IMPORTANT NOTICES
All lots from this auction can be viewed online at www.eldreds.com. A text-only catalog with all lots is also available upon request.
Bidding Options
In-person, online, phone and absentee bidding is available. To register for absentee and telephone bidding, visit our website, or call 508-385-3116. Online bidding available through www.eldreds.com.
Terms
A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 26 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000.
We accept checks, cash, money orders, wire transfers and major credit cards for payment. Please note we will not accept credit card payment for lots of jewelry, credit cards can only be used for up to $5,000 of the invoice total, and credit card must have a U.S. billing address.
Bidders holding a resale number must provide the certificate or copy thereof when registering to bid or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Residents of other states may be subject to state and local sales taxes.
Condition Reports
Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is.
All dimensions are approximate.
Shipping Information
We require prompt payment and removal of your purchases. If you plan to pick up your purchases, please call ahead. We provide limited shipping services; our staff can determine if your items qualify for in-house shipping. If we are unable to ship your items we will provide you a list of alternative shipping agents. Please note shipping can take 4-6 weeks from receipt of payment, and you will be charged carrier fees, packing and handling, and required insurance.
Please review our Conditions of Sale before bidding.
FEATURING PROPERTY FROM
Jewelry from the Estate of Francesca Parkinson of Cape Cod
The Edward McManus Collection of Marine Art
Selections from the Collection of Emmett Eldred of Eldred Wheeler
The Henry and Sharon Martin Collection of Realist Paintings
An Upstate New York Collection And Numerous Other Estates and Collections
SESSION I
Wednesday, November 20
LOTS 7001-7045
jewlery from the estate of francesca parkinson of cape cod
7001. 18KT WHITE AND YELLOW GOLD, DIAMOND AND AQUAMARINE "BIRD A ROCK" BROOCH
Bird set with 58 round-cut diamonds, approx. 1.50 ctw. Cushion-cut aquamarine, approx. 52.92 ct. Stamped. Approx. 20.31 dwt. 7,500/15,000
7008. 14KT WHITE AND YELLOW GOLD AND DIAMOND ENAMELED GRASSHOPPER PIN
Set with six small single-cut diamonds, approx. 0.06 ctw., and two small round emerald eyes. Green enameled wings. Stamped. Approx. 38 x 57mm.
Approx. 10.54 dwt. 1,200/1,800
7012. 18KT YELLOW GOLD, PLATINUM, FANCY YELLOW DIAMOND AND DIAMOND RING
Radiant-cut fancy light yellow diamond, 12.82 ct., VS1, flanked by half moon-cut diamonds, each approx. 1.25 ct. Stamped. Size approx. 6½. Approx. 12.28 dwt. 100,000/150,000
7014. 18KT YELLOW GOLD AND FANCY YELLOW DIAMOND BRACELET
Set with 23 old mine cut yellow diamonds graduated from approx. 4mm to 7mm, approx. 33.20 ctw. Four-prong mountings with pave-set yellow diamonds on the sides and undersides, approx. 2.20 ctw. Box clasp with fold-over safety and 14 pave-set diamonds. Stamped. Length approx. 7”. Approx. 15.81 dwt.
70,000/100,000
7037. TWO JEAN MAHIE 22KT YELLOW GOLD CUFF BRACELETS
France/America, Late 20th/Early 21st Century
Both with an organic contemporary design. One tapers from approx. 25mm to 15mm, and the other tapers from approx. 27mm to 9mm. Stamped. Lengths approx. 6.5”. Approx. 91.85 dwt. 8,000/14,000
Jean Mahie is known for handcrafted, one-of-a-kind sculptural jewelry, almost exclusively in 22kt gold.
Jacline Mazard, originally a painter, began collaborating with her father-in-law, Jean Mazard, in 1969. Despite being mostly self-taught, they forged a distinct primitive aesthetic that took inspiration from ancient civilizations. Within a year their brand was well-established and they were amongst the first artists to have their work carried by leading jewelry stores under their own brand name.
LOTS 7046-7290
the edward mcmanus collection of marine art
7056. NARRATIVE DOCUMENT PERTAINING TO THE LOSS OF THE WHALESHIP ESSEX OF NANTUCKET
Early 19th Century
Author not noted. Describes the infamous story as “the most distressing Narrative that ever came to my knowledge”, and discusses the rescue of Essex Captain George Pollard and crew member Charles Ramsdell by Captain Zimri Coffin of the whaleship Dauphin, the Essex being deliberately attacked by a sperm whale, the evacuation of the crew into whaleboats as the ship sank, and the ensuing weeks where the men were adrift in the Pacific. Housed in a green cloth case with a 1976 letter to Robert Congdon of Nantucket, Massachusetts, a letter by Bill Gilkerson pertaining to the document and a short catalog listing of the document by Edward Lefkowicz. Case 18” x 10”. 5,000/10,000
"the Essex was [attacked] in a most deliberate manner by a large spermaceity whale which made two such violent onsets with his head that the whole boat was stove in and the Ship sunk to the waters edge immediately."
