistoric Women Last of Lost Tribe of Pin-Headed Indians Over 20,000 Years Old”. 84” x 113”. 300/500
305
306. RARE SIDESHOW BANNER Circa 1930 By Driver Bros. Painted canvas depicts “Mysterious”, a man in tuxedo surrounded by magician’s props. 86” x 112”. 300/500
306
88
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307.
PHILADELPHIA TOBOGGAN COMPANY CAROUSEL HORSE Philadelphia, Circa 1890 Painted white. Glass eyes. A second-row horse. Height 61.5”. Length 56”. Width 11”. 1,000/2,000
308.
PAINTED WOODEN BARBER’S POLE 19th Century With black and white stripes. Includes iron mounting rod. Height 49”. 200/300
309.
PAINTED WOODEN WAGON Last Half of the 19th Century Buckboard painted green with “Yale” in chrome yellow lettering. Wagon seat painted red. A 1926 Maine “Milk License” plate attached to sliding backboard. Length 46”. Width 26.25”. 500/1,000 307
309
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89
310
310.
TROTTING HORSE AND SULKY WEATHER VANE Late 19th Century Attributed to Harris & Company, Boston. Full-bodied copper horse with zinc rider. Verdigris patina. Mounted on a contemporary stand. Height on stand 19.25”. Length 34”. 4,000/6,000
311.
RARE COPPER LEAPING DEER WEATHER VANE Late 19th Century Attributed to Cushing & White, Waltham, Massachusetts. A special order with a full-bodied deer leaping over a bush. Gilded surfaces. Mounted to a contemporary stand. Height on stand 21.25”. Overall length 22”. 6,000/8,000
311
90
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312
312.
MOLDED COPPER ROOSTER WEATHER VANE Late 19th Century Full-bodied rooster with cast zinc legs and gilded surfaces. Mounted on a contemporary stand with directionals. Height on stand 74”. Weather vane height 29”. Length 30.75”. 4,000/6,000 This weather vane is similar to ones illustrated in The Treasury of American Design by Clarence P. Hornung (New York: Harry N. Abrams, Inc.), plates 1595 and 1604.
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91
313
314
315
313.
314.
ZINC AND COPPER TROTTING HORSE WEATHER VANE 19th Century Gilt and verdigris surface. Height 14”. Length 17.5”. 3,000/5,000
CARVED AND PAINTED PINE TRUMPETING ANGEL GABRIEL SILHOUETTE WEATHER VANE Probably New England, Late 19th/Early 20th Century Paint worn mostly away. Length 50”. 1,000/1,500 Provenance: Collection of William Holland. Sotheby’s, January 28, 1995, Lot #571. From the Folk Art & Americana Collection of Carl and Sonia Schmitt.
92
315.
COPPER AND ZINC RUNNING HORSE WEATHER VANE American, Early 20th Century Mounted on a contemporary wooden base. Height 21.5”. Length 42”. 1,000/1,500 Provenance: A Prominent New York Collection.
316.
OCTAGONAL CUPOLA MOUNTED WITH ROOSTER WEATHER VANE 19th Century wooden cupola under gray paint. Height 10”. Width approx. 28”. Early 20th Century sheet metal crowing rooster weather vane under black paint. Height including finders 23.5”. 400/700
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317.
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”. 7,000/10,000 Accompanied by a conservation report from Fodera Fine Art Conservation, Ltd., New York. Provenance: Sotheby’s Americana Auction, January 16, 1999, Lot #363. From the Folk Art & Americana Collection of Carl and Sonia Schmitt.
317
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93
321
318
319
94
318.
FOUR-DRAWER SPOOL CABINET Late 19th Century In oak with paneled glass top and composite drawer pulls. “John N. Leonard’s Wash Silks Fast Colors” in gold leaf lettering on glass panel. Back panel with “John N. Leonard’s Wash Art Silks. Northampton Mass” in black lettering. Height 13.75”. Width 25”. Depth 13.25”. 300/400
321.
UNUSUAL FIGURAL MATCH HOLDER 19th Century In the form of a woman holding a bucket in one hand and carrying a basket on her back. Tin, composition and lead components with polychrome decoration. Height 13”. 200/300
319.
OTTMAN BRO’S & CO. THREE-GALLON STONEWARE JUG 19th Century Impressed “Ottman Bro’s & Co. Fort Edward, N.Y. 3” above cobalt blue decoration of two birds. Height 16.75”. 400/700
322.
OAK BIBLE BOX 18th Century Top with chip-carved edges. Front with floral decoration. Carved molded base. Height 10”. Width 24”. Depth 13”. 300/500
320.
THREE STONEWARE CROCKS 19th Century 1) With cobalt blue decoration of a pecking chicken. Height 10.5”. 2) Norton one-gallon crock with cobalt blue floral decoration. Height 6.5”. 3) With cobalt blue songbird decoration. Height 7.5”. 200/400
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323
323.
PAINTED WOODEN ROOSTER WEATHER VANE Circa 1900 With tack eyes. Painted red and white. Height 14”. 600/800 Provenance: David Rockefeller.
324
324.
PAINTED WOODEN MODEL OF A STAGECOACH 19th Century Painted yellow, orange and red. “Oxford Royal London” painted on side. Mounted on a pine base. Height 10”. Length 14”. 300/500
325.
MINIATURE FOUR-DRAWER BUREAU England, 19th Century In bird’s-eye maple with fruitwood string inlay and turned wooden drawer pulls. Height 13.5”. Width 17.5”. Depth 8.5”. 500/700
326.
PINE DOCUMENT BOX Early 20th Century With exceptional red and brown stained finish in a seashell, leaf and sgraffito-style design. Wonderful patina. Modified dome top opens to reveal an open interior. Height 10.75”. Width 20.75”. Depth 11.5”. 500/1,000
325
326
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95
327
327.
FIVE EARLY BLOWN-MOLDED GLASS BOTTLES 19th Century In amber and olive. Heights from 12” to 17.5”. 500/800
328.
RARE CASK-FORM GLASS OIL LAMP Second Quarter of the 19th Century With pewter collar and footed base. Height 4”. Length 8”. 250/350
329.
THREE CIRCULAR PANTRY BOXES 19th Century Together with a firkin showing traces of gray paint. Height 12.5”. Boxes under blue, red and green paint. Diameters from 8” to 9.5”. 200/300
330.
FIRKIN 19th Century Stenciled “Bunker Hill Pickles - Sweet Gherkins” in black. Iron banding. 150/250
328
96
see photos of all lots and view condition reports at www.eldreds.com
331 332
333
331.
ROUND NANTUCKET BASKET Circa 1940 Attributed to Mitchell Ray (Nantucket, 1877-1956). With wooden handle. Height inclusive of handle 13.25”. Diameter 11.25”. 600/900
332.
SHALLOW ROUND NANTUCKET BASKET Circa 1920 By Frederick Chadwick (Nantucket, 1857-1936). With two stationary handles and a mahogany base. Retains original paper label signed by Chadwick. Height inclusive of handles 4.5”. Diameter 8.5”. 1,500/2,500
333.
334.
OVAL NANTUCKET BASKET FRIENDSHIP PURSE Dated 1995 By Panan (Cape Cod, Contemporary). Wooden swing handle. Lid with oval wooden plaque surmounted by a carved ivory sperm whale. Signed on underside “Panan 21 1995”. Height not including handle 7.75”. Width 11”. 300/500
335.
ROUND NANTUCKET BASKET Dated 1998 By Jo Ann Lynch. Wooden swing handle. Carved ivory clamshell mounted to interior top of base plate. Signed on underside “J Lynch 1998”. Height not including handle 10.5”. Diameter 10”. 1,000/1,500
ROUND NANTUCKET BASKET Early 20th Century With swing handle. Height 6.5”. Diameter 10.5”. 500/800
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97
336, seven
336.
NEST OF SEVEN NANTUCKET BASKETS Circa 1980 With wooden handles. Height of largest inclusive of handle 9.5”. Diameter of largest 7”. 800/1,200
337.
OVAL NANTUCKET BASKET FRIENDSHIP PURSE Dated 1992 By Bob and Karen Marks (Osterville, Massachusetts, Contemporary). Wooden swing handle. Lid with oval wooden plaque surmounted by an oval ivory plaque with scrimshaw-style engraving of a scallop shell, sand dollar and starfish signed “Smith 1992”. Engraved ivory quarterboard-style plaque with owner’s name affixed to interior of lid. Wooden base with small round ivory plaque at center engraved “1992”. Signed on underside of basket “B & K Marks 669”. Height not including handle 6.25”. Width 10”. 1,000/1,500
338.
ROUND NANTUCKET BASKET Dated 1987 By Kathy E. Loring. Wooden swing handle surmounted by a monogrammed ivory plaque. Signed on underside “Handcrafted by Kathy E. Loring 1987”. Height not including handle 7.5”. Diameter 12.75”. 1,000/1,500
339.
ROUND NANTUCKET BASKET Circa 1880 Possibly a berry basket. Double-wrap rim and shaped handle. Base plate with concentric lines. Rich dark patina. Height inclusive of handle 9”. Diameter 7”. 800/1,200
340.
ROUND NANTUCKET BASKET Circa 1900 With double-wrap rim and wooden handle. Engraved on underside “Heald”. Height inclusive of handle 11”. Diameter 9.5”. 800/1,200
337
338
98
see photos of all lots and view condition reports at www.eldreds.com
340
341
339
341.
OVAL NANTUCKET BASKET FRIENDSHIP PURSE Circa 1988 By Bill and Judy Sayle (Nantucket, Contemporary). Wooden swing handle. Lid with oval mahogany plaque surmounted by a whale carved by Bill Sayle. Height inclusive of handle 12”. Length 10”. 800/1,200
342.
SHALLOW NANTUCKET BASKET Early 20th Century Attributed to Ferdinand Sylvaro (Nantucket, 1868-1952). With wooden handle. Inscribed in pencil on underside “Alice Pierce 1918”. Height inclusive of handle 9”. Diameter 9”. 800/1,200
343.
SEVEN OVAL NESTING NANTUCKET BASKETS By Ainsley Rockwood (Cape Cod, Massachusetts, 20th Century). All with cherry handles. Smallest basket contains a wood 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”. 1,500/2,500
342
343, seven
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99
344
344.
RARE NANTUCKET SEA CHEST WITH PAINTED DECORATION 19th Century In pine with large sailor-made ropework beckets. Painted canary yellow with brown and red lettering and polychrome decoration. Top with four vignettes: One depicts a harpoon with “Captain Swain Log: 5 ton, 26 hands, 6 months at sea”, one depicts a Nantucket village, one depicts a whaling scene and one with “Nantucket ...”. Front with “1824” and three Pennsylvania Dutch-style depictions of flowers; this decoration is believed to have been done in Philadelphia. Sides with a black swirl design. Lid attached with snipe hinges. Height 20”. Width 61”. Depth 16”. 3,000/4,000 Provenance: A private family estate in Martha’s Vineyard.
100
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345
345.
MARCUS FOLEY Nantucket, Contemporary Carved wooden whale. Signed verso “M. Foley”. Length 61”. 2,000/3,000 From a Nantucket Collection.
346.
SUNNY WOOD Nantucket, Contemporary Large “salvaged wood” sperm whale. Signed verso “Sunny B. Wood 2015”. Length 67”. 3,000/5,000 From a Nantucket Collection.
346
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101
347.
COLORED MAP OF NANTUCKET Circa 1930 Nicely housed in a contemporary goldtone frame. Map 28.5” x 36” sight. Framed 34.25” x 41.25”. 400/800
347
348
348.
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”. 3,000/5,000 Provenance: Diana Bittel. Hyland Granby Antiques, February 2, 2005. From the Folk Art & Americana Collection of Carl and Sonia Schmitt.
102
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349
350
351
349.
350.
CODFISH SCULPTURE Late 20th Century Under gilt paint. Height including wooden stand 16”. Length 37”. 600/900
CARVED AND PAINTED WOODEN CABIN CRUISER WEATHER VANE 20th Century Length 28”. 400/700
351.
CARVED AND PAINTED WOODEN SPERM WHALE 20th Century With glass eyes. Length 21”. 500/700
352.
FOLK ART WALL MIRROR 1930-1940s Believed to be made in the area of Franklin, Tennessee. Mirror glass flanked by cutout bathing beauties. Pierced scalloped crest. Under charmingly weathered red and white paint. Height 28”. Width 16”. 300/500
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103
Jerome Howes New York/Massachusetts/Vermont, b. 1955 Lots 353-356 353
353.
Mermaids on Whale off of Brant Point, Nantucket. Narwhal in foreground and hot air balloons in the distance. Signed lower right “Jerome Howes”. Oil on masonite, 17.75” x 23.5”. Framed 22” x 27.5”. 1,200/1,800
354.
Nantucket Rainbow Fleet. Signed lower right “Jerome Howes”. Oil on masonite, 6” x 36”. Framed 11” x 41.5”. 1,000/1,500
355.
Topsail Schooner- Boston Harbor. Signed lower right “Jerome Howes”. Oil on masonite, 22” x 36”. Framed 28” x 42”. 1,500/2,500
356.
Catboats rounding Brant Point. Signed lower right “Jerome Howes”. Oil on panel, 16” x 20”. Framed 21” x 24.5”. 1,000/1,500
354
355
356
104
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357.
CARVED AND GILDED BELLAMY-STYLE EAGLE PLAQUE Early 20th Century Red, white and blue “Don’t Give Up the Ship” banner above eagle. Red, white and blue American shield at its right wing. Height 9.5”. Width 28.25”. 500/800
357
358.
BLACKENED BRASS 10” RADIUS LADDER FRAME SEXTANT Early 20th century Signed on the radius for H. Hughes & Son, Ltd., London. Engraved scale reads from -5 to 150 degrees. Numbered 7193 on the arc. Index arm fitted with a magnifying lens and ground glass screen, having an adjustable vernier scale reading to 10 seconds of arc. Four sun and three horizon shades. Fitted brass-bound mahogany carrying case with four telescopes, a star scope, two lenses and adjusting pin. Case bears maker’s certificate dated October 1913. Case 8.5” x 14.25” x 13.25”. 600/800
358
359.
HALF HULL MODEL BUILDER’S CHEST Late 19th/Early 20th Century Includes numerous templates for building half hulls as well as two partially completed hulls. Chest height 11”. Width 31”. Depth 12.5”. 700/1,000
359
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105
360.
COPPER WHALE WEATHER VANE 20th Century Green patina. Found on a barn roof on Martha’s Vineyard, Massachusetts. Length 32”. 500/800
360
361.
MERVIN M. JULES Massachusetts/New York/Maryland, 1912-1994 “Lobster Man”. Signed lower right “Jules”. Titled lower left. Artist’s proof print, 14” x 19” sight. Framed 21” x 27”. 500/700
361
362.
YNGVE EDWARD SODERBERG Connecticut, 1896-1971 “Heading Home”. Depicts a young John F. Kennedy sailing catboats. Signed in pencil lower right “Yngve Edward Soderberg, imp. ed. 85”. Includes a letter from Mrs. Soderberg. Etching, 9.5” x 12” sight. Framed 19.5” x 23.5”. 300/500
362
363
363.
106
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
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365
364
366 367
364.
OLAF MARTINIUS BRAUNER New York, 1869-1947 Seascape with a ship on the horizon. Signed and dated lower right “Olaf Brauner ‘94”. Oil on canvas, 20” x 16”. Framed 24” x 28”. 1,500/2,500
366.
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
365.
AMERICAN SCHOOL Late 19th Century A catboat off the coast. Signed and dated lower right “S.H. West 1889”. Oil on canvas, 12” x 14”. Framed 17” x 20”. 800/1,200
367.
S.D. GILCHRIST SYKES Massachusetts/United Kingdom, 20th Century Two sailboats in calm water. Signed in pencil verso “S.G. Sykes”. Faint illegible inscription below. Oil on canvas, 17” x 21”. Framed 22” x 26”. 400/600
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107
368.
PAIR OF YACHT PHOTOGRAPHS BY BEKEN & SONS, COWES United Kingdom, Early 20th century Sepia-toned gelatin silverprints depicting the J-class yacht Endeavour from the port bow and from the port quarter. Each signed lower right “Beken & Son Cowes”. Both 9” x 11”. Framed 15” x 16.75”. 800/1,200 Provenance: The Estate of Harry Jacobs, Camper and Nicholson yacht designer. Christie’s, Sale 12578, Lot #84. A private collection, Greenwich, Connecticut.
369.
PETER LAYNE ARGUIMBAU New York/Connecticut/Italy, b. 1951 “Gleam, 12 Meter”. Signed lower left “P. Layne”. Oil on board, 10.25” x 12.5”. Framed 16” x 18”. 1,200/1,800
370.
PETER LAYNE ARGUIMBAU New York/Connecticut/Italy, b. 1951 “I.O.D.’s Fisher’s Island”. Signed lower right “Layne”. Titled verso. Oil on board, 12” x 16”. Framed 17” x 21”. 2,000/3,000
368, pair
369
108
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370
371.
LITHOGRAPH “VIEW OF NEWBURYPORT, FROM SALISBURY” Circa 1846 After Fitz Henry Lane (Massachusetts, 1804-1865). Two-color lithograph with hand-coloring. Published by A. Conant. 15.38” x 24.75” to the plate. Framed 23.5” x 32.5”. 400/600
371
372.
HAND-COLORED LITHOGRAPH “THE NEW SCHOOL, 1855 SIXTY DAYS TO AUSTRALIA” Circa 1855 After G.H. Andrew. Published by T.G. Dutton, Lith., Day & Son, Lithographers to the Queen. 18.5” x 24.75” sight. Framed 24.25” x 31.75”. 600/800
372
373.
HAND-COLORED LITHOGRAPH “THE NEW YORK AND LONDON PACKET SHIP VICTORIA ENTERING NEW YORK HARBOUR” Circa 1845 After T.G. Dutton. Published by Day & Haghe. 12.75” x 16.5” sight. Framed 22.75” x 27”. 400/600 Provenance: Wunderlich & Co., New York. Corporate Art Directions, New York. A private collection, Greenwich, Connecticut.
373
374.
HAND-COLORED LITHOGRAPH “SPANISH GALLEONS OFF RIO DE JANEIRO” 20th Century Printed by J. & D. Lithographers. 12.75” x 18” sight. Framed 22.75” x 28.25”. 400/600 Provenance: Wunderlich & Co., New York. Corporate Art Directions, New York. A private collection, Greenwich, Connecticut.
374
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109
375.
TWO WAR OF 1812 NAVAL PRINTS 1) After Samuel Seymour (American, active 1797-1823). “Brilliant Naval Victory”. Published by J. Pierie & F. Kearney, Philadelphia, 1812. Inscribed lower left in plate “S. Seymour delin sculp.” and lower center in plate with two-line description of battle. Aquatint and etching on wove paper, 15.12” x 17.8” to the plate. Framed 19.5” x 23.5”. 2) After Thomas Birch (American, 1779-1851). “The U.S. Frigate Constitution Capturing His Britannic Majesty’s Frigate Guerriere”. Circa 1813. Engraved by Cornelius Tiebout. Published by James Webster, Philadelphia. Titled and credited below image within plate. Hand-colored engraving on paper, 13” x 16.5” sight. Framed 19.5” x 23.5”. 1,000/1,500
375, pair
376.
TWO-PART MAHOGANY CAMPAIGN DESK England, Late 19th Century Both cases with two drawers. Upper drawer serves as a fold-out writing surface and encloses a bird’s-eye maple interior fitted with pigeonholes and seven drawers. Bun feet. Height 43.25”. Width 39”. Depth 18.5”. 1,400/1,800
376
110
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377
378, three
377.
CHINA TRADE CAMPHORWOOD BOX Mid-19th Century Set on a later Hepplewhite-style stand. Box with brass banding and side handles. Box height 7.5”. Width 19.25”. Depth 9.5”. Height on stand 33.75”. Width 21”. Depth 11”. 500/800
378.
SET OF THREE NESTING CAMPHORWOOD CAMPAIGN BOXES 20th Century Brass-bound lift-top boxes with brass bail handles at sides. Smallest box height 9”. Width 17”. Depth 9”. Largest box height 12.5”. Width 23”. Depth 13.25”. 700/1,000
379.
