THE SUMMER SALE AUGUST 1-2, 2019
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THE SUMMER SALE Robert C. Eldred Co., Inc. Headquarters 1483 Route 6A P.O. Box 796 East Dennis, MA 02641 (508) 385-3116 fax: (508) 385-7201 MA License #155 Connecticut Office 5 Roosevelt Avenue Mystic, CT 06355 (860) 912-8169
Thursday, August 1, 2019 Friday, August 2, 2019
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. 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. Items shipped to New York are subject to 4% New York sales tax, plus any applicable local sales taxes.
info@eldreds.com www.e ldre d s.com
Auction
Both sessions begin at 10 a.m. Eastern at our East Dennis Headquarters
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.
Exhibit Wednesday, July 31, from 10 a.m. to 5 p.m. And the sale days beginning at 8:45 a.m.
Absentee and Telephone Bidding
Please use the bid form found at the back of this catalog, visit our website, or phone 508-385-3116 to make arrangements for absentee and telephone bidding.
Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is. All dimensions and weights are approximate.
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.
Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith. All guns shipped have a 5-day inspection period that begins upon arrival at the FFL dealer.
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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
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 Jessica Turbide Assisstant Head of Photography Website Administrator / Condition Reports jturbide@eldreds.com
Leah S. Kingman Head of European Decorative Arts lkingman@eldreds.com
Kristyn Mills Head of Photography kmills@eldreds.com
Glen Krawczyk Head of Oriental Rugs glen@eldreds.com
Madison Morris Photography mmorris@eldreds.com
Anne G. Lajoie Head of Asian Arts Condition Reports annie@eldreds.com
Kathleen Morse Inventory Manager kmorse@eldreds.com Tanya E. Sargent Administrative Assistant tsargent@eldreds.com
Jennifer Lacker Mystic Representative
Caleb G. Seaver Catalog Layout and Design cseaver@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
Here we are, in the midst of another wonderful summer on Cape Cod. How lucky we are to live and work surrounded by natural beauty, remarkable history and a vibrant arts community. This sale in particular features a wide array of works with ties to the still-thriving Provincetown Art Colony, including the cover lot, a rare print by Blanche Lazzell. As always, we will celebrate summer by hosting our annual gala preview, this year on Monday, July 29 from 4 to 7 p.m. We hope you will join us that evening to see items from this sale, as well as select lots from the Contemporary Paintings Auction and the Asian Art Week auctions. Please RSVP by calling 508-385-3116. We look forward to seeing you soon!
Joshua Eldred President
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Index of artists Adriani, Camillo 707 Albert, Ernest 723 Alberts, Sylvia 78 Bacon, Edith Jane 783 Baker, Mercy Etta 591 Barone, Antonio 422 Barrett, John C. 592 Bartlett, William Henry 631 Barton, Donald 702 Batcheller, Frederick Stone 431 Baum, Walter Emerson (attr.) 588 Bellamy, John Haley 392 Berglund, Robert 791 Bernath, Sandor 724 Blyth, Benjamin (attr.) 660 Bogaard, Willem Jacobus 594 Botkin, Henry Albert 65, 809 Braley, Clarence E. 651 Brett, Harold Matthews 881, 882 Brewster, Jr., John (manner of ) 523 Bricher, Alfred Thompson 574 Broe, Vernon George 878 Brown, George L. 576 Brown, Harrison Bird (attr.) 653 Bunn, Kenneth 153 Busa, Peter 801 Bustamante, Sergio 41-43 Cahoon, Charles Drew 867-872 Cahoon, Jr., Ralph Eugene 887-890, 895 Cahoon, Martha Farham 883-886, 891, 893, 894, 896-899 Cahoon, Martha Farham (attr.) 892 Catlin, George (school of ) 209 Chaffee, Samuel Roscoe 420, 421 Chambers, George W. 652 Chapin, Charles Henry 622 Chase, Sidney Marsh 56 Coggeshall, John Ingersoll 720 Colby, George Ernest 620 Coombs, Delbert Dana 661 Cooper, William Savage 627 Cordich, John 715 Covarrabias, Miguel 80 Curran, Charles Courtney 664 Curtis, Howard A. 708 Curtis, Roger William 709 Czeczot, Andrzej 70-76 Dali, Salvador 63 Dallin, Cyrus Edwin 391 Dawson, Montague J. 339
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De Grailly, Victor De Guimbarda, Manuel Wssel Demuth, Charles Henry deTirefort, Bela Diehl, Arthur Vidal Diemer, Michael Zeno Dow, Arthur Wesley Dunning, Robert Spear Eastwood, Raymond J. Edel, Albert H. Edmonds, Francis William (attr.) Eights, James (attr.) Eldred, Lemuel D. Enneking, John Joseph Enneking, Joseph Eliot Farndon, Walter Farnsworth, Jerry Farny, Henry Francois Field, Erastus Salisbury (attr.) Fitler, William Crothers Frost, Arthur Burdett Fry, John Hemming Fuertes, Louis Agassiz Fuller, A.W. Fuller, Richard Henry Gardner, Adelaide Geisel, Theodor Seuss (Dr. Seuss) Geissbuhler, Arnold Giles, Horace P. Graves, Abbott Fuller Greaves, William A. Green, Valentine Greenleaf, Jacob I. Griffith, William Alexander Griggs, Samuel W. Groll, Albert Lorey Gruppe, Emile Albert Hare, John Cuthbert Harris, Charles Gordon Hartwich, Herman Harvey, George Heade, Martin Johnson (after) Henri, Robert Hensche, Henry Hergesheimer, Ella Sophonisba Hibbard, Aldro Thompson Higgins, Eugene Hills, Laura Coombs Hirschfeld, Albert
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619 59 590 728 780, 781 349 718 426 877 803 637 540 635 583 719 712 793 47 647 584-586 582 573 85 593 642 792 83 812-817 705 731, 732 531 393 710 77 855 62 706 879 807 624 425 621 60, 412 789 53 727 416 409, 410 861
Index of artists Hitchcock, George (attr.) Hobbs, Morris Henry Hollams, Frances Mabel Howard, Richard E. Howe, William Henry Howes, Jerome Hughes, Daisy Marguerite Hunt, Peter Hutchinson, Marieluise Inness, George Inness, Jr., George Kendall, Johnathan Kienbusch, William Austin Kingsbury, Edward Reynolds Knebel, Franz Koeniger, Walter Kozany, J. Kronberg, Louis Kuniyoshi, Yasuo Lazzell, Blanche Leavitt, Edward Chalmers (attr.) Lever, Haley Lindenmuth, Tod Mackubin, Florence Marsh, Reginald Matzkin, Meyer Max, Peter McCloskey, William (style of ) McCord, George Herbert McKain, Bruce Meryman, Richard Sumner Meurer, Charles Alfred Miller, Richard Edward Mock, George Andrew Morse, Jonathan Bradley Mumford, Elizabeth Murillo, Bartolome Esteban (after) Neill, Ben Nickerson, Reginald Eugene (attr.) Norton, William Edward Oberteuffer, George A. Oberteuffer, Henriette Amiard Oberteuffer, Karl Amiard Packard, Anne Parr, James Wingate Parsons, Edith Paton, Frank Patterson, Margaret Jordan Pearce, Leonard John
626 51 159 875, 876 636 856-860 782 818-825 863, 864 625, 655 656 44, 45 57 729 575 587 120 411, 721 64 785, 786 424 711 784 645 577 115 48, 49 432 352 810, 811 717 633 806 714 641 865, 866 117 862 350 578 700, 808 701 697-699 834 802 46 662 730 347
Perkins, Granville Phelps, Helen Watson Powers, Marion Prior, William Matthew Prior, William Matthew (attr.) Qua, Hin Ranger, Henry Ward Reddie, MacIvor Renard, Paul Robinson, Florence Rockwell, Norman Romano, Umberto Rose, Jim Sargent, Margarett W. McKean Schade, Robert Schmidt, John W. Shaffer, Scott Shaoul, Smira Shaw, Charles Green Shayn, John Shea, Frank P. Silverstein, Shel Sloan, John French Sloane, Eric Smith, Frank Vining Smith, Vernon B. Snow, Warren Francis Soyer, Raphael Spencer, Richard Ball Sternberg, Harry Stevens, William Lester Stobart, John Stock, Joseph Whiting (attr.) Stone, Don Taylor, Grace Martin (Frame) Towle, Eunice Makepeace Tyler, James Gale Van Nortwick, Chester Van Pee, Jan Voorhees, Jr. Clark G. Ward, Edmund Franklin Warner, Laurie Westcott, Carol Whorf Whitaker, George William Whittredge, Worthington (Thomas) Whorf, John Whorf, Nancy Witherstine, Donald Frederick Yakovlev, Alexandre Evgenievich
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663 423, 659 413 640 639, 658 288 713 716 118 579-581 81 795 50 61 430 340-342 47A 52 66-69 804 703 82 406 407, 408 343, 344, 354 796-800 874 54 346 55 725, 726 355 515 722 787, 788 646 345 880 121 371, 372 873 348 831-833 418, 419 628 790 826-830 794 58
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Featuring A Michigan Collection
And Properties From A Private Collection, Connecticut A Private Collection, Cape Cod, Massachusetts A Martha’s Vineyard Collection The Collection of Sam and Donna McDowell A Private Collection, Philadelphia A Connecticut Estate A Long Island Collection And Numerous Other Estates and Collections
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Index Auction Information Page 1 Index of Artists Page 4-5 Session I Lots 1-478 Session II Lots 501-908 A Michigan Collection Lots 501-570 Provincetown Art Colony Lots 780-834 Bidder Information Page 314 Conditions of Sale Page 315 New Bidder Registration Page 316 Absentee Bid Form Page 317
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Session I Thursday, August 1 at 10 a.m. Lots 1-478
Silver Lots 1-23 Glass Lots 24-38, 112, 242-245 Musical Instruments Lot 114 Weaponry & Sporting Art Lots 131-207 American Native Lots 208-222 Oriental Rugs Lots 257-287 Chinese Export Lots 288-332 Marine Art Lots 333-378 Toys Lots 450-455 As well as Fine Art, Folk Art, Decorative Arts, Ceramics and More 10
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GEORGE I STERLING SILVER CAUDLE CUP London, 1723 Gabriel Sleath, maker. Of typical form, with banded body, two handles and molded foot. Engraved with heraldic shield. Height 5”. Approx. 16.0 troy oz. 400/700
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ASSEMBLED GEORGIAN FLATWARE SERVICE Mostly London, Second and Third Quarter of the 18th Century. Various makers and engraved armorials. Includes: 12 7.5” forks 12 7.25” forks 13 6.5” forks 12 10.5” pistol grip knives 12 8.25” pistol grip knives and twelve matching 7” pistol grip forks 12 pistol grip butter spreaders Approx. 63.0 troy oz. weighable 2,000/2,500
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GEORGE III STERLING SILVER TEA URN London, 1770 John Parker I & Edward Wakelin, maker. Spiraled repoussé flower garlands alternate with reeds. Pierced base ending in four openwork shell feet. Includes fully marked interior cylinder. Height 18.75”. Approx. 72.8 troy oz. 1,500/2,000
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SIX GEORGE III STERLING SILVER PLATES London Two 1772, John Parker I & Edward Wakelin, maker. Four 1776, maker’s mark “IK”. All with gadrooned rims and engraved coat of arms with motto “Nil Admirari”. Diameter 9.5”. Approx. 99.9 troy oz. 1,500/2,000
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PAIR OF GEORGE III NEOCLASSICAL SHEFFIELD SILVER PLATED WINE COOLERS Late 18th/Early 19th Century Registers of rooster armorials and shell and scrolling foliate engraving above stop-fluting. Lion’s-mask ring handles at sides. Lacking maker’s mark; numbered one and four. Includes collars and liners. Heights 8.25”. 500/800
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GEORGE III SHEFFIELD SILVER PLATED BUTLER’S TRAY Late 18th Century Oval, with two reeded handles and a thick molded gallery with gadrooned rim. Central engraved coat of arms with motto “Vincam Vel Moriar”. Base reinforced with wood and covered in felt. Unmarked. Length handle-over-handle 27”. 300/500
GEORGE III STERLING SILVER COVERED SAUCE TUREEN London, 1807 Thomas Robins, maker. Cover with foliate handle and engraved eagle armorial. Body with cast shell and gadroon rim, two reeded handles, hairy paw feet, and identical engraved eagle armorial. Height 5.5”. Approx. 34.3 troy oz. 700/1,000
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GEORGE III STERLING SILVER BONBON DISH AND TEA TONGS London, 1807 Bonbon dish: Lacking maker’s mark. Shallow bowl with scalloped rim and repoussé flower designs. Three hoof-form feet. Diameter 5”. Tongs: Henry Plumpton, maker. All-over engraving of scrollwork and flowers. Length 4.75”. Approx. 6.4 total troy oz. 200/300
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PAIR OF GEORGE III STERLING SILVER COVERED SAUCE TUREENS AND TWO SAUCE LADLES London Tureens: 1804-05, Robert Garrard I, maker. Engraved with coat of arms surmounted by a lion. Heights 6”. Ladles: 1818, John Harris IV, maker. Lengths 7”. Approx. 44.6 total troy oz. 500/800
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THREE GEORGE III STERLING SILVER OPEN SALTS WITH SALT SPOONS London, 1810 Salts with rubbed maker’s marks. Spoons by various makers. Salts all ovoid, with gadrooned rims and footrims, two handles and bird armorial engraving. Clear glass liners. Lengths handle-over-handle 5.25”. Not monogrammed. Approx. 11.6 total troy oz. 300/500
REGENCY FIVE-PIECE NEOCLASSICAL STERLING SILVER TEA SERVICE London, 1813-14 Samuel Hennell & John Terry, maker. Includes a hot water pot, a teapot, a teapot caddy, an open sugar bowl and a creamer. All with rims cast with shells, foliage and gadrooning. Stop-fluted bodies engraved with a unicorn armorial. Sugar and creamer with four shellform feet. Height of hot water pot 8.25”. Approx. 92.5 troy oz. 1,500/2,000
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GEORGE V STERLING SILVER TRAY Sheffield, 1931 Atkin Brothers, maker. Georgian-style. Rectangular, with gadrooned rim and handles interrupted by shells. Not monogrammed. Length handle-over-handle 26.5”. Approx. 111.4 troy oz. 1,200/1,800
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ASSEMBLED ELIZABETH II JAMES ROBINSON STERLING SILVER FLATWARE SET Together with eight assorted pistol grip knives. Various cities and dates. Not monogrammed. All forks with three tines. In the “Queen Anne” pattern: 6 7.5” forks 6 tablespoons 6 oval soup/dessert spoons 6 soup spoons 2 serving spoons In the “Early English” pattern: 6 7” forks 6 6.5” forks In the “Scroll” or “Onslow” pattern: 4 pistol grip knives Approx. 73.5 total troy oz. weighable 1,000/1,500
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SEVEN-PIECE GEORG JENSEN “BLOSSOM” PATTERN STERLING SILVER TEA AND COFFEE SERVICE Denmark, 1925-30 Includes a kettle on stand with burner (stand is not marked), a coffeepot, height 7.75”, a teapot, a hot milk jug, a creamer, a covered sugar bowl and a rectangular tray, length 22”. All monogrammed on underside. Tray with presentation inscription on underside. Approx. 203.5 troy oz. 16,000/20,000
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GEORG JENSEN STERLING SILVER GRAVY/SAUCE BOAT #303, designed by Johan Rohde in 1919. In helmet form with scrolled and beaded handle and a footed base with additional beading. Stamped on base #303 and with hallmark. Height 5”. Length 8.5”. Approx. 10.0 troy oz. 1,500/2,000
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GORHAM STERLING SILVER CENTER BOWL Providence, Rhode Island, 1872 Prow-form, with raised openwork ends decorated with scrolling foliage. Bright-cut border. Goldwashed interior. Presentation engraving on underside of foot. Height 5.5”. Length 9.5”. Approx. 14.3 troy oz. 400/600
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NINE TIFFANY & CO. ACID-ETCHED “LAP-OVER-EDGE” PATTERN STERLING SILVER OYSTER FORKS New York, 1880-91 Each with a different seashell design extending onto the sides. Hand-engraved identifications on the reverse: crown volute, cythrea [sic], fusus, heart shell, murex, scallop, Venus’ comb, wentletrap and winkle. Monogrammed “LBA”. Length 6”. Approx. 6.2 troy oz. 1,000/1,500
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GORHAM MARTELÉ .9584 SILVER CENTERPIECE BOWL Providence, Rhode Island, Circa 1906 Retailed by Spaulding & Co., Chicago. Circular lobed bowl with flutter rim and four feet. Hand-chased with vining clematis flowers. Date marked “KMZ”. Monogrammed and dated 1906 on the underside. Diameter 17”. Approx. 79.0 troy oz. 10,000/15,000
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PAIR OF DOMINICK & HAFF “LAFAYETTE” PATTERN STERLING SILVER CANDLESTICKS New York, Circa 1910 Heights 12”. Monogrammed “R”. Weighted. 400/600
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TIFFANY & CO. STERLING SILVER PRESENTATION BOWL New York, Circa 1924 Footed bowl with tiger’s-head ring handles. Acidetched ivy design. Inscribed “Richard W. Woolworth Margaret Brady June 7 1924 from the 1921 Section of Ivy”. Further inscribed with the names of twenty men. Height 6.25”. Diameter 8.5”. Approx. 41.7 troy oz. 800/1,200 Richard Woolworth attended Princeton and would have been part of the class of 1921, but the alumni magazine notes he did not graduate. While on campus he was a member of the Ivy Club. This bowl appears to be a wedding gift from Woolworth’s Princeton friends.
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SILVER PLATED LIGHTHOUSE-FORM COCKTAIL SHAKER Contemporary Height 14”. 200/300
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SEVEN-PIECE MERIDEN SILVER PLATE CO./ INTERNATIONAL SILVER CO. ART DECO SILVER PLATED COCKTAIL SERVICE Circa 1926 Made for the S.S. Ile de France. Includes a handled shaker and six cups. Tapering cylindrical bodies on spreading molded feet. Shaker height 9”. Cup height 2.75”. 250/350 Provenance: Christie’s New York, Sale 2073, June 25, 2008, Lot #161.
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TIFFANY & CO. STERLING SILVER CENTER BOWL New York, 1947-56 Circular bowl on a squat, banded stem ending in a flat foot. Lengthy presentation engraving on interior. Diameter 12.25”. Approx. 43.6 troy oz. 1,000/1,500
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RUBA ROMBIC JUNGLE GREEN GLASS DECANTER Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Solid stopper. Pontil mark. Height 9”. 600/900
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RUBA ROMBIC SMOKY TOPAZ GLASS VASE Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Height 9.25”. 800/1,200
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SIX PIECES OF RUBA ROMBIC SMOKY TOPAZ GLASS Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Includes a bowl, length 8.75”, two triple-segmented serving dishes, lengths 8”, a pair of candlesticks, heights 2.75”, and an ashtray, length 4.25”. 400/600
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PAIR OF RUBA ROMBIC LILAC GLASS CANDLESTICKS Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Height 2.5”. 400/600
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RUBA ROMBIC SMOKY TOPAZ GLASS CREAMER AND OPEN SUGAR BOWL Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Creamer height 3.5”. 300/500
RUBA ROMBIC SUNSHINE GLASS CIGARETTE BOX Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Length 4.5”. 300/500
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RUBA ROMBIC SMOKY TOPAZ GLASS BOWL Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Length 8.5”. 300/500
RUBA ROMBIC CASED JADE GLASS VASE Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Height 6”. 400/600
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FIVE PIECES OF RUBA ROMBIC JUNGLE GREEN GLASS Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Includes two triple-segmented serving dishes, lengths 8”, a double-segmented serving dish, length 10”, an ashtray, length 4.5”, a small bowl, length 4”. 300/500
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TWO PIECES OF RUBA ROMBIC SILVER GRAY GLASS Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Includes a toilet bottle with solid stopper and polished pontil, height 8”, and a bowl, diameter 8.25”. 400/600
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RUBA ROMBIC JUNGLE GREEN GLASS VASE Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Height 6.25”. 400/600
RUBA ROMBIC APPLE GREEN GLASS BOWL Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Height 4”. Length 8.5”. 500/700
RUBA ROMBIC SMOKY TOPAZ GLASS VASE Coraopolis, Pennsylvania, Circa 1930 Reuben Haley for Consolidated Lamp & Glass Company. Height 9.25”. 800/1,200
THREE PIECES OF RUBA ROMBIC-TYPE GLASS 1-2) Pair of 1960s Czech jungle green decanters with stoppers. Unmarked. Heights 15”. 3) Green geometric bowl. Unmarked. Length 5.5”. 300/500
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Ruba Rombic was conceptualized by Reuben Haley, a former executive with United States Glass Company. He was inspired by Cubist art he saw at the 1925 Paris Exposition. The name is purportedly derived from ruba'i, a type of Persian poetry, and the geometric term rhombic, which means an irregular form with no right angles. The uniquely designed mold-blown glassware was first produced in 1928 by the Consolidated Lamp and Glass Company, with production continuing through at least 1933. The product line was sold at affordable price points at department stores across the United States.
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JOSH SIMPSON BLUE NEW MEXICO BOWL Massachusetts, Contemporary Applied deep red rim. Signed and dated 1996 on base. Height 5”. Diameter 7”. 300/400
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TIGER IRON MATRIX SPHERE Western Australia Exhibits chatoyant tiger’s eye and black hematite. Diameter 6.5”. Weight 15.75 lbs. 400/600 Over two billion years ago, when tectonic plates shifted to form the Australian continent, deposits of red jasper, chatoyant tiger’s eye and black hematite were forced together under great pressure. The ancient ornamental gemstone, sometimes called “tiger’s eye matrix”, is the fascinating and beautiful product of these monumental geologic events. Because the physical properties of each of the three minerals differ so greatly, only an experienced lapidary has the ability to work this material.
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VOLUME SIGNED BY AUTHOR LANGSTON HUGHES Tambourines to Glory by Langston Hughes (N.Y.: The John Day Company, 1958). First edition. Signed presentation inscription on front flyleaf: “Especially for Lewis Freedman, with the sincere regards of - Langston Hughes New York, Nov. 30, 1959.” Octavo volume with original black boards. Black-on-pink lettered spine. Original pictorial dust jacket. 500/1,000 Langston Hughes, a leading figure of the Harlem Renaissance, became
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one of the foremost interpreters to the world of the black experience in America.
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Sergio Bustamante Mexico, b. 1942/43 Lots 41-43
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Standing elephant. Signed on back “Sergio Bustamante 23/100”. Hand-hammered brass, height 45”. Length 56”. 1,500/2,500
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Standing cheetah. Signed on back “Sergio Bustamante 68/100”. Hand-hammered brass, height 42”. 1,500/2,500
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Five colorful parakeets hatching from one large egg. Signed lower right “Sergio Bustamante”. Porcelain, height 11”. Length 14”. Depth 7”. 300/500
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JOHNATHAN KENDALL Massachusetts, d. 2004 Two saints: “Saint Anthony of Padua, Holding the Child Jesus ...” and “St. Barbra and Her Tower ...”. Both inscribed in the artist’s hand verso “... created by termites, at the termite workshop, at Tuscon, Arizona”. Carved and painted wood, heights 48”. 500/700
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JOHNATHAN KENDALL Massachusetts, d. 2004 Three-dimensional figure of a saint, with nail protruding from head to be used as a candlestick pricket. Carved and painted wood, height 25”. 250/350
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EDITH PARSONS New York, 1878-1956 “Frog Baby”. Inscribed “Parsons”. Impressed “Gorham Co.”. Bronze with applied verdigris patina, height 7”. 500/700
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HENRY FRANCOIS FARNY Ohio/California/France, 1847-1916 Circular plaque depicting a side profile of a figure. Dated 1881. Signed in pencil verso “H. F. Farny 1881”. Housed in a frame with red velvet lining. Bronze, 8” x 7.75”. Framed 11” x 11”. 600/800
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Johnathan Kendall was an itinerant woodcarver, originally from Boston, who is best known for the doors he carved in 1976 for Our Lady of Lourdes Catholic Church, now Wellfleet Preservation Hall in Wellfleet, Massachusetts. His work can also be seen at the La Fonda Hotel in the historic plaza of Santa Fe, New Mexico.
47A. SCOTT SHAFFER Colorado, Contemporary “Cha Cha Cha” (Maine lobster). Identified and titled on original rotating stand. According to the artist’s website, this is from a limited edition of 30. Bronze, height 19.75”. 500/1,000
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Peter Max New York/Germany, b. 1937 Lots 48-49
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Head of a woman. Signed upper right “Max”. Oil on canvas, 24” x 30”. Framed 26.5” x 32.5”. 2,500/3,500
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Reclining nude. Signed upper right “Max”. Oil on canvas, 37” x 49”. Framed 39” x 51”. 4,000/6,000
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JIM ROSE Wisconsin, b. 1966 “Quilted” hot-rolled steel sideboard with fourpiece top and three doors with multicolored windows. Interior with two drawers. Height 36”. Width 60”. Depth 21.5”. 1,000/2,000
51.
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MORRIS HENRY HOBBS Louisiana/Illinois, 1892-1967 “Mardi Gras on Royal Street, Old New Orleans”, 1940. Signed in pencil “Morris Henry Hobbs”. Numbered “Ed/100”. Etching on wove paper, 12.5” x 9.5”. Framed 18.5” x 14.25”. 300/500
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52.
SMIRA SHAOUL Israel, b. 1939 “Fisherman”. Signed lower left. Titled on label verso. Watercolor on paper, 28” x 20”. Framed. 1,200/1,400
53.
ELLA SOPHONISBA HERGESHEIMER Tennessee, 1873-1943 “A Southern Magnolia”. Signed in pencil lower right “E. Sophonisba Hergesheimer”. Titled lower left. Etching on paper, 14.5” x 17”. Framed 19” x 23”. 200/400 Ella Hergesheimer was a great-great grandaughter of Charles Wilson Peale. She studied at the Pennsylvania Academy of Fine Arts under William Merritt Chase and Celia Beaux.
52
54.
RAPHAEL SOYER New York, 1899-1987 “Eighth Avenue”. Signed in pencil lower right “Raphael Soyer”. Marked lower left “AP”. Color lithograph, 26” x 16.5” sight. Framed 31.5” x 22.5”. 400/600
53 54
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25
55.
HARRY STERNBERG California/New York, 1904-2001 “Self of Artist”, a standing self portrait backed by multiple other figures. Signed and dated 1943 lower right. Gouache on paper, mat opening 25.5” x 16.25”. Framed 36” x 26”. 1,000/1,200
55
56.
SIDNEY MARSH CHASE Massachusetts, 1877-1957 Fishing shacks on a pier. Signed lower right “S.M. Chase”. Oil on canvas, 20” x 24”. Framed 25” x 29”. 700/1,000
56
57.
WILLIAM AUSTIN KIENBUSCH New York, 1914-1980 “Lighthouse Bell”. Signed and dated lower right “Kienbusch ‘49”. Titled verso. Label verso for Leger Galleries, New York. Casein on paper, 21.5” x 30.5” sight. Framed 25” x 34”. 1,500/2,500 A graduate of Princeton, William Kienbusch went on to teach art at the Brooklyn Museum Art School. He also worked with the U.S. military, teaching the art of camouflage. Numerous exhibitions of his work included shows at the Art Institute of Chicago, the Museum of Modern Art and the Whitney Museum of American Art.
57
26
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58.
ATTRIBUTED TO ALEXANDRE EVGENIEVICH YAKOVLEV Massachusetts/Russian Federation, 1887-1938 Mountainous landscape. Signed with the artist’s Chinese seal lower right. Illegibly inscribed on backing “...chou” and “No. 2 reduce to 4” w”. Charcoal on paper, 28.5” x 21.5”. Unframed. 4,000/6,000
59.
MANUEL WSSEL DE GUIMBARDA Spain/Cuba, 1833-1907 A mother and young child. Signed lower right “Wssel 83”. Watercolor, 24” x 37.5” sight. Framed 28” x 41”. 2,000/4,000
58
59
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27
60.
ROBERT HENRI New York/Pennsylvania/Ohio, 1865-1929 A seated female. Estate signed lower right “Robert Henri JCL”. Charcoal on paper, 11” x 8” sight. Framed 16” x 13.5”. 1,000/1,500
60
61
61.