7082. NANTUCKET MAHOGANY AND WHALEBONE SEWING STAND
19th Century
Comprised of four octagonal stacking tiers topped with a pincushion cup. Lower three tiers with differing scrolling whalebone galleries and wave-like buttresses. Each face panel is inlaid with a minuscule whalebone heart, circle or diamond, through which thread is dispensed. Upper tier with whalebone galleries and spearpoint finials, and a turned wooden stem supporting the pierced whalebone or marine ivory pincushion cup. Height 10.5”. Width 7.5”. 1,500/2,000
Provenance:
Barbara Johnson Whaling Collection, Sotheby’s New York, April 29-30, 1983, Lot #230 (retains collection sticker). Catalog notes it was exhibited at the Smithsonian Institution and the Museum of American Folk Art in 1967.
Illustrated:
Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 232.
According to the Sotheby’s catalog description, the mate of this stand is in the Melville Collection at the Pittsfield Library. A matching stand, but without the pincushion cup, is in the Nantucket Historical Association collection and illustrated in Susan’s Teeth, and Much About Scrimshaw by Everett Crosby (Nantucket, Mass.: Tetaukimmo Press, 1955), plate 10, and Scrimshaw on Nantucket: The Collection of the Nantucket Historical Association by Stuart M. Frank (Nantucket, Mass.: The Nantucket Historical Association, 2019), p. 195, fig. 11:10.
7086. NORTHWEST COAST-STYLE ENGRAVED AND PAINTED WHALE’S TOOTH Late 19th/Early 20th Century
Decorated on one side with two deeply incised totemic faces painted green, red, yellow and black. Rich patina. Length 4.25”. 2,000/3,000
Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #5. Catalog notes a Kermit Roosevelt provenance.
Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 33. Flayderman describes the design as South Seas rather than Northwest Coast.
7087. PAIR OF SCRIMSHAW WHALE’S TEETH "THE DEPARTURE." AND "THE RETURN." INFLUENCED BY THE BANKNOTE ENGRAVER
Mid-19th Century
Two of the finest pieces we have examined, exhibiting refined skill, painstaking detail and a mellow, warm patina as typical of master scrimshanders like the Banknote Engraver. “The Departure.” depicts a crowd gathered on the docks, sailors bidding their sweethearts and other loved ones farewell as they board a tender to take them to a ship anchored offshore. “The Return.” shows a young man alighting from a carriage, his arms outstretched to greet the people gathered outside a house, while a small dog paws at his legs. Both scenes framed within double line borders, with the title and a lush floral garland above. Reverse of the “Departure” tooth with a portrait of an American two-masted vessel in heavy winds above a scene of an American ship at port, figures in a rowboat, and an orderly arrangement of warehouses, buildings and church spires. Reverse of the “Arrival” tooth with two lovebirds on tree boughs above a scene of an American three-masted gunship sailing under the light of a crescent moon. Both lower scenes framed within complex sawtooth, scalloped and pique borders. Tips and bases of both teeth encircled by elaborate matching ribbands. Lengths approx. 6.75”. 15,000/25,000
7102. * POLYCHROME ENGRAVED WHALE’S TOOTH DEPICTING SOUTH SEAS WHALING
20th Century
20th Century
Displayed with a tryworks model. Beautifully detailed. Case height 32”. Length 41”. Width 14.5”. 3,000/5,000
A panoramic view of American whaleships off the Sandwich Islands wraps around the tip of the tooth. On one side, a ship is just coming into view and another is cutting in, while a third whaleship and two whaleboats are sailing toward two whaleboats actively engaged with several surfaced whales. On the other side two whaleboats are sailing past a whaleship, heading toward a stoved boat, a waifed whale, two surfaced whales and a whaleboat fast to a whale. In the distance are verdant islands and a smoking volcano. Signed on edge “H.C.C. Nelson”. Length 7.75”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state.
2,000/3,000
7110. CASED MODEL OF THE WHALESHIP PAGODA
Massachusetts, 1830-1925
4,000/6,000
7111. CHARLES SIDNEY RALEIGH
Portrait of the whaler Fleetwing. Signed and dated lower left “C.S. Raleigh 1877”. Oil on canvas, 26” x 38”. Framed 33” x 45”.