CHINA TRADE EMBROIDERY FOR THE GERMAN MARKET Early 20th Century Titled upper center “Zur Erinnerung An Meine Reise” (As a Reminder of My Trip). Also marked “1910” “1913” and “Carl Schmidt”. Depicts a spread-wing eagle, a Germanic eagle flanked by multiple flags, an oval cartouche containing an image of a steam/sail vessel, and a dragon. 36” x 23” sight. Framed 56” x 33”. 1,200/1,800
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379
111
380.
TWO-PART MAHOGANY CAMPAIGN CHEST England, 20th Century Two half drawers over three full-width drawers, all with brass pulls. Brass carrying handles at sides of chest. Shaped bracket base. Height 32”. Width 30”. Depth 15”. 600/900
381.
BRASS-BOUND CAMPHORWOOD TRUNK 19th Century Inset brass bail handle at front of lid. Iron bail handles at sides. Height 16.75”. Width 36.75”. Depth 17.5”. 300/500
382.
TWO-PART BRASS-BOUND CAMPAIGN CHEST England, 19th Century In mahogany veneer and pine with two half drawers, three full-width drawers and bun feet. Height 38.5”. Width 41”. Depth 19.5”. 600/900
380
381
382
112
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383.
RARE AND IMPORTANT SET OF FOUR CHINA TRADE MINIATURE PAINTINGS OF PORTS 19th Century One depicts Canton, one depicts both the inner and outer harbors of Macao, one is a very rare view of Penang, and one is an equally rare view of Saint Helena. Watercolors on board, 4” x 5” sight. Framed 6” x 8”. 15,000/25,000 For a similar view of St. Helena, see The Decorative Arts of the China Trade by Carl L. Crossman, p. 420, fig. 2. Provenance: Northeast Auctions, August 20-21, 2011, Lot #626. From an Important Private Collection, Greenwich, Connecticut.
383, four
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113
384.
CHINESE EXPORT HONG MU TABLE SCREEN HOUSING A PITH PAPER PAINTING Mid-19th Century Screen with elaborately pierced and carved frame and stand. Pith paper painting depicts elders and two boys playing in a tree. Height 10.5”. Width 12.5”. 400/600
385.
CHINESE EXPORT ROSE MEDALLION PORCELAIN BRUSH POT Mid-19th Century Decorated with figural and bird and flower panels. Height 5.5”. 300/500
386.
CHINESE EXPORT ROSE MEDALLION PORCELAIN TEAPOT AND COVERED SUGAR BOWL Mid-19th Century Both with fruit-form finial and entwined handles. Decorated with figural and bird and flower panels. Heights 6” and 6.25”. 200/300
387.
FIFTEEN PIECES OF MATCHING CHINESE EXPORT PORCELAIN Second Quarter of the 19th Century Includes four 10” plates, four 8.5” plates, two large cups, two 6.5” saucers, two 5.5” shallow bowls and a covered handled bowl. All with figural decoration and gilt grounds with insect and bat designs. 1,000/1,500
384
387
114
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388.
CHINESE EXPORT ROSE MEDALLION PORCELAIN BOWL Circa 1850 With figural and bird and flower cartouches. Diameter 14.5”. 800/1,200
388
389.
PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN BOUGH POTS First Half of the 19th Century Lids and sides with figural court decoration separated by raised gilt vines. Lids and bases of pots with intricate floral borders. Pots with gilt rope-turned handles. Heights 9”. Widths 8”. Depths 8”. 3,000/5,000
389, pair
390.
390
CHINESE EXPORT ROSE MANDARIN PORCELAIN PUNCH BOWL Mid-19th Century Both interior and exterior rims with a bird, insect and floral design on a gilt ground. Interior with figural landscape at center and a wide band of a bird, butterfly, floral and scroll design. Exterior depicts a continuous figural scene. Height 5.5”. Diameter 13”. 700/1,000
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115
391
391.
CHINESE EXPORT REVERSE PAINTING ON GLASS OF IMMORTALS Mid-19th Century An engaging scene of the Eight Immortals, five floating on white fluffy clouds on a rolling sea and three standing on shore beneath a pine tree. Interspersed amongst the Immortals are seven attendants, some in martial poses. In the distance the sky is tinted pale blue and pink for the sunset or sunrise, and in the foreground at right is a rocky outcropping. Housed in a fine carved wooden frame with fret, cloud and endless knot designs. 16.5” x 56” sight. Framed 22” x 62”. 3,000/5,000 The Eight Immortals signify prosperity, happiness and longevity and are a popular theme across Chinese art forms. They are said to live on five islands in the Bohai Sea, including Penglai Mountain-Island.
392
392.
116
CHINESE EXPORT OCTAGONAL BLACK LACQUER SEWING STAND Mid-19th Century With gilt chinoiserie and floral designs throughout. Fitted interior. Four arched supports are raised on a turned pedestal and shaped plinth with three paw feet. Height 32.5”. Width 19.5”. Depth 13.25”. 800/1,200
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393.
CHINESE SCHOOL 19th Century Pair of reverse paintings on glass depicting domestic scenes. Made for the China Trade. 18” x 13.25” sight. Framed 22.5” x 17.5”. 3,000/5,000 From an Important Private Collection, Greenwich, Connecticut.
394.
395.
CHINESE EXPORT ROSE MANDARIN PORCELAIN HEXAGONAL GARDEN SEAT Mid-19th Century Decorated with alternating cartouches of interior scenes and bird, flower and insect designs. Height 18”. 900/1,200
393, pair
LARGE PAIR OF CHINESE EXPORT CELADON PORCELAIN VASES Mid-19th Century With linenfold rims and gilt side mounts in the form of a dog and lion playing with a ball. Allover floral, foliate, ribbon and insect designs, including some raised molded elements. Heights 24.25”. Includes wooden stands. 2,500/3,500
394
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395
117
396
396.
397.
398.
118
CHINESE EXPORT ROSE CANTON PORCELAIN FIVE-PIECE GARNITURE SET Late 19th Century Consists of three covered temple jars with foo dog finials and two cylinder vases with trumpet mouths. Each with sepia-toned landscape medallions and gilt flower sprays about the body, and floral banding at rims and bases. Vase heights 10”. Jar heights 12”. 2,500/3,500
399.
CHINESE PORCELAIN GU-FORM VASE MADE FOR THE EXPORT MARKET Polychrome enamel decoration on a celadon ground. Unmarked. Height 14”. 400/600
400.
CHINESE ROSE MANDARIN PORCELAIN BALUSTER-FORM FLOOR VASE MADE FOR THE EXPORT MARKET Early 20th Century Height 25”. 500/800
401.
CHINESE EXPORT ROSE MEDALLION PORCELAIN TURTLE BOWL Mid-19th Century In hexagonal form with floral design. Length 11”. 200/300
CHINESE EXPORT ROSE CANTON PORCELAIN CHARGER Last Half of the 19th Century Decorated with four enameled floral and bird reserves and a central flower basket medallion surrounded by butterflies. Diameter 13.5”. 300/500
SET OF SEVEN CHINESE EXPORT ROSE MEDALLION PORCELAIN CUPS AND SAUCERS 19th Century Cup heights 2.5”. Saucer diameters 6.5”. 200/400
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402, pair
402.
403
RARE PAIR OF CHINESE EXPORT ROSE MANDARIN PORCELAIN PILGRIM-FORM VASES Mid-19th Century Gilt dragons mounted to sides of neck. Decorated with interior figural cartouches on fronts and landscape cartouches of flowers, birds, butterflies, etc. on reverse. Gilt Rose Mandarin ground includes bat design. Heights 12”. 2,500/3,500
403.
CHINESE EXPORT ROSE MANDARIN PORCELAIN OVAL FOOTED SERVING DISH Mid-19th Century Decorated with a central figural scene surrounded by a bird, floral and insect border. Height 2.75”. Length 14.25”. Width 10.75”. 500/800
404.
CHINESE EXPORT ROSE MEDALLION PORCELAIN COVERED TUREEN AND UNDERTRAY Mid-19th Century Tureen with finely enameled decoration of birds, flowers and figures on a gilt butterfly and green vine ground. Salmon red entwined handles at sides. Conforming cover with gilt mushroom-form finial. Matching oval undertray. Tureen height to finial 12”. Undertray length 16”. 1,000/1,500
404, tureen and undertray
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119
405
406
405.
CHINESE EXPORT ARMORIAL PORCELAIN CHARGER 18th Century Unidentified crest at center, possibly Swedish, incorporates “Himlen Waghte Foten”. Border with gilt shell and foliate design. Diameter 12.5”. 1,500/2,000
406.
CHINESE EXPORT ARMORIAL PORCELAIN PLATE 18th Century Armorial identified on label verso as Nash of Kilkenny. Border with four grisaille cartouches of alternating landscape and bird designs. Diameter 9”. 800/1,200
407
Provenance: Christie’s, January 21, 1998, Lot #220.
407.
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”. 600/800
408.
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”. 700/900
409.
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”. 400/600
410.
PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN VASES 19th Century Decorated with a bird and butterfly design. Mock-ring handles at sides. Height 8”. 350/450
408
120
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412, partial
411.
CHINESE EXPORT ROSE MEDALLION PORCELAIN TEAPOT WITH TWO CUPS IN A WICKER HAMPER 19th Century Drum-form teapot with figural and bird and flower panels. Height 6.5”. 200/300
412.
IMPORTANT SET OF CHINESE EXPORT ARMORIAL PORCELAIN 18th Century Includes a 13.75” charger, four 9” plates and a framed parchment with coat of arms similar to the armorials on the porcelain pieces. Parchment crest consists of a lion with banner “Gratitudo” above an escutcheon with field of various charges including stalks of wheat, three blue shells above three blue stripes, an arrangement of orbs, etc., and a banner below with “Spe Labor Levis”. Armorial on porcelain pieces includes many of the same elements but are not an exact replica. Porcelain with floral borders. Parchment frame 14” x 12”. 12,000/18,000 Provenance: Purchased through Cohen & Pearce.
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121
415 413, pair
414
413.
PAIR OF CHINESE EXPORT PORCELAIN HEXAGONAL BOUGH POTS 19th Century Decorated with figural panels surrounded by a raised floral and berry design. Rope-turned handles. Inserts of a later date. Heights 8.5”. 900/1,200
414.
CHINESE EXPORT MANDARIN PORCELAIN BOWL 19th Century With polychrome figural and floral decoration. Height 6”. Diameter 11.25”. 900/1,200
415.
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”. 300/500
416.
CHINESE EXPORT ARMORIAL-STYLE PORCELAIN PUNCH BOWL Late 19th Century Armorial surrounded by enameled polychrome flower sprigs and raised white enameled outlines and scrolling decoration. Gilt spearhead rim and footring. Spurious Chinese mark on base. Height 4”. Diameter 9”. 400/600
417.
CHINESE EXPORT PORCELAIN BOWL Circa 1800 With polychrome floral and swag decoration. Height 4.5”. Diameter 10.25”. 400/600
418.
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”. 300/500
418
416
417
122
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419
419.
420
CHINESE EXPORT BLUE AND WHITE PORCELAIN OCTAGONAL PLATTER Early 19th Century Central riverscape surrounded by a floral, fruit and geometric border. 13.5” x 16.25”. 400/600
420.
CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN OVAL PLATTER Early 19th Century Length 16.8”. 500/700
421.
CHINESE EXPORT PORCELAIN LIDDED CIDER JUG Mid-19th Century Lid with blue and white riverscape decoration and blue foo dog finial. Jug with blue Fitzhugh border around rim and molded blue foliate design where blue twist handle is applied to body. Height 10.75”. 400/600
421
422
422.
CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN DISH Late 19th Century Diameter 9.5”. 400/600
423.
CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN BIDET Mid-19th Century Height 14.5”. Length 23.5”. Width 7”. 1,000/1,500
423
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123
426, pair
424
425
424.
CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE Mid-19th Century In baluster form with mock-ring and lion’s-head handles. Body decorated with figural and bird and flower panels. Height 14”. 500/700
426.
PAIR OF CHINESE EXPORT FAMILLE ROSE MANDARIN PATTERN VASES 19th Century In cylinder form with mock-ring and lion’s-head handles. Decorated with figural scenes on a pahua and floral ground. Height 14”. 1,200/1,800
425.
CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE Mid-19th Century In ovoid form with cylindrical neck. Decorated with figural and bird and flower cartouches. Height 13”. 500/700
427.
CHINESE ROSE MANDARIN PORCELAIN JARDINIÈRE MADE FOR THE EXPORT MARKET Late 19th/Early 20th Century Height 15.5”. Diameter 18”. 700/1,000
end of session i
124
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Session II Saturday, November 17 at 10 a.m. Lots 501-938 Weapons & Militaria
501-551
Decoys & Sporting Art
552-624
Oriental Rugs
693-726
Clocks 780-788 Also Fine Art, Furniture and More
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123
501
501.
IVORY MODEL OF A NAVAL CANNON WITH SILVER MOUNTS Circa 1807 Movable ivory barrel with .5” bore and touch hole. Ivory carriage with revolving ivory wheels and silver mounts and loops. Includes two ivory rammers. Accompanied by a silver plaque engraved “Presented To Capt. Isaac Hart 17-2-1807”. Silver mounts on carriage with hallmarks for Moses Brent, maker, London, 1807. Overall length of cannon on carriage 6”. Includes contemporary wooden base with glass dome. 1,200/1,800
502.
DRUM FROM THE CRIMEAN WAR 19th Century Under black-brown and white paint. Unmarked. Height 17”. Diameter 18.75”. 500/800
503.
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”. 1,800/2,500
503
124
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504
504.
AFTER JONATHAN BADGER BACHELDER American, Mid-19th Century “Review of the Mass. Volunteer Militia at Concord, Sept. 9th, 1859, 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”. 1,000/2,500 Provenance: Hirschl & Adler Galleries, New York. From a Nantucket Collection.
505.
“AMERICAN POWDER CO.” POWDER KEG 19th Century Wooden keg with wooden banding. Retains portion of original paper label on top. Height 11”. Diameter 8”. 200/300
506.
PAIR OF MINIATURE REPLICAS OF 19TH CENTURY BRITISH NAVAL CANNONS 20th Century Tapered brass barrels with touch holes. Fitted with drawback rigging, loading rams and other details. Mounted on oak carriages with oak wheels. Both displayed on an oak base case with plexiglass covers. Case heights 3.5”. Lengths 8.25”. Widths 6”. 600/800
506, pair
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125
507, pair two views
507.
CASED PAIR OF J.B. RONGE FILS PERCUSSION PISTOLS Liege, Belgium, Circa 1840 Approx. .45 cal. Octagonal damascus barrels. Lock plate inlaid in gold “J.B. Ronge Fils”. One stamped “1” and the other stamped “2”, both in gold. Carved walnut grips with inlaid silver shield engraved “Gram” and with a floral design. Stocks nicely carved on both sides with floral and scroll designs. Length of barrels 10”. Overall lengths 16.5”. Fitted mahogany veneer case. Brass plaque on lid engraved “Gram” and with a floral design. Includes a copper powder flask and several tools in case. Case width 18.25”. Depth 12”. Powder flask length 4”. 1,000/2,000 508.
PAIR OF MIDDLE EASTERN FLINTLOCK PISTOLS 19th Century .70-cal. Damascus barrels with gold overlay. Brass housing. Length of barrels 10”. Overall lengths 17.5”. Includes tooled leather holster, length 11”. 1,500/2,500
508, pair
126
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509
510
511
509.
U.S. MODEL 1812 CONTRACT FLINTLOCK MUSKET Early 19th Century Made by Elijah Buell. .69-cal. Lock plate stamped “E. Buell” and “Marlborough”. Finish worn to dull brown. Overall rust and wear. Length of barrel 41.5”. 700/1,000
511.
U.S. FLINTLOCK MUSKET Early 19th Century .70 cal. Eagle proof mark at end of barrel. Missing one barrel band. Overall rust and wear. Length of barrel 42”. Includes period ramrod. 500/800
510.
U.S. MODEL 1816 FLINTLOCK MUSKET 19th Century .69-cal. Lock plate stamped “US Harpers Ferry 1822”. Left side of stock stamped “L. AMB”. Dull brown finish. Overall rust and wear. Length of barrel 42”. 900/1,200
512.
KENTUCKY-TYPE RIFLE Circa 1820 Approx. .58 cal. Converted to percussion. Lock plate stamped “Bishop Warranted”. Full stock with period ramrod. Length of barrel 49”. 200/300
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127
513
514
515
517, includes scabbard
513.
GALLAGER CARBINE Civil War-Era .50 cal., Serial #207. Finish worn to dull brown. Rust and wear. Length of barrel 22”. 700/1,000
514.
MARLIN MODEL 1894 LEVER-ACTION RIFLE .32-.20 cal., Serial #119390. Octagonal barrel. Finish worn to dull gray. Pitting and overall wear. Length of barrel 24”. 500/900
515.
U.S. MODEL 1884 TRAPDOOR RIFLE .45-.70 cal. Lock plate stamped “US Springfield”. Trap stamped “US model 1884”. Cartouche on left side of stock. Right side of stock stamped “12 128”. Rear stock stamped “B68”. Finish worn to dull brown. Length of barrel 33”. Overall length 51.5”. 500/800
516.
CIVIL WAR-ERA CAVALRY SWORD Circa 1860 Shows rust and pitting to blade. Grips worn to wood. Length of blade 36”. Overall length 42”. 150/250
517.
AMES CIVIL WAR-ERA CAVALRY SWORD AND SCABBARD Includes sword knot. Shows rust and wear. Length of blade 34.5”. Overall length 41”. 300/500
518.
FOUR CIVIL WAR-ERA SWORDS Two with scabbards. Two without scabbards are marked “Philadelphia”. All with considerable rust and wear. Overall lengths 36”. 500/800
516
128
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519.
TWO JAPANESE POLICE SWORDS AND SCABBARDS Circa 1930 Overall wear to finish. Scabbard shows rust and wear. Length of blades 28” and 32”. 200/400
IMPORTANT NOTICE 520.
CASED REMINGTON MARK III FLARE GUN Minor wear. Serial #373. Length of barrel 9”. 300/500
521.
FOUR FLARE PISTOLS 19th and 20th Century A Vaughn Kramer Chemical Arms Co. M-12, length 12”, a Webley & Scott, length 10”, a German WWII-era, length 10”, and a French WWII-era, length 7.5”. All have minor wear. 700/1,000
522.
* ENFIELD MKIII SMLE .303 cal., Serial #82263. Considerable wear. Length of barrel 26”. 300/500
523.
* COLT MODEL M THIRD MODEL SEMI-AUTOMATIC PISTOL .32-cal., Serial #565071. Parkerized finish. Stamped “US Property”. Colt checkered walnut grips. Length of barrel 3.5”. 1,400/1,800
524.
* WALTHER MODEL PPK SEMI-AUTOMATIC PISTOL 9mm, Serial #130995. Walther hard plastic grips. Blued finish. Considerable wear to finish. No magazine. Length of barrel 3.25”. 400/600
Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith.
523
524
525.
* COLT POLICE POSITIVE REVOLVER .38 cal., Serial #92571. Blued finish. Colt hard rubber grips. Length of barrel 4”. 250/350
526.
* COLT SEMI-AUTOMATIC PISTOL .380 Colt, Serial #83659. Colt checkered walnut grips. Blued finish. Surface scratches and wear. Length of barrel 3.75”. 300/500
527.
527
* COLT MODEL 1903 POCKET SEMI-AUTOMATIC PISTOL Early 20th Century .38 cal., Serial #43108. Colt hard rubber grips. Blued finish. Minor surface scratches, rust and wear. Length of barrel 4.5”. 1,000/1,500
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129
528.
ALLAN BARR Canadian, 20th Century Portrait of an American general, likely Jonathan Wainwright. Signed and dated upper right “Allan Barr 1927”. Oil on canvas, 30” x 25”. Unframed. 400/600 According to the consignor, this painting was purchased from a Milwaukee, Wisconsin estate. Representatives of the estate said the subject was Jonathan Wainwright, the famed WWII general known for his heroism at the Battle of Corregidor.