MARGARETT W. MCKEAN SARGENT Connecticut/Massachusetts, 1892-1978 “More Coffee”. No visible signature. Titled and artist identified on frame plaque. Ink on paper, 12” x 9” sight. Framed 18” x 14”. 200/400 A Boston area portrait and figural study artist in the 1920s, Margarett W. McKean Sargent was a distant cousin to John Singer Sargent.
62. 62, three
28
ALBERT LOREY GROLL New Mexico/Arizona, 1866-1952 Three unframed sketches: 1) New England harbor scene. Signed lower left “Groll”. 8” x 10.25”. 2) Figure on a hillside. Unsigned. 10” x 8”. 3) Sailboat at rest. Unsigned. 10” x 13”. 400/600
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63.
SALVADOR DALI France/Spain, 1904-1989 “The Triumph of Dionysus”, 1967. Signed in pencil lower right. Numbered 180/200. Colored etching on paper, 14” x 18.5” to the plate line. Framed 27” x 30”. 400/600
63
64.
YASUO KUNIYOSHI New York/California/Japan, 1889-1953 Portrait of a woman. Signed upper right “Kuniyoshi”. Pencil on fiber paper, 5” x 9” sight. Framed 17” x 12.5”. 800/1,200
64
65.
HENRY ALBERT BOTKIN New York/California, 1896-1983 “Procession”. Titled, signed “Botkin” and dated 1947 verso. Oil on board, 15.5” x 19.5”. Unframed. 800/1,000 Henry Botkin, cousin and art collaborator to composer George Gershwin, was the president of the American Abstract Artist’s Group 256 in Provincetown, Massachusetts, in the late 1930s.
65
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29
Charles Green Shaw New York, 1892-1974 Lots 66-69
66.
Untitled abstract. Signed lower right “Shaw”. Oil on canvas, 36” x 24”. Unframed. 2,500/3,500
66
67.
“Fishing Fleet 1955”. Signed upper left “Shaw”. Signed and titled verso. Oil on canvas board, 25” x 30”. Framed 27” x 32”. 2,500/3,500
67
30
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Charles Green Shaw New York, 1892-1974 Lots 66-69
68.
Geometric shapes. Signed and dated verso “Shaw 1936”. Oil on canvas, 18” x 22”. Unframed. 1,500/2,500
68
69.
Untitled. Signed and dated verso “Shaw April 1936”. Oil on canvas, 18” x 22”. Unframed. 1,500/2,500
69
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31
Andrzej Czeczot Poland, 1933-2012 Lots 70-76
70.
Original artwork for the November 30, 1987 issue of the New Yorker. Watercolor on paper, 15” x 11.75” sight. Framed 22.5” x 19”. 600/900
71.
Original cover art for the March 31, 1986 issue of the New Yorker. Watercolor on paper, 11” x 8.5” sight. Framed 24” x 21.5”. 600/900
72. TWO NEW YORKER COVERS 20th Century Covers designed by Andrzej Czeczot. 10.75” x 11.5” sight. Framed 17” x 13.5”. 200/300
70
73.
Patriotic hot air balloon. Signed and dated lower right “Czeczot 91”. Watercolor on paper, 20.75” x 28” sight. Framed 29” x 35”. 800/1,200
74.
Fantastical scene with balloons and flying teapots. Signed and dated lower right “Czeczot 91”. Watercolor on paper, 20.75” x 28” sight. Framed 29” x 35”. 800/1,200
75.
A flying machine at sunset. Signed and dated lower right “Czeczot”. Watercolor on paper, 20.75” x 27.5” sight. Framed 29” x 35”. 800/1,200
76.
Fantastical scene with a bed-form flying car. Signed lower right “Czeczot”. Watercolor on paper, 20.75” x 28” sight. Framed 29” x 35”. 800/1,200
71
32
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Andrzej Czeczot Poland, 1933-2012 Lots 70-76
73
74
75
76
Andrzej Czeczot was a well-known illustrator and film maker. His illustrations have appeared in the New York Times, the New Yorker and the Wall Street Journal.
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33
77
77.
WILLIAM ALEXANDER GRIFFITH Kansas/California, 1866-1940 Firemen at the scene of a barn fire. Signed lower right “Griffith”. Oil on board, 20” x 26”. Framed 24.5” x 30.5”. 800/1,200
78.
SYLVIA ALBERTS New York, b. 1928 “Barns - Iowa”. Titled and artist identified and dated 1975 on label verso for Ann Nathan Gallery, Chicago. Oil on board, 23.5” x 29.5”. Framed 23” x 29.5”. 1,000/2,000
78
79.
AMERICAN SCHOOL Mid-20th Century Faneuil Hall, Boston. Signed and dated lower right “J.R. 56”. Note verso identifies the artist as John Rosenfeld. Oil on board, 15.75” x 23.75”. Unframed. 1,000/1,500
80.
MIGUEL COVARRUBIAS New York/Mexico, 1904-1957 Illustration for Typee by Herman Melville, circa 1935. Signed lower right “Covarrubias”. Watercolor on paper, 9” x 12” sight. Framed 14” x 17”. 500/1,000
79
80
34
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81.
NORMAN ROCKWELL Massachusetts, 1894-1978 Set of eight Tom Sawyer lithographs. Includes “Whitewashing Fence”, “Dead Cat”, “Dog and Beetle”, “First Smoke”, “Sneaking Out”, “The Caning”, “The Cave” and “The Medicine”. According to the Norman Rockwell Museum these were created for Mark Twain’s 1936 edition of The Adventures of Tom Sawyer. They were produced by Circle Gallery in 1971 with 295 impressions, with 200 numbered, 60 artist’s proofs, and 35 marked with Roman numerals. This set is numbered 88/200 and pencil-signed by the artist. On paper, 22” x 17”. Framed 29” x 24”. 5,000/7,000
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81, eight
35
82.
SHEL SILVERSTEIN New York/Florida/Illinois, 1930-1999 Sketch of a pelican carrying a child above the verse “Henry went for a pelican ride They started out on the Woods Hole side Then the pelican said ‘You’ve ridden enough’ and he dropped Henry on Oak Bluffs.” Signed “With love - Shel Silverstein”. Felt pen on paper, 9.25” x 13.5”. Framed 16.5” x 20.5”. 1,000/1,500 Provenance: Given to the consignor directly from the artist.
83. 82
COLLECTION OF MEMORABILIA SIGNED BY DR. SEUSS 20th Century 1) Ink and pencil illustration signed lower center “A Non-Hippogriff for John M. Lindley from Dr. Seuss”. On “Dr. Seuss The Tower La Jolla, California” letterhead. Unframed. 2) Personal letter signed “Mrs. Dr Seuss”. On Dr. Seuss letterhead. 3) Copy of The Seven Lady Godivas with doodle of a nude woman inscribed and signed “An Extra Godiva for John Marshall Lindley, the greatest Godiva Collector of them all. In awe .... Dr. Seuss”. 4) Copy of Yertle the Turtle and Other Stories with doodle of a turtle inscribed and signed “For Marshall with Best Wishes - - Dr. Seuss”. 3,500/4,500 Theodor Seuss Geisel (Massachusetts/California, 1904-
83, including details
1991), better known as Dr. Seuss, was a children’s author, cartoonist and animator.
36
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84.
VOLUME OF AMERICAN ETCHINGS Contemporary American Etching with introduction by Ralph Flint (N.Y.: American Art Dealers Association, 1930). Frontispiece with an original etching by Frank W. Benson titled “Startled Ducks”. Quarto volume with rust red boards. 200/300
84
85.
LOUIS AGASSIZ FUERTES New York, 1874-1927 Atlantic puffin. Monogrammed “LAF” lower left. Watercolor and gouache on paper, 6” x 5” sight. Framed 10.5” x 8.5”. 2,000/3,000
85
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37
86
86.
COMMEMORATIVE HANDKERCHIEF “TO THE ADMIRERS OF THE NOBLE GAME OF CRICKET” English, 19th Century After an original watercolor drawing by Nicholas Felix. Red and black printed handkerchief depicting cricket players at center and vignettes with the rules of the game, batting instruction and notable matches in the border. 26.5” x 33” sight. Framed 30” x 36.5”. 600/900
87.
TRAVELING LIQUOR CABINET English, 19th Century In mahogany veneer with fruitwood shell inlay on top and front. Brass bail handles at sides. Fitted interior contains six glass bottles with gold painted decoration. All bottles with stoppers, though stoppers differ. Cabinet height 9.25”. Width 11.25”. Depth 7.5”. 800/1,200
88.
CHEESE WHEEL HOLDER 19th Century In mahogany, fitted with brass casters. Height 7”. Length 16”. Width 7.5”. 200/400
89.
REGENCY SHELL TEA CADDY First Quarter of the 19th Century With silvered mounts, ivory trim and ball feet. Height 4.25”. Width 5.25”. Depth 3.5”. 500/700
87
38
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90
90.
REGENCY FIGURED ROSEWOOD TEAPOY London, Early 19th Century Sarcophagus-form case with fitted interior. Octagonal leaf-carved pedestal raised on an incurvate platform. Height 33”. Case width 15”. Depth 9.5”. 800/1,200
91, near-pair
91.
NEAR-PAIR OF GEORGIAN CORNER CHAIRS With low-crested backs, vasiform splats and straight block legs joined with stretchers. Yellow damask upholstery. 800/1,200
92, pair
92.
EXCEPTIONAL PAIR OF CHIPPENDALE CARVED AND GILDED WALL BRACKETS Circa 1760 In a rococo design with rising phoenixes. Heights 16”. Widths 13”. 2,000/3,000
93
93.
GEORGIAN HEXAGONAL WINE COOLER English, Circa 1780 In mahogany, with brass banding and conch shell inlay on lid. Original legs. Height 26”. Top 17” x 19.5”. 600/800
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39
94.
PAIR OF GILT-BRONZE CANDELABRAS IN THE MANNER OF CORNELIUS & BAKER Philadelphia, 19th Century or Later With five socles, the central higher than the others. Stems in the form of a child holding a cornucopia. Ornate trifid bases. Heights 21.75”. 700/1,000
95.
PAIR OF SINUMBRA LAMPS Frosted shades with meander design. Cast bronze bases with tripod feet. Unmarked. Heights 26”. 400/600
96.
PAIR OF NEOCLASSICAL-STYLE ARGON LAMPS With gilded accents. Heights 17.5”.
97.
SINUMBRA LAMP Onion-form shade cut with grapevines. Parcel-gilded columnar stem. Shaped base with rosettes. Unmarked. Height 31”. 400/600
94, pair
40
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400/600
98, pair
98.
99.
PAIR OF GILT BRONZE GIRANDOLES ATTRIBUTED TO CORNELIUS & BAKER Philadelphia, 19th Century Three arms, each with a single socle. Two arms suspend glass prisms. Stems in the form of classical female figures. Square geometric bases. Heights 17.5”. 500/700
SINUMBRA LAMP Heavy onion-form shade. Balustroid stem cast with sinuous foliage. Height 31”. 500/700
100.
CORNELIUS-STYLE GILT-BRONZE FIVE-LIGHT CHANDELIER 19th Century Rococo-style, with masks and exuberant foliage. Apparently unmarked. Height 30”. 3,000/5,000
101.
ASTRAL LAMP CAST WITH PORTRAIT OF GEORGE WASHINGTON 19th Century Onion-form shade cut with American shields, potted flowers and an arch motif. Balustroid base cast with flowers and a spread-wing eagle above Washington. White marble base. Height 27.5”. 400/600
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41
102, pair
103, pair
104, two
42
102.
PAIR OF QUEEN ANNE BRASS SHELL-BASE CANDLESTICKS 18th Century Heights 8.5”. 600/800
103.
PAIR OF QUEEN ANNE BRASS PETAL-BASE CANDLESTICKS 18th Century Heights 8.5”. 600/800
104.
ENGLISH ENAMELED NÉCESSAIRE 18th Century Together with an enameled scent flask with polychrome painted vignettes of castles on a blue and white ground. Height 4”. Body of nécessaire with polychrome painted vignettes of port scenes on a pink and gold ground. Lid decorated with floral sprays. Fitted interior contains beauty supplies. Height 4”. 500/1,000
105.
COLLECTION OF STAFFORDSHIRE FIGURES English, 19th and 20th Century Includes seven pairs of dogs, four assorted dogs, and eight assorted figural groups. Heights from 3” to 14”. 500/800
106.
RARE CANARY AND COPPER LUSTRE CREAM PITCHER 19th Century Depicts the surrender of Cornwallis on one side and Lafayette on the other side. Height 3.5”. 100/200
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107.
ENGLISH GAUDY IRONSTONE COVERED SAUCE TUREEN Circa 1840 With attached undertray. Lid with floriform finial. Lid, body and undertray with floral design. Length 6.25”. 100/200
108.
PAIR OF MINIATURE WATERCOLOR PORTRAITS First Half of the 19th Century Depict a man and a woman. Portrait of man signed lower right; signature obscured by mat but possibly “Wm Trant”. Housed in ebonized frames with gold liners. Diameters 3.5” sight. Framed diameters 9.5”. 600/900
109.
WATERCOLOR PORTRAIT OF A YOUNG WOMAN Second Quarter of the 19th Century Woman holds a letter and stands on a patterned carpet. Drapery surround. Housed in its original bird’s-eye maple frame with gilt liner. 8” x 5.5” sight. Framed 11.25” x 8.75”. 600/900
110.
TWO SILHOUETTES WITH HANDPAINTED HIGHLIGHTS Second Quarter of the 19th Century Both housed in period rosewood frames with gilt liners. 1) A girl holding a purse and a boy holding a book. 6.75” x 8.5” sight. Framed 9.5” x 11.25”. 2) A lady holding flowers. 6.25” x 4.75” sight. Framed 9.5” x 8”. 400/600
111.
FIVE MINIATURE PORTRAITS AND A SILHOUETTE 19th Century 1) “Countess of St...”. Dated 1862. Illegible inscription verso. 2) Samuel Howard, Seda captain. 3) Girl in a white lace bonnet. 4) Old lady in a white lace bonnet and ruff. 5) Woman in a white bodice and pearls. Set in an oval silver box. Box length 3”. 6) Silhouette of a woman with a topknot. From 4.25” x 3.5” to 7” x 5.5”. 400/600
112.
PAIR OF GLASS HURRICANE SHADES 19th Century Heights 21”. Diameter at tops 7”. 200/300
113.
CAST IRON FIREBACK 19th Century With arched top. Grapevine surround interrupted by a satyr mask. Figures of a man and woman at center. Height 22.25”. Width 17.5”. 300/500
108, pair
109
110, two
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43
114.
VILHO ARVI VIOLIN Finland, 1979 Number 212. One owner, one player. Stamped with maker’s mark and retains paper label. Tiger maple twopiece back and sides. Rich grained spruce top. Diamondshaped inlay on bridge and tuning pegs. Rich warm tone. Includes hard-shell case. 11,000/13,000
114
115, pair
115.
44
MEYER MATZKIN Massachusetts/Russian Federation, 1880Pair of impressionistic rural landscapes. Both signed lower left “M. Matzkin”. Oils on panel, 11” x 12.75” sight. Framed 17” x 19”. 800/1,200
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116
116.
RUSSIAN ICON “THE PRESENTATION OF CHRIST AT THE TEMPLE” 14th Century Depicts Mary and Joseph bringing the baby Jesus to the temple in Jerusalem forty days after his birth. Distinct early structures in background. 18.75” x 13”. 6,000/8,000
117
117.
AFTER BARTOLOME ESTEBAN MURILLO 19th Century “The Infant Saint John with the Lamb”. Unsigned. The original work is in the collection of the National Gallery, London. According to the museum “Murillo depicted Saint John the Baptist many times, almost always as a child with a lamb, a symbol of Christ. This work is the companion piece to the ‘Infant Christ as the Good Shepherd’ (private collection), whose history it shared until 1840. The two pictures decorated the altar erected in the Plaza de Santa María la Blanca in Seville during the festivities for the church’s inauguration in 1665, and were painted shortly before.” Oil on panel, 17.5” x 14.25”. Framed 28” x 24”. 500/1,000 Provenance: Skinner Inc., October 18, 1997, Lot #490. Private Collection, Connecticut.
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45
118
118.
PAUL RENARD France, 1871-1920 The Avenue des Champs-Élysées and the Arc de Triomphe de l’Étoile. Signed lower left “P. Renard”. Oil on masonite, 7.75” x 9.75”. Framed 14” x 16”. 500/800
119
119.
MAHOGANY TEA CADDY IN THE FORM OF A SIDEBOARD English, 19th Century Backsplash with shell carving. Lift top reveals a green velvet-lined interior. Front panels slide out, functioning as additional compartments with silver painted interiors. Stepped base. Height 12”. Width 17”. Depth 9”. 1,400/1,800
120.
J. KOZANY Austria, Late 19th/Early 20th Century Nude woman reclining on a sofa. Signed lower left “J. Kozany”. Oil on card stock, 4.5” x 5.5”. Framed 7.75” x 8.5”. 500/1,000
120
46
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Jan Van Pee Amsterdam, 1630-1710 Lot 121
121
121.
Farmyard scene. Signed and dated lower left “JVP 16[?]6”. Oil on canvas, 30” x 40”. Framed 34.5” x 44.5”. 7,000/9,000 Provenance: Private Collection, Cape Cod, Massachusetts.
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47
122.
BRASS-MOUNTED OLIVEWOOD LADY’S DRESSING BOX English, 19th Century Single drawer at front. Recessed hardware. Monogrammed “DMH”. Interior velvet-lined fitted tray contains eight silver-mounted dresser jars with matching monograms and London marks for 1850. Also contains mother-of-pearlhandled tweezers, a button hook, a corkscrew for perfume and two pairs of steel scissors. Height 7”. Width 12”. Depth 9”. 400/600
123.
CALAMANDER VENEER TEA CADDY English, 19th Century Compartmented red velvet-lined interior contains three glass bottles. Height 4.5”. Width 7.5”. Depth 3”. 300/400
124.
INLAID DRESSER BOX English, 19th Century In mahogany veneer with extensive fruitwood and satinwood inlay, including a castle on the lid and bands of roses along the perimeter. Fitted interior. Circular wooden feet. Height 6”. Width 13.5”. Depth 10”. 500/700
125.
ROSEWOOD TEA CADDY WITH MOTHER-OF-PEARL INLAY English, 19th Century Fitted interior. Wooden ring handles at sides. Button feet. Height 8.5”. Width 14”. Depth 7.5”. 500/700
126.
CONTINENTAL BURLWOOD BOX 19th Century Lid with mahogany geometric inlay. Brass lion’s-paw feet. Height 4.25”. Width 10”. Depth 7.5”. 300/400
127.
TRAVELING CORRESPONDENCE BOX English, 19th Century In walnut, with brass military-style hardware. Slant front over a single drawer. Interior fitted with eight letter holders, two pen trays, two ink bottle holders, a book holder and a slide compartment for correspondence. Height 12.5”. Width 14”. Depth 10.5”. 400/600
128.
REGENCY FLAME-GRAINED MAHOGANY SARCOPHAGUS-FORM TEA CADDY First Quarter of the 19th Century With extensive boxwood inlay, a diamond-shaped ivory escutcheon, and brass lion’s-mask ring handles and ball feet. Retains original key. Interior fitted with two covered compartments, both with ivory knobs on lids. Height 6.5”. Width 8.5”. Depth 4.5”. 300/600
129.
FRUITWOOD TEA CADDY IN THE FORM OF AN APPLE 19th Century Traces of original liner. Height 4.5”. 300/500
130.
LEATHER-COVERED SEWING BOX Continental, 19th Century With brass ring handles and brass feet. Lift top conceals a fitted interior, which retains some implements. Single drawer at front. Height 4.25”. Width 8”. Depth 5”. 200/300
122
48
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123
124
125
126
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49
131, two views
131.
RARE AND IMPORTANT SCOTTISH FLINTLOCK BELT PISTOL Early 19th Century Approx. .52 cal. Tricolor pure gold overlay portraying hunting scenes, with animals including lions, birds and deer. Fully restored by Allen Bilbow. Length of barrel 7.75”. Overall length 13”. 15,000/20,000 Provenance: Purchased at an auction in Birmingham, United Kingdom, early 1980s.
50
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132
132.
MAHOGANY AND SILVER FOLDING KNIFE WITH PATRIOTIC DECORATION United States or England, Mid-19th Century Mahogany grip inlaid with motherof-pearl disks on one side and with a medial silver band on both sides. Silver bolsters, one in modified shield shape. All silver components with relief patriotic decoration. Medial bands with 14 stars above a spread-wing eagle clutching arrows and perched on a stylized American shield flanked by olive branches. Bolster at pivoting end of knife with an oak leaf design and possibly the letters “Y” and “M”. Shield-shaped bolster with a Liberty cap, scales of justice, eight stars, a spread-wing eagle, a stylized American shield and olive branches. Pivoting steel blade with nail nick. Length closed 5.75”. 700/1,000
133
133.
BONE, MAHOGANY AND SILVER FOLDING KNIFE WITH PATRIOTIC DECORATION United States or England, Mid-19th Century Bone grip inlaid with mahogany disks on one side. Silver bolsters, one tapered and one in the form of a sword’s hilt, both with relief patriotic decoration on both sides. Hilt with a “Liberty and Union” banner centered by an oak leaf. Tapered bolster with a Liberty cap, a sword, a spreadwing eagle, olive branches and an American shield. Pivoting steel blade with nail nick. Length closed 5.63”. 1,200/1,500
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134
134.
BRASS AND STEEL POCKET KNIFE WITH ENGRAVED DATE OF 1793 England or Europe, 18th Century Tapered and curved brass grip engraved “1793” on one side, “M:R:D:H” on the other side and with recessed bands and engraved foliate decoration on both sides. Pivoting steel blade with broad shape similar to a table knife. Length closed 4.38”. 400/600
51
135.
PRIMITIVE NAVAL SABER Early 19th Century Possibly War of 1812-era. Steel hilt and grip. Length of blade 27.5”. Overall length 33”. 700/900
135
136.
PRIMITIVE NAVAL SABER Early 19th Century Possibly War of 1812-era. Steel hilt and grip. Length of blade 22”. Overall length 27.5”. 700/900
137.
136
KENTUCKY-TYPE RIFLE CONVERTED TO PERCUSSION Circa 1810 .38 cal. Strong tiger maple stock, with brass patch box on right side. Barrel stamped “J. Hale”. Lock plate with scroll engraving. Replaced ramrod. Length of barrel 41”. Overall length 55.5”. 800/1,200
137
52
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IMPORTANT NOTICE Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith. All guns shipped have a 5-day inspection period that begins upon arrival at the FFL dealer.
138
139
138.
* GERMAN 1914 STAMPED LUGER PISTOL 9mm, Serial #8318. Checkered walnut grips. Length of barrel 4”. Overall length 8.25”. Includes non-matching magazine. 600/800
139.
GERMAN MODEL GWZF4 SCOPE World War II-era Serial #31656. Includes lens caps. Length 6.25”. 300/500
140.
* GERMAN 1917 ARTILLERY LUGER PISTOL 9mm, Serial #8876. Checkered walnut grips. Blued finish. Length of barrel 8”. Overall length 12.25”. Includes nonmatching magazine. 900/1,200
140
141.
* WALTHER MODEL PPK SEMI-AUTO PISTOL 9mm, Serial #A006646. Stainless steel finish. Walther plastic grips. Minor wear. Length of barrel 3.25”. Overall length 6”. Includes two magazines and original plastic case. 500/700
142.
THREE GERMAN LEATHER HOLSTERS World War I/World War II-era Lengths from 9” to 10”. 300/500
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53
IMPORTANT NOTICE Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith. All guns shipped have a 5-day inspection period that begins upon arrival at the FFL dealer.
143
144
145
143.
* PARKER BROTHERS P-GRADE DAMASCUS BARREL SHOTGUN 12-ga., Serial #73272. Includes original butt plate. Finish worn to dull silver. Length of barrel 30”. Length of pull 14.25”. Overall length 48”. 300/500
144.
* PARKER BROTHERS V-GRADE SIDE-BY-SIDE SHOTGUN 20-ga., Serial #155081. Receiver worn to dull silver. Length of barrel 26”. Length of pull 14.25”. Overall length 42.25”. 500/800
145.
54
* BROWNING A5 SEMI-AUTOMATIC SHOTGUN 12-ga., Serial #88521. Blued finish. Length of barrel 27”. Length of pull 14.5”. Overall length 47”. 400/700
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146
147
148
146.
* WINCHESTER MODEL 101 XTR LIGHTWEIGHT OVER-UNDER SHOTGUN 12-ga., Serial #K530007E. Screw-in chokes. Receiver engraved with game birds. Blued finish with light scratches and wear. Length of barrel 27”. Length of pull 14.25”. Overall length 44”. 700/1,000
147.
* WINCHESTER MODEL 42 SLIDE-ACTION SHOTGUN .410-ga., Serial #61032. Choked at full. Blued finish with light wear. Length of barrel 26”. Overall length 45”. 1,400/1,800
148.
* WINCHESTER MODEL 52 BOLT-ACTION RIFLE .22 cal., Serial #103984C. Length of barrel 28”. Overall length 48”. Mounted with a J. Unertl scope, Serial #42900. Includes scope lens cap and leather sling. 500/800
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55
ITEMS 149-151 PERTAIN TO AMERICAN WRITER WILLIAM FAULKNER
149
149.
150.
* REMINGTON SPEEDMASTER SEMI-AUTOMATIC RIFLE .22 cal., Serial #96237. Nickel-plated plaque attached to stock engraved “M.A.F.”, believed to be the initials of Malcolm Faulkner, William Faulkner’s stepson. Length of barrel 24”. Overall length 41.5”. 150/250
WOODEN TURKEY CALL 20th Century Marked “Cedar-from Rowan Oak WF” and “22 April 1961-1 tan dressed out at 13 lbs. 10 mi. south Indianola Miss.” Stamped on bottom “M.A.F”, the initials of Malcom Faulkner, William Faulkner’s stepson. Length 13.5”. 1,400/1,800 Provenance: Given directly to the consignor from Malcolm Faulkner.
151.
150
ABERCROMBIE & FITCH BLAZER BELONGING TO WILLIAM FAULKNER Circa 1956 Blue wool blazer with red satin lining, silver buttons and pocket emblem. Signed on label inside pocket “Mr. W. Faulkner March 1956”. 2,500/3,000 Provenance: Given directly to the consignor by Malcolm Faulkner, William’s stepson.
William Faulkner (1897-1962), the American writer and Nobel prize laureate celebrated particularly for his contribution to Southern literature, was also a renowned sportsman. He learned to hunt growing up in Mississippi and the tales of the outdoors inspired much of his writing. He famously disappeared for his annual week at his deer camp the day after winning
151
the Nobel prize, frustrating the legions of reporters who were trying to interview him and antagonizing U.S. State Department officials who wanted to avoid an international insult.
56
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152.
CARVED AMERICAN EAGLE Mid- to Late 20th Century With outstretched wings and protruding talons suggesting attack. Height 48”. 400/600
152
153.
KENNETH BUNN Colorado, b. 1938 A fox in chase. Numbered 32/150. Signed “K Bunn 1982”. Mounted on an oval walnut base. Bronze, height 6.25”. Length 11”. 700/1,000
153
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57
154
154.
DANIEL BRUFFEE CARVED WOODEN SPERM WHALE Plymouth/Middleborough, Massachusetts, Contemporary Mounted on a painted pine backboard. Stamped on back “Daniel L. Bruffee Decoys Plymouth Mass”. Length of whale 24”. Backboard 12” x 28.5”. 500/700
155.
155
58
ROBERT INNIS DOLPHIN CARVING South Dennis, Massachusetts, 1893-1983 Mounted on a carved conch shell base. Signed on underside of base “Dolphin By Robert I. Innis So. Dennis Mass 1969”. Height 6”. Length 11.25”. 400/600
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156.
FRANK ADAMO CARVED SPERM WHALE Pocasset, Massachusetts, 20th Century Mounted on a driftwood base. Signed on underside of base. Length of whale 13”. 300/500
156
157.
GROUP OF NINE MINIATURE MERGANSER DECOYS BY FRANK ADAMO Pocasset, Massachusetts, 20th Century Titled “Antique New England Mergansers”. Done in the styles of A.E. Crowell, Gus Wilson, George Boyd and others. Antiqued finish. Mounted together on a painted wooden plank surmounted by two raised platforms. Overall height 9”. Length 15.75”. 800/1,200
157
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59
158
159
158.