7115. WILLIAM BRADFORD
Massachusetts/New York/California, 1823-1892
Fishing off the coast, likely Labrador. Signed lower right “W. Bradford NY”. Oil on canvas, 9” x 14”. Framed 15.5” x 20”.
25,000/35,000
William Bradford was an American romanticist painter, photographer and explorer, originally from Fairhaven, Massachusetts, near New Bedford.
Bradford displayed an early talent for painting but his Quaker parents discouraged him from pursing a career in the arts. In the late 1840s he set up business in New Bedford as a merchant tailor, outfitting seamen and the “forty-niners” heading to the California gold fields, but by his own admission he spent most of his time on the shores of the New Bedford Harbor with his sketchbook and easel rather than tending his business. By 1852, he was a failing shopkeeper with a wife and child at home. Rescued from insolvency by his wealthy in-laws, he dedicated his career to painting and went to New York.
His early work focused on portraits of the many ships that crowded the wharves and waters of New Bedford Harbor. He had been exposed to the work of nearby marine artists Robert Salmon and Fitz Henry Lane, and in New York he connected with Albert Van Beest, then the leading European marine painter working in America. Bradford convinced Van Beest to come to Fairhaven and share a studio, and for two years the pair worked closely together, including collaborating on several paintings.
His career was well established by the late 1850s, and in 1858 his “New Bedford Harbor at Sunset” was included in the landmark New Bedford Art Exhibition organized by Albert Bierstadt. In 1859 he moved to Boston and in 1860 he exhibited for the first time at the National Academy in New York. Throughout the 1860s he made several excursions to Labrador, becoming one of the first American painters to portray the frozen regions of the Arctic and one of the first to use photography in his work, setting up full photo studios onboard the expedition vessels.
He exhibited some 700 photographs of the Arctic in England in the early 1870s that were well-received by the English court. Queen Victoria was so impressed she gave Bradford the most significant commission of his career, “The Panther off the Coast of Greenland under the Midnight Sun”, still in the collection of the royal family, and she was the first subscriber of “The Arctic Regions”, a volume of 125 hand-tipped photographs he released in 1873.
By the late 1870s, Bradford was enormously successful. He set up a studio in San Francisco and painted iconic western scenes like Mount Hood and Yosemite, then returned East and continued to paint until his death.
Bradford was particularly interested in the way light touches water and how it affects the water surface and the atmosphere of a painting. His dramatic use of glowing light counterbalanced by darker colors around the edges closely aligns his work with Luminism and the Hudson River School.
7116. WILLIAM BRADFORD
Massachusetts/California, 1823-1892
A ship trapped in Arctic ice. Signed and dated lower right “W. Bradford 72”. Oil on canvas, 18” x 30”. Unframed. 50,000/70,000
England, 1890-1973
Deck view of four figures on a ship sailing through moderate seas. Signed lower left “Montague Dawson”. Oil on canvas, 20.5” x 30”.
Framed 26” x 35.5”. 30,000/50,000
7117. MONTAGUE J. DAWSON
7163. QUARTERBOARD FROM THE SHIP WANDERER 19th/Early 20th Century Relief-carved yellow lettering against an old black painted ground. 5.25” x 63.5”. 2,000/3,000
BY WILLIAM PERRY
Early 20th Century
Depicts an active whaling scene with a whaleship, five whaleboats, a surfaced sperm whale, a waifed whale, and distant vessels and whales. Signed “WP” several times throughout the composition. Marked on reverse “Taken by Wanderer Aug 1905”. 7.5” x 11.5”. 4,000/7,000
William Perry (1894-1966) was the son of a New Bedford-born whaleman, but his mother purportedly forbade him from following his father’s footsteps into the dangerous industry. He worked in a glass-cutting job in New Bedford and served as watchman on the whaleship Charles W. Morgan before eventually combining his interest in whaling and art by becoming a scrimshander. Alive during the final years of the whaling industry, Perry’s work bridges traditional 19th Century scrimshaw with the contemporary pieces being created today. His work is included in the collections of the Nantucket Whaling Museum, Mystic Seaport and the New Bedford Whaling Museum.
7166. "SHIP WANDERER" ENGRAVED PANBONE PLAQUE
SCRIMSHAW WHALEBONE DOLL’S BED
Late 19th Century
Headboard with a vase of flowers, pinwheels and a floral vine border. Side rails with similar vines. Includes an antique pillow and crazy quilt. Height 9”. Length 14.5”. Width 8.5”. 1,800/2,500
7183. DOLL WITH RARE CARVED WHALEBONE HEAD AND HANDS
Second Half of the 19th Century Nicely detailed. Blue glass eyes. Cloth body. Height 12.25”.