528
529.
COULTER WATT New York, 20th/21st Century A B-25 in flight over fields. Signed verso “Coulter Watt ‘82”. Oil on canvas, 16” x 39.75”. Framed 16.5” x 40.5”. 500/700
529
130
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530
530.
531.
* CASED BROWNING A5 SEMI-AUTOMATIC SHOTGUN Belgium, Circa 1938 16-ga., Serial #101292. Includes two original vent ribbed barrels with matching Serial numbers, and an additional barrel with a non-matching Serial number. Original barrels choked at improved cylinder and modified. Additional barrel is not vent ribbed and is choked at full. Blued finish with moderate wear. Some loss of varnish to wooden components. Length of pull 14.5”. Length of matching barrels 28” and 30”. Length of non-matching barrel 30”. Original Browning case. 1,000/1,500
* CZ LOVENA SEMI-AUTOMATIC SHOTGUN 12-ga., Serial #25973. Vent ribbed barrel. Choked at full. Silver receiver with scroll design. Minor rust and wear. Length of pull 14.25”. Length of barrel 24”. 700/1,000
532.
* WINCHESTER MODEL 50 SEMI-AUTOMATIC SHOTGUN 12-ga., Serial # 201110A. Vent ribbed barrel. Open cylinder. Blue-black finish. Minor wear. Length of pull 14.25”. Length of barrel 26”. 150/250
533.
* REMINGTON MODEL 1100-SD SEMI-AUTOMATIC SHOTGUN 12-ga., Serial #M087248. Vent ribbed barrel. Blued finish. Very minor wear. Length of pull 14.5”. Length of barrel 26”. 500/800
531
532
533
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131
534
535
536
537
538
539
132
534.
* WINCHESTER MODEL 50 SEMI-AUTOMATIC SHOTGUN 12-ga., Serial #183747A. Vent ribbed barrel. Blued finish. Length of pull 14”. Length of barrel 26”. 150/250
537.
* BERETTA 686 ONYX OVER-UNDER SHOTGUN 20-ga., Serial #L479048. Vent ribbed barrel. Screw-in full and modified chokes included. Minor wear. Length of pull 14.75”. Length of barrel 28”. 1,000/1,500
535.
* WINCHESTER MODEL 12 SLIDE-ACTION SHOTGUN 12-ga., Serial #1738894. Vent ribbed barrel. Open cylinder. Blued finish. Minor rust and wear. Length of pull 14.25”. Length of barrel 26”. 300/500
538.
* REMINGTON MODEL 1100 SKEET SEMI-AUTOMATIC SHOTGUN 20-ga., Serial #R027534K. Vent ribbed barrel. Screw-in chokes; only skeet included. Minor wear. Length of pull 14”. Length of barrel 26”. 400/600
536.
* BROWNING A5 “LIGHT TWENTY” SEMI-AUTOMATIC SHOTGUN Made in Japan. 20-ga., Serial #02453RN231. Vent ribbed barrel. Choked at modified. Minor rust and wear. Length of pull 14.25”. Length of barrel 28”. 700/1,000
539.
* REMINGTON MODEL 1100 SEMI-AUTOMATIC SHOTGUN .410-ga., Serial #802542. Vent ribbed barrel. Choked at skeet. Length of pull 14”. Length of barrel 26”. 500/800
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540, set
540.
* CASED PERAZZI MIRAGE S FOUR-BARREL OVER-UNDER SHOTGUN SET 12-ga., 20-ga., 28-ga., and .410-ga., Serial #76627. Vent ribbed barrels. Blued finish. Wear to receiver. Length of pull 14”. Length of barrels 28”. 5,000/7,000
541.
* CASED PERAZZI MX-12 OVER-UNDER SHOTGUN 12-ga., Serial #68277. Screw-in chokes included. Blue-black finish with minor wear. Length of pull 14.25”. Length of barrel 27.5”. 3,000/5,000
Purchased in 1991 from Jaqua’s Fine Guns; alterations made by Griffin & Howe.
541, two views
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133
542, in case at left
542.
* CASED PERAZZI MX-3 SPECIAL TWO-BARREL SHOTGUN SET Serial #44649. Includes a single vent ribbed barrel choked at full and an over-under barrel choked at full and improved modified. Silver receiver etched with a woodcock on the left, a grouse on the right and a mallard on the underside. Length of pull 14”. Length of barrels 34” and 30”. 3,000/5,000
543, in case at left
543.
134
* CASED WINCHESTER MODEL 101 THREE-BARREL SET All with matching Serial #235653. Includes a 20-ga. choked at improved cylinder, a 28-ga. choked at skeet and skeet and a .410-ga. choked at skeet and skeet. Very minor wear. Length of pull 14.25”. Length of barrels 28”. 3,000/5,000
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544, in case above, detail below right
544.
* CASED HOLLAND & HOLLAND CAVALIER MODEL SIDE-BY-SIDE SHOTGUN 20-ga., Serial #50098. Right barrel choked at improved cylinder. Left barrel chocked at modified. Blued finish. Receiver with strong case colors. Very minor wear. Length of pull 14”. Length of barrels 27”. 9,000/12,000 Purchased at Griffin & Howe in 1997.
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135
545
545.
546.
547.
* BROWNING SUPERPOSED DIANA GRADE OVER-UNDER SHOTGUN 12-ga., Serial #5519156. Vent ribbed barrel. Choked at full and improved modified. Receiver engraved on both sides with pigeons in flight. Minor surface scratches and wear. Length of pull 14.5”. Length of barrel 30”. 2,500/3,500
* WALLS SIDE-BY-SIDE SHOTGUN 12-ga., Serial #83242. Re-blued finish. Receiver and barrel both with a gold “2”. Length of barrels 28”. 400/700
* W.W. GREENER SINGLE-SHOT SHOTGUN 12-ga., Serial #73630. Blued finish. Light rust and moderate wear. Length of barrel 32”. 400/600
548.
* WINCHESTER DEFENDER MODEL SLIDE-ACTION SHOTGUN 20-ga., Serial #L2879329. Black finish. Minor rust and wear. Length of barrel 18”. 150/250
549.
* MOSSBERG SLUGSTER SHOTGUN 20-ga., Serial #531404. Forestock with chip. Blue-black finish. Light rust. Length of barrel 24”. 100/200
550.
* RUGER MODEL 10/22 SEMI-AUTOMATIC CARBINE .22 cal., Serial #241-95084. Blued finish. Minor wear. Length of barrel 18”. 150/250
551.
* RUGER MODEL 10/22 SEMI-AUTOMATIC CARBINE .22 cal., Serial #235-97974. Stainless steel finish. Minor wear. Length of barrel 18”. 150/250
546
IMPORTANT NOTICE Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith.
136
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552.
DECORATED SWORDFISH BILL SWORD Circa 1921 One side depicts a swordfish and “Portland 21” in red lettering. Other side depicts five colorful songbirds. Length 38”. 300/500
553.
MALLARD-FORM PLAQUE Mid-20th Century In flying form. Signed on reverse “F.C. Morrison”. Height 12.5”. Length 19”. 300/500
554.
DAVID GREENE CANADA GOOSE HEAD-FORM PLAQUE Cape Cod, Contemporary Depicted with its mouth open. Glass eye. Length 11”. 150/250
555.
MIKE BORRETT CARVED GOLDEN TROUT Madison, Wisconsin, b. 1960 Glass eyes. Signed on back “Borrett”. Length 17”. 400/600
556.
JAMES AHEARN CARVED LANDLOCKED SALMON Stamford, Connecticut, 20th Century Circa 1940. One glass eye. Length 9.5”. 300/500
557.
FOUR JIM KEEFER BIRD CARVINGS Woodstock, Vermont, 1941-2017 A goldeneye hen, an eider drake and a widgeon drake, and a whimbrel mounted on a driftwood stand. All signed on underside “Jim Keefer”. Lengths from 14” to 18”. 500/800
558.
RIG OF THREE LOU REINERI GREEN-WINGED TEAL DECOYS Virginia, 20th Century Hollow-carved. All with glass eyes and carved wing detail. Signed on undersides “LR”. Lengths 13”. 300/400
552
555
556
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137
Marty Collins East Wareham, Massachusetts, 20th Century Lots 559-561
560
559
561
138
559.
BLACK DUCK DECOY In preening position. Hollow-carved. Glass eyes. Chip carving under tail. Branded “MD Collins” and signed in ink “MD Collins 09” on underside. Length 14”. 500/700
560.
BLACK-BELLIED PLOVER DECOY Hollow-carved. Glass eyes. Length 12”. 400/500
561.
DECORATIVE LIFE-SIZE CARVING OF AN OLD SQUAW DRAKE Dated 1988. Glass eyes. Carved wing and tail feathers. Small rub at tip of tail. Mounted on an oval wooden base. Branded “Martin D. Decoys 1988”. Height 11.75”. Length 19.5”. 600/800
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562.
BEN HEINEMANN DECORATIVE CARVING OF A WOODCOCK North Carolina, Contemporary Mounted on an oval base with carved leaf decoration. Signed on underside “Woodcock by Ben Heinemann 2013”. Length 10.5”. 600/800
563.
NOVA SCOTIA EIDER DRAKE DECOY Early 20th Century Maker unknown. Original paint with considerable wear. Tip of tail cut off. Length 15”. 200/400
564.
MAINE EIDER DRAKE DECOY Circa 1920 Maker unknown. Carved eyes and bill. Original paint with wear. Length 16”. 2,000/3,000
565.
CHARLES HART BLACK DUCK DECOY Gloucester, Massachusetts, 1862-1960 Hollow-carved. Glass eyes. Carved wing and tail feathers. Right side of tail has chip. Gunning wear. Length 17.5”. 1,000/1,500
562
563
564
565
Ex Collection: Barbara Johnson.
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139
566
567.
566.
CANADA GOOSE DECOY ATTRIBUTED TO JOE LINCOLN Accord, Massachusetts, 1859-1938 Circa 1920. Old in-use repaint and wear. Crack to underside. Length 22”. 800/1,000
JOE LINCOLN WIDGEON DRAKE DECOY Accord, Massachusetts, 1859-1938 Circa 1925. Glass eyes. Hairline cracks and wear to tail. Completely repainted by Ken DeLong. Branded on underside “CH Smith”. Length 14.5”. 700/1,000 567
568.
BLACK DUCK DECOY ATTRIBUTED TO HENRY KEYES CHADWICK Martha’s Vineyard, Massachusetts, 1865-1958 Tack eyes. Head loose. Original paint. Inset round lead weight on underside. Length 20”. 500/1,000
568
140
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569
570
571, pair
569.
BLACK-BELLIED PLOVER DECOY Massachusetts, Circa 1910 Maker unknown. Tack eyes. Old replaced bill. Original paint with gunning wear. Two knot holes on left side. Right side refilled. Length 12.5”. 300/500
570.
SOUTHEASTERN MASSACHUSETTS WILLET DECOY Circa 1890 Maker unknown. Head turned slightly right. Shoe button eyes. Original paint with gunning wear. Length 13.5”. 1,000/2,000
571.
PAIR OF MASSACHUSETTS DOWITCHER DECOYS Circa 1890 Maker unknown. Tack eyes. Original paint. One hit by shot on right side. Lengths 10” and 11.5”. 2,000/3,000
572.
MASSACHUSETTS PLOVER DECOY Circa 1910 Maker unknown. Painted eye. Split-carved tail with some damage. Some old repaint and wear. Length 10.5”. 700/1,000
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572
141
573.
MINIATURE REDHEAD DRAKE Cape Cod, Massachusetts, Early 20th Century Maker unknown. Paint loss at back. Mounted on circular wooden base. Height 3”. 300/500
577.
PETER PELTZ LIFE-SIZE GREATER YELLOWLEGS East Sandwich, Massachusetts, 1915-2001 In preening position. Mounted as a table lamp on painted oval base. Overall height 20”. 400/600
574.
THREE HARRY VREELAND MINIATURES Cape Cod, Massachusetts, 20th Century A redhead drake, a bluebill drake and a black duck. All mounted on driftwood bases. All signed on undersides “H Vreeland”. Heights from 2.25” to 3.25”. 800/1,000
578.
JESSE BLACKSTONE LIFE-SIZE NUTHATCH Pembroke, New Hampshire, 1909-1988 Mounted on a wooden rockery base. Marked on base “J.B. 330”. Height 2.75”. 500/700
575.
HAROLD GIBBS MINIATURE CANVASBACK DRAKE Barrington, Rhode Island, 1886-1970 Mounted on a driftwood base. Signed and dated on base “HG 1945”. 200/400
579.
RUSS BURR MINIATURE CANADA GOOSE Hingham, Massachusetts, 1887-1955 Circa 1940. In flying position. Mounted on a driftwood base stamped “Russ P. Burr Hingham, Mass.”. Height 6”. 400/600
576.
HAROLD GIBBS MINIATURE PINTAIL DRAKE Barrington, Rhode Island, 1886-1970 Mounted on a driftwood base. Signed and dated on base “Pintail HG 1953”. 300/500
580.
RUSS BURR MINIATURE DUCK DRAKE Hingham, Massachusetts, 1887-1955 Signed in pencil on base “Russ Burr D.E.C. 1046”. Length 3”. 400/600
581.
A. ELMER CROWELL MINIATURE GOLDENEYE DRAKE East Harwich, Massachusetts, 1862-1952 Slight paint rub at end of bill. Signed “A.E. Crowell Cape Cod” and rectangular brand on underside of base. Length 4”. 800/1,000
582.
A. ELMER CROWELL MINIATURE PINTAIL DRAKE East Harwich, Massachusetts, 1862-1952 Circa 1925. Mounted on circular wooden base; underside of base painted white. Height 3”. 600/900
583.
A. ELMER CROWELL MINIATURE RUFFED GROUSE East Harwich, Massachusetts, 1862-1952 Circa 1935. Tip of bill rubbed. Mounted on driftwood base. Rectangular stamp on underside of base. Height 5”. 1,500/2,500
584.
A. ELMER CROWELL MINIATURE WOOD DUCK DRAKE East Harwich, Massachusetts, 1862-1952 Mounted on wooden circular base. Partial paper label on underside of base. Height 3.25”. 1,400/1,800
577
142
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573
574
575
578
576
580
579
582
583
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581
584
143
585
a. elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 585-604, and 581-584
144
585.
COMPLETE SET OF TWENTY-FIVE MINIATURE SONGBIRDS Circa 1930 Includes Crowell’s business card marked “A.E. Crowell & Son Makers of Wooden Birds and Decoys East Harwich, Mass.” All mounted on circular wooden bases with rectangular stamp on underside. In overall good condition unless otherwise noted. Numbered in pencil as follows. 20,000/30,000
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585
1) Baltimore Oriole. Unsigned. Height 2.25”.
14) Kingbird. Unsigned. Height 2”.
2) Downy Woodpecker. Signed in ink “A.E. Crowell”.
15) Scarlet Tanager. Slight bill rub. Signed in ink “A.E.
Height 1.5”.
Crowell”. Height 2.25”.
3) Kentucky Warbler. Signed in ink “A.E. Crowell”.
16) Wood Thrush. Unsigned. Height 2.75”.
Height 2”.
17) Cedar Waxwing. Minor scratches to back. Signed in ink
4) Blue Jay. Signed in ink “A.E. Crowell”. Height 3”.
“A.E. Crowell”. Height 2.5”.
5) Nuthatch. Signed in ink “A.E. Crowell”. Height 1.5”.
18) Flicker. Signed in ink “A.E. Crowell”. Height 2”.
6) Towhee. Unsigned. Height 2”.
19) Nashville Warbler. Paint loss to lower part of bill.
7) Redheaded Woodpecker. Unsigned. Height 2”.
Unsigned. Height 1.75”.
8) Tree Swallow. Signed in ink “A.E. Crowell”. Height 2”.
20) Catbird. Unsigned. Height 1.75”.
9) Thrush. Unsigned. Height 2.25”.
21) Red-winged Blackbird. Paint loss at tip of bill. Signed in
10) Warbler. Unsigned. Height 1.75”.
ink “A.E. Crowell”. Height 2.25”.
11) Bluebird. Signed in ink “A.E. Crowell”. Height 2”.
22) Bobolink. Unsigned. Height 1.75”.
12) Robin. Signed in ink “A.E. Crowell”. Height 2.5”.
23) Chickadee. Signed in ink “A.E. Crowell”. Height 1.75”.
13) Ovenbird. Unsigned. Height 2”.
24) Goldfinch. Unsigned. Height 2.25”. 25) Eastern Wood Phoebe. Unsigned. Height 1.75”.
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145
586.
BLACK DUCK DECOY Made for Iver Johnson sporting goods store in Boston, with company stamp on underside. Rigged but used only a few times. Exceptional original paint showing crazed patina on sides of body below head. Slight age crack on underside. Length 15”. 1,200/1,800
586
587.
MALLARD DRAKE DECOY Circa 1930 Head turned right. Glass eyes. Old repair to neck. Head repainted; possible Crowell repaint to body. Hit by shot. Rectangular stamp on underside. Length 17.5”. 2,000/3,000 Provenance: Mackey Collection. Christie’s, Sale of the Russell B. Aitken Collection, Lot #1070.
588.
588
146
587
BLUEBILL DRAKE DECOY Circa 1920 Glass eyes. Carved wings and tail. Heavily hit by shot. Old gunning repaint with considerable wear. Underside cracked. Crowell’s oval brand and “CGS” brand on underside. Length 15”. 1,000/1,500
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589
590
589.
CANADA GOOSE DECOY Circa 1925 Tack eyes. Traces of original paint with some touch-up. Signed on underside. Length 23.5�. 3,000/4,000
A. Elmer Crowell 590.
BLACK DUCK DECOY Head turned left. Tack eyes. Original paint with minor loss and gunning wear. Oval brand on underside. Length 17.5�. 2,000/3,000
East Harwich, Massachusetts, 1862-1952 Lots 581-604
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147
A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 581-604
591
591.
MINIATURE MALLARD DRAKE PAPERWEIGHT Mallard in decoy form. Mounted on a glass base. Rectangular stamp on underside of mallard. Height on base 2.5”. Length 4.25”. 800/1,000
592.
MINIATURE MALLARD HEN Nice patina. Rectangular brand on underside of base. Length 4.5”. 700/1,000
593.
MINIATURE RED-BREASTED MERGANSER DRAKE Circa 1928 Mounted on a circular wooden base. Rectangular stamp on base. Height 2.75”. 1,200/1,400
594.
148
MINIATURE HOODED MERGANSER DRAKE Circa 1930 Left side of tail chipped and repaired. Mounted on a circular wooden base. Rectangular stamp on base. Height 2.75”. 1,200/1,400
595.
MINIATURE BALDPATE DRAKE Circa 1928 Minor paint rub to top of head. Mounted on a circular wooden base. Rectangular stamp on base. Height 3”. 1,200/1,400
596.
MINIATURE BROWN THRASHER Circa 1928 Mounted on a circular wooden base. Paper label on underside of base. Height 2.5”. 800/1,200
597.
MINIATURE BLUE JAY Finish with brown patina. Old bill repair. Mounted on circular wooden base. Rectangular stamp on underside of base. Height 3.75”. 900/1,200
598.
MINIATURE RED-HEADED WOODPECKER Circa 1928 Chip on left underside of tail. Mounted on circular wooden base. Traces of paper label on underside of base. Height 2.25”. 1,000/1,500
599.
MINIATURE WARBLER Circa 1930 Paint loss to tip of bill. Mounted on an oval wooden base. Rectangular stamp on underside of base. Height 2.25”. 900/1,200
600.
MINIATURE RED-BREASTED MERGANSER DRAKE Circa 1920 In running position. Significant damage to bill and tip of tail. Mounted on circular wooden base. Length 6”. 500/700
601.
MINIATURE TOWHEE Circa 1930 Mounted on an oval wooden base. Rectangular stamp to underside of base. Height 2.5”. 900/1,200
602.
MINIATURE WIDGEON DRAKE Circa 1930 Mounted on oval wooden base. Rectangular stamp on underside of base. Height 3.75”. 900/1,200
603.