AMERICAN SCHOOL Early 20th Century Setter with woodcock. No signature found. Mixed media on paper, 25” x 21.5”. Framed 31” x 28”. 400/600
159.
FRANCES MABEL HOLLAMS United Kingdom/France, 1877-1963 “Coll”, a portrait of a labrador retriever. Signed and dated lower left “F.M. Hollams 93”. Titled upper right. 18” x 12.75”. Framed 23” x 17.5”. 1,000/1,500 Provenance: A Connecticut Estate.
160.
LEWIS ROBICHAUD HERRING GULL SCULPTURE Cape Cod, Massachusetts, 20th Century Standing on a rockery base. Signed on underside of base “L. Robichaud Cape Cod”. Paper label also on underside. Height 11.5”. Length 15”. 300/400
161.
DECORATIVE CARVING OF A TERN Circa 1930 In flying form and mounted on a tall driftwood base. Glass eyes. Overall height 33”. Wingspan 23”. 500/800 Discovered in a house on Penzance Point, Falmouth, Massachusetts.
60
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162
162.
MARTY COLLINS BLACK DUCK DECOY Wareham, Massachusetts, 20th Century Hollow-carved. In swimming position. Glass eyes. Chip carving under tail. Branded on underside “M D Collins”. Length 20.5”. 450/550
163.
MARTY COLLINS RED-BREASTED MERGANSER DRAKE DECOY Wareham, Massachusetts, 20th Century Done in the Barlow style. Head turned left. Glass eyes. Horsehair crest. Carved wing feathers. Antiqued finish. Length 18.5”. 500/700
163
164
164.
DAN BRUFFEE RED-BREASTED MERGANSER DRAKE DECOY Plymouth/Middleborough, Massachusetts, Contemporary Hollow-carved. Carved eyes and wing feather detail. Antiqued finish. Carved on underside “Dan Bruffee”. Length 18”. 300/500
165.
DANIEL BRUFFEE CROWELL-STYLE BLACK-BELLIED PLOVER DECOY Plymouth/Middleborough, Massachusetts, Contemporary Glass eyes. Carved feather detail. Antiqued finish. Signed on underside of tail “D Bruffee”. Length 12”. 300/400
166.
DANIEL BRUFFEE LIFE-SIZE DECORATIVE CARVING OF A WILSON SNIPE Plymouth/Middleborough, Massachusetts, Contemporary In flying form. Glass eyes. Carved wing and tail feather detail. Mounted on a rockery backboard. Stamped on reverse “Daniel L. Bruffee Decoys Plymouth, MA”. Length 11”. Wingspan 13”. 500/700
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165
61
167
62
168
167.
WILLIAM GIBBIAN YELLOWLEGS DECOY Onancock, Virginia, 20th Century In preening position. Glass eyes. Carved wing feathers. Length 10”. 700/900
168.
MIKE BORRETT LIFE-SIZE CARVING OF A RING-NECKED PHEASANT Madison, Wisconsin, 20th Century Glass eyes. Mounted on a carved wooden base. Carved on underside of pheasant “Borrett 2013”. Height 15”. Length 23”. 800/1,000
169.
C. WILLETT PUFFIN DECOY Pennsylvania, 20th Century Circa 1990. Carved to encourage the nesting of puffins off the coast of Maine. Includes handwritten note from the carver. Height including stand 10”. 150/250
170.
LEONARD BAMBOO FLY ROD 20th Century Patent date 8/3/1915. Includes three tips, original bag with label, and metal storage tube. Length of rod 8.5’. Weight 4.25 oz. 800/1,200
171.
FRANK ADAMO CARVING OF A BARRACUDA Pocasset, Massachusetts, 20th Century Mounted on a driftwood and pine backboard. Signed on back “Frank Adamo”. Length of barracuda 13.5”. Overall length 18”. 200/300
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172, three
172.
173.
THREE TROUT CARVINGS BY FRANK ADAMO Pocasset, Massachusetts, 20th Century A brook trout, a rainbow trout and a brown trout, each mounted on an oval wooden backboard. All signed on back “Frank Adamo”. Lengths 10”. 600/900
FRANK ADAMO CARVING OF AN ATLANTIC SALMON Pocasset, Massachusetts, 20th Century Mounted on an oval wooden backboard. Length of salmon 20.5”. Overall length 29”. 500/800
173
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63
174.
FOUR CARVED WOODEN SALTWATER FISH Connecticut, Circa 1930 All mounted on seascape painted backboards. Includes a dolphin, an albacore, a spotted jewfish, and a Spanish mackerel and a bonita mounted together. Albacore with a glass eye. Species identified on brass plaques affixed to frames. Fish lengths from 3” to 5”. Framed 6.5” x 9.5”. 300/500
175.
TWO CARVED WOODEN MARLIN Connecticut, Circa 1930 A white marlin and a blue marlin, both with glass eyes. Mounted on seascape painted backboards. Species identified on brass plaques affixed to frames. Fish lengths 12.75”. Framed 13” x 19”. 200/300
174, four
175, two
64
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176, four
176.
177, four
FOUR CARVED WOODEN SALTWATER FISH Connecticut, Circa 1930 A black drum, a Shinook salmon, an amberjack and a barracuda. Amberjack and black drum with glass eyes. Mounted on seascape painted backboards. Species identified on brass plaques affixed to frames. Fish lengths from 5” to 6”. Framed 6.5” x 9.5”. 300/500
177.
FOUR CARVED WOODEN SALTWATER FISH Connecticut, Circa 1930 All mounted on seascape painted backboards. Includes a weakfish, a spotted weakfish, a tautog, and a seabass and porgy mounted together. Species identified on brass plaques affixed to frames. Fish lengths from 2” to 4”. Framed 6.5” x 9.5”. 300/500
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178, four
178.
FOUR CARVED WOODEN SALTWATER FISH Connecticut, Circa 1930 A snook, a channel bass, a king fish and a sheepshead. Channel bass and sheepshead with glass eyes. Mounted on seascape painted backboards. Species identified on brass plaques affixed to frames. Fish lengths from 2.75” to 5.25”. Framed 6.5” x 9.5”. 300/500
65
179
179.
MIKE BORRETT CARVING OF A LAKE TROUT Painted eye. Carved on back “Borrett”. Length 18.25”.
180.
OVERSIZE CARVED WOODEN FRESHWATER SUNFISH With glass eyes and applied tin fins. Height 8.5”. Length 17.5”.
181.
20th Century 200/300
WOODEN TRADE SIGN “STRIPED BASS SEASON IS NOW OPEN 8:00AM TO 12:00PM” 20th Century White and black lettering on a blue ground surrounding a painted bass. 26” x 17”. 300/500
182.
66
Madison, Wisconsin, 20th Century 700/900
PAIR OF NOVA SCOTIA EIDER DECOYS Early 20th Century Makers unknown. Old in-use repaint. Length of hen 13.5”. Length of drake 14.5”. 300/500
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183
183.
184.
JOE LINCOLN SCOTER DECOY Accord, Massachusetts, Circa 1920 Self-bailing model. Glass eyes. Some old in-use gunning repaint. Length 18”. 700/1,000
GUNNING BOX USED ON ACCORD POND Massachusetts, 20th Century Wood and brass lift-top gunning box belonging to Phil Shoot of Hingham, Massachusetts, and used at his gunning stand on Accord Pond. Accord Pond was regularly hunted by Joe Lincoln, the famous decoy carver. Includes 39 brass shotgun shells, two reloading tools, a leather pouch and numerous shell wads. Also includes four framed glass slides depicting gunning scenes from Accord Pond. Box height 4.25”. Width 13.5”. Depth 12.5”. 1,400/1,800
184
185.
JOE LINCOLN WHITE-WINGED SCOTER DECOY Accord, Massachusetts, 20th Century Self-bailing model. Glass eyes. Original paint with gunning wear. Branded on underside “J Dean”. Length 18.5”. 2,000/3,000 185
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67
186
189.
186.
AMERICAN MERGANSER DRAKE DECOY Long Island, Early 20th Century Maker unknown. Traces of original paint with gunning wear. Mackey Collection stamp on underside. Length 20”. 190. PAIR OF MASON DECOY FACTORY GOLDENEYE 700/1,000 DECOYS Detroit, Michigan, Circa 1910 Standard grade. Tack eyes. Lengths 14”. 900/1,200 Provenance: Mackey Collection Auction, Richard A. Bourne Company, Hyannis, Massachusetts, 1973, Lot #83. 191.
68
LOUISIANA MALLARD HEN DECOY Circa 1930 Similar to the work of Nicole Vidacovitch (Louisiana, 18531945). Glass eyes. Original paint. Right side hit by shot. Strapped lead weight affixed to underside. Length 16”. 700/1,000
187.
PAIR OF OVERSIZE RED-BREASTED MERGANSER DECOYS Late 20th Century In a folk art style. Hollow-carved. Tack eyes. Lengths 20” and 25”. 500/800
188.
PAIR OF OLD SQUAW DECOYS Long Island, 20th Century Maker unknown. Hen in preening position. Both with glass eyes. Drake branded “SS”. Lengths 10” and 13”. 500/800
TWO DECOYS 1) Merganser from Cotuit, Massachusetts. Carved eyes. Carved wing detail. Length 15.5”. 2) Black duck, possibly a special order from the Mason Decoy Factory. Hollow-carved. Turned head. Glass eyes. Branded on underside “FBG”. Length 15.5”. 300/500
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187, pair
188, pair
189
190, pair
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69
192
192.
MASON DECOY FACTORY MERGANSER HEN DECOY Detroit, Michigan, Circa 1910 Challenge grade. Glass eyes. Strong original paint with minor gunning wear. Length 17.5”. 2,000/3,000
193.
MASON DECOY FACTORY MERGANSER HEN DECOY Detroit, Michigan, Circa 1910 Challenge grade. Glass eyes. Strong original paint. Length 17.25”. 2,000/3,000
194.
MASON DECOY FACTORY WHITE-WINGED SCOTER DECOY Circa 1910 Standard grade. Tack eyes. Original paint. Length 15”. 500/800
195.
WHITE-WINGED SCOTER DECOY North Shore of Massachusetts, 20th Century Maker unknown. Original paint with gunning wear. Length 18”. 300/500
196.
SIX ASSORTED SHOREBIRD DECOYS 19th/Early 20th Century A tin ruddy turnstone, a tin yellowlegs, a tin blackbellied plover, a Massachusetts black-bellied plover with iron bill, and two yellowlegs, possibly from Virginia, both with iron bills. Length of largest 9.5”. 300/500
197.
NANTUCKET RUNNING YELLOWLEGS DECOY Circa 1900 Glass eyes. Split tail. Original paint. Length 10.5”. 600/900
198.
A. ELMER CROWELL MINIATURE CANADA GOOSE East Harwich, Massachusetts, Circa 1928 Mounted on a circular wooden base. Very faint traces of original stamp. Height 3.5”. 1,800/2,200
193
194
195
197
198
70
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199
200
199.
FIVE FRANK ADAMO MINIATURE BIRD CARVINGS Pocasset, Massachusetts, 20th Century A Baltimore oriole, a kingfisher, a nuthatch, a titmouse and a downy woodpecker. Most signed on base “Frank Adamo”. Heights from 2.5” to 8”. 600/900
200.
JAMES LAPHAM LIFE-SIZE WHITE-CROWNED SPARROW Dennis Port, Massachusetts, 20th Century Mounted on a driftwood base. Signed on base “J Lapham”. Height 5”. 300/400
201.
201
JAMES LAPHAM MINIATURE MALLARD DRAKE Dennis Port, Massachusetts, 20th Century Mounted on a driftwood base. Signed on base “J Lapham 53”. Height 4.75”. 400/600 202
202.
JAMES LAPHAM LIFE-SIZE LEAST SANDPIPER Dennis Port, Massachusetts, 20th Century Mounted on a driftwood base. Signed on base “J Lapham”. Height 3.5”. 200/300
The range of species and sizes of James Lapham’s carvings is probably only second to A. Elmer Crowell’s. His output was prolific, very much inspired by Crowell, though his early pieces are hallmarked by a distinct and unique sense of grace, accuracy and character.
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71
A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 203-207 and 198
203
203.
72
DECORATIVE CARVING OF A BELTED KINGFISHER East Harwich, Massachusetts, Circa 1920 Approximately half-size. Painted tack eyes. Carved tail feathers. Mounted on a burlwood base. Oval brand on underside of base. Height 5”. Length 8”. 8,000/10,000
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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 203-207 and 198
204
205
206
207
204.
MINIATURE BLUE JAY Circa 1925 Mounted on a circular wooden base. Unsigned. Height 3”. Includes Crowell’s business card. 800/1,200
206.
MINIATURE CEDAR WAXWING Circa 1925 Mounted on a circular wooden base. Rectangular stamp on underside of base. Height 2.5”. 700/1,000
205.
MINIATURE DOWNY WOODPECKER Circa 1925 Mounted on a circular wooden base. Unsigned. Height 1.75”. 700/1,000
207.
BLACK-CAPPED CHICKADEE Circa 1925 Mounted on a circular wooden base. Unsigned. Height 1.75”. 600/800
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73
208
208.
NAVAJO RUG Circa 1925 Bands of rich red, dark charcoal and ivory diamonds and chevrons interrupted by gray stripes. 5’0” x 5’1”. 350/550
209.
SCHOOL OF GEORGE CATLIN American, 19th Century Portrait of a Native American Chief. Unsigned. Watercolor on paper, 13” x 10” sight. Framed 25” x 20”. 1,200/1,800
210.
AWA TSIREH (ALFONSO ROYBAL, CATTAIL BIRD) San Ildefonso, Pueblo, New Mexico, 1898-1955 Child holding a kachina. Signed lower right. Watercolor on paper, 10.5” x 6.75”. Framed. 400/600
209
210
74
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211
212
211.
APACHE WOVEN BASKET Height 6”. Diameter 16”.
19th Century 400/600
212. SMALL NORTHWEST COASTAL WOVEN BASKET 19th Century With shell decoration. Height 4”. Diameter 9.75”. 300/500
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75
213
214
213.
ESKIMO CARVED SOAPSTONE FIGURE OF A BUFFALO 20th Century With contrasting applied horns. Unmarked. Length 7.25”. 400/600
214.
ESKIMO CARVED SOAPSTONE FIGURE Circa 1979 A hooded figure holding a seal. Marked and dated on underside. Height 5.75”. 300/400
215.
ESKIMO CARVED SOAPSTONE KAYAKER 20th Century Wooden oars and other implements lashed to deck of kayak with leather strapping. Unmarked. Length 12”. 400/600
215
216.
INUIT CARVED SOAPSTONE POLAR BEAR 20th Century Height 5”. Length 8”. 200/250
217.
ESKIMO WALRUS TUSK CRIBBAGE BOARD 20th Century Tip engraved as a fish swallowing the tusk. Seal and whale applied to top, centering the engraved and pierced game board. Further engraved with a walrus and a seal on top, and a map of the Alaskan coastline on underside. Length 15.75”. 400/600
217, obverse and reverse
76
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218
218.
ESKIMO WALRUS TUSK CRIBBAGE BOARD 20th Century Carved in the shape of a roaring polar bear. A polar bear and four seals applied to top, centering the engraved and pierced game board. Beaded outrigger-style mounts at sides. Engraved on underside with a seal on an ice floe and a walrus and polar bear in the water. Seal-form feet. Signed on underside “Leo Kunnuk”. Length 18.5”. 600/800
219
Provenance: Nina Hellman, Bedford, New York, December 12, 1975. Includes original sales receipt.
219.
220.
ESKIMO CARVED WALRUS IVORY MALLET Early 20th Century Mallet head with a relief-carved stylized polar bear. Handle terminates in a polar bear with its arms outstretched. Both bears with contrasting inset eyes and nostrils. Length 6.5”. 600/900
220
ENGRAVED BONE SNUFF BOX 19th Century Probably made from steer or mutton bone, with wooden caps and wooden support for lift top. Engraved with geometric and floral designs. Shows traces of polychroming. Length 4.25”. 400/600 Provenance: Sign of the White Whale Inc., Port Washington, New York, January 30, 1972. Includes original sales receipt.
221.
ESKIMO ARMOR PLATE 19th Century Constructed of pierced bone panels engraved with a crosshatched semi-circle design. Length 9”. 500/1,000
222.
CARVED WALRUS TUSK CRIBBAGE BOARD 19th Century With relief-carved seals, walruses and polar bears. Length 8”. 200/300
221
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77
223
223.
GRENFELL HOOKED MAT Early 20th Century Depicts three polar bears walking through the Arctic. Blue border. No visible label. 15.25” x 49”. 250/350
224.
GRENFELL HOOKED MAT Early 20th Century Depicts a night scene of a hunter with his dog outside of a snowy cottage. Black border. No visible label. 25.5” x 44”. 250/350
225.
GRENFELL HOOKED MAT Early 20th Century Depicts four sailboats amongst icebergs. Black and white border. No visible label. 26.25” x 39.75”. 300/500
224
225
78
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226
227
228
226.
EXCEPTIONAL PICTORIAL HOOKED RUG DEPICTING MARTHA’S VINEYARD Circa 1930 A colorful map of Martha’s Vineyard, Massachusetts, surrounded by a compass rose, a fish and a sailboat. Grape leaf border with “Welcome” on lower edge. Mounted on a wooden backboard. Height 25”. Length 42”. 1,000/1,500 Provenance: A Martha’s Vineyard collection.
227.
228.
WOODEN SIGN “MASSA-CHEW-SETTS” 20th Century Decorative black lettering on a white ground. 6.5” x 36”. 150/250 Provenance: A Martha’s Vineyard collection.
229.
WOODEN SIGN “H.L. TILTON, PROPRIETOR.” Circa 1909 Gold lettering on a black sandpaper ground. From the H.L. Tilton store in Vineyard Haven, Massachusetts. Includes history of the sign and store. Length 50”. 600/900
SABRA STOCKDALE HAND-PAINTED BASKET PURSE Dated 1975 Exterior with continuous scene of landmark buildings in Dennisport Village, Cape Cod, Massachusetts. Interior lined in purple gingham. Signed on inside of lid “Handpainted For Barbara Lane February - 1975” and “By Sabra Stockdale of West Dennis”. Height 7”. Width 10”. Depth 7”. 200/250 Sabra Stockdale decorated basket purses in the 1970s in West
Provenance: A Martha’s Vineyard collection.
Dennis, Massachusetts, often by commission.
230.
FRAMED PATCHWORK QUILT Early 20th Century Red six-pointed stars on white squares. Framed 48” x 46.5”. 300/500 Provenance: A Martha’s Vineyard collection.
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79
231.
MASSACHUSETTS NEEDLEWORK SAMPLER Dated 1822 “Wrought by Mary Prentiss Ae 11 Yrs. 1822”. Rows of alphabets, numerals, a grapevine, a verse, two small baskets of flowers and the maker’s inscription contained within an archway with pillars. Two interlaced flower boughs at upper margin, above arch. Sawtooth border. Genealogical research indicates Mary Prentiss was born in Hopkinton, Massachusetts. 16.5” x 17.25” sight. Framed 18.75” x 19.75”. 2,000/2,500 Exhibited: Pilgrim Hall Museum: “Needlework Samplers, Wrought by Tradition”, February 1- April 25, 2014. Includes copy of show program.
231
232.
NEEDLEWORK FAMILY REGISTER Circa 1826 Wrought by Caroline Young. Lists her parents and their eight children, born between 1808 and 1826. Floral borders. Genealogical research indicates Caroline was born in Roxbury, Massachusetts on March 7, 1808. 17” x 17” sight. Framed 21” x 21”. 2,500/3,500 Exhibited: Pilgrim Hall Museum: “Needlework Samplers, Wrought by Tradition”, February 1- April 25, 2014. Includes copy of show program.
232
80
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234 233
233.
NEW HAMPSHIRE NEEDLEWORK SAMPLER Dated 1841 Wrought by Elizabeth Jewett of Holles [sic], New Hampshire. Rows of alphabets and numerals above a verse, maker’s inscription and floral design. Floral vine and sawtooth borders. Dated 1841 within border. 21.75” x 21.5” sight. Framed 24” x 24”. 3,000/4,000 Exhibited: Saco Museum: “’Industry and Virtue Joined’: Schoolgirl Needlework of Northern New England”, May 8-October 4, 2015. Includes copy of show program.
234.
PENNSYLVANIA NEEDLEWORK SAMPLER Circa 1841 Wrought by “Gabriella Carpenter A daughter of Charles and Elizabeth Carpenter Was born March 9th 1829 And made this sampler in the 13th Year of her age in Margaretta Elizabeth Zells school 1841”. The Zells school was in Reamstown, Lancaster County, Pennsylvania. Rows of the classical Quaker alphabet above a central basket of fruit flanked by floral bouquets. Maker’s inscription and verse below. 17.25” x 10.75” sight. Framed 19.25” x 12.75”. 3,000/4,000
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81
82
235.
HALL FAMILY NEEDLEWORK SAMPLER Portsmouth, Rhode Island, Dated 1835 “Nancy P Hall’s Sampler worked in the thirteenth year of her age Portsmouth, Rhode Island October 7th 1835”. Genealogical research indicates Nancy (1822-1893) was the daughter of Parker Hall, part of the well-known Hall family of Portsmouth, Rhode Island. She was a descendant of William Hall (1613-1676), a founder of Portsmouth and a signer of the Portsmouth Compact, the first American document seeking to sever political and religious ties with England. Sampler with rows of alphabets and numerals above cartouche containing the verse “For a ladies Sampler Jesus permit thy gracious name to stand As the first efforts of an infants hand ...”. Strawberry vines flank maker’s inscription. 16.25” x 11.75” sight. Framed 18.25” x 13.75”. Additional genealogical research accompanies the lot. 1,000/1,500
236.
NEEDLEWORK MEMORIAL ON SILK Early 19th Century A woman and a child stand next to a tombstone with “Sacred to the Memory of Mr. Thomas Brown obt. 1804 ...”. Surrounding landscape with finely embroidered willow and other trees and distant house. 17.5” x 21” sight. Framed 23.5” x 26”. 500/800
237.
NEEDLEWORK SAMPLER/MEMORIAL Boston or Eastern Massachusetts, Dated 1826 “Wrought by Nancy Richardson, aged 7 years”. Rows of alphabets above weeping willows flanking a memorial monument “Sacred to the Memory of Mrs Polly Goodwin Age 34 1825”. Floral and diamond border. 20.5” x 16” sight. Framed 23” x 18.5”. 400/600
238.
NEEDLEWORK SAMPLER Dated 1823 “Wrought by Eunice P. Wyman aged 11 years Charlestown August 30 1823”. Rows of alphabets above verse “The Retrospective of Life”. Elaborate floral, vine and ribbon border. 19.5” x 16.5” sight. Framed 21.5” x 19.5”. 600/900
239.
NEW ENGLAND MOURNING PAINTING ON VELVET Circa 1830 Watercolor and foil on velvet memorial depicting a woman and a girl mourning within a landscape of houses, a church, willow trees, birds and a dog. Marked lower center in eglomise mat “Mary Elizabeth Ballard”. 20.75” x 24.5”. Framed 27” x 31”. 800/1,200
240.
NEEDLEWORK SAMPLER Dated 1823 “Abagail B Crowels sampler wrought in the 11th year of her age AD 1823”. Rows of alphabet and a verse above maker’s inscription. Framed 17” x 12”. 500/700
241.
TWO FRAKTURS Probably Pennsylvania, 19th Century Pre-printed certificates with hand-written birth and genealogical information. Text surrounded by colorful designs of angels, birds, etc. Both in German, one with translation affixed verso. 15.5” x 13.25” sight and 16.5” x 13”. Framed 23.5” x 21” and 22” x 18”. 400/600
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235
236
237
238
240
239 see photos of all lots and view condition reports at www.eldreds.com
83
242, four
242.
TWO PAIRS OF SANDWICH GLASS HEXAGONAL CANDLESTICKS Late 19th Century One pair in canary yellow, heights 10”, and the other pair in cobalt blue, heights 9.5”. 500/1,000
243.
SANDWICH CUT OVERLAY GLASS LAMP 19th Century Font in white cut to cranberry in star and dew drop patterns. Brass collar. Opalescent milk glass base with gilt trim. Height 14”. 400/600
244.
SANDWICH CLAMBROTH GLASS CELERY VASE Late 19th Century In thumbprint, loop and Gothic arch patterns. Height 10”. 200/300
245.
PAIR OF SANDWICH CLEAR GLASS FLUID LAMPS In four printie block pattern. Heights 12.5”. 200/300
243
84
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247
246.
PAIR OF BRASS WHALE OIL LAMPS ATTRIBUTED TO WILLIAM H. WEBB Warren, Maine, First Half of the 19th Century With banded lemon-form fonts, ring- and beehiveturned shafts and stepped circular bases. Retain double burners. Heights 8.75”. 400/600
247.
EXCEPTIONAL TURNED BURLWOOD BOWL 19th Century Height 5”. Diameter 12.5”. 1,400/1,800
248.
EXCEPTIONAL TURNED BURLWOOD BOWL 19th Century Height 5.5”. Diameter 13”. 1,400/1,800
249.
PRIMITIVE WOODEN MEASURE OR PANTRY BOX Late 19th Century Painted green. Three bands. Height 7”. Diameter 12.5”. 600/800
250.
PEWTER HANDLED MUG BY SAMUEL HAMLIN American, Late 18th/Early 19th Century Jacobs #158. Touchmark near rim at left side of handle and at center of interior bottom. Height 6”. 1,000/1,500
248
249
250
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85
251
251.
SIGN FROM WOODY ALLEN’S “MANHATTAN MURDER MYSTERY” Circa 1993 Painted plexiglass sign with “Hotel Waldron 1 & 2 Rooms Furnished” in gold lettering on a black ground. 25.25” x 13.5”. 600/900 Provenance: A Martha’s Vineyard collection. Includes bill of sale from Gene Reed Gallerie, Nyack, New York.
86
252
252.
253
WOOD AND TIN SIGN 253. WOODEN SIGN “W.E. “J. HAMBURGER MACHINIST ROWAND PIANOS TUNING PHONOGRAPHS REPAIRED” MOVING ROOM 14” Early 20th Century Late 19th Century Black lettering on white ground Gold lettering on a black sandpaper centering around an image of a ground, with a gold painted Singer sewing machine. 30” x 21.5”. hand pointing right in the lower 1,000/1,500 right corner. Signed lower center “Hefferman & Kempton.” Provenance: 18” x 12.5”. 600/800 A Martha’s Vineyard collection. Provenance: A Martha’s Vineyard collection.
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254.
TWO WOODEN CHECKER BOARDS 19th Century One painted black and gold and the other painted red, yellow and white, with geometric designs at corners. 13.25” x 13.25” and 17.5” x 13”. 300/500 Provenance: A Martha’s Vineyard collection.
254, two
255
255.
256.
COPPER CUPOLA ORNAMENT 19th Century With verdigris patina. Inset into a wooden cradle. Height 50”. Diameter 39”. 500/800
COPPER WALL-MOUNTED FISH Early 20th Century With green verdigris patina. Height 9”. Length 36”. 400/600
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256
87
257.
ORIENTAL RUG: ARTS AND CRAFTS DESIGN 9’0” x 11’10” Several rows of a stylized Arts and Crafts floral motif in light and dark blue repeats across a pale gray field. 1,200/1,800
258.
ORIENTAL RUG: FERAGHAN 4’0” x 6’2” Midnight blue field with a Herati pattern in salmon pink, blue, ivory, yellow and subtle amethyst. Small red spandrels. Ivory, pink and green borders. 300/500
257
259.
ORIENTAL RUG: SHIRVAN DESIGN 8’0” x 9’10” Camel’s-hair-colored field with several rows of various colorful stylized elements rendered in navy blue, slate blue, moss green, dark red, gray, tan and dark peach. Brick red guard borders. Cocoa brown main border. 900/1,200
260.
ORIENTAL RUGS: TWO TURKISH MATS 1’8” x 2’9” and 1’8” x 2’11” Each with red and gray central medallions flanked by a variety of traditional stylized leaves and blossoms rendered in shades of tan, brown, red, blue, ivory, deep amethyst and lavender. 250/400
259
88
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261.