400/600
7191. POLYCHROME SCRIMSHAW SWIFT ON SEWING BOX STAND
19th Century
Swift’s whalebone cage staves engraved on both sides and at both ends with matching pink rosebuds, leaves and red berries. Whale ivory and baleen banded shaft topped with a whale ivory yarn cup engraved with red hearts and black diamonds around the rim. Yarn cup and adjustment collars with matching red and blue incised banding. Shaft inserts into the mahogany sewing box through an inlaid mother-of-pearl diamond-shaped escutcheon. Top of box with slightly raised central section with the escutcheon, inlaid whale ivory hearts and whalebone trim. Remainder of top with inlaid whale ivory crescents, panels and hearts, and abalone diamonds; two of the hearts and two crosshatched diamonds set within dark island wood medallions. Front of box with two faux half drawers over a working full-width drawer, all with whalebone trim and inlaid whale ivory hearts. Sides inlaid with whale ivory hearts flanking mother-of-pearl diamonds relief-carved and engraved with songbirds amidst flowers. Box further adorned with whalebone trim, corner moldings and ball feet, and island wood banding at each corner. Total height approx. 22”. 12,000/18,000
7182.
7226. SCRIMSHAW WHALEBONE BUSK BY THE BANKNOTE ENGRAVER
Circa 1830
Depicts a pair of lovebirds, a sprig of roses and an oval portrait medallion of an elegant lady in 1820s evening dress. Elaborate sawtooth borders separate primary images from decorative devices at the top and base. Lobed top and curved base. Delicate and meticulous workmanship as typical of the Banknote Engraver. Length 13”. 3,000/5,000
Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 11-12, 1981, Lot #286.
SESSION II
Thursday, November 21
LOTS 7401-7442 the collection of emmett eldred of eldred wheeler
To learn more about the collection and Eldred Wheeler furniture, please visit emmetteldredblog.com
Massachusetts, 20th Century
SIGN
Carved and painted wooden sign with gold fan logo and “Eldred Wheeler Furniture” against a blue ground. Height 25”. Width 28”. 500/800
7401. ELDRED WHEELER SHOP
7406. ELDRED WHEELER PROTOTYPE
TWO-PART BLOCK-AND-SHELL SECRETARY Massachusetts, 20th Century In cherry. Bonnet top with urn and flame finials and two shell-carved paneled doors enclosing a fitted interior. Lower case with a shell-carved paneled slant lid enclosing a fitted interior. Four graduated full-width drawers below. Shaped French feet. Retains original paper label signed by Emmett Eldred. Includes a copy of Eldred Wheeler: A Collector’s Guide by Emmett W. Eldred. Height 85.5”. Width 36”. Depth 20”. 2,000/4,000
Illustrated: Eldred Wheeler: A Collector’s Guide by Emmett W. Eldred (West Falmouth, Mass.: 2005), p. 168-172.
7419. ELDRED WHEELER FANCIFUL FISH CARVING
Massachusetts, 20th Century
Painted blue-green. Unsigned. Length 35”. 400/700
7421. TWO ELDRED WHEELER GAME BOARDS
Massachusetts, 20th Century
Painted breadboards, one multicolored and one in shades of green. Original labels on backs. 26” x 21.5” and 25” x 21”. 400/600
7440. GODDARD-TOWNSEND QUEEN ANNE TILT-TOP TEA TABLE
Newport, Rhode Island, Circa 1765
From the Rodman Family, South County, Rhode Island. In walnut. One-board dish top. Baluster-form pedestal raised on three cabriole legs ending in modified snake feet. Old handwritten label on underside of top. Height 26.5”. Top diameter 31.5” with .75” shrinkage.
2,000/2,500
property of other collectors
7443. FREDERICK MOLADORE SPIEGLE
New York, 1863-1942
A young boy showing off his catch to a gentleman fisherman, possibly Daniel Carter “Uncle Dan” Beard (1850-1941), an illustrator, author and founding pioneer of the Boy Scouts of America. Signed lower right “F.M. Spiegle”. Oil on canvas, 34” x 48”. Framed 37” x 51”.
2,000/3,000
The son of German-born illustrator Charles Spiegle, Frederick Spiegle was a talented and prolific artist specializing in portraiture and sporting illustrations. Through his interest in big game hunting, Spiegle became a friend of President Theodore Roosevelt and Boy Scout leader Dan Beard. Some of his paintings of animal wildlife hang at the New York Zoological Garden.