MINIATURE CANVASBACK HEN Small paint chip to bill. Mounted on a circular wooden base. Faint traces of ink stamp on base. Height 2.75”. 800/1,200
604.
MINIATURE RUDDY DUCK Mounted on oval base. Rectangular stamp on underside of base. Height 2.25”. 1,000/1,500
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592
594
593
596
599
597
600
602
595
598
601
603
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604
149
606 605
607 608
605.
HURLEY CONKLIN RED-BREASTED MERGANSER DRAKE DECOY Manahawkin, New Jersey, 1913-1993 Glass eyes. Small rub at tip of bill. Head and neck cracked. Carved wing feathers. Branded on underside “H. Conklin”. Length 8.25”. 300/500
607.
ALEXANDRIA BAY REDHEAD HEN DECOY Early 20th Century Maker unknown. Glass eyes. Old neck break. Original paint with gunning wear. 500/800
606.
CLARENCE MILLER SURF SCOTER DRAKE DECOY Bramalea, Ontario, 20th Century Head turned slightly left. Glass eyes. Carved feather detail. Chips to tip of bill and mid-section of body. Roughage to tail. Dated 1972 on underside. Length 16.5”. 400/600
608.
ROBERT KERR BLUE-WINGED TEAL DRAKE DECOY Smith Falls, Ontario, 20th Century Glass eyes. Carved wing detail. Branded on underside. Length 12.75”. 700/1,000 Ex Collection: Roy Boull.
150
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609
610
612 611
609.
KEN ANGER CANVASBACK DRAKE DECOY Dunnville, Ontario, 1905-1961 Glass eyes. Chip to bill. Original paint with gunning wear. Length 16”. 400/700
611.
TED MULLIKEN WOOD DUCK DRAKE DECOY Old Saybrook, Connecticut, 1896-1964 Early competition-grade decoy. Glass eyes. Original paint with minor heat-crazing. Length 14.5”. 500/800 Ex Collection: Jim McGovern/Hermitage Inn.
610.
DUNCAN DUCHARME CANVASBACK DRAKE Delta Marsh, Manitoba, 1912-1972 Damage to right side of bill. Original paint. Hit by shot. Length 13”. 700/1,000
612.
LONNIE GANUNG BLACK DUCK DECOY West Haven, Connecticut, 1883-1972 Hollow-carved. Carved eyes and wings. Original paint. Length 14”. 400/700
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151
613.
J.E. HENRICKSON BLACK DUCK DECOY New Jersey, 19th/20th Century Circa 1930. Hollow-carved. Tack eyes. Neck cracked. Original paint with gunning wear. Body separation and wear. Length 16”. 200/300
614.
HARBERT RANDELL LIFE-SIZE CANADA GOOSE DECOY New Hampshire, 20th Century Circa 1950. In swimming position. Glass eyes. Back cracked. Antiqued finish. Length 32”. 800/1,200
615.
CHARLES ALSIPP LIFE-SIZE SWAN DECOY 20th Century In preening position. Hollow-carved. Glass eyes. Antiqued finish. Length 31”. 800/1,200
616.
NORTH CAROLINA COOT DECOY Late 20th Century Maker unknown. Original paint. Length 11.5”. 200/300
617.
FATTY SCHMILL RING-NECKED DUCK DECOY Bayou Des Allemands, Louisiana, 20th Century Traces of original paint with in-use gunning wear. Carved “FS” on underside. Length 15”. 200/300
614
615
616
617
152
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619
618
618.
REGINALD F. BOLLES Massachusetts, 1860-1960 A pair of mallards in flight. Signed lower right “Reginald Fairfax Bolles ‘39”. Oil on board, 47.5” x 27.75”. Framed 52” x 32”. 500/700
619.
AMERICAN SCHOOL 20th Century Pintails on the shore. No obvious signature. Oil on board, 18” x 24”. Framed 22” x 28”. 500/1,000
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153
620.
RICHARD EVETT BISHOP Pennsylvania, 1887-1975 “Early Morning” and “Whitebacks”. Both signed in pencil lower right “Richard Bishop” and titled in pencil lower left. Etchings on paper, 10.75” x 14.25” and 11” x 12.5” sight. Largest framed 18.5” x 22”. 500/1,000
621.
KAREN FITZGERALD BUCKLEY United States, 20th/21st Century A fly fisherman on a lake, possibly Eagle Lake in the White Mountains of New Hampshire. Signed lower right “K.F. Buckley”. Oil on canvas, 16” x 20”. Framed 25.5” x 29.5”. 700/1,000
620, two
621
154
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Frank B. Hoffman New Mexico/Illinois, 1888-1958 Lot 622
622
622.
Setters on point. Signed lower right “Hoffman”. Oil on masonite, 24” x 31”. Framed 29” x 36”. 15,000/20,000
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155
623.
AMERICAN SCHOOL Early 20th Century The end of the trail. After James Earle Fraser’s iconic bronze. Signed and dated lower right “D.E. Randall 1915”, possibly Delle Ernest Randall (California, 1877-). Oil on board, 19” x 14”. Framed 23” x 17”. 300/500
624.
HARTWELL LEON WOODCOCK Maine, 1853-1929 A grouse in the woods. Signed lower left “Hartwell L. Woodcock”. Oil on canvas, 18” x 22”. Framed 27” x 31”. 1,000/1,500
623
624
156
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625
625.
FREDERICK JOHN MULHAUPT Massachusetts, 1871-1938 “Guineyboats Gloucester, Mass.” Signed lower left “Mulhaupt”. Oil on board, 8” x 10”. Framed 14” x 16”. 12,000/15,000
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157
626
626A
626.
158
CHARLES HAROLD DAVIS Connecticut, 1896-1933 Hay wagon and haystack under a setting sun. Signed lower right “C.H. Davis”. Oil on canvas, 12.5” x 17.5”. Framed 23” x 28”. 3,500/5,500
626A. FRANCIS AUGUSTUS SILVA New York, 1835-1886 “Summer in Connecticut”. Signed lower left “Aug. 14 ‘80 Silva”. Titled on frame plaque. Watercolor on paper, 9.25” x 16.25” sight. Framed. 2,000/3,000
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627
627.
EMILE ALBERT GRUPPE Massachusetts, 1896-1978 Winter scene, Mount Mansfield, Vermont. Signed lower right “Emile A. Gruppe”. Oil on canvas, 30” x 36”. Framed 35” x 41”. 8,000/12,000 Provenance: Shannon’s October 22, 1996, Lot #61. Private Collection, New Jersey.
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159
628
628.
ALBERTUS EUGENE JONES Connecticut, 1882-1957 Rockport. Signed lower right “Albertus E. Jones”. Oil on canvas, 8” x 9”. Framed 14.5” x 15.5”. 400/600
629.
THEODORE VALENKAMPH Massachusetts/Sweden, 1868-1924 A fall scene. Signed and dated lower right “T.V.C. Valenkamph”. Oil on canvas, 17.25” x 12.25”. Framed 20.5” x 15.5”. 600/1,200
629 630
630.
DAVID LUSSIER Connecticut, 20th/21st Century “Breezy Harbor (Manchester By the Sea)”. Signed lower right “D. Lussier”. Signed and titled verso. Oil on panel, 9” x 12”. Framed 13” x 16”. 500/700
631.
DAVID LUSSIER Connecticut, 20th/21st Century “All Tied Up”. Signed lower left “D. Lussier”. Titled and signed verso. Oil on panel, 9” x 12”. Framed 13.25” x 16.25”. 500/700 631
160
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632.
GEORGE VICTOR GRINNELL Connecticut, 1878-1946 “Autumn Glory”, depicting a meandering stream through a fall landscape. Signed lower right “G. Victor Grinnell”. Oil on canvas, 29” x 35”. Framed 36” x 41”. 1,000/1,500
632
633.
GEORGE P. ORR United States, Mid-20th Century “Morning at Gloucester Harbor, 1936”. Signed and dated lower right “Geo P. Orr ‘36”. Oil on canvas, 25” x 30”. Framed 31” x 36”. 1,500/2,500
633
634.
MARIAN PARKHURST SLOANE Massachusetts, 1876-1954 “August”. Signed lower right “Marian P. Sloane”. Titled on Grand Central Art Galleries label verso. Oil on canvas, 29” x 36”. Framed 34” x 40”. 2,000/3,000
634
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161
635
636
637
162
638
635.
CHARLES STUPLE Massachusetts, Late 20th Century Fishing boat at dock. Signed lower right “Stuple”. Oil on canvas, 19.5” x 23.3”. Framed 29” x 32”. 300/500
637.
T.M. NICHOLAS Massachusetts, b. 1963 “Sea and Rocks”. Signed lower left “T.M. Nicholas”. Titled on North Shore Arts Association exhibition label verso. Oil on artist board, 8” x 10”. Framed 14.25” x 16.25”. 800/1,200
636.
RANULPH BYE Pennsylvania/New York/New Jersey, 1916-2003 Fishing boat at a pier. Signed lower right “Ranulph Bye”. Watercolor on paper, 9” x 13” sight. Framed 15” x 20”. 500/1,000
638.
JAMES KING BONNAR Massachusetts, 1883-1961 “Winter Woods”. Signed lower right “James King Bonnar”. Oil on canvas board, 16” x 20”. Framed 20” x 25”. 1,000/1,500
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639.
CAMILLO ADRIANI Massachusetts, 20th Century “Village Street”. Signed lower left “Camillo Adriani”. Titled on frame plaque. Oil, 28” x 33”. Framed 32” x 37”. 4,000/6,000
639
640.
CARL WILLIAM PETERS New York, 1897-1980 “Irondequoit Creek”. Signed faintly lower right. Titled on frame plaque. Oil on canvas, 20” x 24”. Framed 28” x 32”. 1,000/1,500 This painting was sold at Eldred’s, April 5, 2014, Lot #970. The lot included a letter from Elaine Woodbury stating she believed Peters intentionally obfuscated the signature as he did not like the way the painting looked. While the letter was present at the 2014 auction it is no longer included.
640
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163
641
641.
JULIEN JOSEPH Connecticut, 1882-1964 Old Mystic Church, 1933. Signed and dated lower right “Julien Joseph - 33”. Pastel on paper, 19.5” x 19”. Framed 29.5” x 28”. 400/600
642.
REED KAY Massachusetts, b. 1925 “Beacon Hill - 1975”. Signed lower left “Kay”. Titled on gallery label verso. Oil on masonite, 9.75” x 15”. Framed 14.5” x 19.75”. 500/1,000 Provenance: The Alpha Gallery, Boston.
642
643
643.
ALLEN DEAN COCHRAN New York/Ohio, 1888-1971 Snowy landscape. Signed lower right “Allen D. Cochran”. Oil on board, 17” x 21”. Framed 20” x 24”. 1,200/1,800
644.
C. HJALMAR “CAPPY” AMUNDSEN, a.k.a. J.J. ENWRIGHT Maine/New York/Massachusetts, 1911-2001 Ships in a harbor. Signed lower center “Hjalmar Amundsen”. Oil on canvas, 20” x 26”. Framed 28” x 34”. 1,200/1,800 644
164
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645.
CHARLES J. MOVALLI Massachusetts/Maine, 1945-2016 Barn in winter. Signed lower right “Movalli”. Oil on canvas, 20” x 24”. Framed 27” x 30”. 1,200/1,800
645
646.
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”. 1,500/2,000
646
647.
PAUL STRISIK Massachusetts, 1918-1998 “The Marina”. Possibly a scene on the Annisquam River. Signed lower right “P. Strisik”. Titled on artist’s label verso. Oil on masonite, 10” x 14”. Framed 18.5” x 22.5”. 1,500/2,500
647
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165
649 648
648.
ANDRE GISSON New York/Connecticut/France, 1921-2003 A girl rests under majestic trees. Signed lower left “Gisson” Oil on canvas, 36” x 24”. Framed 44” x 31”. 1,500/2,500
649.
CHRISTINE A. MOSHER Massachusetts, 20th/21st Century “Diana”. Signed lower left “Christine Mosher”. Titled on Rockport Art Association label verso. Oil on canvas, 16” x 16”. Framed 22.5” x 22.5”. 2,000/3,000
651
650
650.
166
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”. 400/800
651.
MORRIS KLEIN New York, Mid-20th Century A country auction. Signed and dated lower right “Morris Klein 1942”. Watercolor on paper, 9.75” x 12.5” sight. Framed 16.5” x 19.5”. 300/500
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652.
CHARLES GORDON HARRIS Rhode Island, 1891-1963 Boats at dock. Signed lower right “C. Gordon Harris”. Oil on artist panel, 12” x 14”. Framed 16.5” x 18.5”. 700/900
652
653.
THOMAS CROTTY Massachusetts/Maine, 1934-2015 A lobsterman on a dory full of pots. Signed lower right “Thomas Crotty”. Watercolor on paper, 13” x 21.5” sight. Framed 23” x 34”. 2,000/3,000
653
654.
ROBERT HENRY LOGAN Massachusetts, 1875-1942 Fall landscape with figures. Signed lower right “Logan”. Oil on canvas, 20” x 24”. Framed 30.5” x 34.5”. 1,500/2,500
654
655.
HERBERT W. HOLDEN, JR. Massachusetts, 1922-2018 “Summer Cottages - Chatham Light”. Titled and signed on stretcher “H.W.H. Jr.”. Oil on canvas, 16” x 20”. Framed 19” x 23”. 500/700
655
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167
656
656.
JOHN CHARLES TERELAK New York/Massachusetts, b. 1942 Tom Brady. Signed lower left “Terelak”. Oil on canvas, 24” x 20”. Framed 32” x 27”. 2,000/3,000
657.
BERNARD COREY Massachusetts, 1914-2000 Farm in a mountain valley. Signed lower right “Bernard Corey”. Oil on board, 10” x 16”. Framed 14” x 20”. 1,000/2,000
658.
ANTHONY BUCHTA Illinois/Indiana/Iowa, 1896-1967 A farm as seen through autumnal trees. Signed lower right “Anthony Buchta”. Oil on canvas, 32” x 34”. Framed 36” x 38”. 2,500/3,500
657
658
168
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659
659.
STEP-BACK CUPBOARD Pennsylvania, Circa 1820 Later putty-colored finish. Upper case with molded cornice and two glazed doors. Lower case with three drawers, two cabinet doors and bun feet. Height 85”. Width 59.5”. 1,000/1,500
660.
COUNTRY CHIPPENDALE BUREAU New England, Circa 1780 In maple with pine top. Four graduated full-width drawers. Flat bracket feet. Height 35.25”. Width 38.5”. Depth 20”. 400/600
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169
663 661 662
661.
662.
663.
170
QUEEN ANNE SIDE CHAIR Coastal New England, Mid-18th Century In figured maple with old, possibly original, splint seat. Back with carved and molded crest rail and stiles. Bold block and turned legs joined by bulbous stretchers. Front legs end in Spanish feet. Back height 42.5”. Seat height 17.5”. 600/900 A very similar example is illustrated in Wallace Nutting Furniture Treasury Volume II, plate 2092.
MINIATURE BLANKET CHEST Early 19th Century In pine with iron hinges. Exterior under salmon red and black paint. Interior ditty box with secret compartment. Shaped bracket base. Height 12.5”. Width 21”. Depth 11”. 400/600
QUEEN ANNE TILT-TOP CANDLESTAND Mid-18th Century In walnut. Dish-rim top set on a birdcage support on a ring- and baluster-turned pedestal. Three arched legs end in padded slipper feet. Height 27.5”. Diameter of top 20.25”. 500/700
664.
TAVERN TABLE 18th Century In pine with original top, stretcher base and ball and knob feet. Shows traces of original black paint. Height 24.75”. Top 36.5” x 26”. 300/500
665.
GRAIN-PAINTED ONE-DRAWER STAND New England, 19th Century With turned wooden pull and square tapered legs. Height 29.5”. Width 18.25”. Depth 16.5”. 150/250
666.
BOWBACK WINDSOR ARMCHAIR 18th Century Seven-spindle back. Wonderfully turned tiger maple front legs. Brown finish shows wear. Back height 40.5”. Seat height 18.5”. 250/350
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667.
QUEEN ANNE HIGHBOY American, Circa 1750 In pine and maple with red painted finish. Upper case with molded top and two half drawers over three full-width drawers. Lower case with three side-by-side drawers, a shaped apron with turned drops, and cabriole legs ending in duck feet. Replacement Queen Anne-style brasses. Height 65”. Width 40”. Depth 21.5”. 1,000/1,500
668.
WHALEBACK SHELF New England, First Half of the 19th Century In walnut. Three graduated shelves over two half drawers with brass knob pulls. Height 31.25”. Width 25.5”. Depth 8.25”. 400/600
669.
LADDERBACK ARMCHAIR Massachusetts, 18th Century Under white paint. Cane seat. Back height 42.5”. Seat height 15.75”. 300/500
670.
WINDSOR CONTINUOUS ARMCHAIR 18th Century Under black paint. Back height 35.5”. Seat height 17.5”. 300/500
667
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171
671
671.
172
AMERICAN SCHOOL First Half of the 19th Century Full-length portrait of a young girl wearing a lace dress with a blue ribbon sash and holding a basket of flowers. Unsigned. Oil on canvas, 28” x 23” sight. Framed 34.75” x 29.5”. 8,000/10,000
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673
672
672.
NEW ENGLAND TAVERN TABLE 18th Century In multiple hardwoods. Multi-board top over a full-width drawer. Unusual turned legs joined with a box stretcher. Height 29.5”. Width 35”. Depth 23.5”. 600/900
673.
COUNTRY SHERATON FOUR-DRAWER BUREAU Connecticut, Circa 1820 In wavy birch. Retains period, possibly original, hardware. Case fronted by vasiform and spool-turned columns terminating in delicate turned tapered legs. Nicely shaped skirt. Interesting construction of back legs, which receive into the back and sides and are supported by rosette nails. Height 40.25”. Width 42”. Depth 20.5”. 500/700
675
674
674.
WILLIAM & MARY SLANT-LID DESK New England, Early 18th Century In hardwood under a deep, rich old red finish. Slant lid encloses interior pigeonholes, drawers and an open central compartment flanked by letter drawers. Case with four fullwidth graduated drawers with molded edges. Turned turnip feet. Height 41.75”. Width 36”. Depth 19.5”. 600/900
675.
QUEEN ANNE DROP-LEAF TABLE New England, Mid-18th Century In a hardwood. Oval top raised on four cabriole legs ending in pad feet. Height 26”. Length 41”. Width 15.25” plus two 14.5” drop leaves. 600/900
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173
676
174
676.
TWO-PART HUTCH CUPBOARD Second Quarter of the 19th Century In maple and curly maple. Upper case with two three-panel glazed doors enclosing three interior shelves. Lower case with two half drawers over two paneled cupboard doors. Height 83.75”. Width 47.25”. Depth 19”. 800/1,200
677.
HEPPLEWHITE-STYLE PEMBROKE TABLE 20th Century In strong tiger maple. One drawer with brass bail pull. Square tapered legs. Height 29.25”. Width 19.25”. Depth 31.25”. 400/600
678.
CHIPPENDALE BLANKET CHEST New England, Circa 1790 In maple and pine. Lift top with replaced iron hinges. Two faux drawers over three full-width drawers, all with brass bail pulls. Shaped bracket base fitted with brass casters. Height 49.5”. Width 38”. Depth 19”. 400/700
679.
DELAWARE RIVER VALLEY LADDERBACK ARMCHAIR Late 18th Century In maple with rush seat. Stiles with turned finials. Four arched splats. Bulbous turned front stretcher. Back height 44.5”. Seat height 16”. 300/500
680.
LIFT-TOP BLANKET CHEST Circa 1840 In pine under red paint with faux grain-painted finish to front and sides. Iron hinges. Interior ditty box. Shaped molded base. Height 18.75”. Width 48.5”. Depth 20”. 200/300
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681.
ATTRIBUTED TO ERASTUS SALISBURY FIELD Massachusetts/New York, 1805-1900 Portrait of Rachel Perkins. Unsigned. Identified by the family as Rachel Perkins (1811-1890) of Taunton, Massachusetts. She was the second wife of Charles Brooks Temple. Oil on board, 26” x 22”. Framed 36” x 31”. 5,000/10,000 Provenance: By descent in the family.