ORIENTAL RUG: MAMLUK DESIGN 9’1” x 11’10” Central gabled medallion is orbited by several smaller moss green, periwinkle blue and rust red geometric medallions. Broad panels at each end of the rust red field contain a variety of stylized elements. Blue main border with floral medallions and cartouches. 1,200/1,800
262.
ORIENTAL RUG: TURKOMAN ENGSI 4’0” x 5’10” Four traditional panels featuring stylized dark blue branches with ivory buds are separated by vertical and horizontal panels composed of stylized elements. Traditional elements throughout borders in colors to match the field. 200/300
261
263. ORIENTAL RUG: SULTANABAD DESIGN 7’8” x 9’8” Light blue field contains delicate leaves and nine bold stylized blossoms in red, ivory, salmon red, gold, blue, green and rich amethyst. Ivory guard borders and red main border. 1,200/1,600
264. ORIENTAL RUG: CAUCASIAN 3’5” x 6’10” Red, blue, pink, orange and dark brown geometric medallions on a camel’s-hair-colored field. Blue and abrashed red borders. 300/500
263
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89
265.
ORIENTAL RUGS: PAIR OF SERAPI DESIGN RUNNERS 2’7” x 8’0” Each with twin rust red and navy blue gabled medallions on a rust red field filled with green and ivory vines. Ivory main border. 450/550
266.
ORIENTAL RUGS: TWO SOUMAC FRAGMENTS 2’10” x 4’2” and 2’5” x 3’10” Both with rust red and blue geometric designs on a tan field, and rust red, blue and ivory borders. 300/500
267.
ORIENTAL RUG: JOSAN SAROUK PRAYER MAT 2’0” x 2’8” Red field contains a blue vase filled with blue, green and gold blossoms. Mihrab defined by gold garrus vines and blue spandrels. Midnight blue main border features red and pink flower blossoms. 100/200
268.
ORIENTAL RUGS: CONNECTED PAIR OF SOUMAC SADDLEBAGS 1’9” x 4’2” Diagonal dark blue and ivory stripes contain a repeated faded red, blue and yellow geometric motif. Red and blue reciprocal spearpoint borders. 300/500
269.
ORIENTAL RUG: HAMADAN RUNNER 3’4” x 8’9” Tan field with multiple rows of a stylized floral element rendered in blue, pink and brown. Blue, rust red and ivory borders. 150/250
265, pair
90
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270.
ORIENTAL RUG: CONTEMPORARY TRANSITIONAL 9’10” x 13’9” Several columns of bold stylized elements rendered in light blue, medium blue and pale gold on a boundless red field. 1,500/2,000
271.
ORIENTAL RUG: CONTINENTAL DESIGN 10’2” x 14’0” Entirely covered by diagonal rows of silvercolored contiguous ribband-form medallions with slate blue foliate perimeters. Each medallion contains a moss green foliate motif. 1,200/1,800
272.
ORIENTAL RUG: BIDJAR 4’5” x 6’5” Navy blue field with an ivory diamondshaped central medallion bearing small pendants. Medallion and pendants contain repeated stylized flower blossoms rendered in red, pink, blue and ivory. Ivory guard borders. Red main border. 400/600
273.
ORIENTAL RUG: PERSIAN DESIGN 6’0” x 8’6” Large overlapping geometric medallions of light blue and light red are surrounded by a singular repeated element of red, brown, blue and ivory. Abrashed dark blue field. 450/650
274.
ORIENTAL RUGS: TWO LAVER KIRMAN 4’1” x 5’10” and 4’0” x 6’6” One with navy blue and tan central medallion, tan field, red spandrels, and navy blue and tan borders. The other with ivory and navy blue floral medallions, a red field, faded celadon green spandrels, and faded orange, navy blue and tan borders. 300/400
270
271
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91
276
275
275.
92
ORIENTAL RUG: CAUCASIAN RUNNER 3’3” x 16’7” A single green linear vine bears neatly arrayed blossoms and branches in rust red, tan, ivory and yellow. Abrashed navy blue field. 300/600
276.
ORIENTAL RUG: CAUCASIAN DESIGN 4’1” x 14’3” Sky blue field with a series of geometric medallions, neatly arranged clusters of blossoming vines and similar motifs about the perimeter, all rendered in red, blue, ivory and light green. Blue, pale green and ivory borders. 500/700
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277.
ORIENTAL RUG: AGRA 8’10” x 11’2” Herati-like pattern comprised of bold broad leaves of gray, red, dark brown, faded amethyst, orange and chartreuse green. Abrashed pink field surrounded by ivory, faded amethyst and pink borders. 800/1,200
278.
ORIENTAL RUG: SERAPI DESIGN 9’10” x 13’10” Abrashed gray-blue field contains neatly arrayed navy blue, grass green, cloud blue and pale yellow garrus vines suspending green and coral leaves. Coral and light green guard borders. Broad blue-gray border. 1,000/1,500
277
279.
ORIENTAL RUGS: TWO LAVER KIRMAN 2’10” x 4’0” and 3’0” x 4’5” One with green and red cypress and palm trees on an ivory medallion that rests on a red field with midnight blue, red, gold and ivory floral spandrels and ivory and red borders. Other with blue and ivory borders surrounding a red field with navy blue and tan medallions and an ivory subfield containing a faded green vine. 200/300
280.
ORIENTAL RUG: TURKOMAN BAG FACE 2’5” x 3’8” Dark brown field with seven rows of tribal guls renderered in red, brown, yellow, blue, and ivory. Traditional stylized elements throughout borders. Lower band with a row of stylized flower branches. 150/200
278
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93
282 281
281.
ORIENTAL RUG: KAZAK 3’6” x 6’1” Red field with three blue, red and green linked geometric medallions, each with a dark gold center. Field also contains and is surrounded by stylized motifs and figures of birds and animals. Bright red guard borders contain a blue serpentine vine. Serpentine vines and blossoms throughout ivory main border. 400/600
282.
ORIENTAL RUG: KAZAK DESIGN 6’1” x 6’3” Rich red field with a single bold red, navy blue and gold traditional geometric medallion with an ivory center. Medallion flanked by stylized flower branches. Traditional motifs repeated throughout navy blue guard borders and ivory main border. 400/600
283.
ORIENTAL RUG: KAZAK 5’2” x 6’5” Blue-green field with a traditional arrangement of rectangular medallions, each containing traditional stylized elements, rendered in red, blue, pink, faded gold and ivory. Narrow red and ivory guard borders. Broad pink main border features blue serrated leaves. 700/1,000
283
94
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284
284.
ORIENTAL RUG BIDJAR SAMPLER 4’0” x 5’4” Red field with a partial medallion and pendant in red, ivory and green at one end of field. Blue and green Herati pattern throughout remainder of field. Blue and ivory borders. 400/600
285.
ORIENTAL RUG: TURKOMAN STORAGE BAG FACE 2’10” x 3’11” Several rows of navy blue, ivory, pale salmon, pink and medium blue tribal medallions on a red field. Red and ivory borders with traditional elements. Broad empty red band at lower border. 300/500
286.
ORIENTAL RUG: FERAGHAN SAROUK 4’0” x 6’7” Ivory and navy blue central medallion with center and perimeter composed of elaborate scrolling vines and palmettes. Similar motifs surround medallion, all rendered in blue and greens, tans, ivory and faded gold. Red field with navy blue spandrels and main border. 400/600
287.
ORIENTAL RUG: CHINESE 4’0” x 6’9” Circular medallion composed of four tan butterflies and delicate dark blue flowering branches rests at the center of a dark ivory field. Similar motifs create each of the four spandrels and are echoed throughout ivory main border. 400/600
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285
287
95
288
288.
CHINA TRADE PORTRAIT OF THE SCUDDER GIRLS BY HIN QUA Circa 1850 Accompanied by a circa 1848 1/6 plate daguerreotype of the two girls on which the painting was based. Family history identifies the girls as Hattie (1847-1862) and Eliza Scudder, daughters of Eleazer Scudder and Eliza Temperance Lovell Scudder of Barnstable. Although it was common for Chinese artists to paint portraits of Western subjects based on photographs, it is extremely unusual for the painting and the source photograph to remain together. Although the girls are wearing different dresses in the two portraits, the remaining details, including the stenciled floor, are nearly identical. Retains a portion of Hin Qua’s label affixed to the reverse of the period, most likely original, Chinese Chippendale frame. Oil on canvas, 25.75 x 21.25”. Framed 30” x 25.75”. 5,000/8,000 Provenance: Descended through the Rose, Shaw, Scudder and Converse families and consigned directly from the family. Eldred’s, The Marine Sale, July 20, 2017, Lot #207.
96
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289.
BUTTERFLY-FORM CHINESE EXPORT TEA CADDY China, Circa 1840 Elaborate gilt and black lacquer depicts temple and pagoda scenes. Lid with raised butterfly body and formed wing outline. Interior fitted with three paktong compartments. Carved wooden figural feet. Height 7”. Length 14”. Width 9”. 3,500/4,000
290.
BOMBE-FORM CHINESE EXPORT TEA CADDY Early 19th Century Gilt and black lacquer depicts scenes of court officials and garden pavilions. Interior fitted with a single paktong compartment. Punchwork scroll. Carved wooden figural feet. Height 4.5”. Length 7”. Width 5”. 800/1,200
291.
OVOID CHINA TRADE TEA CADDY China, Circa 1860 Gilt and black lacquer with figural decoration on molded top and sides. Interior fitted with double-etched paktong compartments. Height 5.75”. Width 10”. Depth 7.25”. 1,800/2,200
289, two views
Provenance: Once the property of Captain David Cushman, Jr. (18071876), the captain of both the Prospero and the Kingfisher, which sailed out of Boston to China throughout the Mid-19th Century.
290
291
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97
292, set
98
292.
ASSEMBLED SET OF THOUSAND BUTTERFLY PATTERN CHINESE EXPORT PORCELAIN Late 19th/Early 20th Century Includes a covered soup tureen and undertray, three covered vegetable dishes, two nesting platters, seven 8.5” plates, an open sauceboat with undertray, nine 7” plates, seven 9.75” plates, nine 6.25” plates, and a nesting set of three bowls. Some pieces with reticulated edges. 2,000/3,000
293.
CHINESE EXPORT ROSE MANDARIN PORCELAIN PITCHER Mid-19th Century Height 9”. 200/300
294.
ASSEMBLED CHINESE EXPORT HAND-PAINTED CELADON PORCELAIN DESSERT SERVICE Late 19th Century All extensively decorated with flowers, birds and insects. Includes a coffeepot, height 10”, a teapot, a creamer, a covered sugar bowl and undertray, a covered bonbon dish and undertray, eleven teacups and saucers, six coffee cups and saucers, eight 7.5” plates with character mark, three 9.75” plates with character mark, two 7.5” serving plates, and a shallow bowl. 500/800
295.
PAIR OF CHINESE EXPORT FAMILLE ROSE PORCELAIN BARBED-EDGE PLATES Late 18th Century With peony and prunus decoration against a rose ground. Diameters 9”. 300/400
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296
297
296.
RARE CHINA TRADE ARMCHAIR Circa 1820 In catalpa wood (Chinese walnut) with cane back and seat. Back height 31.5”. Seat height 17”. 850/1,200 For a similar example, see Carl Crossman’s The Decorative Arts of the China Trade, p. 251, plate 134.
297.
CHINESE EXPORT BLUE AND WHITE PORCELAIN PLATTER 20th Century Mounted in a contemporary mahogany stand. Overall height 19”. Width 15”. Depth 11”. 400/600
298.
CHINESE EXPORT CARVED ELEPHANT IVORY PINCUSHION Mid-19th Century Relief-carved oak leaf design around circumference of pincushion. Pedestal with acanthus carvings. Attaches to a tabletop with clamp; clamp with a shield-form threaded rod. Height 6.75”. 400/600
299.
CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN COVERED VEGETABLE DISH Second Quarter of the 19th Century Lid with strap handle. Height 5.5”. Length 12”. Width 9.5”. 250/350
300.
THREE CHINESE EXPORT PORCELAIN GARNITURE VASES Late 18th Century One with sepia scenic decoration and domed cover, height 11.5”, one with cobalt blue and gilt decoration, height 10”, and one with Famille Rose paneled decoration, height 11”. 500/750
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99
301. 301
TWO CHINESE PORCELAIN ITEMS First Half of the 19th Century A plate, diameter 7.75”, and a small shallow bowl, diameter 6”. 1,000/1,500 Similar examples are illustrated in Views of the Pearl River Delta.
302.
PAIR OF CHINESE EXPORT PORCELAIN BOUGH POTS 19th Century With figural and landscape panels. Inserts of a later date. Heights 8.25”. 1,000/1,500
303.
CHINESE EXPORT PORCELAIN OVAL PLATTER Early 19th Century Central decoration of an exterior Mandarin scene. Heavy enameled floral and insect border. 10.25” x 13”. 300/500
304.
PAIR OF CHINESE EXPORT FAMILLE ROSE PORCELAIN VASES 19th Century In bladder form with elongated necks ending in quatrefoil mouths. Bodies with figural reserves surrounded by blue floral decoration. Molded sides with landscape decoration and gilt clobbered highlights. Heights 12”. 300/500
305.
CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE Late 19th Century In gu form with flared mouth. Decorated with alternating figural, floral and bird panels. Height 16”. 600/800
306.
SET OF SIX CHINESE EXPORT BLUE NANKING PORCELAIN PLATES Mid-19th Century Diameter 9.5”. 300/400
302
303
304
100
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307.
CHINESE EXPORT ROSE MEDALLION PORCELAIN CHOP PLATE Mid-19th Century Central medallion surrounded by six butterflies and alternating figural and bird, butterfly and Famille Rose panels. Diameter 13”. 300/500
307
308.
CHINESE EXPORT PORCELAIN LIDDED BRANDY SERVER Late 18th/Early 19th Century Reticulated body and lid with numerous cartouches of exterior Mandarin scenes. Body with scrolled side handles. Height 9.5”. 300/500
308
309.
PAIR OF CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN SOUP TUREENS 20th Century Both oval, with entwined handles. Covers with pinecone knops. Heights 6”. Lengths 12.5”. 500/700
310.
CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN OVAL PLATTER 20th Century Length 17”. 250/350
309, pair
310
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101
311, four
311.
SET OF FOUR CHINESE EXPORT NANKING PORCELAIN OCTAGONAL PLATES Mid-19th Century Unusual basketweave molded edges. Widths 7.5”. 500/700
316.
CHINESE EXPORT PORCELAIN BOWL 19th Century With swag, butterfly and floral decoration. Height 5”. Diameter 11”. 900/1,200
312.
FIVE CHINESE EXPORT BLUE NANKING PORCELAIN SHALLOW SOUP BOWLS Mid-19th Century Diameters 9.5”. 250/350
317.
LARGE CHINESE EXPORT ROSE MEDALLION PORCELAIN SOUP TUREEN 19th Century Includes domed cover with gilt knob finial. Tureen with Mandarin and Famille Rose paneled decoration. Height 11”. Length 12”. 300/500
313.
CHINESE EXPORT BLUE FITZHUGH PORCELAIN OVAL HOT WATER TRAY Second Quarter of the 19th Century Height 3”. Length 15.75”. Width 11”. 700/1,000
318.
CHINESE EXPORT ROSE MEDALLION PORCELAIN HEXAGONAL PLATTER Late 19th Century With central figural court scene. Lotus pod, fruit and floral border with duck and floral cartouches. Gilt highlights. Sixcharacter Qianlong mark on base. Length 14”. 300/400
314.
CHINESE EXPORT NANKING PORCELAIN OVAL TRAY Mid-19th Century With blue and white floral decoration and reticulated edge. 10.75” x 9.5”. 300/500
319.
CHINESE EXPORT BLUE FITZHUGH PORCELAIN OVAL PLATTER Second Quarter of the 19th Century 14.5” x 12.5”. 300/500
320.
CHINESE EXPORT BLUE FITZHUGH PORCELAIN COVERED SOUP TUREEN Second Quarter of the 19th Century Cover with fruit finial. Tureen with applied twist side handles. Height 9”. Length 12.5”. Width 10”. 800/1,200
315.
102
CHINESE EXPORT ROSE MEDALLION PORCELAIN RETICULATED FRUIT BASKET AND UNDERTRAY Last Half of the 19th Century Basket height 4”. Length 9.5”. Undertray length 11”. 300/400
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312, five
315 313
314
317
318
316
319
320
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103
321.
322.
PARTIAL SET OF CHINESE EXPORT PORCELAIN 18th Century All with matching Mandarin exterior scenes and heavy gilt decoration. Includes a teapot, height 6.25”, a teapot stand, a small shallow bowl, seven handleless cups and six saucers. 1,000/1,500
325.
FIVE CHINESE EXPORT BLUE FITZHUGH PORCELAIN SOUP BOWLS Second Quarter of the 19th Century Diameters 9.5”. 250/350
326.
CHINESE EXPORT ARMORIAL PORCELAIN CREAMER Last Half of the 19th Century In helmet form with twig-form handle. Gilt and cobalt blue medallion. Height 4.5”. Length 6”. 150/250
327.
CHINESE EXPORT NANKING PORCELAIN TEA SERVICE Second Quarter of the 19th Century All with blue and white foliate decoration and gilt rims and highlights. Includes a teapot with undertray, eleven handleless cups, eleven handled hot chocolate cups, twelve saucers, a waste bowl with undertray, a covered sugar, a covered cream pot, a covered tea caddy, a spoon rest, and a pair of 8.25” bowls. 2,000/3,000
CHINESE EXPORT ROSE MEDALLION PORCELAIN BOWL Second Half of the 19th Century Finely enameled decoration of figures, birds, fruits and flowers. Height 4”. Diameter 9”. 400/600
323.
TWO PIECES OF CHINESE EXPORT ROSE CANTON ON CELADON PORCELAIN Late 19th Century A shrimp dish, length 10.5”, and a square serving dish, 9” x 9.5”. 500/700
324.
CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN COVERED VEGETABLE DISH Second Quarter of the 19th Century Cover with gilt fruit-form finial. Height 5.25”. Length 9.75”. Width 8.75”. 250/350
Illustrated in Views of the Pearl River Delta.
328.
PAIR OF CHINESE BLUE AND WHITE IMPERIAL PORCELAIN CUPS AND SAUCERS First Half of the 19th Century With gilt basketweave edges. Cup heights 2”. Saucer diameters 5”. 400/600
321, set
104
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327, set
329.
CHINESE EXPORT PORCELAIN HANDLED WATER JUG 18th Century Exterior with Mandarin panels and heavy gilt decoration. Height 8.5”. 400/600
330.
CHINESE EXPORT PORCELAIN COFFEEPOT 18th Century Exterior with Mandarin cartouches and heavy gilt decoration. Height 7.5”. 400/600
331.
CHINESE EXPORT PORCELAIN LIDDED CHOCOLATE POT 18th Century With Mandarin cartouches and gilt decoration on a black and orange geometric patterned ground. Height 9”. 500/700
332.
328
329
330
331
SET OF SIX CHINESE EXPORT PORCELAIN PLATES Early 19th Century Central decoration of exterior Mandarin scenes. Heavy enameled floral and insect borders. Diameters 10”. 700/1,000
332
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105
333.
CAMPHORWOOD AND GREEN LEATHER LIFT-TOP TRUNK 19th Century With brass stand. Brass-bound trunk with brass bail handles at sides. “JS South Hampton” in white letting on lid and “JS” on sides. Height including stand 18.75”. Width 31”. Depth 15.5”. 300/500
333
334.
CARVED AND PAINTED AMERICAN EAGLE Contemporary With outstretched wings and clutching a Liberty shield and arrows. Painted silver, black, red, white and blue. Length 37”. 1,200/1,500
334
335.
PATRIOTIC SILK AND METALLIC THREAD EMBROIDERY Philippines, First Quarter of the 20th Century Depicts an American eagle clutching an American shield and American flags. “E. Pluribus Unum” banner above. 25” x 28.5” sight. Framed 29” x 32”. 1,000/1,500
335
106
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336.
PINE CHEST WITH PAINTED MARITIME MOTIFS 20th Century Three-drawer chest painted green with red and white trim. Top depicts a three-masted ship. Drawers with “H.M.S. Achilles”, a flag and anchor design and “Bristol”. Height 29”. Width 29.75”. Depth 16.5”. 400/700
336
337.
PAINTED SEA CHEST 19th Century Lid with a whaling scene on a brown ground. Rope side handles. Snipe hinges. Height 17”. Width 40”. Depth 16.5”. 200/300
337, two views
338.
PINE CHEST WITH PAINTED MARITIME DECORATION 20th Century Lift-top chest painted green with red and gold highlights. Top depicts a three-masted ship. Front with white lettering “1812 G. Hart Bosun”. Bail handles at sides. Height 19.5”. Width 31”. Depth 20.5”. 300/500
338
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107
Montague J. Dawson Great Britain, 1890-1973 Lot 339
339
339.
108
Smuggling off the Needles. Signed lower left “Montague Dawson”. Oil on canvas, 20.25” x 30.25”. Framed. 25,000/35,000
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109
John W. Schmidt Massachusetts, Contemporary Lots 340-342
340.
“USS Grampus Captures Pirate Brigantine Palmira”. Signed lower left “J.W. Schmidt”. Titled verso. Oil on canvas, 25.5” x 33”. Framed 30.5” x 38”. 1,500/2,500
341.
“Ship ‘Hannibal’, 1810”. Signed lower right “J.W. Schmidt”. Titled verso. Oil on canvas, 25” x 33”. Framed 29” x 37”. 1,500/2,500
342.
“‘Zebra’, Letter of Marque, 1812”. Signed lower left “J.W. Schmidt”. Titled verso. Oil on canvas, 25” x 33”. Framed 32” x 39”. 1,500/2,500
340
341
342
110
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Frank Vining Smith Massachusetts, 1879-1967 Lots 343-344
343
344
343.
The Flying Cloud. Signed lower left “Frank Vining Smith”. Note verso indicates it was part of a mural installed at the beach house of the Lilly Estate. Oil on masonite, 39” x 63”. Framed 40” x 64”. 4,000/6,000
344.
The U.S.S. Constitution. Signed lower left “Frank Vining Smith”. Originally part of a mural installed at the beach house of the Lilly Estate. Oil on masonite, 37” x 47”. Framed 38” x 48”. 3,000/5,000
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111
345.
JAMES GALE TYLER Connecticut/New York, 1855-1931 Gaff-rigged boat headed out to sea. Signed and dated lower left “J.G. Tyler 1875”. Oil on board, 14” x 10”. Framed 23” x 19”. 800/1,200
346.
RICHARD BALL SPENCER England, 1812-1897 The 100-gun H.M.S. Conqueror of the Great White Fleet outward bound. Signed lower left “R.B. Spencer”. Oil on canvas, 24” x 30”. Framed 27” x 32”. 2,000/3,000
345
346
347.
LEONARD JOHN PEARCE United Kingdom, b. 1932 “Old Derby Wharf, Salem”. Signed lower right “L.J. Pearce”. Titled on gallery label verso. Also inscribed verso “‘Salem Days’ Copyright L.J. Pearce 1990”. Oil on board, 20.25” x 23.5”. Framed 27.25” x 30”. 2,500/3,500
348.
LAURIE WARNER Massachusetts, Contemporary “‘Ready About’ Racing 12 M Class Fog Bank Newport, R.I.”. Signed lower left “L. Warner”. Titled, signed and dated 2014 verso. Oil on canvas, 20” x 24”. Framed 25” x 29.5”. 800/1,000
347
348
112
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349.
MICHAEL ZENO DIEMER German, 1867-1939 “Homeward Bound”. Signed lower right “M. Zeno Diemer”. Titled on frame plaque. Oil on canvas, 28” x 38”. Framed 36” x 46”. 2,000/3,000
349
350.
ATTRIBUTED TO REGINALD EUGENE NICKERSON United States, 1915-1999 “Whale in a Flurry”. Titled lower right. Inscribed verso “Whale in a Flurry Capt Seth Taylor”. Oil on canvas, 16” x 26”. Framed. 800/1,200 Provenance: Purchased on Cape Cod, Massachusetts. Private Collection, Connecticut. Private Collection. 350
351.
AMERICAN SCHOOL Early 20th Century The sidewheeler Pilgrim of the Fall River Line. Signed lower right “J.B. Pollock”. Oil on canvas, 24” x 36”. Framed 27.5” x 39.5”. 700/1,000
351
352.
GEORGE HERBERT MCCORD New York/New Jersey, 1848-1909 Ships off shore. Signed lower left “G.H. McCord, A.H.[?]”. Oil on canvas, 16” x 20”. Framed 23” x 27”. 1,000/1,500
352
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113
353.
353
AMERICAN SCHOOL Late 19th/Early 20th Century Wonderful folk art painting of the steamer Quebec, with the ship name proudly painted on the paddlewheel. Two billowing American flags fly off the stern and bow. Finely detailed water. Painted to hang on the diagonal. Housed in a fine tramp art frame. Mixed media, 18.25” x 19.75”. Framed 27” x 25”. 500/800 Provenance: The Collection of Sam and Donna McDowell.
354.
FRANK VINING SMITH Massachusetts, 1879-1967 Figures and a boat on a tropical coast. Signed lower right “Frank Vining Smith”. Watercolor on paper, 4” x 6”. Framed 6” x 8”. 250/350
355.
JOHN STOBART Massachusetts/Florida, b. 1929 “Independence Wayne City Landing, ‘Start of the Santa Fe Trail’ in 1842”. Signed in pencil lower right “Stobart”. Numbered in pencil lower right 120/750. Lithograph on paper, 22” x 34” sight. Framed 32” x 44”. 400/600
356.
STERNBOARD OFF A SMALL BOAT Late 19th Century Together with a carved wooden eagle-form billethead, height 22”. Sternboard with “Geraldine” in gold and red lettering. Length 28”. 400/600 Both purchased in Orleans, Massachusetts in the early 1960s.
354
114
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357.
CARVED WOODEN PILOT HOUSE EAGLE Last Quarter of the 19th Century Spread-wing eagle perched upon a half sphere. Under old gold paint. Height 27.5”. Width 74”. Depth approx. 45”. 5,000/8,000
357
358
358.
STERNBOARD SEGMENT FEATURING A WONDERFUL CARVED EAGLE Early to Mid-20th Century Eagle pulling a serpent out of the weeds. Length 34.5”. 500/1,000
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115
359.
GEORGE W. ELDRIDGE CHART OF MASSACHUSETTS BAY Circa 1918 “Chart D Massachusetts Bay and the Coast from Chatham to Gloucester”. 53.5” x 30.5” sight. Framed 60” x 37”. 1,200/1,600
360.
THREE-DRAW SPYGLASS English, 19th Century Length extended 16.5”. 150/250
359
Provenance: Descended in a Martha’s Vineyard, Massachusetts family.
116
361.
SEA CHEST Mid-19th Century Under old green paint. Sailcloth-covered top. Retains original beckets and rope handles. Marked on interior of lid “E.H. Crocker”. Interior with open till. Height 14.5”. Width 40.75”. Depth 17”. 500/800
362.
PAIR OF SCULLING OARS Early 20th Century Blades painted “Magdalene College 1st Lent Boat 1908” above a crest, arrow and list of crew and coaches. Lengths approx. 149”. 700/1,000
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363
364
365
363.
MOUNTED BUILDER’S HALF HULL MODEL 19th Century With ten lifts. Oak backboard 8.5” x 51”. 700/1,000
365.
MOUNTED HALF HULL MODEL 19th Century Backboard painted green. Length of model 35”. Backboard 8.5” x 38.5”. 400/700
364.
MOUNTED HALF HULL MODEL 19th Century Backboard painted blue. Length of model 38”. Backboard 10.5” x 45”. 400/700
366.
PAIR OF SAILOR-MADE ROPEWORK BECKETS 19th Century Painted red, white and blue. 350/450
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117
367
367.
CARVED AND PAINTED QUARTERBOARD “NANTUCKET” Contemporary Gold lettering on a black ground. Gold painted scallop shells at each end. 8.5” x 60”. 600/900
368.
NANTUCKET LIGHTSHIP BASKET BY JOSEPH G. FISHER Circa 1890 Handwritten label on underside inscribed “Light Boat Basket Made by Joseph G. Fisher”. Height 3”. Diameter 6.5”. 400/700
369.