Massachusetts, 1862-1951
7445. FRANK WESTON BENSON
Black ducks soaring over a marsh. Signed and dated lower left “F.W. Benson 25”. Watercolor on paper, 15” x 19” sight. Framed 22” x 25.5”. 20,000/30,000
Massachusetts, 1862-1951
Redheads in flight. Signed and dated lower left “F.W. Benson 25”. Watercolor on paper, 15” x 19” sight. Framed 22” x 25.5”. 20,000/30,000
7446. FRANK WESTON BENSON
RARE A.
CROWELL LETTER TO LONGTIME PATRON Circa 1940
On “A.E. Crowell Handicraft High Class Bird and Duck Decoys Of Every Description East Harwich, Mass.” letterhead. Handwritten “Dear Mr. Jones, In reply to your letter will say that I have not done any carving or painting for a long time [...] I am Sincerely, A.E Crowell”. 7” x 8.5”. Unframed. 500/800
7447.
ELMER
7448. THE HERRESHOFF A. ELMER CROWELL CANVASBACK DRAKE DECOY East Harwich, Massachusetts, 1862-1952
Circa 1917. Head turned right. Glass eyes. Carved primary, tail, back and side feathers. Typed note on underside “This decoy, with brand partially removed was bought by my father Francis Lee Herreshoff at Abercrombie & Fitch, N.Y., about 1917 The brand lettering was restored by me. N.H. 20 March ‘85”. Retains Herreshoff Museum paper identification number label. Length 15”. 10,000/20,000
7449. RARE PAIR OF A. ELMER CROWELL DOVEKIE East Harwich, Massachusetts, 1862-1952
Circa 1920. Glass eyes. Mounted on oval painted wooden bases. Oval brands. Heights 6”.
10,000/20,000
Provenance: The Estate of Francesca Parkinson.
7480. ATTRIBUTED TO JOSEPH WHITING STOCK
Massachusetts, 1815-1855
Portrait of Captain Coffin of New Bedford. Unsigned. Inscribed verso “Capt. Coffin New Bedford”. Oil on canvas, 33” x 27”. Framed 38” x 32”. 5,000/7,000
Provenance: Skinner, Inc., Boston, October 27, 2013, Lot #254. Private Collection, New Jersey.
7484. INLAID WHALE IVORY DOUBLE-WHEEL PIE CRIMPER
America, Third Quarter of the 19th Century
Polyhedral terminal and eight-sided shaft with abalone and mother-of-pearl dot inlay throughout. Stepped carving between shaft and wheel mount. Oversize fluted wheels. Length 5”. With contemporary stand. 200/300
Provenance: The Property of a Gentleman: The Estate of Peter Goldstein.
A similar example, with a differing terminal and one wheel instead of two, was part of the Barbara Johnson Whaling Collection, Sotheby’s New York, December 11-12, 1981, Lot #344.
7488. POLYCHROME SCRIMSHAW "LOVE" SEWING BOX AND SWIFT
America, Mid-19th Century Mahogany box with turned and banded ebonized quarter columns at each corner and feet made from the tips of polished whale’s teeth incised with red and dark blue-green banding. Inlaid whale ivory hearts and diamonds throughout, all with red and dark blue-green line borders. Heart at the center of the front also engraved “Love” above delicate scrollwork. Hinged beveled top mounted with four whale ivory acorn finials with red banding, and a turned whale ivory knob with matching banding. Retains original hinges. Fitted interior with a large open compartment, five smaller open compartments with a drawer hidden below, and a covered compartment. Drawer and lift-off cover with turned whale ivory pulls with red banding; cover’s diamond-shaped escutcheon with matching banding. Swift shaft inserts into the box through a whale ivory-trimmed aperture at the center of the lid and is held in place with a whale ivory nut. Swift’s whalebone shaft topped with an elaborately turned whale ivory yarn cup with red banding. Whale ivory adjustment collars and original set screw with similar turnings and red banding. Whalebone staves with red and dark blue-green banding. Cage-style base with whale ivory disks, turned posts and urnshaped finials, all with red and dark blue-green banding. Total height 25”. Swift length 18.5”. Box height 6”. Width 13”. Depth 9”. 2,500/3,500
7498.
STORYTELLER’S MASK
First Quarter of the 20th Century Original paint with some wear. Retains old tag and card from the Old Alaskan Shop, Haines, Alaska. Height 8.75”. Width 6.75”. 3,000/4,000
NORTHWEST COASTAL CARVED WOODEN
7510. ROBERT SALMON
England/Massachusetts, 1775-1844
“Shipping off Greenwich”. Signed and dated lower right “RS 1803”. Titled on frame plaque. Oil on canvas, 10.75” x 17.5”. Framed 16” x 24”. 15,000/20,000
Provenance: The Estate of a Massachusetts Collector.