681
682. ATTRIBUTED TO JANE STUART Rhode Island/Massachusetts, 1812-1888 “Washington at Dorchester Heights”. Unsigned. Jane Stuart was the daughter of Gilbert Stuart, and this is a copy of her father’s 1806 masterpiece that is part of the permanent collection of Boston’s Museum of Fine Arts. Oil on canvas, 36” x 24”. Framed 42” x 31”. 4,000/6,000
682
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175
683.
SEVEN-DRAWER CHEST American, First Quarter of the 19th Century In maple and tiger maple, with strong tiger maple drawer fronts. Four tiers of drawers, all with circular wooden pulls. The upper tier with two deep drawers flanking a stack of two shallow drawers. The remaining three drawers are graduated full-width. Shaped base. Height 48”. Width 49”. Depth 20.5”. 600/900
684.
LATE SHERATON CHEST OF DRAWERS Circa 1830 In cherry with select bird’s-eye maple and flame grained mahogany veneer. Two slightly overhanging half drawers over three graduated full-width drawers flanked by full-turned columns terminating in turned feet. Height 41.5”. Width 45.75”. Depth 20.5”. 400/600
685.
SCHOOL OF THOMAS SULLY United States, 19th Century Portrait of a young woman, possibly Louise Vanderbilt. Unsigned. Contemporary typed noted affixed to the reverse states the painting was found in a “Vanderbilt attic”. Oil on canvas backed on masonite, oval 12” x 10”. Framed 19” x 17”. 500/1,000
683
684
685
176
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686
687
686.
AMERICAN SCHOOL 19th Century Bust portrait of Daniel Webster. No signature noted. Oil on canvas, 27” x 22”. Framed 32” x 27”. 500/1,000
687.
SHERATON SIX-DRAWER BOWFRONT BUREAU Circa 1810 In mahogany with strong bird’s-eye maple drawer fronts. Recessed deck top with two glove drawers. Case with four full-width drawers and tapered legs. All drawers with brass circular floriform pulls. Both deck top and case are fronted by rope-turned columns. Height 44.5”. Width 40”. Depth 20.5”. 1,000/1,500
688.
COUNTRY CHIPPENDALE TALL CHEST New England, Circa 1780 In cherry with five graduated full-width drawers and flat bracket feet. Height 44.75”. Width 39.25”. Depth 18.25”. 800/1,000
688
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177
689.
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”. 1,500/2,500 Provenance: Christie’s Important Americana Auction, January 25, 1997, Lot #167. From the Folk Art & Americana Collection of Carl and Sonia Schmitt.
689, two
690.
PAIR OF CUT-PAPER SILHOUETTES Early 19th Century A man and a woman. Man with black painted collar and yellow and turquoise trim on his shirt. Woman with painted blue dress. Oval 3.5” x 2.5”. Framed 5.25” x 4.5”. 500/1,000 Provenance: Sylvia Antiques, Nantucket, Massachusetts. Private Connecticut Collection.
691.
BOSTON SCHOOL Early 20th Century Portrait of a woman. Unsigned. Oil on canvas, 17” x 18.5”. Framed 25” x 28”. 2,000/3,000
691
178
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692
Evelyn Nesbit’s exceptional beauty captured America’s fascination in the early part of the 20th Century. The highly sought-after model, chorus girl and actress’s likeness appeared in magazines, national advertising campaigns, fashion photography and pin-ups, and she was idealized as a “Gibson Girl”. Born in a small town near Pittsburgh in 1884, she lived in poverty for most of her childhood and moved to Philadelphia, where her modeling career began, then to New York at age 14. One of the first artists she modeled for in New York was James Carrol Beckwith, a respected instructor at the Art Students League, who introduced her to other legitimate artists. Nesbit achieved worldwide notoriety in 1906 when her husband shot and killed 52-year old architect and socialite Stanford White, believing he was exacting revenge for White raping Nesbit when she was 14. The ensuing sordid trial was dubbed “The Trial of the Century”, the first time the phrase was known to be used. Nesbit never regained the same level of popularity and was referred to as “the lethal beauty”. The last years of her life were lived quietly. She died in 1967.
692.
JAMES CARROLL BECKWITH New York/Illinois/Missouri/France, 1852-1917 Portrait of the infamous renowned beauty Evelyn Nesbit. Signed upper right “Carroll Beckwith”. Oil on canvas, 33” x 24”. Framed 40” x 30”. 5,000/10,000 Provenance: Purchased from William Postar, Boston, in the 1970s.
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179
693.
ORIENTAL RUG: SAROUK 4’5” x 6’7” Traditional clusters of flowering branches in blues, green and gold are symmetrically arranged about a quatrefoil central element on a red field. Ivory and midnight blue borders. 500/700
693
694.
ORIENTAL RUG: SOUMAC 6’4” x 11’0” Characteristic light gray geometric medallions are at the center of a light red field with bisected geometric medallions about the perimeter and mauve, olive green, red and blue flower blossoms throughout. Orange, light gray, red and brown borders. 450/550
694
695.
ORIENTAL RUG: SOUMAC 5’11” x 7’3” Dark blue field with traditional dark red and light blue geometric medallions and scattered stylized blossoms. Ivory, teal, and faded rust red borders. 200/300
695
180
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696
696.
ORIENTAL RUG: HERIZ 9’2” x 18’5” Dark blue, dark red, ivory and brass-colored gabled medallion rests at the center of a dark red field above an ivory subfield. Flowering branches and serrated leaves rendered in brass, brown, red, blues and pink throughout. Multicolored guard borders. Dark blue main border features a turtle motif. 500/1,000
697.
ORIENTAL RUG: HAMADAN 4’0” x 6’4” Ivory field is traversed by multiple columns of colorful boteh rendered in pink, red, blue, brown, subtle yellow and green. Dark brown subfield. Bright red and dark blue borders. 200/300
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181
699
698
698.
182
ORIENTAL RUG: KURD BIDJAR RUNNER 3’7” x 12’5” Red field contains brown and ivory geometric medallions surrounded by flowering branches in blue, green, pink, brown, tan and ivory. Red, brown and ivory borders feature colorful repeated stylized motifs. 800/1,200
699.
ORIENTAL RUG: KURD BIDJAR RUNNER 3’8” x 12’5” Salmon red field contains brown and ivory geometric medallions surrounded by stylized vines and blossoms in blues, peach, ivory, red, brown and subtle olive green. Red, brown and ivory borders feature colorful repeated stylized motifs. 800/1,200
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700.
ORIENTAL RUG: KESHAN PRAYER 4’7” x 6’8” Ivory field features a Tree of Life motif rendered in red, pink, blue, gold, green and tan. Light blue columns flank red vase and support a light blue floral panel above mihrab. Broad red main border with navy blue garrus vine. 2,000/2,500
700
701.
ORIENTAL RUG: KESHAN PRAYER 4’7” x 6’6” Ivory field features a Tree of Life motif rendered in red, pink, blue, gold, green and tan. Light blue columns flank red vase and support a light blue floral panel above mihrab. Broad red main border with navy blue garrus vine. 2,000/2,500
701
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183
702
702.
184
ORIENTAL RUG: BIDJAR 7’5” x 18’4” Navy blue field with a bold Herati pattern, red and brown crescent leaves, blue vines, blue, red and ivory blossoms, and small green leaves. Red main border features classic turtle motif. 3,000/4,000
703.
ORIENTAL RUG: KIRMAN RUNNER 2’10” x 15’0” Bright ivory field features an elaborate cascade of repeating leaves and flower blossoms rendered in pastel shades of pink, blue, green, tan, lavender and dark red. Narrow pastel green guard borders and pink main border. 500/800
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704.
ORIENTAL RUG: HERIZ 9’4” x 12’11” Lobed central medallion on a red field. 1,000/1,500
705.
ORIENTAL RUG: SAROUK 8’7” x 12’0” Rich red field with flower vases and flowering branches in dark blue, green, gold and tan in a traditional symmetrical arrangement about the floral central medallion. Bold gold palmettes throughout midnight blue border. 1,000/1,500
706.
ORIENTAL RUG: AFGHAN BOUKARA 9’5” x 12’0” Red field with three columns of octagonal guls in dark red, navy blue, tan, brown and ivory. Borders contain repeating stylized elements. 500/1,000
704
705
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706
185
707.
ORIENTAL RUG: KAZAK DESIGN 5’0” x 7’0” Rectangular ivory and dark red central medallion is surrounded in a traditional fashion by smaller square medallions and stylized blossoms in red, blue and ivory on a blue-green field. Serrated leaves and wine cup motif throughout dark red main border. 1,000/1,500
708.
ORIENTAL RUG: KAZAK DESIGN 6’8” x 8’8” Dark red field with a large dark green gabled medallion with a gold center. Medallion contains and is surrounded by traditional stylized elements in gold, green, blue, dark red and salmon pink. Flower blossoms throughout pale gold guard borders. Stylized motifs throughout dark green main border. 1,200/1,800
707
708
186
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709
709.
ORIENTAL RUG: BIDJAR 12’2” x 19’3” Pink and blue geometric central medallion with a bright green meandering vine. Colorful blossoms throughout a rich red field. Herati pattern in blue, pink, tan, green and ivory. Navy blue subfield with red garrus vine. Multiple red and blue borders. 5,000/7,000
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187
710.
ORIENTAL RUG: SERAPI DESIGN 8’0” x 9’10” Rich red field with a gabled medallion in tan, gold, slate blue, midnight blue and green. Ivory subfield and gold and tan spandrels. Midnight blue main border features a colorful turtle motif. 700/1,000
710
711.
ORIENTAL RUG: KAZAK DESIGN 8’1” x 10’3” Rich red field contains a variety of traditional colorful stylized elements surrounding three colorful Lesghi stars rendered in shades of blue, teal, ivory, tan and gold. Blue guard borders. Bright ivory main border features bold geometric shapes. 900/1,200
711
712.
ORIENTAL RUG: HERIZ 8’0” x 10’6” Rust red field with a small central medallion and anchor pendants rendered in gold, rust red, dark blue, ivory, pink and black. Medallion is surrounded by blossoms and stylized serrated leaves in matching colors. Pale gold guard borders. Black main border features a turtle motif. 700/1,000
712
188
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713.
ORIENTAL RUG: SULTANABAD DESIGN 9’0” x 11’10” Dark ivory field is traversed by a delicate gold vine bearing traditional blossoms and leaves in mossy green, light blue, dark red, gold and gray, with midnight blue highlights. Moss green guard borders and a light blue main border. 1,200/1,600
713
714.
ORIENTAL RUG: SERAPI DESIGN 9’0” x 11’10” Gabled medallion rendered in dark rust red, terracotta, gold, navy blue and light blue occupies a dark ivory field above a terracotta subfield with dark gold spandrels. Faded yellow and pale green guard borders. Rust red main border with turtle motif. 1,500/2,000
714
715.
ORIENTAL RUG: SERAPI DESIGN 8’10” x 11’8” Pale green meandering vine traverses a navy blue field bearing green, light blue, pale yellow, rose red and salmon red blossoms. Ivory and pale yellow guard borders. Terracotta main border with a turtle motif. 900/1,200
715
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189
716.
ORIENTAL RUG: SULTANABAD DESIGN 10’0” x 14’2” Slate blue field is traversed by meandering tan and ivory vine bearing palmettes and blossoms in pale shades of tan, gold, brown and ivory. Light gold guard borders. Bright ivory main border. 900/1,200
717.
ORIENTAL RUG: HAMADAN 4’3” x 6’9” Dark charcoal medallion and pendants rest at the center of an ivory field with spandrels composed of quartered pink and charcoal medallions. Flowering branches in dark rust red, dark gold, brown, pale pink and pale gray throughout. Charcoal and dark rust red borders. 300/500
716
718.
ORIENTAL RUG: MAHAL DESIGN 11’9” x 14’9” Bright ivory field is filled with several columns of traditional stylized flower blossoms and flowering branches rendered in shades of green, gray, dark salmon pink, subtle tan and gold. Multiple olive green, gray and pale gold guard borders. Dark salmon main border with emerald green, gray and pale gold blossoms. 1,000/2,000
719.
ORIENTAL RUG: HAMADAN 3’2” x 6’2” Dark blue field with several rows of repeated stylized branches in red, brown, blue and ivory. Three red and ivory borders, all with serpentine branch and blossoms. 250/350
718
190
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720
720.
ORIENTAL RUG: KESHAN 9’9” x 12’6” Navy blue field with a light blue, ivory and dark red central medallion. Green vines with colorful blossoms throughout. Light blue guard borders. Dark red main border. 1,000/1,500
721.
ORIENTAL RUG: SHIRVAN 10’0” x 13’10” Light gold field with several columns of a variety of stylized motifs rendered in rich shades of blue and green, as well as dark red, gold, peach, orange and tan. Rust red guard borders with delicate meandering vine. Mocha main border with meandering vine and colorful flower blossoms. 1,500/2,500
722.
723.
ORIENTAL RUG: TURKISH 3’7” x 7’10” Narrow abrashed red and orange field with ivory guard borders containing repeated boteh in brown, orange and blue. Faded yellow main border with traditional stylized flower blossoms. Brown and faded blue outer border. 400/600
721
724.
ORIENTAL RUG: MAHAL 4’9” x 8’9” A dark blue geometric medallion suspends red pendants and contains a network of vines and blossoms in a variety of colors on a camel’s-hair-colored field. Blue subfield matches medallion. Pink, red and ivory borders. 300/400
725.
ORIENTAL RUG: LAVER KIRMAN 4’3” x 6’7” Medium blue, ivory, and midnight blue central medallion features pink, dark red, and tan blossoms. Empty ivory field above a dark red subfield. Ivory and midnight blue guard borders. Ivory main border. 300/500
726.
ORIENTAL RUG: HERIZ 8’10” x 11’0” Rust red field with staggered rows of bold geometric medallions in blue, ivory, and pale green. Colorful stylized blossoms throughout. Pale green guard borders. Midnight blue main border features a turtle motif. 100/200
ORIENTAL RUG: SOUMAC 3’6” x 9’3” Ivory field with five geometric guls in light red, dark blue and pale peach. Guls contain and are surrounded by a variety of animal, bird and human figures rendered in red, blue, ivory and brown. Faded red and abrashed dark blue borders. 200/400
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191
727
728
192
727.
SHERATON SOFA New York, Circa 1815 In mahogany. Beautifully reupholstered in emerald green satin with cream-colored floral embroidery. Scrolled back crest with brass rosettes at ends. Beautifully molded and out-scrolled arms with turned and foliate-carved urn-form supports. Turned legs fitted with brass casters. Back height 36”. Seat height 19.5”. Length 74”. Depth 25.5”. 800/1,200
728.
FEDERAL PIER TABLE New York, Circa 1825 In mahogany and mahogany veneer. Raised backsplash with ormolu rosettes and foliate mount. Gray and rouge marble top. Apron with griffin and foliate ormolu mounts. Front column supports in select mahogany veneer with gilt accents. Mirrored back. Claw-form front feet with gilt cornucopia supports. Turned back legs. Height 39.75”. Width 34”. Depth 18.25”. 1,200/1,500
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729, pair
729.
EXCEPTIONAL PAIR OF FEDERAL CARD TABLES BY S. & J. RAWSON, JR. Providence, Rhode Island, Circa 1835 In select mahogany and mahogany veneer. Apron with ebonized and gilt banding at lower edge. Beautifully carved acanthus leaf pedestals supported by four foliatecarved legs ending in paw feet fitted with brass casters. Both tables retain the original maker’s label at the back interior compartment below the fly leaf. Heights 30.75”. Widths 36.25”. Depths 18”. 6,000/9,000 A near-identical example is illustrated in the July 1980 issue of Antiques Magazine, p. 144, fig. 19.
730.
SHERATON SIDEBOARD ATTRIBUTED TO THOMAS SEYMOUR Boston, Circa 1820 In select mahogany and mahogany veneer. Shaped backsplash. Case fitted with three drawers over three cupboard doors. Doors with inset panels with beaded moldings. Retains original hardware. Tapered reeded legs. Height 40.25”. Width 62.75”. Depth 25”. 3,500/5,000
730
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193
731.
FEDERAL SEWING STAND New York, Circa 1825 In select mahogany and mahogany veneer. Drop-leaf top with molded edge. Case with two full-width drawers over a slide-out sewing basket in half-drum form. Lyreform supports with foliate and rosette carvings. Four reverse-arched feet retain original brass paw-form casters. Height 28.5”. Width 18.75” plus two 9.25” drop leaves. Depth 18”. 800/1,200
732.
FEDERAL DAY BED Probably New York, Circa 1830 In mahogany and mahogany veneer. End rails with relief-carved eagle, flower and foliate design. Four foliate-carved supports on turned and carved feet. Beautifully upholstered box spring, cushion and two matching bolsters in a cream, green and red striped silk fabric. Height 37.25”. Length 64”. Width 33.75”. 800/1,200
731
732
194
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733.
CLASSICAL GAMES TABLE ATTRIBUTED TO ISAAC VOSE Boston, Circa 1820 In mahogany. Rectangular hinged top swivels on a square tapered molded pedestal raised on four scrollcarved and molded saber legs ending in brass-capped paw feet fitted with casters. Height 30”. Width 36”. Depth 18”. 1,200/1,800 Similar to examples exhibited at the New England Historical Society and illustrated in Rather Elegant Than Showy: The Classical Furniture of Isaac Vose by Robert Mussey and Clark Pearce.
734.
HEPPLEWHITE PEMBROKE TABLE Charleston, South Carolina, Circa 1800 In Cuban mahogany. D-form drop leaves. Tapered legs. Height 28.5”. Length 32.25”. Width 22” plus two 11.25” drop leaves. 1,200/1,500
735.
CLASSICAL GAMES TABLE 19th Century In mahogany and walnut veneer. Yoke-form pedestal base raised on four saber legs ending in brass-capped lion’s-paw feet. Height 28”. Width 36.25”. Depth 17.5”. 300/500
733
734
735
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195
736
736.
196
CHIPPENDALE CHEST-ON-CHEST ATTRIBUTED TO THOMAS ELFE Charleston, South Carolina, Circa 1780 In mahogany. Cornice with dentil molding and relief-carved band. Upper case with three side-by-side drawers over two half drawers over three graduated fullwidth drawers. Chamfered fluted front corners with stop fluting. Lower case with three graduated full-width drawers. Repetitive chamfered corners match upper case. Ogee bracket feet. Includes Samuel Humphrey’s book Thomas Elfe Cabinetmaker, which depicts a near-identical example on the front cover. Height 76”. Width 43.5”. Depth 23”. 20,000/25,000
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737.
LATE SHERATON SERVER Probably Vermont, Circa 1830 In cherry with highly figured maple facings on doors and drawers. Three drawers across top. Two central cabinet doors are flanked on both sides by bottle drawers. Two full-width graduated drawers below. Turned feet. Height 42”. Width 41.75”. Depth 21.5”. 1,000/1,500
737
738.
SHERATON SERVING CHEST 19th Century In strong bird’s-eye maple and mahogany. Three shallow side-by-side drawers over three sideby-side deep drawers over two cupboard doors flanking a stack of three drawers. All drawers fitted with glass pulls. Case fronted by ropeturned columns. Bulbous turned front feet. Height 48.5”. Width 51.5”. Depth 21”. 1,000/1,500
738
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197
740
739
739.
HEPPLEWHITE CHEST Possibly Shaftsbury, Vermont, Late 18th/Early 19th Century In cherry. Overhanging top over four drawers with ebony and boxwood quarter-fan and banded inlay and old, possibly original, oval brass hardware. Elaborately shaped apron on high Hepplewhite legs. Height 36”. Width 40.5”. Depth 19”. 1,400/2,000
740.
HEPPLEWHITE CARD TABLE North Shore of Massachusetts, Circa 1790 In cherry and mahogany veneer. Cut-corner top with dark wood banded inlay along front edge. Apron with oval bird’s-eye maple panel. Tapered legs with string inlay. Height 28.5”. Width 35.75”. Depth 17.75”. 600/800
742
741
741.