NEST OF SEVEN NANTUCKET BASKETS BY AINSLEY D. ROCKWOOD Cape Cod, Massachusetts, 20th Century Initialed on bases “ADR”. Height of largest 6.5”. Diameter of largest 10.5”. 500/700
368
370.
ALBUM OF PHOTOGRAPHS PERTAINING TO CAPE COD SEA CAPTAINS 19th Century Contains approx. 37 photographs of Captains Rogers, Williams, Mayo, Thomas and others, as well as photographs of men, women and children from the Linnell, Gould, Snow, Doane, Young and other families. All subjects identified in pencil notation. Visible marks for photographers J. Bryant, Washington Hall Building, Chatham, and G.H. Nickerson, Orleans. 16 mo. album with black leather boards and metal locking mechanism. 400/600
370
118
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Clark G. Voorhees, Jr. Connecticut/Vermont, 1911-1980 Lots 371-372
371
372
371.
Carved and painted wooden sperm whale. Stamped on back “Clark Voorhees”. Length 17”. 1,200/1,800
372.
Carved and painted wooden right whale. Stamped on back “CV” and “C. Voorhees”. Length 18”. 2,000/2,500
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119
373
373.
FRANCIS HERRESHOFF BRONZE CANNON MODEL 20th Century 10-ga., bore diameter 1.5”. Mounted on a wooden carriage. Overall height 19”. Cannon length 34”. Carriage length 26”. Overall length 40”. 5,000/7,000 Provenance: Possibly from Marblehead, Massachusetts.
374.
CHELSEA NAVY CLOCK 20th Century Impressed “Chelsea Clock Co., Boston” on back. Black plastic case and plexiglass cover. Chrome finish on face. Diameter of cover 6.5”. 300/400
375.
DECORATIVE COFFEE TABLE 20th Century Hardwood table with vitrine-style fitted top containing engine room tools from the Liberty Ship S.S. George Flavell, according to plaque mounted to interior. Height 15”. Length 49.25”. Width 33.5”. 500/1,000
120
376.
BROADSIDE “AN ACT TO PROVIDE FOR THE UNLADING OF SHIPS OR VESSELS, IN CASES OF OBSTRUCTION BY ICE” Approved January 7, 1791 Proclaims customs officials may designate alternate landings for ships where intended ports are blocked by ice. Signed in type by George Washington as President, John Adams as Vice President and President of the Senate, and Frederick Augustus Muhlenberg as Speaker of the House. Sheet 13” x 8”. Unframed. 600/800 Evans 23877. Scarce, Evans found only two extant examples, one at the Library of Congress and one at the New York Public Library.
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377.
SEVEN PIECES OF CORRESPONDENCE AND BINOCULARS PERTAINING TO WORLD WAR I AND FRANKLIN ROOSEVELT Material concerns Charles Lang loaning a pair of binoculars to the U.S. Navy at the request of the Navy. All unframed. 1) December 13, 1917 typed and signed thank you letter from Franklin Roosevelt, as Assistant Secretary of the Navy, to Charles Lang. 2) November 23, 1917 New York Times article about the Navy’s call for more “eyes”. 3) March 11, 1918 letter from Captain C. R. Miller, of the U.S.S. Cleveland, to Lang, thanking him for the binoculars and telling him a bit about the ship. 4) Retained carbon copy of an April 15, 1918 typed letter from Lang to Captain Miller. 5) Retained carbon copy of a November 24, 1917 letter from Lang to Roosevelt, notifying the latter that the binoculars will be arriving under separate cover. 6) Letter and check for $1 dated January 25, 1918. Issued to Lang by the Treasurer of the United States for the binoculars. Not canceled. 7) Certificate with Gordon Grant “Eyes for the Navy” image addressed to Lang and signed by Roosevelt. 8) Pair of period French binoculars. 800/1,200 The binoculars were from Lang’s brother Edmund’s yacht, the Banzai. The Banzai is a New York Thirty designed and fabricated by Nat Herreshoff (hull number 640). Originally contracted by Newbury D. Lawton, Edmund Lang owned her from 1914-40.
378.
JACK LONDON ANNOTATED MANUSCRIPT FOR THE CRUISE OF THE SNARK Circa 1905-1911 Together with a canceled check signed by London and made payable to Warner Motor Company, dated June 27, 1905. The three first revision typed manuscript pages with edits in London’s hand. The manuscript galleys correspond to pages 272-278 of the first edition, and detail travels through the Solomon Islands. There are also two attached illustrations with handwritten captions. Sheets 11.75” x 9.25”. Unframed. 400/600
379.
EARLY MASSACHUSETTS DOCUMENT INVOLVING A CAPE COD RESIDENT PURCHASING LAND NEAR HARTFORD, CONNECTICUT Dated October 7, 1700 An early New England signed land indenture manuscript, describing the sale, for the “sum of thirty and six pounds”, and the land, “one thousand acres” of a Connecticut parcel sold to Samuel Winslow of Harwich, province of Massachusetts Bay. Two black wax seals affixed bottom right. Separated folds reinforced on reverse with 19th Century newspaper. 16.25” x 12.75”. Unframed. 700/1,000
Lot 379 illustrated
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121
380.
PLAN OF LAGOON HEIGHTS, MARTHA’S VINEYARD, MASSACHUSETTS 1873 A map of a proposed development on the island of Martha’s Vineyard. Lithograph by J.H. Bufford, Boston. 25” x 35” sight. Framed 30” x 38”. 500/700
380
381.
POSTER FOR THE MARTHA’S VINEYARD FAIR Circa 1940 “Martha’s Vineyard Fair West Tisbury, Mass. Sept. 10-11”. Depicts a young girl being surprised by a chicken. 21.5” x 13.5” sight. Unframed. 250/350
381
382.
PICTORIAL MAP OF CAPE COD Dated 1945 “A Map of Interesting Cape Cod” published by F.J. Miller, Westwood, Massachusetts. Depicts towns, major roads and points of interest on the Cape, with additional vignettes in the border. Red rope outline. 22” x 33” sight. Framed 24” x 35”. 250/350
382
122
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383.
CAST IRON LOBSTER DOORSTOP Early 20th Century Painted red. Height 13”. 500/800 Ex-Collection: Paul Madden.
384.
UNUSUAL PIGEON-FORM CUPOLA ORNAMENT Early 20th Century Mounted on a painted wooden stand. Discovered on Nantucket, Massachusetts. Height 14”. 300/500 383
384
385.
FOLK ART MODEL OF A PENNSYLVANIA HOUSE Early 20th Century Made from a wooden crate that formerly contained explosives. House with a red and silver harlequin roof, silver clapboards, and red and green trim. Height 13”. Width 18”. Depth 9”. 400/600 Provenance: A Martha’s Vineyard collection.
385
386.
PAIR OF CARVED AND PAINTED FOLK ART FISHERMEN New England, Circa 1930-1940 Two colorful and comical fishermen carrying fishing poles. Heights including poles 11” and 14.25”. 400/700
386
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123
387.
CIVIL WAR-ERA CAST IRON PICTURE FRAME WITH PATRIOTIC MOTIFS Dated 1862 Two oval apertures surrounded by an eagle, crossed American flags and a Union shield. The smaller aperture was intended to house a photograph of Abraham Lincoln and the larger was for a Union soldier. Impressed mark on back “Design Patented Nov. 25 1862”. Overall height 19.5”. Width 11.75”. 500/1,000
388.
CAST IRON TOP HAT Second Half of the 19th Century Used for gathering trade cards at lodge meetings. Height 7”. Width 10.5”. Depth 8.25”. 200/300
387
389.
JACK-O’-LANTERN PARADE TORCH 20th Century Metal body painted orange and green. Height 8”. Does not include handle. 300/500
389
390.
JACK-O’-LANTERN PARADE TORCH 19th Century Tin body painted yellow-orange and black. Possibly made by the Ohio Art Company. Height 11.5”. Includes a wooden handle of a later date. Overall length 31”. 800/1,200 390
391.
CYRUS EDWIN DALLIN Massachusetts/Utah/France, 1861-1944 Bust portrait plaque of George Abbott Smith. Signed and dated lower right “Dallin 1917”. Bronze, 13.5” x 11.25”. 800/1,200
391
124
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392.
JOHN HALEY BELLAMY Maine/New Hampshire, 1836-1914 Carved pine what-not shelf commemorating the Emancipation Proclamation and the Grand Army of the Republic, executed circa 1866-1872. Carved with a scrollwork border, a laurel wreath, a scroll inscribed “Jan. 1.st 1863”, a quill pen, broken chain links, and an American shield flanked by draped flags on poles. While unsigned, the textured dimpling below the inscription, the parallel tick marks throughout the scrollwork, and the execution of the other elements is stylistically consistent with authentic documented pieces produced under the direction of Bellamy by his firm, Titcomb & Bellamy of Charlestown, Massachusetts. Retains original metal hinges. Accompanied by a December 2017 letter of authentication from James A. Craig, a specialist in Bellamy’s work. Craig writes that apprentices made the original machine cuts on the piece, but Bellamy contributed the finishing surface cuts. Craig also writes this piece is the only known Grand Army of the Republic what-not shelf in existence, although it was long believed to have been part of Titcomb & Bellamy’s product line. Height 18”. 12,000/15,000
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392
125
393.
VALENTINE GREEN United Kingdom, 1739-1813 General Washington, after a painting by John Trumbull. Published 1799. Framed with an original autographic signature of George Washington. Color mezzotint engraving on laid paper, 24” x 16” to the plate line. Framed 36.25” x 27”. 3,000/5,000
393
394.
BRONZE REPLICA OF THE LIBERTY BELL CAST BY THE WHITECHAPEL BELL FOUNDRY London, 20th Century Engraved on plaque affixed to wooden base “Cast at the Whitechapel Bell Foundry, London, England to their Original Designs of the Liberty Bell made in the same Foundry in the Year of Our Lord 1752”. Height 16”. 600/900 In addition to the Liberty Bell, Whitechapel Bell Foundry is also known for casting Big Ben at Westminster. At the time of the closure of its Whitechapel premises, it was the oldest manufacturing company in Great Britain.
394
126
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395.
POLYCHROME CAST POT METAL FIGURE OF A DRUMMER BOY Last Half of the 19th Century Standing on a drum and holding a drum stick in each hand. Height 43”. Diameter of drum 14.25”. 2,500/3,500
395
396.
DECORATIVE TOP HAT Late 19th/Early 20th Century Made from a wire frame with red, blue, green and clear prism-like crystals. Includes contemporary metal stand. Height on stand 33”. Width approx. 23”. Depth approx. 24”. 3,500/5,000
396
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127
397.
TURNED WOODEN BARBER’S POLE 19th Century Painted red, white and blue. Mounted on a steel base. Height 84.5”. 1,000/1,500 Provenance: A Martha’s Vineyard collection.
397
128
398.
TURNED WOODEN BARBER’S POLE Circa 1930 Painted red, white and blue, with a gilt ball at top. Mounted on a stand. Height 90.5”. 500/1,000
399.
TWO WOODEN FOLK ART ITEMS 19th Century A checkerboard painted red, white, yellow and black, 21.5” x 21.5”, and a “Goods” trade sign with black lettering on a white ground, 11.5” x 42.5”. 300/500
400.
PRIMITIVE LIFT-TOP BOX 19th Century Under blue-green paint. Dovetail construction. Interior with ditty box. Found in a home in Eastham, Massachusetts. Height 7”. Width 15”. Depth 9.75”. 150/250
401.
THREE WOODEN CUTLERY BOXES 19th/Early 20th Century One with sponge-painted decoration and a heart-shaped handle. The other two under an old brown stain. Heights from 4” to 5.5”. 300/400
402.
WOODEN CHECKERBOARD 19th Century Painted black and yellow. 25” x 19”. 200/300
398
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403
403.
MOLDED COPPER AND ZINC OVERSIZE HORSE, SULKY AND DRIVER WEATHER VANE 19th Century Attributed to Harris. Height 16.5”. Length 33”. 2,000/3,000
404
404.
UNUSUAL SHEET METAL WEATHER VANE 19th Century In the form of an arrow with a central bouquet of tulips. Painted green and off-white. Height 10”. Length 26”. 500/800 Provenance: A Martha’s Vineyard collection.
405.
COPPER POINTING DOG WEATHER VANE 20th Century With some verdigris patina. Height 14”. Length 32”. 300/500 Provenance: A Martha’s Vineyard collection.
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405
129
John French Sloan New York/New Mexico/New Hampshire, 1871-1951 Lots 406
406
406.
“Blonde Nude”. Signed lower left “John Sloan”. Titled and dated 1928 verso. Oil on board, 22” x 27”. Framed 28” x 33”. 12,000/15,000 Provenance: According to the consignor, this painting was acquired at Sotheby’s sale in the 1980s. Private Collection, Philadelphia.
130
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Eric Sloane New York/Connecticut, 1905-1985 Lots 407-408
407
408
407.
“The Dune”. Signed lower right “Sloane”. Titled lower left. Oil on masonite, 18” x 24”. Framed 22.5” x 29.5”. 2,500/3,500
408.
Covered bridge. Signed verso “By Eric Sloane”. Note affixed to reverse with typed inscription “... Presented to Adlin Meyer on June 1964 by the artist, through the courtesy of Carl Christensen ... frame made by Adlin Meyer from boards of an old covered bridge from Vermont”. Oil on board, 14” x 24”. Framed 19” x 29”. 3,000/5,000
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131
Laura Coombs Hills Massachusetts, 1859-1952 Lots 409-410
409.
“Nicotiana at Night & the Luna Moth”. Signed lower right “Laura Hills”. Titled on gallery label verso. Pastel, 19” x 15.25”. Framed 23” x 18.75”. 2,500/3,500 Provenance: Doll & Richards, Boston. Bernard & S. Dean Levy Inc., New York. Private Collection, Cape Cod, Massachusetts.
409
410.
Still life of flowers in a bowl. Signed lower left “Laura Hills”. Pastel, 10.25” x 12.25”. Framed 13” x 15”. 800/1,200 Provenance: F.W. Bailey & Son, Boston. Private Collection, Cape Cod, Massachusetts.
410
132
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411
411.
LOUIS KRONBERG New York/Florida/Massachusetts/ France, 1872-1965 Ballet dancer in green. Signed and inscribed verso “No. 10.21 Louis Kronberg” and twice “Pastel with Care Avec Soine”. Pastel and chalk on rough paper, 24.5” x 18.5” sight. Framed 31.75” x 25.5”. 1,000/1,500
412
412.
ROBERT HENRI New York/Pennsylvania/Ohio, 1865-1929 A female nude seated at a table. Estate-signed lower right “Robert Henri JCL”. Colored pencil on paper, 10” x 6.75” sight. Framed 16” x 12”. 500/1,000
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413
413.
MARION POWERS Maine, d. 1962 “From an Old Fashioned Garden”. Signed lower left “Marion Powers”. Titled on label verso for “Artists Night Symphony Hall Pops” and on label for Boston Tercentenary Fine Arts and Crafts Exhibition at Horticultural Hall, July 1930. Also inscribed verso “Fenway Studios Boston” and “August Cover Women’s Home Companion, #108/001/04”, and stamped “Ex. P.A.F.A.”. Housed in a hand-carved Thulin frame, dated 1927, #1879. Oil on board, 38.5” x 31.25”. Framed 42.5” x 35.25”. 700/1,000
133
414.
AMERICAN SCHOOL 19th Century Mountain and lake view. No signature found. Oil on canvas, 8” x 13”. Framed 15” x 19”. 500/700
415.
AMERICAN SCHOOL Late 19th/Early 20th Century Grape leaves. Unsigned. Watercolor on paper, 28” x 20” sight. Framed 41” x 34”. 500/800
416.
EUGENE HIGGINS New York/Connecticut/Kansas/Missouri, 1874-1958 Study for “The Gamblers”. Signed lower right “Eugene Higgins A.H.C.”. Identified on frame plaque. Pastel, 9.5” x 6.5” sight. Framed 15.5” x 12.5”. 500/1,000
414
“The Gambler” is in collection of the Metropolitan Museum of Art in New York, George A. Hearn Fund, 1935, accession number 35.33.
417.
ASCHCAN SCHOOL United States, Early 20th Century “‘After the Show’ - Charlie Chaplin”. Unsigned. Titled on stretcher. Oil on canvas, 24” x 20”. Framed 28” x 24”. 300/400
415
416
134
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417
418.
418
419
420
421
GEORGE WILLIAM WHITAKER Rhode Island/New York/Massachusetts, 1841-1916 “Scene Near Tiverton with New Hope in the Distance”. Signed lower right “G.W. Whitaker”. Titled verso. Oil on canvas, 28” x 22”. Framed 34” x 28”. 1,000/1,500
420.
SAMUEL ROSCOE CHAFFEE Massachusetts/Rhode Island, 1850-1913 Bridge over a brook. Signed lower right “S.R. Chaffee”. Watercolor, 12” x 19.5” sight. Framed 20” x 28”. 300/500
421.
SAMUEL ROSCOE CHAFFEE Massachusetts/Rhode Island, 1850-1913 A meadow with watering hole and haystacks. Signed lower right “S.R. Chaffee”. Watercolor, 12” x 19.25” sight. Framed 20” x 27”. 300/500
Provenance: A Connecticut Estate.
419.
GEORGE WILLIAM WHITAKER Rhode Island/New York/Massachusetts, 1841-1916 Sunset over a coastal landscape. Signed lower left “G.W. Whitaker”. Oil on canvas, 12” x 16”. Framed 20” x 24”. 800/1,200
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135
422.
ANTONIO BARONE New York/California, 1889-1971 Still life of peonies in a brass bowl. Signed lower left “Antonio Barone”. Oil on board, 18” x 14”. Framed 24” x 20”. 1,000/1,500
422
423.
HELEN WATSON PHELPS New York/Rhode Island, 1859-1944 Portrait of a young girl. Signed lower left “H.W. Phelps”. Oil on canvas, 18” x 15”. Framed 24” x 21”. 1,500/2,500
423
424.
ATTRIBUTED TO EDWARD CHALMERS LEAVITT Rhode Island, 1842-1904 Still life of a floral bouquet and an urn. Unsigned. Oil on canvas, 20” x 16”. Framed 28” x 23”. 1,200/1,800
424
136
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425.
GEORGE HARVEY New York/Massachusetts, 1800-1878 Still life of a basket, peaches and grapes. Signed lower left “Geo. Harvey”. Oil on academy board, 10” x 14”. Framed 19” x 22.5”. 800/1,200
425
426.
ROBERT SPEAR DUNNING Massachusetts, 1829-1905 Fishing on a mountain pond. Signed and dated lower right “R.S. Dunning 1893”. Oil on canvas, 7” x 10”. Framed 14” x 17”. 2,000/3,000 Provenance: Private Collection, Cape Cod, Massachusetts.
426
427.
FALL RIVER SCHOOL Late 19th/Early 20th Century Still life of pears. In the manner of R.S. Dunning and Bryant Chapin. Unsigned. Oil on canvas, 10” x 14”. Framed 16” x 20”. 1,500/2,500
427
428.
FALL RIVER SCHOOL Late 19th Century Still life of apples, pears and grapes. In the manner of R.S. Dunning and Bryant Chapin. Unsigned. Oil on canvas, 8” x 10”. Framed 13” x 15”. 800/1,200
428
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137
429
430
429.
138
AMERICAN SCHOOL Late 19th/Early 20th Century Mountain landscape with river. Unsigned. Oil on board, 7” x 9”. Framed 13” x 15.5”. 500/1,000
430.
ROBERT SCHADE Wisconsin, 1861-1912 Still life of a stoneware jug, an onion and an eggplant. Signed and dated upper right “R. Schade 1909”. Oil on canvas, 14” x 18”. Framed 20” x 25”. 800/1,200
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431
432
431.
FREDERICK STONE BATCHELLER Rhode Island, 1837-1889 Still life of grapes and a peach. Signed lower left “Batcheller”. Oil on canvas, 12” x 18”. Framed 19” x 25”. 1,000/1,500
432.
STYLE OF WILLIAM MCCLOSKEY United States, Early 20th Century Still life of wrapped oranges. Signed lower right “H. Raymon”. Oil on panel, 18” x 22”. Framed 22” x 26”. 500/800
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139
433
434
433.
434.
435.
436.
140
REDWARE POTTERY HANDLED CROCK Ohio, 19th Century Height 10.5”. 300/400
439.
STONEWARE BASIN 19th Century With cobalt blue floral decoration. Height 6.5”. Diameter 11.75”. 150/250
440.
LARGE STONEWARE HANDLED JUG 19th Century With cobalt blue floral decoration. Height 15”. 250/350
441.
HALL & CO. TWO-GALLON STONEWARE CROCK Boston, 19th Century Impressed “EE Hall & Co Blackstone St Boston 2” above cobalt blue songbird decoration. Height 9.5”. Diameter 10”. 150/250
442.
NEW YORK STONEWARE CO. TWO-GALLON STONEWARE JUG Fort Edwards, New York, 19th Century Impressed New York Stone Ware Co. Fort Edwards, N.Y. 2” above cobalt blue songbird decoration. Height 14”. 200/250
443.
THREE-GALLON STONEWARE JUG New York, 19th Century Impressed “... Hudson, N.Y.” above a cobalt blue “3” and large peafowl. Height 17”. 300/500
444.
FOUR PIECES OF REDWARE POTTERY 19th Century Three handled jugs and a large crock. Heights from 7” to 10.5”. 200/300
STONEWARE HANDLED PITCHER 19th Century With cobalt blue floral decoration. Height 10”. 150/250
WHITES CO. FOUR-GALLON STONEWARE CROCK Utica, New York, 19th Century Impressed “Whites Utica NY 4” over cobalt blue peafowl decoration. Height 11.5”. Diameter 11.75”. 200/400
WHITES CO. FOUR-GALLON STONEWARE CROCK Utica, New York, 19th Century Impressed “Whites Utica 4” over cobalt blue peafowl decoration. Height 11”. Diameter 11.5”. 200/300
437.
FOUR-GALLON STONEWARE CROCK 19th Century With applied handles and cobalt blue decoration of a hen. Height 11.25”. Diameter 11.5”. 700/1,000
438.
WHITE & WOOD TWO-GALLON STONEWARE CROCK Binghampton, New York, 19th Century Impressed “White & Wood Binghampton, N.Y. 2” above cobalt blue songbird decoration. Height 9.5”. 200/250
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435
437
436
438
440
439
443 442
441
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141
445.
446.
447.
THREE PIECES OF NORTON STONEWARE 19th Century A lidded four-gallon crock, a two-gallon crock and a handled jug, all with cobalt blue floral decoration. Heights from 9.25” to 11.5”. 200/300 448.
REDWARE POTTERY PUDDING MOLD Ohio, 19th Century Height 2.5”. Diameter 6.25”. 150/250
449.
STONEWARE ONE-GALLON HANDLED JUG New York, 19th Century Incised in script lettering “G.H. Weaver Lansingburgh, N.Y.”. Old chip to spout. Height 9.5”. 300/500
450.
GERMAN CARVED AND PAINTED WOODEN TOY NOAH’S ARK SET Late 19th/Early 20th Century Includes Noah and nineteen various animal and birds. Ark length 7.5”. 700/1,000
FOUR STONEWARE HANDLED JUGS 19th Century A one-gallon, two two-gallon and a three-gallon. Three smaller jugs with cobalt blue floral decoration. Heights from 10.75” to 14.25”. 300/400
MOCHAWARE POTTERY BOWL Late 19th Century With banded seaweed decoration. Height 5.25”. Diameter 11.5”. 250/350
450
142
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451.
DOLL’S ROCKING CHAIR Late 19th/Early 20th Century Back and seat with punched lettering “PET” and star decoration. Height 15.5”. 250/350 Provenance: A Martha’s Vineyard collection.
452.
453.
TEN STILL BANKS 19th Century Cast iron and tin, with original paint. Heights from 3.25” to 5.5”. 400/700
CAST IRON HORSE-DRAWN MILK WAGON TOY Circa 1920 With original red, white and black paint. Length 13”. 250/350 Provenance: A Martha’s Vineyard collection.
Provenance: A Martha’s Vineyard collection. 454.
KENTON CAST IRON FIRE PUMPER TOY Circa 1920 Painted red and silver. Length 14.5”. 300/500
455.
STEIFF MOHAIR BEAR Circa 1920 Fully jointed. Original padding. Retains original button in left ear. Height 12”. 500/800
454 455
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143
456
457
456.
RARE LITHOGRAPH OF FIRE FIGHTING INTEREST Circa 1860 Central image of a horse-drawn pumper identified as “Adriatic Engine 31, of New York.” Also marked “Wm. Jeffers & Co. Builders of End & Side Stroke Engines Pawtucket, R.I.”. Lithograph by Endicott & Co., New York. 17.5” x 21.75” sight. Framed 26.25” x 31”. 1,000/1,500
457.
LITHOGRAPH OF FIRE FIGHTING INTEREST Late 19th Century “Engine of the Red Jacket Veteran Firemen’s Association, Cambridge, Mass. Champion of the New England League 1894. Awarded the Prize for Being the Handsomest Engine at N.E. League Tournament Held at Hartford, Conn. Sept. 12th, 1895.” Published by Brooks Bank Note Co., Boston. 14” x 20.5” sight. Framed 23” x 28.5”. 800/1,200
458.
LEATHER FIRE BUCKET 19th Century Under green paint with faint traces of yellow lettering. Height 12”. 200/300
459.
LEATHER FIRE BUCKET 20th Century Painted red and black with “T Peirce No 2” in gold lettering. Height including handle 18”. 200/400
This appears to be very rare lithograph; the only other example we were able to locate is in the Museum of the City of New York (46.228.25).
144
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460.
PAIR OF FEDERAL BELL METAL LEMON-TOP ANDIRONS Boston, Circa 1800 Together with a pair of matching fireplace tools. Andirons with slipper feet. Heights 19”. Depths 20.5”. 800/1,200
461.
PAIR OF FEDERAL BELL METAL ANDIRONS First Quarter of the 19th Century Double urn tops on stepped square plinths raised on arched legs ending in claw & ball feet. Heights 22”. Depths 24”. 200/400
462.
WOOD AND TIN SIGN “IRISH TERRIER PUPPIES FOR SALE” Late 19th/Early 20th Century White lettering on a black ground with green border and green clovers in upper corners. 16.75” x 23.5”. 500/800
462
Provenance: A Martha’s Vineyard collection.
463.
ENAMEL-ON-TIN SIGN “TROMMER’S BEER ON DRAUGHT” Mid-20th Century For use behind a bar. Encased in glass. Originally electrified but components in need of repair. Height 15”. Width 25”. Depth 6”. 300/500
464.
TIN AND IRON DOCTOR’S OFFICE SIGN Late 19th Century Double-sided. “Doctor Jackson.” in gold lettering on black banners mounted on a black wire frame. Found in a home in Wellfleet, Massachusetts. 16.5” x 20”. 400/700
465.
TWO EARLY BRASS MEDICAL INSTRUMENTS Early 20th Century 1) Laryngoscope marked “Pilling - Phila” and numbered 18. Length 7”. Width 5”. 2) Bone-handled Fox’s opthalmoscope engraved “John L. Borsch, Optician, Philadelphia”. Length 7”. 250/350
466.
THREE CARVED AND PAINTED WOODEN CANES 20th Century Two Dartmouth College canes and one comically stylized figural carved cane. Lengths 36”. 300/500
467.
CARVED PINE SPREAD-WING EAGLE First Half of the 20th Century Varnished finish. Height 30.5”. Width approx. 57”. 500/1,000
464
457
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145
468
469
470
468.
WOODEN SIGN “VISIT THE STANDARD 472. PAIR OF COPPER AND IRON OVERSIZE OUTDOOR CLOTHING HOUSE. MILFORD N.H.” LIGHTING FIXTURES 20th Century Early 20th Century Heavy green patina. Original glass has been replaced with In blue and black lettering on a white ground. 6” x 66”. plexiglass. Heights 50”. Widths 17.5”. 500/1,000 300/400 Provenance: A Martha’s Vineyard collection.
469.
473.
WOODEN SIGN “PURE ICE CREAM” Provenance: Late 19th/Early 20th Century A Martha’s Vineyard collection. In gold and red lettering on a black ground. 6” x 53.5”. 700/1,000 Provenance: A Martha’s Vineyard collection.