7511. SAMUEL WALTERS
United Kingdom, 1811-1882
“The Mary Jones in Two Positions off Perch Rock Lighthouse”. Unsigned. Titled on frame plaque. Oil on canvas, 27” x 40.5”. Framed 33” x 47”. 10,000/12,000
Provenance: N.R. Omell, London. The Estate of a Massachusetts Collector.
Exhibited:
N.R. Omell 19th Annual Marine Exhibition, 1988.
7520. CHINESE EXPORT GILT AND BLACK LACQUER SEWING TABLE
Mid-19th Century
Top elaborately decorated with exterior scenes. Lyre base with carved and gilded paw feet. Marked on underside of feet with numerous characters. Height 28.5”. Width 24.25”. Depth 16.25”. 1,000/1,500
7542. “THOS. H. TARBOX” STERNBOARD
Early 20th Century
Lettering attached to black painted board. Length 60”.
500/1,000
7544. BEAUTIFULLY INLAID BOAT HULL WALL POCKET
America, Third Quarter of the 19th Century
Canted three-board pine backboard inlaid with a graceful light wood flowering vine, the flowers with three petals and dark wood centers. Inlay is similar to that often found on sailor-made examples. Hollowed half hull model of a yacht, probably carved from mahogany, applied to the base of the backboard, functioning as the storage pocket. Hull with parallel incised banding along the gunwale. Lower portion of the backboard replicates the yacht’s keel. Height 11”. Length 18”. 1,000/1,500
7546. WONDERFUL TINTYPE DEPICTING THREE MARINERS ON DECK
19th Century 6.75” x 5”. Unframed. 300/500
7553. "WILLIAM J. ROTCH" NEST OF EIGHT NANTUCKET BASKETS
19th Century Round, with nicely shaped oak swing handles. Handles attached to high rounded oak ears with metal rivets; ears extend three-quarters the depth of basket within the weave, almost functioning as a stave. Double-wrapped rims. Base plates probably maple. One branded in block lettering on underside “William J. Rotch” and another inscribed twice in ink on handle “M.E. Rotch”. Heights to rim from 3.5” to 8.5”. Diameters from 4.75” to 13.25”. 4,000/6,000
For several generations the Rotch family was a dominant force in Nantucket business and politics, and the development of American whaling on the island and in New Bedford. The family tree claims several members named William Rotch, though a William J. Rotch served as the second mayor of New Bedford and his wife and daughters were both named Emily Morgan Rotch (the initials here perhaps a transposition of her name).
7558. NANTUCKET BASKET TWO-TIER LAZY SUSAN BY BARBARA PRUE
Massachusetts, Contemporary Cherry lazy susan base, stem and base plates. Exceedingly tight woven baskets. Signed on base. Total height 13.5”. Basket diameters to 14.25”. 600/900
7564. CONTEMPORARY SAILOR’S VALENTINE BY RICHARD LEE
Late 20th Century
Composed of multicolored shells, with a central floral design of whelk shells surrounded by additional whelks and eight limpet and pink shell flowers. Signed and dated “Richard Lee 97”. 13” x 13”.
800/1,200
7572. FIVE PAINTED WOODEN KITCHEN BOXES WITH NANTUCKET PROVENANCE
19th Century
Brown and green. Each with notation providing provenance to Nantucket, Massachusetts. Heights from 3” to 6.75”. Diameters from 6.75” to 11.5”.
500/1,000
7627. THREE-GALLON STONEWARE CROCK 1830s
Cobalt blue garlands and cloud-like decoration surround “1837[?]”. Applied side handles.
Height 12.25”. Opening diameter 9.25”. 1,200/1,800
7650. CRAZY QUILT REMNANT
Late 19th Century “Reunion W.A. of S.C. New Hope[?]”, “August 15, 1885”, “Quartermaster” and emblems stitched within the piecework.
24” x 23” sight. Framed 27.5” x 27”. 500/1,000
Provenance: An Upstate New York Collection.
7648. HORSE AND SULKY WEATHER VANE ATTRIBUTED TO J. HARRIS & SON
Boston, Last Quarter of the 19th Century Horse believed to be Dexter, the famous trotting gelding, and the driver possibly his trainer, Hiram Woodruff. Height 22”. Length 43.5”. 2,000/3,000
Provenance: An Upstate New York Collection.