198
HEPPLEWHITE LOLLING CHAIR New England, Fourth Quarter of the 18th Century In mahogany with contemporary striped upholstery. Shaped and molded arms and front legs. Legs joined by H-stretcher and are fitted with casters. Back height 43”. Seat height 17”. 800/1,200
742.
HEPPLEWHITE CARD TABLE North Shore of Massachusetts, Circa 1790 Shaped mahogany top with double string inlay along edge. Apron with rosewood banded veneer and three rectangular bird’s-eye maple panels. Tapered legs with string inlay. Height 30.75”. Width 35.5”. Depth 17.5”. 800/1,200
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743
Guy Carleton Wiggins New York/Connecticut/Florida, 1883-1962 Lots 743-744
744
743.
“Docks and Boats, Essex, Conn.” 744. “On Dorset Hills”. Signed lower left “Guy Wiggins N.A.” Titled verso. Signed lower left “Guy C. Wiggins N.A.”. Titled and Oil on canvas, 25” x 30”. Framed 33” x 38”. signed verso. Housed in a Newcomb-Macklin frame. 15,000/20,000 Oil on canvas, 25” x 30”. Framed 31” x 35”. 3,000/5,000 Provenance: Maxwell Galleries, Ltd., San Francisco.
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199
746
745
747
200
745.
FREDERICK MORTIMER LAMB Massachusetts, 1861-1936 “Solitude”. Signed lower left “F.M. Lamb”. Titled verso. Oil on board, 22” x 28”. Framed 25.5” x 31”. 300/500
746.
AMERICAN SCHOOL 19th Century Brilliant sunset over a forest pond. Unsigned. Oil on board, 7” x 6.5”. Framed 13” x 12”. 400/600
748
747.
FRANK REED WHITESIDE Pennsylvania/Maine, 1866-1929 Man and dogs in wagon. Signed lower left “F.R. Whiteside 1890”. Gouache on paper, 7” x 9” sight. Framed 13” x 17”. 300/600
748.
AMERICAN SCHOOL 19th Century A dog pulling on a drape cord. Unsigned. Pastel, 10” x 7.5” sight. Framed 14” x 12”. 500/1,000
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749.
CHARLES HENRY GIFFORD Massachusetts, 1839-1904 Coastal landscape, possibly Maine. Signed lower right “C.H. Gifford Study”. Oil on canvas, 9.5” x 14.5”. Framed 15” x 20”. 3,000/4,000 Provenance: Private Collection, Massachusetts.
749
750.
LEMUEL D. ELDRED Massachusetts, 1848-1921 Rocky coastal scene, possibly Grand Manan. Unsigned. Inscribed in pencil verso “L. Eldred”. Oil on canvas, 10.75” x 15.25”. Framed 16” x 21”. 2,500/3,000
750
751.
LEMUEL D. ELDRED Massachusetts, 1848-1921 Sailboat at sunset. Signed lower left “L.D. Eldred”.Oil on canvas, 6.25” x 10”. Framed 13.75” x 17.75”. 2,500/3,000 Provenance: Private Collection, New Bedford, Massachusetts.
751
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201
752.
EDWARD HILL New Hampshire/California/Oregon, 1843-1923 Cascading mountain stream, likely New Hampshire. Signed lower right “Edward Hill”. Oil on canvas, 18” x 13.75”. Framed 24” x 19.5”. 1,500/2,500
752
753.
EDWARD B. GAY New York, 1837-1928 Autumnal landscape, likely New Hampshire. Signed and dated lower right “Edward Gay ‘79”. Oil on canvas, 12” x 20”. Framed 17.5” x 25.5”. 2,000/3,000
753
754.
ALFRED THOMPSON BRICHER New York/New Hampshire, 1837-1908 Coastline, likely Narragansett, Rhode Island. Signed lower left “A. Bricher”. Watercolor on paper, 9” x 20”. Framed 20” x 32”. 1,500/2,500
754
202
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755.
CLARENCE E. BRALEY Massachusetts, 1854-1927 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”. 4,000/6,000 Provenance: A Connecticut Estate.
755
756.
CHARLES HENRY GIFFORD Massachusetts, 1839-1904 Fishermen on the shore. Signed lower right “C.H. Gifford”. Oil on board, 10” x 8”. Framed 15.5” x 13.5”. 5,000/7,000
756
756A. CHARLES HENRY GIFFORD Massachusetts, 1839-1904 Collection of thirteen miniature landscapes. Signed lower left and right “C.H. Gifford”. Includes numerous coastal scenes, many featuring boats. Watercolors on card stock, 1.5” x 2”. Unframed. 1,500/2,500
756A, sampling
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203
757.
WAKEMAN HOLBERTON New York, 1839-1898 Two chicks. Signed lower right “W. Holberton”. Oil on board, 6” x 8”. Framed 12.25” x 14.5”. 1,000/1,500
758.
AUGUST LAUX New York/Germany, 1853-1921 A young woman gathering hay. Signed lower right “A. Laux”. Oil on canvas, 21” x 11”. Framed 28” x 17”. 1,000/1,500
757
758 759
204
759.
EDMUND ELISHA CASE Massachusetts/Connecticut, 1844-1919 River landscape with trees. Signed lower left “Edmund E. Case”. Oil on canvas, 16” x 24”. Framed 28” x 37”. 2,000/3,000
760.
BEN FOSTER Connecticut/New York/Maine, 1852-1926 “Kattskill River at ...”. Signed lower left “Ben Foster”. Titled verso. Oil on canvas, 18” x 24”. Framed 24” x 30”. 1,500/2,500
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760
761
762
761.
ATTRIBUTED TO HARRISON BIRD BROWN Maine/Massachusetts, 1831-1915 Oakland, the residence of Theophilus Cushing Hersey, Portland, Maine, circa 1860. Unsigned. Identified and titled on frame plaque. Oil on canvas, 24” x 40”. Framed 35” x 51”. 8,000/12,000
762.
JAMES FAIRMAN New York/California, 1826-1904 Hudson River landscape. Unsigned. Oil on canvas, 31” x 52”. Framed 41” x 63”. 8,000/12,000 See A.W. Rutledge’s Cumulative Record of Exhibition Catalogues. The Pennsylvania Academy of Fine Arts 1807-1870 (Philadelphia, 1955), p.71. G.C. Groce and D.H. Wallace’s The New-York Historical Society’s Dictionary of Artists in America 1564-1860 (New Haven & London, 1979), p. 219. Provenance: John Denver. Arader Galleries. Massachusetts Collection.
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205
763
763.
GEORGE BUNN New York/Connecticut/Europe, fl. 1885-1898 The lagoon, Venice. Signed and dated 1888 lower right. Oil on panel, 12” x 18”. Framed 23” x 29”. 1,000/1,500
764.
WALTER LANSIL Massachusetts/Maine, 1846-1925 “In the Lagoon Venice”. Signed lower left. Titled, dated 1891 and signed verso. Oil on canvas, 15” x 18”. Framed 24” x 27.25”. 2,000/3,000
764
765.
GEORGE E. NILES Maine, 1837-1898 A young girl seated on a fence. Signed and dated lower right “G.E. Niles 18...”. Oil on board, 12” x 7”. Framed 13.5” x 9”. 300/500
765
Provenance: Purchased from the artist’s estate through Nellie Perrigo.
766.
GEORGE E. NILES Maine, 1837-1898 “Mount Chocora [sic] from New Boston, N.H.”. Signed lower right “G.E. Niles 18..”. Oil on canvas, 9.25” x 11.5”. Framed 11.5” x 14”. 1,200/1,500 Provenance: Purchased from the artist’s estate through Nellie Perrigo. 766
206
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767.
JOHN JOSEPH ENNEKING Massachusetts, 1841-1916 Duck pond, possibly Hyde Park, Boston. Signed and dated lower right “Enneking ‘79”. Oil on board, 10.5” x 12”. Framed 14.5” x 16.5”. 2,000/3,000
767
768.
JOHN JOSEPH ENNEKING Massachusetts, 1841-1916 Sunset over a rocky coast, possibly Maine. Signed and dated lower right “Enneking “92”. Oil on canvas, 14” x 20”. Framed 18” x 24”. 4,000/6,000 This is similar to a work depicting the coast of Ogunquit, Maine, sold at Eldred’s, August 6, 2004, Lot #1040.
768
769.
JOSEPH RODEFER DECAMP Maine/Massachusetts/Pennsylvania/Florida/Ohio, 1858-1923 Landscape with cathedral. Signed lower right “Jospeh DeCamp”. Oil on artist board, 10.5” x 15”. Framed 17” x 21.5”. 3,000/6,000
769
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207
770.
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”. 3,000/5,000 Provenance: A Connecticut Estate.
771.
JAMES BRADE SWORD Pennsylvania, 1839-1915 Toast among three men in a tavern. Signed lower left “J.B. Sword”. Oil on canvas, 30” x 25”. Framed 36” x 31”. 3,000/5,000 Provenance: Private Collection, Cape Cod, Massachusetts.
770
772.
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”. 6,000/8,000
772 771
208
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773.
J. CARLETON WIGGINS New York/Connecticut/France, 1848-1932 Sunset winter landscape. Signed lower right “J.C.”. Oil on canvas, 18” x 32”. Framed 27” x 39”. 2,500/3,500
773
774.
AMERICAN SCHOOL 19th Century Mount Adams from the Glen. Unsigned. Oil on canvas, 18” x 24”. Framed 24” x 30”. 2,000/3,000
774
775.
SAMUEL COLMAN New York/California/Maine, 1832-1920 “Spain 1861”. Unsigned. Identified and titled on a letter of authenticity from the artist’s estate attached to the reverse. Oil on canvas, 11” x 15.5”. Framed 17.5” x 22”. 2,000/3,000 Provenance: Estate of Marian Colman Shattuck, sister of the artist. By descent to her granddaughter Katherine S. Emigh.
775
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209
776.
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”. 1,000/1,500
777.
SCHOOL OF SANFORD R. GIFFORD United States, 19th Century Cattle by the water’s edge. Unsigned. Applied label verso inscribed “... . R. Gifford Phila”. Oil on canvas, 6.25” x 10”. Framed 13” x 16”. 500/700
778.
LUCY AGNES FLANNIGAN Massachusetts/Italy, c. 1870-1934 Capri sunset. Signed lower right. Gouache on paper, 7.75” x 19.5” sight. Framed 13.5” x 25”. 1,000/1,500
779.
SARAH LOIS WOOD Massachusetts, 20th Century Three works, together with a framed black and white photograph of the artist at work. Paintings include: 1) “Fog at Dawn Over the Bay”. Signed lower right “Sarah Lois Wood”. Titled on label verso. Oil on board, 3.75” x 6”. Unframed. 2) “Piling and Row Boats - West End”. Signed lower right “Sarah Lois Wood”. Titled on label verso. Oil on board, 5” x 6”. Unframed. 3) “New River, Fort Lauderdale”. Signed lower right “Sarah Lois Wood”. Titled on label verso. Oil on canvas, 16” x 24”. Framed. 600/800
776
777
778
210
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780, and at right
780.
SILAS HOADLEY TALL-CASE CLOCK New Hampshire, First Quarter 19th Century Cherry case. Bonnet with three brass finials, scrolled fret and an arched dial door flanked by simple columns. Bracket feet. Retains original wooden works with second sweep and calendar dials. Painted wooden Roman numeral dial with oval panel at crest depicting a landscape. Face signed “S. Hoadley Plymouth”. Retains weights and pendulum. Height 91.25”. Width 16”. Depth 10.5”. 1,000/1,400
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211
782
783
781
212
781.
AMERICAN TALL-CASE CLOCK First Quarter of the 19th Century Unknown maker. Cherry case. Bonnet has three brass steeple-top finials, pierced fret and arched dial door flanked by simple columns. Double arched pendulum door. Flat bracket feet. Arched painted metal Roman numeral dial with garlands and an oval cartouche with rooster in lunette and flowers at corners. Works with second sweep and inset calendar dial. Height 87”. Width 18”. Depth 9.5”. Retains pendulum and weights. 1,000/1,400
782.
ELI TERRY & SONS PILLAR & SCROLL CLOCK Circa 1830 Mahogany and mahogany veneer case with three brass finials. Painted wooden dial with Roman numerals and floral designs at corners. Retains Terry label at interior back of case. Lower door glass with reverse-painted panel depicting a house in a landscape. Height 31.5”. Width 17.25” Depth 4.5”. 500/700
783.
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”. 1,000/1,500
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784.
RARE LIGHTHOUSE CLOCK BY SIMON WILLARD & SONS Boston, Circa 1820 Fitted with original blown glass dome. Movement with bell affixed to top of brass works, all of which are mounted to the original mahogany and mahogany veneer pedestal-form base with four ball feet. White enamel dial signed “Simon Willard & Sons Patent”. Retains original crescent moon-form hand, drive weight, bell weight, pendulum and key. Height to top of glass dome 26.5”. Width 9.5”. Depth 7.75”. 70,000/90,000
784, enlarged to show detail
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213
785
785.
214
FRENCH EMPIRE SHELF CLOCK Second Quarter of the 19th Century Ornate gilt-bronze case with grape, floral and foliate designs. Dial with white enameled medallions with blue Roman numerals. Includes ebonized wood base and glass dome. Retains original pendulum and clock key. Clock height 13.5”. Width 9.75”. Depth 5”. Height of dome 18.5”. 500/1,000
786.
CHELSEA PLASTER AND GESSO SHELF CLOCK Winged angel at top and putti flanking clock face. Marble slab base. Arabic numeral dial. Face signed “Chelsea”. Works on back marked “Chelsea Clock Co. Boston U.S.A.”. Height 19.75”. Width 16.75”. 400/600
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787.
TALL-CASE CLOCK Circa 1820 American bird’s-eye maple veneer case with Scottish works. Bonnet with broken arch pediment with brass rosettes at ends, and brass-capped three-quarter columns flanking dial door. Case with arched pendulum door flanked by quarter columns with ebonized caps and string inlay. Delicate bracket feet. Roman numeral dial with second sweep and subsidiary calendar dial. Painted decoration of a British-flagged ship in lunette and floral and gilt design at corners. Dial signed “W. Spark Aberdeen”. Includes weights. Height 83.5”. Width 17”. Depth 8.75”. 2,000/3,000
788.
JACOB JONES TALL-CASE CLOCK Pittsfield, New Hampshire, 19th Century Tiger maple case. Bonnet with broken arch pediment and three finials. Brass face marked “Jacob Jones Pittsfield” with geometric design. Second sweep. Height 83”. Width 18.5”. Depth 9.75”. 1,000/2,000
787
788
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215
789.
EXCEPTIONAL CHIPPENDALE TILT-TOP TEA TABLE Boston, Circa 1775 In mahogany. Small piecrust top indicative of Boston cabinetmakers. Birdcage support. Reverse-tapered columnform pedestal with swirl carving at bottom. Arched legs with beautifully carved foliate design at knees. Elongated claw & ball feet. Height 27.75”. Top 26.38” x 25.88” with the grain. 20,000/30,000
789
790.
RARE QUEEN ANNE CARD TABLE New York, Circa 1750 In Cuban mahogany. Porringer top. Skirt with small central drawer. Four cabriole legs, the front legs with relief foliate and crosshatch carving at knees. Pad feet. Stamped beneath back edge of top “Property Mrs. J.A. Haskell”. Height 29.5”. Width 32.25”. Depth 16”. 20,000/30,000
790
Provenance: Collection and Estate of Mrs. J.A. Haskell.
216
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791
791.
TRANSITIONAL CHIPPENDALE BONNET-TOP HIGHBOY ATTRIBUTED TO ELIJAH BOOTH Southbury, Connecticut, Circa 1775 In cherry. Bonnet top with broken arch pediment and three turned urn and flame finials. Upper case with three side-by-side drawers, the central with fan carving, over three graduated full-width drawers. Corners with chamfered fluted carving. 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 claw & ball feet. Height 85.5”. Width 42.25”. Depth 19.5”. 8,000/12,000
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217
792
792.
PEMBROKE TABLE North Shore of Massachusetts, Circa 1810 In bird’s-eye maple. Shaped leaves. Single drawer in apron with wooden pull. Tapered reeded legs fitted with brass casters. Height 28”. Width 21” plus 10” drop leaves. Depth 34”. 700/900
793.
QUEEN ANNE WING CHAIR Circa 1760 Together with a non-matching period stool with turned legs. Both stool and chair with the same contemporary modified flame-stitch upholstery. Wing chair in mahogany with turned stretcher and cabriole front legs ending in pad feet. Back height 46”. Seat height 17.5”. 1,500/2,500
794.
DIMINUTIVE CHIPPENDALE PEMBROKE TABLE Circa 1780 In mahogany. Top with shaped and molded edge. Bowed apron fitted with single deep drawer with brass post and bail pull, possibly original. Carved box stretchers join square molded legs with carved corner brackets. Height 28.5”. Width 19” plus two 8.75” drop leaves. Depth 30”. 500/800
793
794
218
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795. 795
796.
HEPPLEWHITE CARD TABLE ATTRIBUTED TO JOHN SEYMOUR Circa 1800 In Cuban mahogany. Top with serpentine front, shaped sides and banded inlay along edge. Skirt with heavily figured bird’s-eye veneer. Tapered legs with string inlay. Height 30”. Width 37”. Depth 18.5”. 2,500/3,500
CHIPPENDALE BLOCK-FRONT SLANT-LID DESK Boston, Circa 1780 In mahogany. Fitted interior with block-front fan-carved drawers flanking pigeonholes and central compartment with fan-carved door. Case with four graduated full-width drawers. Bracket feet. Height 42.75”. Width 40.5”. Depth 23.5”. 6,000/8,000
796
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219
797
797.
220
CHIPPENDALE TWO-PART HIGHBOY Connecticut, 18th Century In maple. Molded cornice contains a full-width drawer. Upper section with four full-width graduated drawers. Lower case with two graduated drawers, the lower drawer simulating three, with a central fan carving. Nicely carved skirt with two acorn drops. Cabriole legs end in claw & ball feet. Period Chippendale brasses. Height 71.75”. Width 39.5”. Depth 21”. 1,500/2,500
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798
798.
CHIPPENDALE CHEST-ON-CHEST ATTRIBUTED TO ABRAHAM TOURTELLOT Gloucester, Rhode Island, Circa 1770 In maple and tiger maple. Chalk initials “A T” on backboard. Upper case with two half drawers over three graduated full-width drawers. Lower case with four graduated full-width drawers. Bold ogee bracket feet. Unusual attachment of cases with applied cleat that recedes into the top of the base. Height 73”. Width 43”. Depth 21.25”. 20,000/25,000
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221
799
799.
CHIPPENDALE BLOCK-FRONT BUREAU Boston Area, Circa 1780 In mahogany. Retains period, possibly original, hardware. Beautiful molded-edge top over four graduated full-width drawers and flat bracket feet. Height 32.75”. Width 40.25”. Depth 21.5”. 10,000/15,000
800.
QUEEN ANNE LOWBOY Central Massachusetts, Circa 1760 In cherry. Top with molded edge and nice overhang. 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 33.5”. Width 34”. Depth 19.75”. 3,500/5,000
801.
QUEEN ANNE SIDE CHAIR Boston or Coastal Massachusetts, Circa 1750 In walnut. Back with shaped crest and vasiform splat. Trapezoidal slip seat with early needlework upholstery. Cabriole legs joined with block and turned stretchers and end in turned and raised pad feet. Back height 40.5”. Seat height 19”. 800/1,200 A similar example is classified as “best” in Albert Sack’s Fine Points of Furniture.
800
801
222
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802.
QUEEN ANNE CHEST-ON-FRAME ATTRIBUTED TO CHRISTOPHER TOWNSEND Newport, Massachusetts, Circa 1750 In maple and curly maple with chestnut secondary wood. Crested top indicative of Townsend. Upper case with a full-width drawer simulating two drawers over four graduated full-width drawers. Frame with one full-width drawer. Cabriole legs end in slipper feet. Height 63”. Width 38.75”. Depth 19.25”. 3,500/4,500
802
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223
803
803.