470.
WOODEN SIGN “LIGHT HOUSEKEEPING ROOMS” Early 20th Century In black lettering on a white ground. 4” x 36”. 200/400 Provenance: A Martha’s Vineyard collection.
471.
146
CEMENT BULLDOG LAWN ORNAMENT 20th Century Weathered finish. Height 18”. Length 29”. Width 13”. 150/250
474.
FOUR BRASS CRANBERRY STENCILS 20th Century “Richard A. Rich Thurs. Mass.”, “Fancy Grade A Grade B Grade”, “T Peirce” and “Richard A. Rich”. Largest 5.75” x 12.5”. 200/400
475.
PINE CANDLE BOX WITH PAINTED DECORATION American, Late 18th/Early 19th Century Original red-washed surface with later leaf and vine decoration. Box with dovetail construction. Includes beveled sliding lid. Length 19.5”. 200/400
WOODEN STREET SIGN 19th Century “Pembroke Circuit St Rockland” in black lettering on a white ground. Two hands pointing in different directions at upper left and lower right corners. 12.5” x 36”. 200/400
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476.
WOODEN SIGN “HATS CLEANED SHOES SHINED WHILE U WAIT” Late 19th/Early 20th Century Double-sided. Red and black lettering on a gray ground with green borders and a man’s hat above text. Signed lower center “Duffy”. 42” x 30.75”. 1,500/2,500 Provenance: A Martha’s Vineyard collection.
476
477.
HAND-PAINTED CARNIVAL GAME OF CHANCE WHEEL American, Early 20th Century Center with painted lettering “St. Paul Minn Dailey Mfg Co”. Wheel with black numbers and red line dividers on a mustard yellow ground. Diameter 29.5”. 800/1,200
477
478.
WOODEN ARCHITECTURAL URN-FORM ELEMENT 20th Century Painted black with a gilt ball. Footed and flared gilt base. Height 31”. Diameter at widest point 12”. 200/300
478
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147
Session II Friday, August 2 at 10 a.m. Lots 501-908
A Michigan Collection Lots 501-570 Oriental Rugs Lots 506, 507, 528, 529, 534, 535, 665-682, 761-779 Clocks Lots 530, 595-602 Provincetown Art Colony Lots 780-834 As well as Paintings and Fine Furniture
148
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A Michigan Collection Lots 501-570
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147
A Michigan Collection
501
501.
SHERATON SIDEBOARD ATTRIBUTED TO THE SEYMOUR FAMILY Boston, Circa 1810 In mahogany with select mahogany and bird’s-eye maple facings. Three side-byside drawers over two bottle doors and two closed-face cupboard doors. Tapered reeded legs. Retains period, possibly original, hardware. Height 40.75”. Width 61”. Depth 23.25”. 5,000/10,000
N.b.: Not all items illustrated in house photographs are included in this auction. Photos taken at the house may not accurately reflect color.
148
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502.
503.
FEDERAL TILT-TOP CANDLESTAND Early 19th Century In cherry. Octagonal top inlaid with multiwood banding and a central diamond flanked by water pitchers. Urn-form pedestal raised on spider legs ending in spade feet. Height 27.5”. Top 19” x 13”. 800/1,200
QUEEN ANNE SIDE CHAIR Boston, Circa 1760 In mahogany. Spoon back with vasiform splat. Slip seat with yellow floral damask upholstery. Cabriole legs joined with block and turned H-stretcher and end in pad feet. Back height 38.5”. Seat height 17.5”. 700/1,000 502
503
504.
HEPPLEWHITE ARMCHAIR New York, Circa 1800 In mahogany. Arched back with three thin vertical splats. Splats with foliate carving at tops and satinwood banded inlay down the lengths. Scrolled-out arms with serpentine supports. Seat with yellow floral damask upholstery. Tapered legs. Back height 36”. Seat height 18”. 400/600
504
505.
505
HEPPLEWHITE TWO-TIER STAND Eastern Massachusetts, Circa 1800 In mahogany. Shaped skirt and full-width medial drawer with bird’s-eye maple veneer facings. Tapered legs with inlaid cuffs. Height 33.5”. Width 19.25”. Depth 14.5”. 500/800
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149
A Michigan Collection
506
507
506.
150
ORIENTAL RUG: KURD BIDJAR 6’0” x 14’0” Two columns of bold Herati pattern in red, blue, green, yellow and ivory on an abrashed navy blue field. Yellow guard borders. Broad abrashed red main border. 800/1,200
507.
ORIENTAL RUG: HERIZ 10’3” x 13’5” Overlapping blue and salmon red gabled medallions rest at the center of a brick red field with light blue pendants and subfield, blue, red and ivory spandrels, and meandering ivory vines and colorful blossoms throughout. Abrashed light blue guard borders. Tan main border. 700/900
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508.
CHIPPENDALE SLANT-LID DESK New England, Circa 1780 In tiger maple. Lid encloses eight pigeonholes, eight drawers, two letter slides and a central compartment with molded door. Compartment contains two pigeonholes and two drawers. Compartment is removable, concealing three hidden drawers. Case with four graduated tiers of drawers: a full-width drawer over two half drawers over two full-width drawers. Flat bracket feet. Retains period hardware, possibly original. Height 43.5”. Width 37.75”. Depth 21.25”. 2,500/3,500
508
509.
CHIPPENDALE TALL CHEST Rhode Island, Circa 1780 In maple and tiger maple, with pine and chestnut secondary woods. Six graduated full-width drawers, the top drawer simulating three side-by-side drawers with central fan carving. Flat bracket base. Height 57.25”. Width 39.25”. Depth 20.75”. 1,500/2,000
509
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151
A Michigan Collection
510
510.
152
CHIPPENDALE TWO-PART LINEN PRESS Circa 1780 In strong tiger maple. Upper case with molded top and two closed-face paneled doors enclosing three interior shelves. Lower case with three graduated full-width drawers and flat bracket feet. Height 80.25”. Width 47.5”. Depth 21”. 3,000/4,000
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511
512
511.
CHIPPENDALE DROP-LEAF TABLE New England, Circa 1780 In tiger maple, with old deep, rich patina. Cabriole legs end in claw & ball feet. Height 27.5”. Length 43.25”. Width 15.5” plus two 15” drop leaves. 1,000/1,500
512.
PRIOR-HAMBLEN SCHOOL 19th Century Portrait of a child in a salmon-colored dress. Unsigned. Oil on thick paper, 14” x 10”. Framed 20” x 16”. 1,200/1,800
513.
COUNTRY CHIPPENDALE WING CHAIR New England, Circa 1780 Strong tiger maple block legs joined with H-stretcher. Flame-stitch upholstery. Back height 45.75”. Seat height 19”. 1,000/1,500
514.
PENCIL-POST BED New England, First Quarter of the 19th Century In tiger maple with pine headboard. Flat tester. Height 78.5”. Width between bolt holes 46.5”. Length of rails 74.25”. 900/1,200
513
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153
A Michigan Collection
515.
154
ATTRIBUTED TO JOSEPH WHITING STOCK Massachusetts, 1815-1855 Portrait of a young girl holding a cat while standing on a patterned rug, with a doll in a child’s-size chair to her left and a goldfish bowl to her right. Unsigned. Oil on canvas, 34” x 27”. Framed 38.5” x 31.5”. 3,000/5,000
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516, near-pair
516.
NEAR-PAIR OF CHIPPENDALE TALL CHESTS ATTRIBUTED TO THE DUNLAP FAMILY New Hampshire, Circa 1780 In maple. Molded tops with carved and pressed bandings of elliptical pinwheels alternating with Xs or Is. Cases with six graduated full-width drawers. Skirts with central pinwheel drops. Flat bracket feet. Heights 63”. Widths 39”. Depths 18.5”. 8,000/12,000
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155
A Michigan Collection
517
517.
518
CHIPPENDALE SLANT-LID DESK ATTRIBUTED TO THE DUNLAP FAMILY New Hampshire, Circa 1780 In maple. Slant lid with central carved pinwheel. Slightly stepped interior comprised of four pigeonholes and nine drawers, four with fan carvings. Case with four graduated full-width drawers and ogee bracket feet. Molding at base cut in a triangular pattern, typical of the Dunlap family. Height 41.25”. Width 35”. Depth 19”. 5,000/7,000
519.
518.
AMERICAN SCHOOL 19th Century Charming portrait of two boys, likely brothers, standing at a stone wall overlooking a river landscape, possibly the Hudson River. Unsigned. Oil on canvas, 36” x 29”. Unframed. 2,000/3,000
CHIPPENDALE CHEST OF DRAWERS ATTRIBUTED TO THE DUNLAP FAMILY New Hampshire, Circa 1780 In maple and curly maple. Molded-edge top with nice overhang. Four graduated full-width drawers. Ogee bracket feet. Double scrolls and beaded and diamond moldings at base indicative of the Dunlap family. Height 35.5”. Width 39.25”. Depth 20”. 4,000/6,000 519
156
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Lots 517, 520 and 545
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157
A Michigan Collection
520.
QUEEN ANNE HIGHBOY ATTRIBUTED TO THE DUNLAP FAMILY New Hampshire, Circa 1760 In maple and curly maple. Upper case with five graduated full-width drawers. Lower case with two full-width drawers, a nicely scrolled skirt and cabriole legs ending in pad feet. Height 74.5”. Width 38.5”. Depth 19”. 7,000/10,000
520
158
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521.
COUNTRY HEPPLEWHITE CARD TABLE New Hampshire, Circa 1800 Grain-painted finish to top and legs. Skirt with bird’s-eye maple veneer panel at front. Height 29.75”. Width 35.25”. Depth 17.75”. 500/800
521
522.
AMERICAN SCHOOL 19th Century Portrait of a young boy with a dog. Unsigned. Oil on canvas, 29” x 23.5”. Unframed. 1,200/1,800
522
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159
A Michigan Collection
523.
MANNER OF JOHN BREWSTER, JR. United States, Circa 1849 Portrait of a young boy seated on a patterned floor. Unsigned. Inscribed verso “Painted in Sept. 1849 Died Sept. 12th”. Also inscribed in a later hand “Frank Treadwell 1 years old”. Oil on canvas, 25” x 30”. Unframed. 1,000/1,500
523
524.
QUEEN ANNE CHEST OF DRAWERS ATTRIBUTED TO THE DUNLAP FAMILY New Hampshire, Circa 1770 In maple. Five graduated full-width drawers. Beaded and triangular moldings at base. Cabriole legs end in pad feet. Height 46”. Width 41”. Depth 19.75”. 4,000/6,000
524
160
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525.
QUEEN ANNE HIGHBOY ATTRIBUTED TO THE DUNLAP FAMILY New Hampshire, Circa 1760 In maple and figured maple. Upper case with three side-by-side drawers over four graduated full-width drawers. Lower case with three graduated full-width drawers, the lowest drawer simulating three side-by-side drawers with central fan carving. Scrolled skirt. Cabriole legs end in pad feet. Retains period, possibly original, hardware. Height 74.75”. Width 40”. Depth 19.5”. 6,000/9,000
525
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161
A Michigan Collection
526
162
526.
QUEEN ANNE CHEST ON FRAME ATTRIBUTED TO THE DUNLAP FAMILY New Hampshire, Circa 1760 In curly maple. Four graduated full-width drawers, the lowest simulating three side-by-side drawers with central fan carving. Frame’s skirt with two carved pinwheels and a carved dropped fan. Cabriole legs. Retains period, possibly original, hardware. Height 41”. Width 40.5”. Depth 18.5”. 1,500/2,500
528.
ORIENTAL RUG: HERIZ 7’7” x 9’7” Abrashed charcoal, light gold and salmon pink gabled medallion on an abrashed red field with stylized blossoms, leaves and vines in faded gold, pink, light blue and dark blue throughout. Light blue subfield with pink and gold spandrels. Abrashed charcoal main border contains colorful blossoms and leaves. 700/900
527.
QUEEN ANNE CANDLESTAND Probably New Hampshire, Late 18th Century In maple. Square top. Modified urn-form pedestal with toothed carvings. Cabriole legs end in snake feet. Height 25”. Top 14.75” x 15”. 500/700
529.
ORIENTAL RUG: FERAGHAN 4’7” x 6’7” Several rows of boteh rendered in red, blue and green cross a midnight blue field bounded by a bright red interior border. Blue main border contains red and brown turtles. 500/800
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530
530.
TALL-CASE CLOCK BY BENJAMIN MORRILL OF BOSCAWEN, NEW HAMPSHIRE First Quarter of the 19th Century Grain-painted pine case. Arched bonnet with three period heavy squat urn-form brass finials raised on plinths joined by pierced fretwork. Glazed dial door flanked by full columns. Pendulum door flanked by brass-capped quarter columns. Short bracket feet. Painted Roman numeral dial with moon phase, globes, colorful fan corners, second sweep and calendar dial. Dial signed “Benj Morrill Boscawen”. Marked in pencil on interior of pendulum door “S. Macoy”. Height 81.25”. Width 18”. Depth 9.75”. Includes original weights and pendulum. 3,000/5,000
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163
A Michigan Collection
531
532, pair
533
534 164
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531.
WILLIAM A. GREAVES New York, 1847-1900 Portrait of a boy and his dog. Signed verso “Wm. A. Greaves Artist 1880 Warren Pa.”. Oil on canvas, 42.5” x 30”. Framed 47.5” x 35”. 1,000/1,500
532.
PAIR OF HEPPLEWHITE SIDE CHAIRS Circa 1790 In mahogany. Backs with carved rosettes at corners and delicate arched splats. Seats with pale yellow and green striped upholstery. Tapered reeded block legs. Back heights 34.5”. Seat heights 18”. 500/700
533.
QUEEN ANNE LOWBOY Connecticut, Circa 1760 In cherry with deep rich patina. Nicely overhanging molded-edge top with central fylfot and thin banded inlay. Two tiers of three varied side-by-side drawers, all with repetitive banded inlay. Graceful cabriole legs end in pad feet. Height 32.25”. Width 34.25”. Depth 21.75”. 3,000/5,000
534.
ORIENTAL RUG: MAHAL 12’0” x 15’0” Bold orange and tan serrated leaves and stylized blossoms on ivory branches neatly arrayed along the center line of the ivory field. Multiple guard borders in ivory, tan and orange. Broad orange main border features large floral cartouches. 4,000/6,000
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165
A Michigan Collection
535.
ORIENTAL RUG: TURKISH 5’0” x 10’6” Red and blue linear vine creates a lattice pattern on an abrashed red field. Each diamond formed by the lattice contains a repeated floral motif rendered in blue, brown, pink, green and orange. Abrashed blue and brown borders. 300/600
536.
ORIENTAL RUG: BIDJAR 4’6” x 8’10” Red field with two columns of colorful Herati pattern in pink, yellow and cardamom. Blue and brown guard borders. Ivory main border features colorful turtles and a meandering red vine. 500/800
537.
HEPPLEWHITE SHIELD-BACK SIDE CHAIR New York, Circa 1785 In mahogany. Foliate-carved vertical splats. Serpentine-front seat with yellow damask upholstery. Linenfold molded legs joined with H-stretcher. Back height 38.5”. Seat height 18”. 700/1,000
538.
FEDERAL LOLLING CHAIR Circa 1800 Mahogany arms and tapered legs with bellflower inlay, indicative of the Baltimore area. Serpentine seat front. Rose-colored striped upholstery. Back height 43.75”. Seat height 17”. 1,500/2,000
539.
FEDERAL MIRROR First Quarter of the 19th Century Mahogany frame with reeded half-columns. Upper reverse-painted tablet depicts a coastal landscape with a two-masted sailing vessel. Beveled glass mirror possibly original. Height 46”. Width 26.5”. 400/600
537
538
166
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540.
ATTRIBUTED TO JAMES EIGHTS New York, 1798-1882 Three architectural drawings of Albany, New York. One depicts a street scene with key identifying various buildings. Others depict a view of the Jacob Vanderheyden Palace in 1805 and a house at the corner of Pearl and Columbia. Watercolors of paper, the largest 11” x 18.5” sight. Framed 17” x 25”. 1,000/2,000
541.
HEPPLEWHITE SOFA New York, Circa 1790 In mahogany, with gold striped damask upholstery. Crest rail’s central rise with three swags of bellflower inlay. Additional bellflower inlay on arm supports and four off-center front legs. Matching off-center rear block legs. Back height 38.5”. Seat height 20.5”. Length 74.25”. 2,000/3,000
540, three
541
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167
A Michigan Collection
542
542.
168
QUEEN ANNE BONNET-TOP HIGHBOY Probably Connecticut, Circa 1750 In cherry. Bonnet top with broken arch pediment with three spiral-turned finials raised on plinths. Upper case with three varied side-by-side drawers, the central with concave half moon, over four graduated full-width drawers. Lower case with a full-width drawer over three varied side-by-side drawers, the central with repetitive concave half moon. Each drawer of both cases with a vertical band of hardwood inlay. Nicely shaped skirt with turned drops. Cabriole legs end in pad feet. The drawer construction, dovetails and inlay are all matching throughout the piece. Height approx. 86”. Width 40”. Depth 20.75”. 5,000/8,000
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543
544
545, near-pair
543.
HEPPLEWHITE CARD TABLE Connecticut, Circa 1800 In cherry. Edge of top and legs with alternating wood inlay. Skirt with bird’s-eye maple veneer panels. Height 28.5”. Width 36.25”. Depth 17.5”. 800/1,200
544.
QUEEN ANNE TILT-TOP STAND Massachusetts, Late 18th Century In mahogany. Dish top set on a vasiform pedestal raised on cabriole legs ending in snake feet. Height 29”. Diameter 22”. 600/900
545.
NEAR-PAIR OF CHIPPENDALE SIDE CHAIRS Circa 1780 In mahogany. Crests with central fan and carved rabbit ears. Pierced owl’s-eye splats. Seats with yellow damask upholstery. Block molded legs joined with H-stretchers. Back heights 36.5”. Seat heights 17.5”. 800/1,200
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169
A Michigan Collection
546.
HEPPLEWHITE PEMBROKE TABLE Connecticut, Circa 1785 In cherry. Serpentine leaves. Single drawer at one end of apron. Tapered legs joined with pierced cross-stretcher. Height 28”. Width 19.5” plus two 8.75” drop leaves. Depth 36”. 800/1,200
546
547.
AMERICAN SCHOOL 19th Century “The Capture of Maj. Andre”. Unsigned. Titled on label verso. Oil on canvas, 17” x 20”. Framed 22” x 25”. 500/1,000
547
170
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548
548.
SHERATON SOFA Boston, Circa 1805 In mahogany, with floral and gold striped upholstery. Four tapered reeded front legs and four block rear legs. Back height 33.5”. Seat height 19.5”. Length 73.25”. 2,000/3,000 550.
549.
QUEEN ANNE CANDLESTAND Mid-18th Century In walnut and maple. Cut-corner top set on an urn-form pedestal raised on cabriole legs ending in snake feet. Height 25.25”. Top 13.5” x 13.5”. 400/600
FEDERAL TILT-TOP CANDLESTAND New England, Early 19th Century In mahogany. Octagonal top set on a vasiform pedestal raised on three spider legs. Height 28.25”. Top 22.75” x 15.75”. 250/350
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171
A Michigan Collection
551.
HEPPLEWHITE CARD TABLE Probably New Hampshire, Circa 1790 In tiger maple. Apron with small single drawer at front. Tapered legs. Height 29”. Width 34.25”. Depth 15.5”. 1,000/1,500
551
552.
QUEEN ANNE BIRDCAGE TILT-TOP TABLE Massachusetts, Circa 1760 In mahogany, with circular top, vasiform pedestal and cabriole legs ending in snake feet. Height 29”. Diameter of top 23”. 500/800
552
553.
AMERICAN SCHOOL Mid-19th Century Portrait of a child in a red gown holding a crop. Unsigned. Oil on canvas, 25.25” x 20”. Framed 32” x 26.25”. 2,000/3,000
553
172
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554, pair
554.
AMERICAN SCHOOL Mid-19th Century Portrait of a man and a woman. Unsigned. Housed in what are likely their original American Empire mirrors. Oils on canvas, 30” x 25”. Framed 39” x 34”. 3,000/5,000
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173
A Michigan Collection
555.
QUEEN ANNE FLAT-TOP HIGHBOY Connecticut, Circa 1760 In cherry. Upper case with molded cornice and five graduated full-width drawers. Lower case with a full-width drawer over three varied sideby-side drawers. Nicely shaped skirt with turned drops. Cabriole legs end in pad feet. Retains period, possibly original hardware. Height 75”. Width 40.5”. Depth 20.25”. 3,000/5,000
555
174
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556.
CHIPPENDALE CHEST OF DRAWERS Massachusetts, Circa 1780 In maple and curly maple, with molded-edge top, four graduated full-width drawers and flat bracket feet. Height 33”. Width 38.5”. Depth 20”. 1,200/1,800
556
557.
CHIPPENDALE OXBOW SLANT-LID DESK Connecticut, Circa 1780 In cherry. Interior with pigeonholes and drawers. Case with four graduated full-width drawers, central drop at skirt, and claw & ball feet. Height 44”. Width 39.75”. Depth 22”. 1,500/2,000
557
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175
A Michigan Collection
558, multiple views
558.
FEDERAL CANOPY BED ATTRIBUTED TO WILLIAM HOOK Salem, Massachusetts, Circa 1810 In mahogany. Interesting construction of footboard, with sliding panels to hide bed bolt holes. Reeded footboard posts with foliate carvings at tops and acanthus carvings at lower portions, indicative of Hook’s work. Block legs end in Marlborough feet. Simple headboard with reverse-tapered posts. Original canopy frame with pink satin canopy. Height 95”. Width between bolt holes 57”. Length of rails 76”. Includes bolts. 2,000/3,000
559.
176
PAIR OF SHERATON TWIN BEDS Circa 1820 In mahogany and pine. Simple headboard posts and turned and reeded footboard posts, all with turned urn-form finials. Heights 67.5”. Widths between bolt holes 39”. Lengths of rails 77”. Includes bolts. 500/1,000
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560, four
560.
SET OF FOUR HEPPLEWHITE SIDE CHAIRS Southern Connecticut, Circa 1800 In cherry. Backs with arched crest rails and vertical pierced splats. Seats with yellow striped damask upholstery. Tapered legs joined with H-stretchers. Back heights 37.25”. Seat heights 18”. 800/1,200
561.
CHIPPENDALE CORNER CHAIR Circa 1780 In mahogany. Back with raised crest rail and two pierced vertical splats. Scrolled arms. Slip rush seat. Deep skirt to conceal a chamber pot; chair retains original cut chamber pot seat below rush seat. Block corner-molded legs. Back height 32.5”. Seat height 18.5”. 300/500
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177
A Michigan Collection
562.
QUEEN ANNE DROP-LEAF TABLE Connecticut, Circa 1760 In cherry, with D-shaped leaves and cabriole legs ending in pad feet. Height 28.25”. Length 47.5”. Width 17” plus two 18” drop leaves. 500/1,000
562
563.
HEPPLEWHITE DEMILUNE CARD TABLE Massachusetts, Circa 1790 In cherry and cherry veneer. Edge of top with alternating concave molding. Tapered legs. Height 30”. Width 35”. Depth 17.75”. 1,000/1,500
563
564. 564
178
HEPPLEWHITE CARD TABLE Connecticut, Circa 1790 In cherry. Edge of top with light and dark wood banded inlay. Skirt with mahogany veneer panels. Tapered legs with string inlay. Height 29”. Width 36”. Depth 17.5”. 1,200/1,800
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565. 565
566.
TAVERN TABLE Early 19th Century Washed single-board pine top. Base and turned legs painted brown. Wonderful patina. Height 28.5”. Length 30”. Width 21.25”. 1,000/1,500
COUNTRY HEPPLEWHITE CARD TABLE New England, Circa 1800 In cherry. Central drawer in skirt. Height 28.5”. Width 34.25”. Depth 16.25”. 500/700
567
567.
566
COUNTRY HEPPLEWHITE ONE-DRAWER STAND Connecticut, Circa 1800 In cherry, with string inlay along edge of shaped top, perimeter of drawer front and length of tapered legs. Height 28.25”. Width 19.75”. Depth 22.5”. 300/400
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179
A Michigan Collection
568.
FEDERAL CANDLESTAND Probably New Hampshire, Early 19th Century In birch. Cut-corner top. Pedestal is hexagonal at top and bottom, with a balustroid central section. Spider legs end in spade feet. Height 25.76”. Top 16.25” x 15.5”. 400/600
569.
SET OF FIVE HEPPLEWHITE DINING CHAIRS Circa 1790 In mahogany. Shield backs with three vertical splats and paterae inlay. Seats with faded black printed upholstery. Tapered legs joined with H-stretchers. Back heights 39”. Seat heights 19”. 1,000/1,500
570.
TRANSITIONAL CHIPPENDALE RIBBON-BACK SIDE CHAIR Massachusetts, Circa 1790 In mahogany. Back with four pierced horizontal splats. Slip seat with yellow print upholstery. Block molded legs joined with H-stretcher. Back height 37”. Seat height 17”. 300/500
568
569, five
180
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CO N C LU S I O N O F T H E M I C H I G A N CO L L E C T I O N
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181
571
572
573
571.
AMERICAN SCHOOL Early 20th Century Woman with a rake. Signed lower left “E.H. Turner”. Oil on board, 10.5” x 7.5”. Framed 14” x 11”. 500/1,000 Possibly the work of Elbert H. Turner, a pseudonym for Robert Julian Onderdonk (Texas/New York, 1882-1922), best known for his renderings of Texas landscapes and bluebonnets. He used a few variations of “Turner” while in debt and purportedly turned out as many as one painting a day in New York.
572.
182
AMERICAN SCHOOL Early 20th Century Leda and the Swan. Unsigned. Oil on board, 12” x 10”. Framed 21” x 19”. 500/1,000
574
573.
ATTRIBUTED TO JOHN HEMMING FRY Indiana, 1860-1946 Portrait of Mattie Edwards Hewitt, a professional photographer of East Coast architecture, landscape and design. Old label on stretcher marked “H.N. Kirch 6 Mt. Vernon Place”. Oil on canvas, 14” x 12”. Framed 19” x 17”. 2,000/3,000
574.
ALFRED THOMPSON BRICHER New York/New Hampshire, 1837-1908 Flowers in a meadow. Signed lower left “AT Bricher”. Watercolor, 21.5” x 17” sight. Framed 26.5” x 22”. 1,000/1,500
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Franz Knebel Switzerland, 1809-1877 Lot 575
575
575.
Expansive landscape with ruins. Signed lower left “F. Knebel ... Roma 1871”. Oil on canvas, 28” x 48.75”. Framed 37.75” x 58.75”. 10,000/15,000
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183
George L. Brown Massachusetts/New Hampshire, 1814-1889 Lot 576
576
576.
184
“View of the Town of Vico, near Naples”. Signed and dated lower left “Geo. L. Brown 1879”. Titled, signed and dated verso. Oil on canvas, 22” x 36”. Framed 35” x 49”. 4,000/6,000
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577.
REGINALD MARSH New York/Vermont, 1898-1954 Portrait of a woman in a red hat. Signed lower right “Marsh”. Painted on the back of an invitation to a wedding in Wianno, Massachusetts. Watercolor and gouache on paper, 4.5” x 3.25” sight. Framed 13” x 11.5”. 2,000/3,000
578.
WILLIAM EDWARD NORTON Massachusetts, 1843-1916 “Twilight Gloucester”. Signed lower left “W.E. Norton”. Oil on panel, 8” x 10”. Framed 13.75” x 15.75”. 1,200/1,800
577
578
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185
Florence Robinson New York/Massachusetts, 1874-1937 Lots 579-581
579.
“Candebec Cathedral, Normandy”. Signed lower right “Florence Robinson”. Titled verso. Watercolor on board, 15.25” x 11”. Unframed. 500/700
580.
“Naples (Italy) in Front of the Aquarium”. Signed lower right “Florence Robinson”. Titled verso. Watercolor on paper, 11” x 15.5”. Matted 15.5” x 19.75”. 300/500
581.
“Toulon South France”. Signed lower left “ Florence Robinson”. Titled verso. Watercolor on board, 11.5” x 15.5”. Matted 16” x 20”. 500/700
579
580
186
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581
582
583
582.