Reference: Drivers Up: The Story of American Harness Racing by Dwight Akers (1938).
Dexter (1858-1888)’s sire was Hambletonian, the founding sire of the Standardbred horse breed. Dexter was the world’s premier trotter from 1864 to 1867, dominating races and setting a world record mark of 2:17¼ at Buffalo. Immediately after setting the record he was bought by newspaper publisher Robert E. Bonner for his own private use and never raced publicly again. He was inducted into the Harness Racing Hall of Fame as an “Immortal” in 1956.
7651. L.W. CUSHING & SONS COPPER LONG-HORNED BULL WEATHER VANE
Waltham, Massachusetts, 19th Century
Traces of patinated finish. On iron stand. Height 22”. Width 28”. 5,000/10,000
Pennsylvania, Early 20th Century Nose cone painted silver. Tips with red, white and blue stripes. Retains two original labels. Length 91”. 1,000/1,500
7681. SENSENICH BROTHERS WOODEN AIRPLANE PROPELLER
SESSION III
Friday, November 22
LOTS 7701-7995
property of various collectors
France, 1824-1898
European harbor scene. Signed lower right “Eugene Boudin”. Oil on canvas, 15” x 24”. Framed 22” x 31”. 30,000/50,000
Provenance: Woods Hole, Massachusetts estate.
7701. EUGENE LOUIS BOUDIN
New York/New Jersey/Italy/Germany, 1890-1978
“Over The Waves”. Stamped on base “C 1931 C.P. Jennewein”. Shows some patina. Bronze, height 48”. 15,000/25,000
Provenance: Purchased directly from the artist and never out of the family.
7716. CARL PAUL JENNEWEIN
7739. LEVI WELLS PRENTICE
New York/Connecticut, 1851-1935
Still life of peaches. Signed lower right “L.W. Prentice”. Oil on canvas, 12” x 10”. Framed 21” x 19”. 7,000/10,000
Levi Wells Prentice, raised in Lewis County, New York, spent the first part of his career painting the rural landscapes of the Adirondack Mountains. The self-taught artist opened his studio outside New York City in 1875 and moved to Brooklyn in 1884, where he became a member of the Brooklyn Art Association. He began painting still life scenes around the time of this move and by 1894 he had transitioned entirely away from landscapes to focus on a variety of still life subjects, his favorite supposedly being the apple.
RARE AND IMPORTANT HEPPLEWHITE CARD TABLE ATTRIBUTED TO THOMAS AND STEPHEN GODDARD
Rhode Island, Circa 1790
A rare six-legged example. In mahogany and mahogany veneer. Demilune top. Skirt with string inlaid panels. Top of each leg with an urn over bellflower and ivory dot inlay. Height 28”. Width 34.25”. Depth 17.75”. 8,000/12,000
7767.
Newport, Rhode Island, 18th Century
Enclosed broken arch bonnet top with cove moldings, a central plinth and two shaped faux drawers. Upper case with half drawers over four full-width drawers. Lower case with four full-width drawers and an ogee bracket base. Height 82”. Width 38”. Depth 19.25”. 2,000/3,000
7769. CHIPPENDALE TIGER MAPLE CHEST-ON-CHEST
Circa 1810
Mahogany and cherry, the edge of the top with half-moon banding typical of the Seymours. Four graduated full-width drawers with round brass pulls and tiger maple facings. Three-quarter columns at sides of case terminate in turned feet. Height 39”. Width 43”. Depth 23.25”. 1,000/1,500
New York/Germany, 1880-1968
Seagulls soaring over the coast. Signed lower right “Kuehne”. Oil on board, 34.5” x 31”. Framed 41” x 37”. 10,000/15,000
7807. SCHOOL OF THOMAS AND JOHN SEYMOUR SHERATON BUREAU
7828. MAX KUEHNE
7836. ALDRO THOMPSON HIBBARD Massachusetts/Vermont, 1886-1972 Farm landscape, winter. Estate stamped verso. Oil on canvas, 22” x 30”. Framed 30” x 38.75”. 5,000/7,000
Provenance: The estate of Aldro Thompson Hibbard. Private collection, Batavia, New York.
SALVATORE PINTO Pennsylvania/Italy, 1905-1966 “Sunday Afternoon”, circa 1929. Signed lower left “Salvatore Pinto”. Handwritten entry label verso provides artist, title, medium and location as “85th and Ocean Harvey Cedars, N.J.”. Oil on canvas, 38.5” x 57.5”. Framed 46” x 65.75”. 3,000/5,000
7853.