224
HEPPLEWHITE SIDEBOARD ATTRIBUTED TO WILLIAM LLOYD Springfield, Massachusetts, Circa 1790 In cherry with mahogany veneer. Deep case with shaped top and various banded and string inlay. Central full-width drawer flanked by two drawers, all over a central cupboard flanked by two bottle drawers. Tapered legs. Handwritten tag in interior of upper drawer details the sideboard’s history pertaining to Robert Moses Ashley of Berkshire County, etc. Height 38.75”. Width 73.75”. Depth 28.5”. 16,000/18,000
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804.
CHIPPENDALE SLANT-LID DESK Circa 1780 In maple and tiger maple. Retains original hardware. Slant lid encloses interior pigeonholes, drawers and open central compartment. Case with four graduated full-width drawers with molded edges. Flat bracket feet. Height 43.75”. Width 37.25”. Depth 19.5”. 3,000/5,000
805.
PAIR OF QUEEN ANNE SIDE CHAIRS Boston, Third Quarter of the 18th Century In walnut. Seats with contemporary gold upholstery. Backs with vasiform splats and cyma-curved stiles. Original slip seat frames with shaped apron. Cabriole legs are joined by block and turned stretchers and end in pad feet. Back heights 40.75”. Seat heights 18”. 3,000/6,000
806.
QUEEN ANNE SIDE CHAIR Portsmouth, New Hampshire Area, Mid-18th Century In figured maple with old floral needlework overupholstered seat. Back with carved and molded crest rail, vasiform backsplat and cyma-curved stiles. Cabriole front legs joined by H-stretcher and end in square molded and shaped feet. Back height 41.5”. Seat height 18”. 600/900
804
806 805, pair
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225
808 807
807.
QUEEN ANNE HANDKERCHIEF TABLE Williamsburg, Virginia Area, Circa 1760 In mahogany with yellow pine secondary wood. Straight tapered legs end in pad feet. Height 26.75”. Width 31.5”. Depth 16”. 2,500/3,500
808.
QUEEN ANNE CORNER CHAIR Rhode Island, Circa 1760 In mahogany with old, possibly original, finish. Low crest rail with delicate scrolled ends. Scrolled-out arms. Owl’s-eye pierced splats. Original chestnut seat frame. Straight legs end in pad feet. Old paper label on interior of seat frame marked “Daddy Coffin’s chair. Belonged to Ddg’s great great grandfather”. Believed to be the Coffin family of Nantucket. Back height 32”. Seat height 19”. 2,500/3,500
809
810
809.
226
QUEEN ANNE TILT-TOP CANDLESTAND Virginia, Circa 1760 In Cuban mahogany. Square top on a vasiform pedestal raised on cabriole legs ending in shoed snake feet. Height 27.75”. Top approximately 19.5” x 19.5”. 1,500/2,000
810.
SHERATON SEWING STAND Coastal Massachusetts, First Quarter of the 19th Century In mahogany. One-board overhanging top over a fitted drawer and sewing slide with gold fabric bag. Delicate turned and spiral-carved tapered legs end in ball feet. Height 27.5”. Width 19.5”. Depth 15.5”. 600/900
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811
811.
AMERICAN SCHOOL Circa 1830 Primitive three-quarter length portrait of a young girl with blue eyes and blond ringlets. She is wearing a blue dress and holding a basket of flowers in her left hand and a floral sprig in her right hand as she stands beside a table with a red sewing basket, scissors and thimble. Housed in a bird’s-eye maple frame. Oil on canvas, 30” x 25”. Framed 33” x 28”. 7,000/10,000
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227
812
813
812.
AMERICAN SCHOOL Early 20th Century Farmer with two horses and a dog. Unsigned. Oil on canvas, 26.5” x 33”. Framed 37” x 43”. 500/700
814.
WILLIAM HENRY JOHNSON District of Columbia/South Carolina/Denmark/Norway, 1901-1970 Three portrait sketches. Each signed lower right “W.H. Johnson 34”. Watercolors on paper, 4.5” x 3.5”, 4.5” x 4.5” and 4.75” x 4.5”. Unframed. 800/1,200
813.
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”. 500/700
814
228
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815.
ATTRIBUTED TO GEORGE HENRY DURRIE Connecticut, 1820-1863 A mother and child walking down a snow-covered path toward a homestead. Unsigned. Oil on canvas, 26” x 36”. Framed 34” x 45”. 10,000/15,000
815
816.
JOHN JAMES AUDUBON New York/France, 1785-1851 “Swift Fox”, No. 11, Plate LII from the Imperial Folio edition of “The Viviparous Quadrupeds of North America” first edition, published in Philadelphia by James T. Bowen in 1844. The edition was published between 1839 and 1844 and was originally issued and sold by subscription in thirty parts, five plates per part. Hand-colored lithographed plate, 21” x 25” sight. Framed 30” x 33.5”. 3,000/5,000
816
A highly skilled printer, J.T. Bowen produced the set for Audubon in collaboration with his two sons. Audubon’s extensive travel and study of birds fueled his aspiration to produce a similarly monumental record of the quadrupeds native to North America. He believed this study would serve as an appropriate culmination of his life’s work to create a complete scientific record of the animals of this continent.
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229
817.
CHARLES EDWIN LEWIS GREEN Massachusetts, 1844-1915 Two cows in a pasture. Signed lower right “C.E.L. Green”. Oil on canvas, 26.25” x 36”. Framed 30.75” x 40.5”. 1,000/1,500
818.
CHARLES HAROLD DAVIS Connecticut/New York/Massachusetts/France, 1856-1933 A house through fall foliage. Signed lower left “C.H. Davis”. Oil on canvas, 13” x 16”. Framed 18” x 21”. 1,500/2,500
819.
LUIGI LUCIONI New Jersey/New York/Vermont/ Italy, 1900-1988 Sunlight through the trees. Signed lower left “L. Lucioni”. Oil on board, 5.5” x 8.5” sight. Framed 11.5” x 14.5”. 3,000/5,000
817
818
Provenance: Private Collection, Florida.
819
230
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820
820.
ROBERT SALMON Massachusetts/England, 1775-c. 1848 “Loch Lomond”. Signed and titled verso “RS Loch Lomond”. Oil on board, 7.75” x 9.75”. Framed 16” x 18”. 20,000/30,000 Provenance: Kennedy Galleries, New York. Skinner Inc., November 21, 2003, Lot #209. Private Collection, Massachusetts.
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231
821.
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”. 600/900 Provenance: A Connecticut Estate.
821
822.
WILLIAM MERRITT POST Connecticut/New York, 1856-1935 “The Waning Day”. Signed lower right “W. Merritt Post”. Titled on label verso. Oil on canvas, 18” x 24”. Framed 27.5” x 33.5”. 1,000/2,000 Provenance: Private Collection, New York.
822
823.
GEORGE MCCONNELL Maine/Ohio, 1852-1929 Lighthouse and other buildings on a rocky coastline. Signed and dated lower left “Geo McConnell 190[?]”. Oil on canvas, 5.5” x 13.25” sight. Framed 12.25” x 20”. 800/1,000
823
232
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824.
AMERICAN SCHOOL Late 19th Century Haystacks in a landscape. Unsigned. Oil on canvas, 10” x 14”. Framed. 800/1,000
825.
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
824
825
826
826.
MARY BRADISH TITCOMB Massachusetts/New Hampshire, 1858-1927 A view of Plymouth Harbor. Inscribed in pencil upper right “Plymouth 93”. Unsigned but taken from the artist’s sketchbook. Pencil on paper, 8.5” x 10” sight. Framed 15.5” x 17.5”. 800/1,200
827.
MARY BRADISH TITCOMB Massachusetts/New Hampshire, 1858-1927 Sketch of a Plymouth home. Inscribed in pencil upper right. Unsigned but taken from the artist’s sketchbook. Pencil on paper, 8.5” x 10” sight. Framed 15.5” x 17.5”. 800/1,200
827
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233
828.
LILY DULANY EMMET CUSHING New York/Rhode Island, 1909-1969 “Long Hair”. Signed verso “Lily Cushing”. Remnants of an Associated American Artists label also on reverse. Titled on label. Oil on masonite, 14” x 10”. Framed 20” x 16”. 500/1,000
829.
ROBERT ATWOOD Tennessee/New Jersey, 1892-1970 Coastal houses. Signed and dated lower left “Robert Atwood 1924”. Oil on board, 12” x 16”. Framed 19.5” x 23.5”. 800/1,200
830.
MORRIS WALTON LEADER Texas, 1877-1966 Autumnal landscape. Signed lower right “Walton Leader”. Oil on canvas, 23.63” x 29.75”. Framed 30” x 35”. 1,000/1,500
831.
ATTRIBUTED TO CHARLES HERBERT MOORE Massachusetts/New York, 1840-1930 “Lake George”. Unsigned. Identified and titled on frame plaque. Oil on canvas, 12” x 18”. Framed 18.5” x 24.5”. 1,500/2,500
828
830
234
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831
832
833
832.
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”. 20,000/30,000
833.
PAULINE WRIGHT NICHOLS Louisiana/Mississippi, 1889-1983 Bayou scene. Signed amd dated lower right “Nichols ‘70”. Oil on board, 32” x 40”. Framed 44” x 50”. 3,000/5,000
Provenance: American Illustrators Gallery/Judy Goffman Cutler Fine Art, New York. From a Nantucket Collection.
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235
834
835
834.
ARTHUR MILLER United States, b. 1957 House on the curve. Signed lower right “Arthur J. Miller”. Oil on board, 24” x 30”. Framed 29” x 35”. 700/1,000
835.
CHILDE HASSAM New York/Massachusetts, 1859-1935 “Wayside Inn-Oaks in Spring”, 1926. Signed and dated with the artist’s cypher within the matrix. Further signed with cypher and inscribed “imp” in pencil lower right. Etching, 10” x 7.75” plate. Framed 19” x 16.5”. 2,000/3,000
836.
ATTRIBUTED TO FLORENCE PEERS LEIF Rhode Island, 1913-1968 Floral still life. Unsigned. Identified verso. Oil on canvas, 25” x 30”. Framed 33” x 38”. 1,500/2,500
837.
AMERICAN SCHOOL Early 20th Century Pointillist-style harbor scene. Unsigned. Oil on canvas, 14” x 18”. Unframed. 800/1,200
836
837
236
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838
838.
HARRY HERMAN ROSELAND New York, 1866-1950 “Wonderful Future”. Signed faintly lower right. Titled on frame plaque. Signed and titled on label verso. Oil on panel, 9.25” x 12”. Framed 16” x 18.5”. 5,000/7,000
839.
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”. 800/1,200
839
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237
840
841
840.
238
AMERICAN SCHOOL 19th Century “Running Home - Mattapoisett Harbor”, depicts a yacht off a lighthouse. Unsigned. Watercolor, 17” x 23” sight. Framed 24” x 30.5”. 2,500/3,500
841.
AMERICAN SCHOOL 19th Century Smuggler’s cove. Unsigned. Oil on canvas, 18” x 24”. Framed 21” x 28”. 1,200/1,800
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842
842.
QUEEN ANNE HIGHBOY New Hampshire, Circa 1760 In a desirable small size. In maple and curly maple. Upper case with five graduated full-width drawers with molded edges. Lower case with a full-width drawer over a single drawer simulating three, with central fan carving. Skirt with acorn drops. Cabriole legs end in pad feet. Height 68”. Width 37.5”. Depth 19.5”. 2,000/3,000
843.
GILT TABERNACLE MIRROR Early 19th Century Carved basket of flowers and fruit in upper panel. Height 36”. Width 16.5”. 200/400
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239
844.
QUEEN ANNE LOWBOY ATTRIBUTED TO E. CHAPIN Hartford, Connecticut, Circa 1760 In cherry under an old dark finish. Period hardware appears to be original. Moldededge top. Case with a full-width drawer over three side-by-side drawers, the central with fan carving. All drawers with molded edges. Cabriole legs end in pad feet. Height 29.75”. Width 32.25”. Depth 19.75”. 2,000/3,000
845.
SHERATON ONE-DRAWER STAND Circa 1810 In curly and tiger maple. Drawer with turned wooden knob. Delicate turned legs. Height 29”. Width 20”. Depth 19.5”. 400/600
844
846.
CHIPPENDALE BLOCK-FRONT SLANT-LID DESK Connecticut, Circa 1780 In mahogany and mahogany veneer. Shell-carved slant lid opens to reveal interior drawers, shaped and stepped pigeonholes and a central compartment with shell inlay. Case with four graduated full-width drawers with molded edges. High flat bracket feet. Height 44.75”. Width 39.75”. Depth 19.5”. 1,500/2,500
847.
CHIPPENDALE MIRROR Circa 1800 In mahogany. Scrolled crest with nicely carved ears and a central carved phoenix. Height 36.5”. Width 18.25”. 200/300
240
846
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848 849
848.
SHERATON TWO-DRAWER STAND 19th Century In tiger maple and pine. Drawers with strong tiger maple fronts and circular brass pulls. Turned legs fitted with brass casters. Height 27.75”. Width 23.5”. Depth 21”. 300/400
849.
WALLACE NUTTING BOWBACK WINDSOR ARMCHAIR 20th Century Under a brown stain. Branded “Wallace Nutting” and with paper label on underside. Back height 40.5”. Seat height 18”. 600/900
850.
CHIPPENDALE WING CHAIR Second Half of the 18th Century In mahogany with beige linsey-woolsey upholstery. Square molded legs joined by H-stretcher. Back height 48”. Seat height 17.5”. 2,000/3,000
851.
TILT-TOP CANDLESTAND Coastal Massachusetts, Second Half of the 18th Century In mahogany, under old, possibly original, finish. Rectangular top with deeply rounded cut corners. Wellproportioned ring- and urn-turned tapered shaft raised on three cabriole legs ending in elongated padded slipper feet. Height 27.25”. Top 17” x 23.25”. 600/900
851
850
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241
852
853
854
242
852.
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
853.
CHIPPENDALE SIDE CHAIR Boston, Circa 1780 In mahogany with needlework upholstery on slip seat. Bold cupid’s-bow crest rail with deeply carved ears and a deeply carved central shell flanked by acanthus carvings. Owl’s-eye back splat. Original seat frame raised on square molded front legs joined by a box stretcher. Back height 38.5”. Seat height 17.5”. 500/800
854.
CHIPPENDALE SLANT-LID DESK Circa 1790 In maple. Top opens to reveal fitted interior. Case with four drawers, central fan-carved drop at skirt and shaped bracket base. Case drawers with brass bail handles. Height 42.75”. Width 36.25”. Depth 20.75”. 700/1,000
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855.
QUEEN ANNE TWO-PART HIGHBOY Circa 1780 Upper case with stepped cornice over two fan-carved half drawers over four graduated full-width drawers. Lower case with two full-width drawers, the lowest drawer simulating three fan-carved side-by-side drawers. Shaped skirt. Cabriole legs end in pad feet. Drawers fitted with brass bail handles. Height 76”. Width 38.5”. Depth 21.5”. 1,000/2,000
855
856.
QUEEN ANNE HIGHBOY Possibly Connecticut River Valley, Circa 1760 In cherry and curly maple. Upper case with molded cornice over five graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Shaped apron. Cabriole legs end in Queen Anne pad feet. Drawers retain period, possibly original, brass hardware. Height 67.5”. Width 37”. Depth 19”. 1,200/1,800
856
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243
857
857.
HEPPLEWHITE THREE-PART DINING TABLE New England, Late 18th/Early 19th Century In curly maple. Rectangular drop-leaf central section and two D-form ends. Tapered legs. Height 27.75”. Length fully extended approx. 80”. Width 37.5”. 800/1,200
858
858.
244
QUEEN ANNE-STYLE TRIPLE PEDESTAL DINING TABLE 20th Century In mahogany. Ring and column-turned pedestals raised on cabriole legs ending in pad feet. Height 30”. Width 48”. Length approximately 149”. Includes two 24” leaves. 1,000/2,000
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859
859.
SHERATON WORK TABLE Connecticut, Circa 1805 In curly maple and maple with bird’s-eye maple veneer to skirt. Porringer top. Apron fitted with two work slides and a sewing basket slide. Delicate tapered turned legs with three-quarter spool turnings at tops and incised rings down the length. Height 26.25”. Width 19.25”. Depth 19.25”. 600/900
860.
HEPPLEWHITE PEMBROKE TABLE 19th Century In mahogany and mahogany veneer with fruitwood string inlay. Single drawer with two circular brass pulls. Tapered legs end in spade feet. Height 28”. Width 18” plus two 11” drop leaves. Depth 32”. 300/500
861.
QUEEN ANNE CHEST ON FRAME Late 17th Century In maple. Shaped cornice over five graduated full-width drawers with brass bail handles. Shaped bracket base. Cabriole legs end in pad feet. Height 62”. Width 40”. Depth 19”. 700/1,000
860
861
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245
862.
PAIR OF QUEEN ANNE-STYLE CORNER CUPBOARDS Late 19th Century In mahogany veneer. Arched tops. Both with two glazed paneled doors enclosing two interior shelves and two paneled doors enclosing a single shelf. Bun feet. Heights 68”. Widths 26”. Take an 18” corner. 1,400/1,800
863.
ENGLISH DEMILUNE SERVER Late 19th Century In mahogany and mahogany veneer. Raised shelf supported by a backboard and columns. Case with two half drawers over two cupboard doors. Drawers with carved leaf decoration and doors with fruitwood patera inlay. Height 50.5”. Width 45.5”. Depth 29”. 500/800
862, pair
863
246
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865
864
864.
HEPPLEWHITE BOWFRONT BUREAU Circa 1800 In mahogany and mahogany veneer. Four full-width drawers with brass oval pulls with cornucopia design. French splayed bracket base. Height 36”. Width 41”. Depth 21.5”. 600/900
865.
CHIPPENDALE-STYLE WRITING TABLE Circa 1910 In mahogany. Leather-covered slide above single drawer with brass ring pulls. Bold shell-carved apron. Acanthus leaf-carved legs end in claw & ball feet. Height 30”. Width 35.5”. Depth 21.5”. 700/900
867
866
866.
QUEEN ANNE BIRDCAGE TILT-TOP TABLE Circa 1770 In mahogany. Ring and urn-turned shaft raised on three arched legs ending in elongated slipper feet. Height 28.25”. Diameter 28”. 300/500
867.
CHIPPENDALE SLANT-LID DESK American, Circa 1780 In maple. Fitted interior with pigeonholes and drawers. Case with four drawers and brass bail pulls. On original shaped bracket base. Height 43”. Width 42”. Depth 22”. 700/1,000
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247
869
868
870
868.
“Evening on the Mooring”. Signed lower left “W. Davis”. Titled verso. Oil on panel, 10” x 8”. Framed 16” x 14”. 3,000/5,000
869.
“Becalmed”. Signed lower left “W. Davis”. Titled verso. Oil on panel, 5” x 7”. Framed 8” x 10”. 1,800/2,200
870.
“Mount Desert, Autumn Show”. Signed lower left “W. Davis”. Titled verso. Oil on panel, 5” x 7”. Framed 8” x 10”. 1,800/2,200
William R. Davis Massachusetts, b. 1952 Lots 868-875
248
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871.
“River Twilight”. Signed lower left “W. Davis”. Titled verso. Oil on panel, 5” x 7”. Framed 8” x 10”. 1,800/2,200
872.
“Quiet Inlet”. Signed lower left “W. Davis”. Titled verso. Oil on panel, 6” x 8”. Framed 9” x 11”. 1,500/2,500
873.
“On the Road Back (Tuscany, May 2014)”. Signed lower left “W. Davis”. Titled, dated and signed verso. Oil on panel, 6” x 8”. Framed 9.5” x 11.5”. 800/1,200
874.
“Twilight Sail”. Signed lower left “W. Davis”. Signed, titled and dated 2000 verso. Oil on panel, 10” x 8”. Framed 15.5” x 13.5”. 2,000/3,000
875.
“December Sunset”. Signed lower right “William R. Davis”. Titled verso. Oil on board, 12” x 16”. Framed 16” x 19”. 1,500/2,500
871
872
873
874
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875
249
876.