ARTHUR BURDETT FROST Pennsylvania/California, 1851-1928 “Paris Thanksgiving Day 1906”. Titled and dated lower left. Inscribed and signed lower right “To Mrs. Mor[?] from her friend A.B. Frost, 1910”. Stamp verso for Blanchet artist supply, Paris. Oil on board, 13” x 16”. Framed 15” x 17.5”. 3,000/5,000
583.
JOHN JOSEPH ENNEKING Massachusetts/New York/Maine/Ohio, 1841-1916 Sunset over a pond. Signed lower right “Enneking 87”. Includes a black and white photograph of the painting hanging in a home in Dedham, Massachusetts in 1897. Beautifully housed in its original frame, likely Frost and Reed. Oil on board, 9” x 12” sight. Framed 17” x 20”. 2,500/3,500 Provenance: Private Collection, Arizona.
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187
William Crothers Fitler New York, 1857-1915 Lots 584-586
585
584, two
188
584.
Two watercolors: “Autumn” and “Country Lane”. “Country Lane” signed lower right “W.C. Fitler”. The other signed verso. Both titled verso. On board, 11” x 16” sight. Framed 15” x 21”. 500/1,000
585.
“A Summer Day”. Signed and dated lower right “W.C. Fitler 94”. Titled verso. Watercolor on board, 13” x 19”. Framed 18” x 24”. 400/600
586.
Cattle and a boy fishing alongside a winding stream. Signed in pencil verso “W.C. Fitler”. Watercolor on board, 12” x 16” sight. Framed 20” x 24”. 500/1,000
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586
587
588
589
587.
590
WALTER KOENIGER 589. AMERICAN SCHOOL New York/Germany, 1881-1943 19th Century A winter stream and distant mountains. Signed lower left A cow grazing. Unsigned. Oil on board, 5” x 6.5”. Framed “W. Koeniger”. Oil on canvas, 28” x 39”. Framed 36” x 47”. 10” x 12”. 200/300 2,000/3,000 Provenance: A Connecticut estate.
588.
ATTRIBUTED TO WALTER EMERSON BAUM Pennsylvania, 1884-1956 Harbor scene executed in shades of blue. Unsigned. Inscribed verso “Presented by W.E. Baum to M. Stark Govino Cambelllo Phila 1937”. “M. Stark” possibly refers to Melville Stark, a noted student of Baum’s. Oil on canvas, 20” x 24”. Framed 25” x 29”. 800/1,200
590.
CHARLES HENRY DEMUTH Pennsylvania/New York, 1883-1935 Profile view of a woman. Signed lower left “C. Demuth”. Watercolor on paper, 4.75” x 4.25” sight. Framed 17” x 14”. 2,000/3,000
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189
591.
MERCY ETTA BAKER Massachusetts, 1876-1957 Moored dory. Signed lower left “M.E. Baker”. Watercolor on paper, 3.5” x 5”. Framed 4” x 6”. 150/250
592.
JOHN C. BARRETT United States, Active Early 20th Century Boy wearing a straw hat. Artist identified on label verso written by the artist’s executor authenticating the work. Inscription dated August 17, 1904, Portland, Maine, and signed by Curtis A. Perry. Oil on board, 14” x 12”. Framed 22” x 19”. 500/700
593.
A.W. FULLER 19th Century “Somes Sound Mnt. Desert Isl”. Artist identified, titled and dated 1888 verso. Back of canvas covered. Oil on canvas, 14” x 22”. Framed 21” x 28”. 600/900
594.
WILLEM JACOBUS BOGAARD The Netherlands, 1842-1887 Two horses and a groom in a stall. Signed lower right “W.J. Bogaard”. Label verso for Doll & Richards Gallery, Boston. Oil on board, 7” x 9”. Framed 16” x 18.5”. 900/1,100
592
593
594
190
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595.
AARON WILLARD FEDERAL TALL-CASE CLOCK Boston, Circa 1800 Mahogany case with rich old finish. Bonnet with three brass finials, two in ball and steeple form flanking a central urn with eagle. Finials on fluted plinths joined by nicely scrolled fretwork. Arched dial door with ebony and string inlay flanked by fluted full columns with brass stop fluting. Molded rectangular pendulum door flanked by brass-capped fluted quarter columns with brass stop fluting. Pendulum door and base panel with banded and string inlay. Ogee bracket feet. Roman numeral dial with second sweep and moon phase in lunette. Painted and gilt decoration of globes below lunette and green stars within ovals at corners. Signed “Aaron Willard Boston”. Complete with weights, pendulum, and case and winding keys. Height 92.5”. Width 19”. Depth 9.5”. 7,000/10,000
595
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191
597
596
596.
192
LYRE-FORM WALL CLOCK 19th Century Wooden case with brass finial and a scrolling leaf-carved throat frame. Reverse-painted throat glass depicts a woman playing a harp. Height 40”. Width 13.5”. Depth 4”. 700/1,000
597.
HOWARD BANJO CLOCK Mahogany veneer case. Black and gold reverse-painted throat and door glass. Height 29”. Width 11”. Depth 3.5”. 700/1,000
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598, two views
598.
RARE LIGHTHOUSE CLOCK BY SIMON WILLARD & SONS Boston, Circa 1820 Dial and works exposed beneath the original blown glass dome. Original mahogany and mahogany veneer pedestal base with four ball feet. Movement with alarm bell affixed to top of brass works. White enamel dial signed “Simon Willard & Sons Patent”. Height to top of glass dome 26.5”. Width 9.5”. Depth 7.75”. Retains original crescent moon-form hand, drive weight, bell weight, pendulum and key. 70,000/90,000 This rare form of clock, among the first American clocks to function as an alarm, was patented by noted clockmaker Simon Willard (1753-1848) in 1819 as an “Alarum Timepiece”. It is believed that less than 100 examples of lighthouse clocks are still in existence.
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193
Elmer Stennes Weymouth, Massachusetts, 20th Century Lots 599-600
Elmer Stennes (1911-1975) built a reputation for making fine reproductions of classic American clock cases, but he is probably now best known for his involvement in two murder cases. He was trained as a cabinetmaker and began making clock cases fulltime in 1948. His production line included banjo, shelf, girandole and tall-case clocks, and his pieces were sold across the country. In 1968, following an argument, he shot and killed his wife Eva. Stennes called the Weymouth police himself, admitting to the crime. He was released on bond and went back to work while awaiting trial, branding his pieces from this time period with “O.O.B.” for “out on bond”. He was convicted of manslaughter and sentenced to eight to ten years of prison, where he continued to make clock cases, using fellow inmates as assistants. The clocks made in prison were branded “M.C.I.P.” for “Made Case in Prison”, or possibly “Massachusetts Correctional Institute Plymouth”. He was released on parole in 1972 and was remarried shortly thereafter to Phyllis Means. The salacious story concludes in 1974 when the couple was shot by intruders while they were sleeping in their bedroom. Stennes died from the multiple gunshot wounds he suffered.
599
599.
PILLAR AND SCROLL CLOCK Mid-20th Century Mahogany and mahogany veneer case with brass urn-form finials. Roman numeral dial with painted floral decoration and gilt highlights. Reverse-painted glass tablet with a vacant cartouche and a bucolic landscape. Stennes paper label on interior of case. Height 30.25”. Width 16.25”. Depth 4.5”. 800/1,200
600.
DWARF CLOCK 20th Century Mahogany case with brass eagle finial. Roman numeral dial with rocking ship movement in lunette. Face signed “Elmer O. Stennes. Weymouth, Mass.” Weight signed “E.O. Stennes Weymouth Mass #8”. Height including finial 51”. Width 12”. Depth 8”. Includes key and pendulum. 1,500/2,000
600
194
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601.
ELNATHAN TABER FEDERAL TALL-CASE CLOCK Roxbury, Massachusetts, Circa 1800 Mahogany case. Bonnet with three ball-form finials with steeple tops on fluted plinths joined by delicate fretwork. Arched dial door flanked by fluted full columns with brass stop fluting. Rectangular pendulum door flanked by brasscapped fluted quarter columns with brass stop fluting. Pendulum door and base panel in select mahogany with string inlay. Ogee bracket feet. Roman numeral dial with calendar dial, second sweep and moon phase in lunette. Painted decoration of globes below moon phase dial and floral and gilt designs at corners. Marked “Warranted by E. Taber”. Complete with weights, pendulum, door and winding keys. Height 107”. Width 19”. Depth 9.5”. 6,000/9,000
602.
WILLIAM CUMMENS TALL-CASE CLOCK Roxbury, Massachusetts, Circa 1800 Mahogany case. Bonnet with three ball and steeple finials on plinths with satinwood veneer fronts. Plinths joined by delicate scrolled fretwork. Arched dial door with string inlay flanked by full columns with string inlay. Rectangular molded pendulum door flanked by brass-capped fluted quarter columns with inset lighter wood stop fluting. Banded ebony and lighter wood string inlay on door and base panel. French splayed bracket feet. Roman numeral dial with calendar dial, second sweep and moon phase in lunette. Painted decoration of two globes below moon phase and red, white, blue and gilt shields at each corner. Marked “Warranted for Mr. Seth Peck” and signed “Wm Cummens”. Complete with pendulum, weights and keys. Height 94”. Width 18”. Depth 9.75”. 6,000/9,000
601
602
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195
603
603.
604.
196
CHIPPENDALE TALL CHEST New England, Circa 1780 In maple and curly maple, with seven graduated fullwidth drawers and ogee bracket feet. Height 53.5”. Width 38.5”. Depth 18.5”. 700/1,000
SHERATON DROP-LEAF WORK TABLE Massachusetts, Circa 1810 In cherry. Two drawers with period brass hardware. Acanthus-carved and rope-twist legs fitted with brass casters. Height 28.5”. Width 20” plus two 9” drop leaves. Depth 19”. 300/500
605.
QUEEN ANNE CANDLESTAND New England, Second Half of the 18th Century In maple. One-board serpentine top set on an unusual ring- and urn-turned shaft raised on three high arched carved legs ending in slipper feet. Height 27.5”. Top 16.5” x 16”. 300/500
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606, six
606.
SET OF SIX WINDSOR FANBACK SIDE CHAIRS New England, Circa 1790 In maple and ash. Nicely turned bulbous legs, indicative of the Late 18th Century. Back heights 36.25”. Seat heights 18.5”. 1,000/1,500
607.
QUEEN ANNE CANDLESTAND Second Half of the 18th Century In cherry. One-board rectangular top with ovulo corners. Delicate ring- and urn-turned shaft raised on three arched carved legs ending in padded slipper feet. Height 28”. Top 15.75” x 16.75”. 300/500
608.
SHERATON DROP-LEAF ONE-DRAWER STAND Boston, First Quarter of the 19th Century In mahogany. Drawer with original brass floriform pull. Tapered, turned and reeded legs fitted with original brass ferrules and casters. Height 28.5”. Width 18” plus two 7.5” drop leaves. Depth 18.5”. 400/600
609.
WHALE-SIDE SHELF New England, First Half of the 19th Century In Cuban mahogany. Four graduated shelves. Height 34.5”. Width 26”. Depth 8.5”. 400/600
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197
611
610
612
610.
198
SHERATON TWO-DRAWER 611. CHIPPENDALE FIVE-DRAWER 612. ONE-DRAWER CANDLESTAND STAND CHEST Late 18th Century New England, 19th Century New England, Circa 1780 In mahogany. Rectangular top over a In tiger maple. Two-board top. In maple and curly maple, with nice small drawer. Urn-turned shaft raised Drawers fitted with circular brass old finish and rich patina. Graduated on tapered legs ending in spade feet. pulls. Straight legs. Height 28.5”. full-width drawers. Flat bracket Height 29”. Top 19.5” x 18.5”. Width 19.25”. Depth 18.5”. feet. Height 42.25”. Width 39”. 500/700 300/500 Depth 19.75”. 500/1,000
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614
613
615
613.
HEPPLEWHITE WING CHAIR Probably Bermuda, Circa 1800 In cedar, with salmon-colored printed upholstery. Tapered legs joined with box stretcher. Back height 45”. Seat height 21.5”. 800/1,200
614.
CHIPPENDALE 615. CHIPPENDALE CHEST-ON-CHEST CHEST OF DRAWERS Circa 1780 Deerfield, Massachusetts, Circa 1780 In maple. Molded cornice. Upper In mahogany. Serpentine top over case with three side-by-side drawers, four graduated full-width drawers the central with fan carving, over and flat bracket feet. Height 37.5”. four graduated full-width drawers. Width 38.25”. Depth 19.5”. Lower case with four graduated 500/800 full-width drawers. Drawers fitted with brass bail handles. Shaped base with flat bracket feet. Height 69.25”. Width 39.5”. Depth 20.5”. 2,000/3,000
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199
616.
CHIPPENDALE SLANT-LID DESK Circa 1780 In mahogany. Slant lid encloses interior pigeonholes, drawers and a central cupboard door with fruitwood string inlay. Case with four graduated full-width drawers with brass bail handles. Fan-carved drop at skirt. Bracket feet. Height 44”. Width 45”. Depth 23”. 1,500/2,000
617.
RARE SHERATON SERVER North Shore of Massachusetts, Circa 1810 In mahogany. Top with cookie corners and slightly bowed front. Case with two full-width drawers, both retaining original turned wooden pulls. High reeded, tapered legs. Height 39”. Width 36”. Depth 18”. 600/900
618.
CHIPPENDALE CHEST OF DRAWERS Massachusetts, Circa 1780 In mahogany. Molded-edge top with nice overhang. Four graduated full-width drawers. Ogee bracket feet. Height 32”. Width 37.75”. Depth 20.75”. 800/1,200
616
617
618
200
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619
620
619.
VICTOR DE GRAILLY New York/France, 1804-1889 Hudson River from West Point. Unsigned. A similiar work was sold at Sotheby’s New York, May 19, 2005, Lot #177. Oil on canvas, 21” x 29”. Framed 24.5” x 32”. 7,000/10,000
620.
GEORGE ERNEST COLBY Illinois, Minnesota, 1859-1922 “Colorado River, Colo. 1883”. Titled and signed “G.E. Colby” verso. Oil on canvas, 30” x 48”. Framed 39” x 57”. 800/1,200
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201
621.
AFTER MARTIN JOHNSON HEADE Late 19th/Early 20th Century Orchid and hummingbird. Unsigned. Oil on board, 11” x 14”. Framed 14.5” x 17.5”. 500/1,000
622.
CHARLES HENRY CHAPIN New York/California/Louisiana/Massachusetts, 1830-1889 A luminous landscape, possibly New York. Signed lower left “C.H. Chapin”. Oil on canvas, 12” x 20”. Framed 20” x 28”. 800/1,200
623.
AMERICAN SCHOOL 20th Century “The Dumplings”. Incribed verso “’The Dumplings’ The Property of Mr. & Mrs. Frank Emmons Alexander - From ‘Aunt Berta’, In Memory of happy days at ‘Grey Ledge’ 1921”. Oil on board, 6” x 8.5”. Framed 9” x 11”. 300/500
621
622
“The Dumplings”, located in Jamestown, Rhode Island, are named for the large rocks that sit like dumplings in the water close to the southeastern section of Conanicut Island.
623
624.
HERMAN HARTWICH New York, 1853-1926 Cows in a pasture. Signed lower right “H. Hartwich”. Oil on canvas, 14” x 21”. Framed 19” x 27”. 400/600
624
202
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George Innes New York/Massachusetts/Scotland, 1825-1894 Lot 625
625
625.
Figures in a landscape. Signed and dated lower right “G. Inness 1888”. Oil on canvas, 30.5” x 45”. Framed 40” x 54”. 30,000/50,000 Provenance: Private Collection, Connecticut.
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203
626.
ATTRIBUTED TO GEORGE HITCHCOCK Rhode Island/France/Holland, 1850-1913 Woman in a field of poppies. Unsigned. Oil on canvas, 17.5” x 19”. Framed 25.5” x 22”. 7,000/10,000
626
627.
WILLIAM SAVAGE COOPER United Kingdom, 19th Century A woman standing by a fence. Signed lower left “Savage Cooper”. Oil on canvas, 36” x 28”. Framed 48” x 39”. 2,500/3,500
627
204
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628
628.
WORTHINGTON (THOMAS) WHITTREDGE New Jersey/New York/Ohio, 1820-1910 “A Grey Day on the Hudson”. Signed lower right “W. Whittredge”. Oil on canvas, 11” x 17”. Framed 16” x 22”. 12,000/18,000
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205
629.
AMERICAN SCHOOL 19th Century Vessels navigating a river in an expansive mountain landscape. Unsigned. Wonderfully executed folk art-style landscape. Oil on canvas, 26” x 36”. Framed 33” x 42”. 2,000/3,000
630.
ENGLISH SCHOOL 20th Century A prize-winning cow. Unsigned. Oil on board, 18.5” x 22.5”. Framed 26” x 30”. 1,000/2,000
629
630
206
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631
631.
WILLIAM HENRY BARTLETT New Hampshire/United Kingdom, 1809-1854 “View from Fort Putnam” (West Point). Unsigned. Oil on canvas, 20” x 24”. Framed 26” x 30”. 6,000/9,000 Exhibited: Pelham Art Center: “Westchester: The Glory of Landscape”, 2008.
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207
632
632.
208
AMERICAN SCHOOL 19th Century Portrait of a young boy and girl. Unsigned. Oil on canvas, 56” x 50.5”. Framed 64.5” x 59”. 4,000/6,000
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633
634
633.
CHARLES ALFRED MEURER Ohio/Germany, 1865-1955 Tabletop still life of musical instruments, sheet music, books and a glass of wine. Signed and dated lower right “C.A. Meurer 1905”. Oil on canvas, 17” x 36”. Framed 27” x 47”. 5,000/7,000
634.
CANADIAN SCHOOL Circa 1932 “A Caledon R(oad)”. Signed and dated lower left “C. Forster 32”. Titled on remnants of a label verso for the 1932 Ontario Artists Association exhibition. Pastel on board, 18” x 24”. Framed 21” x 26.5”. 400/600
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209
635
635.
LEMUEL D. ELDRED Massachusetts, 1848-1921 Half-length portrait of author Joseph C. Lincoln in hunting clothes. Signed lower right “L.D. Eldred”. Sitter identified on typewritten label verso. Oil on canvas, 12” x 10”. Framed 15” x 13”. 900/1,200
636.
WILLIAM HENRY HOWE New Jersey/New York/Ohio, 1846-1929 “Study from Nature”. Signed in monogram lower left and dated 1884. Titled verso. Oil on canvas, 14” x 21.75”. Framed 21” x 28”. 700/1,000
636
637.
638.
ATTRIBUTED TO FRANCIS WILLIAM EDMONDS New York, 1806-1863 Interior scene with a cobbler. Unsigned. Offered at Christie’s East, January 19, 2000, Lot #10 as a Francis William Edmonds. Oil on canvas laid down on masonite, 10.25” x 13.75”. Framed. 1,500/2,500
637
AMERICAN SCHOOL 19th Century A mountain lake. No signature found. Oil on canvas, 8” x 13”. Framed 14” x 19”. 500/1,000
638
210
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639.
ATTRIBUTED TO WILLIAM MATTHEW PRIOR Massachusetts/Maine, 1806-1873 Portrait of Soloman Dodge. Unsigned. Relined, but a photograph taken pre-restoration shows a canvas preparer’s stamp marked “Prepared by Hollis & Wheeler, 59 Union St., Boston, Mass”. Oil on canvas, 36” x 29”. Framed 43” x 36”. 12,000/15,000 Provenance: Purchased from Alonzo Dodge, a descendant member of the sitter’s family.
640.
WILLIAM MATTHEW PRIOR Massachusetts/Maine, 1806-1873 A pair of portraits of George and Martha Washington. Unsigned. Reverse paintings on glass, 23.5” x 19.5”. Framed 25” x 21.25”. 1,000/1,500 639
640, pair
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211
641
643
642
641.
642.
212
JONATHAN BRADLEY MORSE New York/Vermont, 1834-1898 Working the fields. Signed lower right “J.B. Morse”. Oil on canvas, 24” x 40”. Framed 36” x 52”. 800/1,200
RICHARD HENRY FULLER New Hampshire/Massachusetts, 1822-1871 A traveler on a country road. Signed lower left “R.H. Fuller”. Oil on canvas, 12” x 20”. Framed 19” x 27”. 800/1,200
643.
AMERICAN SCHOOL 19th Century A horse attached to a cannon. Unsigned. Oil on canvas, 16” x 16”. Framed 24” x 24”. 400/600
644.
AMERICAN SCHOOL Late 19th Century A lady holding a gun. Unsigned. Mixed media on paper, 8” x 11”. Framed 11” x 14”. 250/350
644
645.
FLORENCE MACKUBIN Maryland/New York, 1861-1918 Portrait of William Valentine Keating. Signed lower right “Florence Mackubin”. Housed in an engraved silver case indicating Valentine was born April 4, 1823 and died April 18, 1894. Other history of the sitter inscribed in a later hand on back of the shadow box frame. On ivory, 3” x 2.25”. Framed 6” x 5.5”. 300/400
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646
646.
EUNICE MAKEPEACE TOWLE Washington, D.C./New Hampshire, 1806-1894 Portrait of John C. Calhoon wearing a black frock coat and a black stock. Relined, but an accompanying photograph taken pre-restoration shows the work was signed verso “Painted from life by Mrs. Towle 1840”. Oil on canvas, 29” x 25”. Framed 36” x 30”. 6,000/8,000 Eunice Makepeace Towle was married to a prominent
647
647.
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.
physician who attended to numerous presidents and legislators.
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213
648.
AMERICAN SCHOOL 20th Century A southern cabin. Unsigned. Note verso inscribed “From a Collection by Lucy H. Sartor Of Vanishing Southern Scenes 1973”. Mixed media on paper, 7.75” x 9.25”. Framed 9” x 11”. 250/350
649.
AMERICAN SCHOOL Late 19th Century A boy sitting on a fence with his dog by his side. Unsigned. Ink on paper, 8” x 5” sight. Framed 14” x 11”. 250/350
648
649
650
650.
AMERICAN SCHOOL Early 20th Century Bathers along the shore and a campground in the distance. Signed illegibly lower right. Oil on canvas, 6” x 8”. Framed 10” x 12”. 300/500
651.
CLARENCE E. BRALEY Massachusetts, 1854-1927 Sunset view of Venice from the water. Signed lower right. Oil on artist panel, 16.5” x 26”. Framed 21” x 31”. 1,800/2,500 651
214
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652.
GEORGE W. CHAMBERS Tennessee/Missouri, 1857-1897 A young woman resting in the dunes. Signed lower right “G.W. Chambers Paris 3/8/83”. Oil on canvas, 18” x 24”. Framed 26” x 31”. 2,500/3,500 Although closely associated with Nashville, Tennessee, George W. Chambers spent the early 1880s working in Paris under Jean Léon Gérôme and Julien Dupré.
652
653.
ATTRIBUTED TO HARRISON BIRD BROWN California/Maine/England/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”. 6,000/8,000
653
654.
AMERICAN SCHOOL 19th Century Mount Adams from the Glen. Unsigned. Oil on canvas, 18” x 24”. Framed 24” x 30”. 1,500/2,500
654
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215
655.
GEORGE INNESS New York/Massachusetts/Scotland, 1825-1894 Sketch of a homestead. Signed lower right “G. Inness”. Charcoal on paper, 12” x 17” sight. Framed 18.5” x 24”. 300/500
656.
GEORGE INNESS, JR. New York/Florida/France, 1854-1926 Sketch of a figure in a landscape. Signed lower right “Inness Jr”. Red Salmagundi Art Club stamp mid-left. Charcoal on paper, 3.75” x 6” sight. Framed 7” x 10”. 300/500
657.
HUDSON RIVER SCHOOL American, 19th Century A cabin in a wooded landscape. Dated lower center left 1853. Oil on canvas, 14” x 20”. Framed 19.5” x 26”. 300/500
658.
ATTRIBUTED TO WILLIAM MATTHEW PRIOR Massachusetts/Maine, 1806-1873 European landscape at sunset. Inscribed in block lettering “Painting Garret No 36 Trenton Street E. Boston W.M. Prior”. Oil on canvas, relined, 19” x 25”. Framed 23” x 29”. 1,500/2,500
655
656
657
658
216
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659
659.
HELEN WATSON PHELPS New York/Rhode Island, 1859-1944 Portrait of a young boy wearing a black hat. Signed lower right “H.W. Phelps”. Artist’s label verso dated 1880. Oil on canvas, 18” x 14”. Framed 28” x 23”. 2,000/3,000
660
660.
ATTRIBUTED TO BENJAMIN BLYTH Massachusetts, 1746-1786 Portrait of a boy holding his hat. Unsigned. Pastel on paper, 21.5” x 15.25” sight. Framed 26” x 19”. 300/500
661.
661
DELBERT DANA COOMBS Maine, 1850-1938 Birch trees. Signed lower right “D.D. Coombs 90”. Oil on canvas, 24” x 14”. Framed 29” x 19”. 800/1,200
Provenance: Private Collection, Cape Cod, Massachusetts.
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217
662
663
218
662.
FRANK PATON United Kingdom, 1856-1909 A dog poking a hedgehog. Signed and dated in red lower right “F Paton 1881”. Oil on canvas, 24.5” x 29.25”. Framed 28.5” x 33.5”. 2,000/3,000
663.
GRANVILLE PERKINS New York/Maryland, 1830-1895 Figure walking along the coast at sunset. Signed lower left “Granville Perkins”. Oil on canvas, 9” x 26”. Framed 12” x 29”. 500/700
664
664.
CHARLES COURTNEY CURRAN New York/Ohio, 1861-1942 “Lovers”. Unsigned. Accompanied by a note signed by Blake Benton stating the painting was acquired by his mother, Kaycee Benton, a known Curran authority, from the Curry estate. Oil on board, 5” x 4”. Framed 8.5” x 7.5”. 800/1,200
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665.
ORIENTAL RUG: MESHED 10’9” x 15’11” Dark ivory field with a Herati-like pattern rendered in mulberry, navy blue, mauve, subtle salmon red, tan and slate blue. Mulberry, brassy gold and navy blue borders. 1,500/2,000
665
666.
ORIENTAL RUG: MESHED 11’4” x 14’10” Red diamond-shaped medallion with mellow gold center and red anchor pendants rests at the center of a dark blue field. Red subfield with gold spandrels. Red, ivory, pink, yellow and tan Herati pattern throughout. Light blue and mellow gold guard borders, and a dark red main border. 2,000/3,000
666
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219
667.
ORIENTAL RUG: SAROUK 10’10” x 19’6” A variety of meandering flower branches rendered in blues, gold and brown are anchored by three flower vases at each end of a red field. Borders of red and blue motifs to match the field. 1,000/2,000
668.
ORIENTAL RUG: HERIZ 9’1” x 11’4” Overlapping dark red and blue medallions occupy a dark red field with a bright ivory subfield and red spandrels. Vines, leaves and blossoms in blue, red, pink, tan and ivory throughout. Abrashed tan guard borders. Midnight blue main border. 500/1,000
667
669.
ORIENTAL RUG: SAROUK 10’4” x 13’8” Traditional arrangement of blue, green, red and gold flowering branches and bouquets are arranged symmetrically about the center lines of a red field. Red, gold and navy blue borders. 1,000/2,000
670.
ORIENTAL RUGS: TWO SAROUK KIRMAN MATS 2’0” x 3’10” and 2’0” x 3’0” Each with meandering flowering branches in shades of red, pink, ivory, gold and blue on dark blue fields surrounded by gold, dark red and ivory borders. 150/250
669
220
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671.
ORIENTAL RUG: SERAPI DESIGN 9’1” x 12’0” Rust red field scattered with delicate light blue and pale green vines bearing a variety of blossoms and leaves of light blue, light green, ivory, rust red, tan and dark blue. Light blue and tan guard borders. Broad ivory main border. 1,000/1,500
672.
ORIENTAL RUG: SERAPI DESIGN RUNNER 2’7” x 11’9” Ivory field with four brick red gabled medallions containing and surrounded by traditional flowering vines of navy blue, slate blue, pink, pale yellow and subtle crimson. Brick red border features turtle motif. 400/600
671
673.