7862. FREDERICK CARL FRIESEKE
New York/Michigan/France, 1874-1939
“Louise with Nosegay”. Signed lower left “Frieseke”. Titled on label for Hollis Taggart Galleries. Oil on panel, 11” x 8” sight. Framed 19” x 16”. 30,000/35,000
Provenance: Chatham, Massachusetts estate.
7863. MILTON CLARK AVERY
New York/Connecticut, 1885-1965
White dove. Signed lower left “Milton Avery”. Oil on canvas, 7.5” x 9.5”. Framed 15.5” x 17.5”. 5,000/8,000
Provenance:
Collection of Mervin Jules, thence by descent to his son. Though Mervin Jules and Milton Avery were not known to be close friends, they were at the Art Student’s League together for a brief time in the mid1930s. They both also summered in Provincetown, Massachusetts in the mid- to late 1950s. According to Jules’s son, this painting was a gift from Avery to Jules during their time together at the Art Student’s League.
New York/Pennsylvania, 1876-1953
Clown and dog performing. Signed and dated lower right “Everett Shinn 1949”. Oil on canvas, 12.25” x 10.25”. Framed 17” x 15”.
7,000/10,000
Provenance: Actress Ruth Warrick, who acquired it directly from the artist in his studio.
7874. EVERETT SHINN
Late 19th to Early 20th Century
Dark brown vines enclose moss green, salmon pink and brown elements across an ivory field. Dark brown and mossy green guard borders. Salmon red main border with wine cups and serrated leaves. 800/1,200
7897. CAUCASIAN RUNNER: 3’5” x 11’3”
Circa 1900
Grand midnight blue and ivory gabled medallion suspends midnight blue pendants across a rich terracotta field. Traditional design of abundant delicate blue, aqua, pale salmon pink and greenish gold meandering vines throughout. Midnight blue main border with serpentine vines, serrated leaves and blossoms. 10,000/14,000
7899. SERAPI RUG: 10’8" x 16’2"
7918. VERNON B. SMITH
Massachusetts, 1894-1969
“Grey Whales I”. Signed lower left “Vernon Smith”. Titled lower left and verso. Wood bas-relief, 18” x 54”. 3,000/5,000
Provenance:
Purchased from an estate sale in Texas; the owners were previously from Massachusetts.
7937. RALPH EUGENE CAHOON, JR.
Massachusetts, 1910-1982
Three mermaids racing a “gaff-rigged” whale against three yachts. A classic example of Cahoon’s lighthearted and humorous style. Signed lower right “R. Cahoon”. Housed in a period gilt frame within a shadow box frame. Oil on masonite, 12” x 14”. Framed 20” x 22”. 10,000/15,000
Provenance: 1971 Heart Fund Auction, Cape Cod, Massachusetts. Whales’ Tooth Antiques, Barnstable, Massachusetts. Private Collection, Florida.
7955. WILLIAM ROBERT DAVIS
Massachusetts, 1952-
A trompe-l’oeil of postage stamps. Signed as part of the 10-cent stamp in second row “William Davis”. Signed verso “William R. Davis A.S.M.A.”. Oil on canvas, 6” x 8”. Framed 11” x 13”. 12,000/18,000
Provenance: Private Collection, Massachusetts. Eldred’s, August 6, 2011 Lot #1002. Private Collection, Cape Cod, Massachusetts.
7964. JOSEPH MCGURL Massachusetts, 1958"Inside a Cloud". Signed lower right “Joseph McGurl”. Titled verso. Oil on canvas, 36” x 60”. Framed 49” x 73”. 20,000/25,000
Provenance: The Henry and Sharon Martin Collection.
Exhibited:
Cape Cod Museum of Art, Dennis, Massachusetts: "The Subject is Light: The Henry and Sharon Martin Collection of Contemporary Realist Paintings", August 21, 2010-November 7, 2010.
Lyman Allyn Art Museum, New London, Connecticut: March 18, 2011-August 21, 2011.
Maryhill Museum of Art, Goldendale, Washington: June 9, 2012-September 3, 2012.
Massachusetts/Florida, 1947View of Provincetown Harbor through houses. Signed lower right “Neily”. Oil on canvas, 40” x 30”. Unframed. 4,000/6,000
7977. HILDA NEILY
7983. WOLF KAHN
New York/Vermont/Germany, 1927-2020
A stand of trees. Signed lower right “W. Kahn”. Pastel on paper, 21.5” x 29”. Framed 29” x 37”. 12,000/16,000
Provenance: The artist.
The Collection of Chris Porte, New York. Private Collection, Cape Cod, Massachusetts.