Dune scene. Signed and dated lower left “A. Packard ‘88”. Oil on canvas, 12” x 14”. Framed 19” x 21”. 2,000/4,000
877.
Provincetown marshes. Signed lower left “A. Packard ‘88”. Oil on canvas, 12” x 14”. Framed 19” x 21”. 3,000/5,000
878.
Two dories under a cloudy sky. Signed lower right “A. Packard”. Oil on board, 5” x 7”. Framed 9.5” x 11.5”. 900/1,100
879.
Sailboat, low tide. Signed lower left “A. Packard”. Oil on board, 5” x 7”. Framed 10” x 7.5”. 900/1,100
876
877
878
Anne Packard Massachusetts/New Jersey, b. 1933 Lots 876-881
879
250
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880.
Dune landscape, Provincetown. Signed lower left “A. Packard ‘87”. Oil on canvas, 20” x 20”. Framed 24” x 24”. 5,000/7,000
880
881.
Dune landscape. Signed lower left “A. Packard”. Oil on panel, 5” x 10”. Framed 8” x 13”. 1,200/1,800
881
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251
Nancy Whorf Massachusetts/Florida, 1930-2009 Lots 882-889
882
882.
252
One-door jelly cupboard with painted decoration. Cornice inscribed “Hungar [sic] is the best sauce Wellfleet, Mass. 1975 Whorf ”. Paneled door with panels depicting a heart, a German verse dated 1834, and bird, floral and heart decoration. Four-shelf interior painted blue. Remainder of case with classic Peter Hunt-style heart, rose, bird and swag decoration on a blue ground. Height 62.5”. Width 42.25”. Depth 20”. 800/1,200
883.
Painted footstool with bird, heart and rose decoration on a white ground. Signed on top at left “Whorf ”. Height 17.75”. Length 21”. Depth 9”. 150/200
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884.
Painted two-tier hanging shelf and matching server. Both with classic Peter Hunt-style bird, heart, rose and floral decoration on a blue ground. Shelf unsigned. Height 34”. Width 34”. Depth 8”. Matching server with a single low shelf. Signed on top right “Whorf ”. Height 29.5”. Length 43”. Depth 18.5”. 400/700
884
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253
Nancy Whorf Massachusetts/Florida, 1930-2009 Lots 882-889
885
885.
Double-sided semi-circular plywood fire screen with painted decoration. One side with “Battle of the U.S.S. O’Konoghi and H.M.S. Alert 1872”. The other side with depiction of a mythological garden party. Unsigned. Height 17.25”. Length 34”. 300/500
886.
Pine fire screen depicting a New England coastal scene including a two-masted ship in the distance. Signed on reverse “Whorf ”. Height 33.75”. Width 46”. 500/800
887.
Treenware bowl with painted rooster decoration. Inscribed “Good Morning” and “Whorf ” on interior and “Truro, Mass. Hillside Farm” on exterior. Height 3”. Diameter 11”. 200/250
888.
Collection of eight Nancy Whorf or Peter Hunt painted items. 1) Two-tier bar cart on rollers with heart and rose decoration. Signed “Whorf ” in lower left of tray. Height 25.5”. 2-4) Three candlesticks: a pair, height 8”, and a single, height 7”. One of pair and single signed “Whorf ”. 5) Peter Hunt scoop. Length 15”. Signed on back. 6) Miniature frame with heart decoration. Height 4.25”. Unsigned. 7) Tin tray with fisherman and fish. Signed “anno domini 58”. 13” x 13”. 8) Mirror with Whorf angel and floral decoration on a green ground. Height 22”. 300/400
889.
Set of six Scandinavian plank-seat side chairs with painted decoration. Chairs with pierced backs and recessed dish-form seats on turned legs. Classic Peter Hunt-style bird, flower and rose decoration on a blue ground. Signed “Whorf ” on seats. Back heights 39.5”. Seat heights 17.75”. 500/800
886
887
254
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889
890.
PETER HUNT Massachusetts, 1896-1967 Serigraph print of a perched owl, with Don Quixote figures depicted in eyes. Signed in red “Peter Hunt” lower left within print. Not numbered or pencil-signed. 31.75” x 25.75”. Unframed. 150/250
891.
PETER HUNT Massachusetts, 1896-1967 Low table with painted decoration of hearts and fruit on a white ground. Oval top signed “O’vince” on border. Height 17.5”. Top 29” x 22”. 300/500
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891
255
892.
WILLIAM F. BOOGAR, JR. Provincetown, Massachusetts, 1893-1958 Two bronze seahorse-form letter openers. Signed “Boogar Jr.” on blades. Lengths 9”. 200/300
893.
MICHAEL RIDDET Wisconsin/Illinois, b. 1947 “The Preparator”. Signed lower left “Michael James Riddet”. Titled verso. Acrylic on panel, 8” x 10”. Framed 12” x 14”. 600/900
894.
JOHN CUTHBERT HARE Massachusetts/Florida, 1908-1978 Winter in New England. Signed lower right “John Hare”. Watercolor, 16” x 24” sight. Framed 24” x 33”. 800/1,200
895.
CLARE LEIGHTON Connecticut/United Kingdom, 1898-1989 “Oyster Houses, Wellfeet”. Signed in pencil lower right “Clare Leighton”. Titled and number 102/200 lower left. Lithograph on paper, 8.5” x 10” sight. Framed 20” x 16”. 400/600
893
894
895
256
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896
897
896.
VERNON B. SMITH 897. OLIVER NEWBERRY CHAFFEE, JR. Massachusetts, 1894-1969 Massachusetts, 1881-1944 “Sea Rhythm”. Carved signature lower left “Seagulls, 1943”. Signed lower left “Chaffee”. “V. Smith”. Titled on the remnants of label verso Titled on label verso. Oil on canvas, 21” x 26”. for Kraushaar Galleries, New York. Carved and Framed 27” x 30”. 2,500/3,500 painted wood bas relief, 12.5” x 50.5”. 4,000/6,000 Provenance: Given by the artist to the consignor’s family, a private Rhode Island collection.
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257
898
898.
PROVINCETOWN SCHOOL Mid-20th Century “Provincetown Harbor”. Unsigned. Titled on stretcher. Oil on canvas, 12” x 30”. Framed 12.5” x 31”. 400/600
899.
LORETTA FEENEY Massachusetts, b. 1961 Floral landscape with cottages. Signed lower right “Feeney”. Oil on canvas, 16” x 20”. Framed 19.5” x 23.5”. 1,000/1,500
900.
ALICE MONGEAU United States, Contemporary “Edgartown Light”. Signed lower left “Mongeau”. Signed verso. Oil on linen, 16” x 20”. Framed 24” x 28”. 2,000/3,000
901.
PROVINCETOWN SCHOOL 20th Century Three works by Ethel Edwards (1915-1999) and Xavier Gonzalez (1898-1993). Each work is personally inscribed from the artists. 1)Study of a nude. Signed lower right “XG ‘67”. Mixed media, 14” x 11”. 2) “Cueuca, Spain”. Signed, titled and dated 1968 lower right. Watercolor on paper, 18” x 24”. 3) “Invisible Forests #4”. Signed lower left “Ethel Edwards”. Mixed media on paper, 6” x 4”. Largest frame 18” x 24”. 400/600 Edwards and Gonzalez were married and were active artists in Provincetown during the Mid-20th Century.
899
258
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900
902
902A
902.
Joseph McGurl
Fly fisherman casting. Signed lower right “Joseph McGurl”. Oil on board, 9.5” x 12”. Framed 14.5” x 17.5”. 1,000/1,500
Massachusetts, b. 1958 Lots 902-902A 902A. A cove on Boston Harbor. Signed lower right “Joseph McGurl”. Signed verso. Oil on canvas board, 11” x 14”. Framed. 5,000/7,000
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259
903
904
905
260
906
903.
LAURIE WARNER Massachusetts, Contemporary Coastal dune scene. Signed lower left “L. Warner”. Oil on canvas, 16” x 20”. Framed 21.5” x 25.5”. 800/1,000
905.
RUTH D. HOGAN Massachusetts, b. 1943 “View from Portuguese Hill”. Signed lower right “Hogan”. Oil on canvas, 16” x 24”. Framed 21” x 30”. 500/1,000
904.
LAURIE WARNER Massachusetts, Contemporary “Final Bouquet for the Year”. Signed lower left “L. Warner”. Oil on canvas, 16” x 20”. Framed 22” x 26”. 800/1,000
906.
FRANK MILBY Massachusetts, b. 1933 Bouquet of lilacs. Signed lower right “Milby”. Oil on canvas, 20” x 24”. Framed 26.75” x 30.75”. 1,200/1,800
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907
908
907.
PETER QUIDLEY Massachusetts, Contemporary Women picking flowers. Signed and dated lower right “Quidley ‘86”. Oil on canvas, 40” x 50. Framed 47” x 57”. 3,000/5,000
908.
MICHAEL KEANE Massachusetts, 1948-2015 Seascape with sailboats. Signed lower right “Keane”. Signed and dated “demo 1986” on stretcher. Oil on canvas, 16” x 20”. Framed 19.5” x 24”. 6,000/8,000 Provenance: Private Collection, Cape Cod, Massachusetts.
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261
909.
“Arrowback Settee”. Signed lower right “R. Cahoon”. Titled lower center. Oil on masonite, 22” x 26”. Framed 27” x 31”. 20,000/30,000
910.
Pair of painted wooden eggs. Both depict two sailors, all holding French pennants, in hot air balloons over a primitive country landscape. Both signed and dated “R. Cahoon 1978”. Include differing carved wooden Chinese-style stands. Heights 5”. 3,000/5,000 The consignor is a friend of Franz Cahoon, Ralph’s son. To Franz’s knowledge, these are the only two eggs his father ever painted.
909
910
262
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Ralph E. Cahoon, Jr. Cape Cod, 1910-1982 Lots 909-911
911
911.
“American Seamen’s Society”. Signed lower right “R. Cahoon”. Oil on masonite, 22” x 28”. Framed 26” x 32”. 30,000/50,000 Exhibited: Cahoon Museum of American Art, 2006.
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263
912
912.
ELIZABETH MUMFORD Cape Cod, Contemporary “The Floyd house - Irving Ave Hyannis Port”. Depicts a man on horseback and two women in a horse-drawn carriage in front of a seaside house. Signed and dated lower right “Elizabeth Mumford 84”. Titled lower left. Oil on pine board, 11.25” x 15”. Framed 12” x 15.75”. 600/900
913.
ELIZABETH MUMFORD Cape Cod, Contemporary “There is a Poetry of Sailing as Old as the World”. Signed lower left “Elizabeth Mumford”. Titled along border. Oil on board, 10” x 12”. Framed 15” x 17”. 1,000/1,500 Provenance: Mystic Seaport Gallery.
913
914.
915.
FRED HAMILTON DANIELS Massachusetts, 1872“Calm Harbor”. Signed and dated lower right “F.H. Daniels 1946”. Titled verso. Oil on board, 16” x 20”. Framed 19” x 23”. 500/1,000
914
FRED HAMILTON DANIELS Massachusetts, 1872“The Green Sea”. Signed and dated lower left “F.H. Daniels 1944”. Titled verso. Oil on board, 14” x 18”. Framed 17.5” x 21.5”. 500/1,000 Fred Hamilton Daniels worked extensively on Martha’s Vineyard.
915
264
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916.
HAROLD MATTHEWS BRETT Massachusetts, 1880-1955 “The Coal Miner”. Signed lower right “H.M. Brett”. Titled verso. Oil on canvas, 39” x 32”. Framed 42” x 35”. 1,500/2,500
917.
ROSS E. MOFFETT Massachusetts/California/Iowa, 1888-1971 “The Provincetown West End.” Signed lower left. Titled in pencil verso. Oil on canvas board, 12” x 9.75”. Framed 18.25” x 16.25”. 2,000/3,000
918.
JOHN MULVANY New York/Missouri, 1844-1906 Portrait of a gentleman. Signed middle left “J ... Mulvany”. Oil on canvas, 20” x 16”. Unframed. 1,000/1,500 The consignor purchased this painting as a possible portrait of outlaw Jesse James.
916
917
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918
265
919
919.
DENNIS SHEEHAN New Hampshire/Massachusetts, Contemporary “The Fishing Hole”. Signed and dated lower right “Sheehan ‘93”. Oil on canvas, 24” x 20”. Framed 29” x 25”. 1,200/1,800
920.
ELIZABETH PRATT New York, d. 1964 Truro house and barn. Signed lower right “Elizabeth Pratt”. Watercolor on paper, 18” x 28” sight. Framed, 26” x 36”. 400/600
920
921.
922.
DOROTHY LOEB Massachusetts/Illinois/California/Mexico, 1887-1971 Provincetown Harbor. Signed lower left and lower right “Dorothy Loeb”. Mixed media, 14” x 17”. Framed 20” x 23.5”. 400/600
921
JEAN LIBERTE New York/Italy, 1896-1965 Provincetown Harbor abstract. Signed lower right “Liberte”. Gouache on paper, 10” x 16”. Framed 17” x 22”. 400/600
922
266
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923
924
923.
Barn at the side of the road. Signed lower right “Cardinal”. Oil on canvas, 9.25” x 11”. Framed 12.75” x 15.75”. 1,500/2,000
924.
Highland Light. Signed lower left “Cardinal”. Oil on canvas, 24” x 24”. Framed 29” x 29”. 3,000/4,000
Robert Cardinal Massachusetts/New York/Canada, b. 1936 Lots 923-924
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267
925.
DONALD STOLTENBERG Massachusetts, 1927-2016 “North Station EL”, depicting a scene under a bridge. Label verso for Kanegis Gallery, Boston, dated 1957. Oil on canvas, 30” x 50”. Unframed. 800/1,200
925
926.
HAROLD C. DUNBAR Massachusetts, 1882-1953 “Evening on the Beach, Chatham”, depicting four dories, figures and a ship on the horizon. Signed lower right “Harold Dunbar”. Titled and signed verso. Oil on masonite, 28” x 36”. Framed 32” x 40”. 1,500/2,500
926
927.
KATHERINE ANN HARTLEY New York/Arizona/Massachusetts, b. 1959 Still life of pears and grapes. Signed lower right “KAH”. Oil on canvas, 14” x 28”. Framed 20” x 35”. 2,500/3,500
927
268
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929
928
928.
“In the Studio”. Signed lower left “Roark”. Titled verso. Oil on canvas, 14” x 10”. Framed 18” x 14”. 700/1,000
929.
“Autumn Glow, Blackfish Creek”. Signed lower right “Roark”. Titled verso. Oil on board, 6” x 12”. Framed 9” x 15”. 500/1,000
930.
930
Robert K. Roark Massachusetts/New York, b. 1944 Lots 928-930
“Twilight”. Signed lower left “Roark”. Titled verso. Oil on board, 8” x 12”. Framed 12” x 16”. 800/1,200
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269
931.
931
932.
ELDRED WHEELER QUEEN ANNE-STYLE LOWBOY Massachusetts, Late 20th Century In tiger maple with strong tigering on drawer fronts. Overhanging top with molded edge. Two small drawers with brass bail handles. Shaped apron with acorn drops. Cabriole legs end in pad feet. Retains Eldred Wheeler label on underside. Height 27”. Width 32”. Depth 19”. 900/1,200
PAIR OF ELDRED WHEELER QUEEN ANNE-STYLE ARMCHAIRS Massachusetts, Late 20th Century In tiger maple with cream quilted upholstery on seats. Backs with scrolled-out rabbit ears and a solid splat. Knuckle arms. Eldred Wheeler stamp on H-stretchers. Back heights 39”. Seat heights 17.5”. 700/1,000 932, pair
933.
PAIR OF ELDRED WHEELER HEPPLEWHITE-STYLE ONE-DRAWER STANDS Massachusetts, 20th Century In curly maple with overhanging tops and square tapered legs. Drawers with cockbead molding. Retain Eldred Wheeler labels inside drawers. Heights 27.75”. Widths 18.75”. Depths 17.5”. 500/700
933, pair
270
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934
934.
ELDRED WHEELER DUNLAP QUEEN ANNE-STYLE CHEST-ON-CHEST ON FRAME 20th Century In maple and tiger maple. Cornice with serrated and dentil moldings. Upper case with three side-by-side drawers over four graduated full-width drawers. Lower case with four full-width drawers, the bottom drawer simulating three side-by-side drawers with central fan carving. Frame with repetitive serrated molding, scrolled and fan-carved skirt, and cabriole legs ending in pad feet. Drawers with brass bail handles. Retains original paper label. Signed and dated in pen “Emmett Eldred Eldred Wheeler 10/30/90”. Height 79.5”. Width 41”. Depth 21.75”. 4,500/6,500
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271
935
935.
272
936
ELDRED WHEELER QUEEN ANNE-STYLE FLAT-TOP TWO-PART HIGHBOY Massachusetts, 20th Century In cherry. Molded shaped cornice. Upper case with three side-by-side drawers, the central with fan carving, over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Cabriole legs end in pad feet. Retains original paper label inside drawer. Height 71”. Width 36”. Depth 19”. 1,800/2,200
936.
CUSTOM-MADE QUEEN ANNE-STYLE HIGHBOY Dated 1995 By B.R. Howrath of Portsmouth, Rhode Island. In tiger maple. Upper case with three side-by-side drawes, the central with fan carving, over four graduated full-width drawers. Lower case with a full-width drawer over three varying side-by-side drawers. Apron with central circular fan carving. Cabriole legs end in modified pad feet. Signed and dated on interior backboard. Height 72”. Width 38.5”. Depth 18.25”. 2,000/3,000
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937
937.
QUEEN ANNE-STYLE DINING TABLE Late 20th Century By Simply New Hampshire Furniture Company. In tiger maple and maple. Top with porringer corners. Tapered legs end in pad feet. Height 30.5”. Length 70”. Includes two 14.75” leaves. Width 36”. 700/1,000
938.
CUSTOM-MADE PEMBROKE TABLE 20th Century In tiger maple with ornate rosewood and fruitwood marquetry inlay. Top with flower and ribbon design. Shaped drop leaves with urn and ribbon design. Square tapered legs. Height 27.75”. Length 19” plus two 10” drop leaves. Width 19”. 300/500
938
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273
BIDDER INFORMATION
Advice to Bidders 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.
274
Shipping Information
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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275
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:
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All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof when registering. Failure to do so will subject the bidder to paying 6.25% Massachusetts sales tax on purchases.
MA Resale #: State:
ZIP:
FINANCIAL REFERENCES Please select one of the following options: 1. DEPOSIT Submit a deposit representing 10% of the total order, either by mailing a check to the address below or providing a credit card number. We accept Visa, MasterCard, American Express and Discover with domestic billing addresses in amounts up to $5,000.00. 2. LETTER OF CREDIT FROM YOUR BANK Please have your bank fax us at 508-385-7201. Letter must be on bank letterhead. 3. AUCTION HOUSE REFERENCE Complete the information requested below. Advance notice is required for this option as it is often difficult to reach the appropriate contact. You may have to authorize release of information. Please be aware Christie’s and Sotheby’s will not divulge any credit information. Auction House:
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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 276
www.eldreds.com
info@eldreds.com
Phone: 508-385-3116
Fax: 508-385-7201
see photos of all lots and view condition reports at www.eldreds.com
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.
2.
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.
3.
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.
4.
A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount of your deposit will be returned promptly to you.
5.
A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 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.
6.
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
277
Invitation to Consign Complimentary Estimates Competitive Commission Rates Generous Referral Fees Prompt Payment Personalized Service More than 60 Years of Experience And Exceptional Prices Realized
Consignments for 2019 auctions now being accepted. Email info@eldreds.com or call 508-385-3116
278
see photos of all lots and view condition reports at www.eldreds.com
BAREND CORNELIS KOEKKOEK (Dutch/German, 1803-1862) Winter landscape with wood gatherers Sold for $132,000 Spring 2018
see photos of all lots and view condition reports at www.eldreds.com
279
Illustrations Front Cover
736
Back Cover
311, 820, 58
Page 3 894 Artist Index
626A
Page 7 596
280
Session I Index
111
Session II Index
815
This Page
651
see photos of all lots and view condition reports at www.eldreds.com