ORIENTAL RUG: CAUCASIAN DESIGN 8’3” x 9’8” Rich red field is traversed by five rows of a variety of bold stylized blossoms, colorfully rendered in shades of marine blue, dark blue, pale gold, light tan, peach, cordovan and ivory. Navy blue and faded gold guard borders. Bright ivory main border. 900/1,200
674.
ORIENTAL RUG: KAZAK DESIGN 6’3” x 9’0” Light blue field contains bold red, blue, green and ivory geometric medallions surrounded by contiguous geometric medallions in the same colors that stretch onto the rich red subfield. Light blue, light emerald green and ivory borders. 550/750
673
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221
675.
ORIENTAL RUG: SERAPI DESIGN RUNNER 2’5” x 18’0” Seven gabled medallions in light blue, light green, brick red, bright ivory and subtle yellow cross a brick red field covered in delicate ivory vines bearing green, red and gold blossoms. Subtle light blue subfield. Brick red main border. 500/1,000
676.
ORIENTAL RUGS: TWO KAZAK-DESIGN AREA RUGS 3’1” x 5’1” and 3’1” x 4’10” Each with three colorful geometric medallions rendered in peach, blue, bright red, yellow and bright ivory on bright red fields with bisected medallions about the perimeter. Ivory main border with wine cup and serrated leaf motif. 500/700
677.
ORIENTAL RUG: SHEICHUR 4’8” x 7’2” Traditional “X” motif surrounded by delicate stylized branches, blossoms and subtle animal figures, all colorfully rendered in shades of red, blue, green, yellow, orange and ivory on a dark blue field. Blue, brown and rust red borders. 200/400
678.
ORIENTAL RUG: BAKHTIARI 4’11” x 6’11” Blue, red, yellow and ivory geometric medallions run the length of a navy blue field with similar intersected medallions about the perimeter. Gold and red guard borders. Ivory main border features colorful stylized flower blossoms and leaves. 350/550
679.
ORIENTAL RUG: SENNA 4’8” x 6’8” Empty navy blue field contains three blue and ivory geometric medallions. Red subfield contains a blue, green, ivory and subtle salmon pink Herati pattern. Navy blue border contains colorful turtle motifs. 500/700
680.
ORIENTAL RUG: HAMADAN 4’7” x 6’9” Pink, red and ivory geometric medallion is surrounded by a Herati pattern rendered in red, pink, blue, green, ivory and subtle yellow. Navy blue field above a dark red subfield. Blue, dark gold and crimson borders. 350/550
681.
ORIENTAL RUG: KURD HAMADAN 3’9” x 8’0” Abrashed red field with flowering branches flanking a brassy gold geometric medallion with small central element and a variety of suspended pendants in shades of brown, gold, red and blue. Abrashed blue spandrels. Tan and red borders. 300/500
675
222
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682
682.
ORIENTAL RUG: BIDJAR 12’3” x 17’6” Dark blue field is traversed by three columns of paired scrolling red garrus vines and intermittent bouquets of pink roses and ivory garlands. Bright ivory guard borders and red main border feature colorful flower blossoms. 25,000/30,000
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223
683, six
683.
224
SET OF SIX CHICKEN COOP WINDSOR SIDE CHAIRS Circa 1820 Under a natural finish. Crest rails with oval cut-outs. Legs with bamboo turnings. 800/1,200
684.
ONE-DRAWER TAVERN TABLE Early 19th Century In pine under old red paint. Top with breadboard ends. Drawer with turned wooden pull. Turned legs joined with box stretcher and end in button feet. Height 25.5”. Top 41” x 25.5”. 300/500
685.
ONE-DRAWER WASHSTAND New England, 19th Century In birch. Legs with spool turnings between top and medial shelf and tapered at bottom, ending in button feet. Height 39.75”. Width 20.75”. Depth 16.25”. 350/450
686.
COUNTRY HEPPLEWHITE ONE-DRAWER STAND Connecticut, Circa 1800 In cherry. Tapered legs. Height 26.75”. Width 15”. Depth 15”. 300/500
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688
687
687.
SEWING BOX ON STAND English, 19th Century With satinwood and fruitwood inlay, brass bail handles and square tapered legs ending in spade feet. Height 27.75”. Width 17”. Depth 11”. 1,500/2,000
688.
689
QUEEN ANNE TILT-TOP 689. RARE CHIPPENDALE CANDLESTAND CHILD’S SLANT-LID DISK North Shore of Massachusetts, Circa 1780 Circa 1790 In maple with chestnut drawer In mahogany. Serpentine top set bottoms. Lid encloses a stepped on an urn-carved pedestal raised on interior with pigeonholes and three cabriole legs ending in pad feet. assorted drawers. Case with three Height 28”. Top 16” x 16”. graduated full-width drawers 850/1,200 and flat bracket feet. Height 22”. Width 18.25”. Depth 13.5”. 4,000/6,000
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225
690
690.
226
CHIPPENDALE BLOCK-FRONT CHEST OF DRAWERS Connecticut, Circa 1780 In mahogany under old, possibly original, finish. Moldededge top over four graduated full-width drawers and bracket feet. Height 35.75”. Width 42.25”. Depth 19”. 8,000/12,000
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691.
HEPPLEWHITE LOLLING CHAIR Coastal New England, Fourth Quarter of the 18th Century In mahogany with contemporary burgundy patterned upholstery on back and seat. Frame with curved crest rail, carved and molded arms and arm supports, and square tapered reeded legs joined by an H-stretcher. Back height 41.5”. Seat height 17.5”. 800/1,200 For a similar example, see Fine Points of Furniture by Albert Sack, p. 70-72. Provenance: Henry Spencer, Winchester, Massachusetts.
691
692.
CHIPPENDALE TALL CHEST New England, Circa 1780 In maple and tiger maple, with nice mellow finish. Five-full with drawers with original hardware. Flat bracket base. Height 46”. Width 37.5”. Depth 19.75”. 600/900
692
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227
693.
QUEEN ANNE SLANT-LID DESK New Hampshire, Late 18th Century In maple. Slant lid encloses a fitted interior comprised of drawers, valanced pigeonholes and a central shell-carved compartment. Case with four graduated full-width drawers and bandy legs ending in padded slipper feet. Height 42.75”. Width 36”. Depth 20”. 2,500/3,000 Provenance: John Butler Smith Estate, New Castle, New Hampshire.
693
694.
CHIPPENDALE SERPENTINE-FRONT CHEST Boston, Circa 1780 In mahogany. Molded-edge top with generous overhang at sides. Four graduated full-width drawers. Scrolled skirt. Diminutive bracket feet. Height 32”. Width 38.25”. Depth 19.75”. 1,000/1,500
694
228
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695.
CHIPPENDALE SERPENTINE-FRONT BUREAU Boston, Circa 1760-1780 In Santo Domingo mahogany under what is possibly the original finish. Molded-edge top. Four graduated full-width drawers with cock-bead moldings. Shaped bracket base. Height 31”. Width 37”. Depth 20”. 3,500/4,500
695
696.
CHIPPENDALE BOWFRONT CHEST Circa 1790 In mahogany. Four full-width drawers with brass pulls. Shaped bracket base. Height 32.5”. Width 41.75”. Depth 21”. 900/1,200
696
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229
697.
KARL AMIARD OBERTEUFFER Massachusetts, 1908-1958 Sailboats in Gloucester Harbor. Signed in pencil lower center “Karl Oberteuffer”. Watercolor on paper, 13.75” x 21” sight. Framed 23.5” x 30.5”. 1,000/1,500
698.
KARL AMIARD OBERTEUFFER Massachusetts, 1908-1958 Sunset, Gloucester, Massachusetts. Signed lower right “Karl Oberteuffer”. Watercolor on paper, 14.5” x 21”. Framed 22” x 28”. 1,000/1,500
699.
KARL AMIARD OBERTEUFFER Massachusetts, 1908-1958 Cape Ann harbor. Signed lower left “K. Oberteuffer”. Watercolor on paper, 14.25” x 20.5” sight. Framed 25” x 31”. 800/1,200
697
698
699
230
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700
700.
GEORGE A. OBERTEUFFER Massachusetts/Illinois, 1878-1940 “Winter in Normandy”. Signed lower left “Oberteuffer”. Oil on canvas, 24” x 29”. Framed 30” x 36”. 1,500/2,500 See Impressionist George Oberteuffer: His Life and Work in France and America by Kathleen Kienholz (Edson Press, 2014), p. 42.
701
Karl Oberteuffer was the son of artists Henriette Amiard and George Oberteuffer, He was born in Le Croisic, France and moved to Chicago at age 10. Following his graduation from the Art Institute of Chicago in 1928, he became an art instructor, first in Memphis then in Boston. As part of the New Deal arts initiatives, he produced murals for post offices in MacKenzie, Tennessee and Falmouth, Massachusetts. Karl’s father, George Oberteuffer, studied with William M. Chase and Thomas Anshutz. He is known for the body of work he painted while in Europe, primarily watercolors of France and Germany, though he also painted in New Orleans and New England, notably Gloucester, Massachusetts and Boothbay Harbor, Maine. He graduated from Princeton in 1900 and later received his Master of Fine Arts from the Art Institute of Chicago.
701.
HENRIETTE AMIARD OBERTEUFFER Illinois/Massachusetts, 1878-1962 Still life of flowers and pears. Signed lower right “Henriette Oberteuffer”. Oil on canvas, 30” x 25”. Framed 32” x 25.5”. 1,500/2,500
George met his wife, Henriette Amiard Oberteuffer, who specialized in floral still lifes, at the Academie Julian in Paris. The two often exhibited their work together.
Provenance of Lots 697-701: By descent in the artists’ family.
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231
702
702.
DONALD BARTON Massachusetts, 1903-1990 “Pigeon Cove”. Signed lower left. Further identified and titled on a paper label for the “North Shore Arts Exhibition of Gloucester Eleventh Annual Exhibition 1933” affixed to the stretcher. Oil on canvas, 16” x 20”. Framed 20.5” x 24.75”. 1,500/2,000
703.
FRANK P. SHEA Massachusetts, 1885-1977 North Shore street scene. Signed lower left “F.P. Shea”. Oil on canvas board, 16” x 20”. Framed 20” x 25”. 800/1,200
703
704
704.
OLD LYME SCHOOL 20th Century A boat moored in a marsh inlet. Unsigned. Oil on board, 9.75” x 14”. Unframed. 500/700
705.
HORACE P. GILES Massachusetts/California/Mississippi, 1850Marsh scene, likely Newburyport, Massachusetts. Signed lower left “H.P. Giles”. Also signed verso. Housed Newcomb-Macklin frame. Oil on board, 12” x 19”. Framed 16.5” x 23.5”. 800/1,200
705
232
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706
707
706.
EMILE ALBERT GRUPPE Massachusetts, 1896-1978 “Gloucester Winter”. Signed lower right “Emile A. Gruppe”. Titled on Salmagundi Club label verso. Oil on canvas, 25” x 30”. Framed 34” x 29”. 4,000/6,000
707.
CAMILLO ADRIANI Massachusetts, 20th Century A North Shore street scene. Signed lower left “Camillo Adriani”. Oil on canvas, 25” x 30”. Framed 31” x 36”. 2,500/3,500
Exhibited: Salmagundi Club 1955 Summer Exhibition.
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233
708.
HOWARD A. CURTIS Massachusetts, 1906-1989 Rising surf, Cape Ann. Signed faintly lower right “Howard Curtis”. Unfinished seascape on the reverse. Oil on board, 24” x 30”. Framed 29” x 35”. 800/1,200
708
709.
ROGER WILLIAM CURTIS Massachusetts, 1910-2000 “Gale Winds -- Gloucester Mass”. Signed lower right “Roger Curtis”. Titled verso. Oil on canvas, 20” x 30”. Framed 27” x 37”. 800/1,200
709
710.
JACOB I. GREENLEAF Massachusetts, 1887-1968 “Gloucester Harbor”. Signed lower right “J. Greenleaf ”. Titled on his artist’s studio label verso. Oil on canvas, 20” x 24”. Framed 27” x 30”. 500/700
710
234
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711.
HAYLEY LEVER New York/Massachusetts/England/ Australia, 1876-1958 “Tide Out on the River Exe near Exmouth, Devon, England”. Signed lower left “Hayley Lever”. Titled verso “Tide at Exe”. Oil on canvas, 10” x 12”. Framed 17” x 19”. 4,000/6,000
711
712.
WALTER FARNDON New York, 1876-1964 New England harbor scene. Signed lower left “Walter Farndon N.A.”. Frame stamped “Newcomb-Macklin Co.”. Oil on masonite, 14” x 18”. Framed 20.5” x 24.5”. 1,500/2,500
712
713.
HENRY WARD RANGER New York/Connecticut, 1858-1916 Farmhouse amongst the fields. Signed lower left “Henry Ward Ranger”. Oil on academy board, 12.5” x 20.75”. Framed 17.5” x 23.5”. 800/1,200
713
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235
714
715
716
714.
GEORGE ANDREW MOCK Indiana/Illinois, 1886-1958 Boys preparing for a swim. Signed lower left “G.A. Mock”. Oil on canvas backed on masonite, 23” x 30”. Framed 28.5” x 35.5”. 1,200/1,800
715.
JOHN CORDICH Massachusetts, 1898-1972 “Guinea Pier, Gloucester”. Signed lower right “J. Cordich”. Titled verso. Oil on canvas, 24” x 30”. Framed 32.5” x 38.5”. 1,000/1,500
717
716.
Provenance: Rockport Art Association Auction, May 4, 1996, Lot #48.
717.
236
MACIVOR REDDIE Massachusetts, 1899-1966 “Black Rock Cove”. Signed lower left “MacIvor Reddie”. Titled verso. According to inscription on the frame plaque, the painting received a “First Jury Award” for the 1962 Jordan Marsh Exhibition. Frame plaque also inaccurately lists the title as “Black Rock Cave” instead of “Cove”. Oil on masonite, 24” x 33.75”. Framed 30” x 40”. 1,500/2,500
RICHARD SUMNER MERYMAN Massachusetts, 1882-1963 Landscape with a path through the trees. Signed lower right “R.S. Meryman”. Remnants of a label verso for an Institute of Pittsburgh exhibition; label inscribed “Corcoran Gallery, Washington”. Oil on board, 25” x 30”. Framed 29” x 34”. 800/1,200
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718
720
719
721
720.
718.
ARTHUR WESLEY DOW Massachusetts, New York, 1857-1922 View of Crane Beach, Ipswich, from Crane Castle. Oil on board, 8” x 18.5”. Framed 14” x 25”. 4,000/6,000
719.
JOSEPH ELIOT ENNEKING Massachusetts, 1881-1942 721. LOUIS KRONBERG “The Dory”. Signed lower left “J. Eliot Enneking”. Titled on New York/Florida/Massachusetts/France, 1872-1965 label verso. Oil on canvas board, 12” x 14”. Framed 14” x 16”. “Bar Exercise”. Signed lower right “Louis Kronberg”. Titled 800/1,200 verso. Pastel on paper, 18” x 24”. Framed 25” x 31”. 1,500/2,500 Exhibited: The Springfield Art League Eleventh Annual Members’ Exhibition, March 8-23, 1930 (label verso).
JOHN INGERSOLL COGGESHALL Massachusetts, 1856-1927 Boats in a habor, likely the Massachusetts North Shore or Maine. Signed and dated lower right “J.I. Coggeshall 1890”. Oil on canvas, 10” x 16”. Framed 13” x 20”. 700/1,000
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237
722
722.
DON STONE Maine/New Hampshire, 1929-2015 Beach landscape, possibly Eastern Point, Gloucester, Massachusetts. Signed lower right “Don Stone”. Watercolor on paper, 21” x 28.5” sight. Framed 33” x 41”. 800/1,200
723.
ERNEST ALBERT New York/Connecticut, 1857-1946 A house on a river, possibly Old Lyme, Connecticut. Signed lower right “Ernest Albert”. Watercolor on paper, 10” x 14” sight. Framed 17” x 21”. 800/1,200
724.
SANDOR BERNATH New York/Maine/Hungary/Honduras, 1892-1984 “‘Gertrude Thebaud’ of Gloucester, Mass.” Signed lower right “Sandor Bernath”. Titled verso. Watercolor on paper, 20” x 17”. Framed 25” x 21.25”. 800/1,200
723
238
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724
William Lester Stevens Massachusetts, 1888-1969 Lots 725-726
725
726
725.
Autumn landscape with birch trees. Signed lower right “W. Lester Stevens N.A.”. Oil on board, 30” x 36”. Framed 39” x 45”. 3,000/5,000 Provenance: Private Collection, New Jersey.
726.
View of a house through the trees. Signed lower left “W. Lester Stevens 1927”. Inscribed verso “Lester Stevens Rockport Mass. To Olive Newcombe for her new home - Harry H. Marsales”. Oil on board, 8” x 10”. Framed, 14” x 16”. 900/1,200
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239
727.
ALDRO THOMPSON HIBBARD Massachusetts/Vermont, 1886-1972 “Spain - Mending Nets”. Unsigned. Note from Hibbard’s granddaughter Hillary Turley Hibbard affixed verso places this as the artist’s work, done during his travels to Europe. Faintly titled verso. Oil on board, 10” x 12”. Framed 17” x 19”. 1,000/1,500
728.
BELA DETIREFORT New York/Florida, 1894-1993 Bow Bridge, Central Park, New York, with the Carlyle Hotel in the background. Signed and dated lower right “deTirefort ‘60”. Oil on canvas, 24” x 30”. Framed 31” x 37”. 2,000/3,000 Provenance: Collection of Theodorus Gerardus Vanthoff, of Haarlem, Netherlands. Then to current owner.
727
729.
EDWARD REYNOLDS KINGSBURY Massachusetts/California, 1855-1940 “A Monterey Cypress, California”. Signed lower right “Edward R. Kingsbury”. Titled verso. Oil on board, 16” x 20”. Framed 19” x 23”. 800/1,200
730.
MARGARET JORDAN PATTERSON Massachusetts, 1867-1950 Still life of zinnias. Signed lower right “Margaret Patterson”. Color woodcut on paper, 10” x 7”. Unframed. 1,000/1,500
728
729
240
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730
Abbott Fuller Graves Massachusetts/Maine, 1859-1936 Lots 731-732
731
732
731.
Young beauty at the mirror. Signed lower right “Abbott Graves”. Oil on board, 30” x 23”. Framed 35” x 28”. 5,000/7,000
732.
Lady in blue at the piano. Signed lower right “Abbott Graves”. Oil on board, 30” x 23”. Framed 35” x 28”. 5,000/7,000
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241
733, two views
733.
RARE AND IMPORTANT CHIPPENDALE CARD TABLE ATTRIBUTED TO JOHN TOWNSEND Newport, Rhode Island, Circa 1765 In mahogany and maple. Rectangular top. Skirt with crosshatch molding along lower edge. Front legs with pierced corner brackets. Fluted and stop-fluted legs. Height 28”. Width 33”. Depth 16.5”. 10,000/15,000 Illustrated in the Bernard and S. Dean Levy, Inc. Catalog III, p. 46. The piece is also similar to fig. 1024 in Wallace Nutting’s Furniture Treasury and fig. 100 in Morrison Heckscher’s American Furniture in the Metropolitan Museum of Art.
242
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734, pair
735, pair
734.
PAIR OF CHIPPENDALE SIDE CHAIRS Newport, Rhode Island, Circa 1770 In mahogany and pine. Pierced backs with carved ears. Slip seats with striped floral upholstery. Square molded front legs and raked rear legs joined by stretchers. Back heights 37”. Seat heights 18”. 2,000/4,000 A nearly identical chair to this pair is in the collection of Colonial Williamsburg and is illustrated in Barry A. Greenlaw’s New England Furniture at Williamsburg, p. 67, fig. 57. Provenance: Albert James Adams of Newport, Rhode Island.
735.
IMPORTANT PAIR OF CHIPPENDALE SIDE CHAIRS Newport, Rhode Island, Circa 1770 In mahogany. Pierced backs with crosshatching and punchwork. Slip seats with striped floral upholstery. Square molded front legs with fluting and stop fluting. H-stretchers. Back heights 37.5”. Seat heights 17”. 7,000/9,000
A nearly identical set of chairs, but with over-upholstered seats, are illustrated in Joseph Ott’s Rhode Island Furniture 17301810, p. 12-13, fig. 12. Provenance: John Howland Ricketson III of New Bedford, Massachusetts.
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243
736, pair
738
737
736.
PAIR OF CHIPPENDALE SIDE CHAIRS 737. FINE QUEEN ANNE SIDE CHAIR Newport, Rhode Island, Circa 1760 Providence or Newport, Rhode Island, Mid-18th Century In mahogany and maple. Serpentine-shaped crest rail In walnut with gold brocade upholstered slip seat. Back centered by an arched crescent and decorated with with nicely shaped crest, unusual waisted stiles and vasiform crosshatching and punchwork. Slip seat with striped floral splat. Original seat frame with carved apron. Cabriole front upholstery. Fluted and stop-fluted legs joined by stretchers. legs joined by block and turned stretchers and end in wellBack heights 38”. Seat heights 18”. 3,000/5,000 formed pad feet. Back height 39.75”. Seat height 17.5”. 2,000/3,000 Provenance: John Howland Ricketson II. 738.
244
QUEEN ANNE SIDE CHAIR Coastal New England, Circa 1750-1770 In maple with gold brocade upholstered slip seat. Back with carved and shaped crest rail, curved stiles and an urn-form splat. Original seat frame. Cabriole front legs joined by block and turned stretcher and end in pad feet. Back height 42”. Seat height 18.5”. 1,200/1,800
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739
739.
CHIPPENDALE BUREAU Rhode Island, Circa 1780 In mahogany with chestnut drawer bottoms. Applied molded-edge top over four graduated full-width drawers and ogee bracket feet. Height 34.25”. Width 39.5”. Depth 20”. 800/1,200
740.
GILTWOOD CONVEX GIRANDOLE MIRROR Early 19th Century Frame with ball spheres and ebonized reeded slip, issuing twin curved candle arms. Surmounted by a carved eagle on a rockery crest. Foliate pendant. Height 32.75”. Width 20”. 2,500/3,000
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740
245
742
743
741
741.
246
QUEEN ANNE TILT-TOP CANDLESTAND ATTRIBUTED TO JOSEPH SHORT North Shore of Massachusetts, Circa 1800 In mahogany, with oval top, turned pedestal and cabriole legs ending in pad feet. Height 31.5”. Top 25.25” x 16”. 850/1,200
742.
HEPPLEWHITE MIRROR Circa 1800 In mahogany and mahogany veneer. Crest with a floral urn finial and a central inlaid floral urn cartouche. Reverse-painted glass tablet depicts a church and farmhouse on the shore. Gilt foliate swags at sides. Height 56.5”. Width 22.5”. 500/1,000
743.
FEDERAL POLE SCREEN Salem or Newburyport, Massachusetts, Second Half of the 18th Century Select mahogany ring- and urnturned shaft with ball and steeple finial and arched carved legs ending in pointed padded slipper feet. Oval screen with 20th Century needlework. Height 49.5”. 1,200/1,800
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744
744.
QUEEN ANNE HIGHBOY Concord, New Hampshire Area, Mid-18th Century In curly maple. Married. Upper section with five graduated fullwidth drawers. Lower section with a single deep drawer and cabriole legs ending in bold pad feet. Deep drawer simulates a full-width drawer over three side-by-side drawers, the central with fan carving. Period hardware. Height 70.25”. Width 40”. Depth 20.5”. 1,500/2,500
745.
SET OF SIX THUMB-BACK PLANK-SEAT SIDE CHAIRS 19th Century Under original yellow paint with black and rust red highlights. Crest rails with stenciled fruit decoration. Back heights 34”. Seat heights 17”. 800/1,200
746.
WINDSOR BOWBACK ARMCHAIR Late 18th Century Shows traces of original paint. Back height 34”. Seat height 17”. 400/600
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747.
MARTHA WASHINGTON SEWING STAND 19th Century In mahogany. Fitted with three drawers, all with bird’s-eye maple fronts and circular brass pulls. Square tapered legs. Height 28.5”. Width 27.75”. Depth 13.75”. 200/300
247
748
749
248
748.
FEDERAL GILTWOOD CONVEX MIRROR Circa 1800 Surmounted by a pediment supporting a spread-wing eagle suspending an unusually small ball drop. Height 29.5”. Width 18”. 1,200/1,500
749.
FEDERAL CONVEX MIRROR Circa 1820 Original gilt finish. Elaborate foliate, dolphin and rockery crest. Frame issues scrolled candle arms. Mirror with ebonized liner. Foliate pendant. Height 36”. Width 22”. 2,000/2,500
750.
HEPPLEWHITE SIDEBOARD Baltimore, Circa 1790 In mahogany, with poplar secondary wood and satinwood string and banded inlay. Kidney-form top with nice overhang at back. Conforming case with two paneled doors flanking a central drawer and two cupboard doors. Tapered legs. Retains original hardware. Height 39”. Width 72”. Depth 25.75”. 2,000/3,000
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750
751.
752.
SHERATON THREE-PART DINING TABLE IN THE MANNER OF JOHN SEYMOUR Boston, First Quarter of the 19th Century In mahogany. Comprised of a drop-leaf central section, two demilune ends and two leaves. Turned and reeded legs fitted with original brass ferrules and casters. Height 29.25”. Maximum length approx. 117”. Width 41.75”. 800/1,200
753.
PAIR OF QUEEN ANNE-STYLE ARMCHAIRS Mid-20th Century In mahogany with burgundy-colored upholstered balloon slip seats. Vasiform backs. Cabriole front legs end in pad feet, with shell and tassel carving at knees. Back heights 44”. Seat heights 20”. 300/500
Provenance: Henry Spencer, Winchester, Massachusetts.
754.
LADDERBACK ARMCHAIR New England, Mid-18th Century Back with four horizontal splats and sausage-turned stiles. Slightly scrolled arms. Woven rush seat. Sausage-turned front legs. Back height 45.75”. Seat height 17.5”. 300/500
HEPPLEWHITE CARD TABLE Massachusetts, Circa 1800 In cherry, with string inlay at edge of top, skirt and legs. Height 29.75”. Width 35.75”. Depth 17.5”. 400/600
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249
755
756
755.
250
CHIPPENDALE TALL CHEST New England, Second Half of the 18th Century In cherry. Molded cornice. Fan-carved upper drawer simulates three side-by-side drawers. Six graduated fullwidth drawers below. Molded base with original dovetail bracket feet. Height 63”. Width 39.5”. Depth 19.5”. 1,200/1,800
756.
CHIPPENDALE TALL CHEST Mid-Atlantic States, Circa 1790 In poplar and walnut. Three side-by-side drawers over five graduated full-width drawers; the central top drawer and the five full-width drawers with a later relief-carved shell embellishment. Carved fluted quarter columns at sides of case. French splayed bracket feet. Height 66”. Width 40”. Depth 23”. 1,500/2,500
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758
759
760
757.
QUEEN ANNE MIRROR Late 18th Century In mahogany veneer. Retains period mirror glass. Brass candle arms mounted at lower portion of frame. Height 34.5”. Width 16”. 300/500
758.
SHERATON-STYLE DROP-LEAF STAND In mahogany. Two drawers with tiger maple veneer fronts and circular brass pulls. Banded satinwood inlay at lower edge of skirt. Rope-turned legs. Height 20”. Width 17.5” plus two 8” drop leaves. Depth 16.5”. 400/600
759.
SHERATON-STYLE TWO-DRAWER STAND In mahogany with tiger maple banding around perimeter of top and bird’s-eye maple drawer fronts. Turned legs also support a low shelf. Height 29.5”. Width 18.75”. Depth 20.75”. 500/800
760.
CHIPPENDALE WING CHAIR Massachusetts, Circa 1780 In mahogany. Upholstery partially removed to show frame. Linenfold molded front legs joined with H-stretcher. Back height 45”. Seat height 18”. 800/1,200
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251
761.
ORIENTAL RUG: CAUCASIAN RUNNER 3’5” x 11’10” Staggered rows of multicolored geometric medallions cross a blue field. Red, ivory and dark blue borders. 1,000/2,000
762.
ORIENTAL RUG: HERIZ 9’1” x 11’9” Overlapping dark red, light blue and navy blue medallions rest at the center of a dark red field above a bright ivory subfield with red spandrels. Vines, leaves and blossoms rendered in blues, pink, ivory, dark gold and subtle dark amethyst throughout. Dark gold and navy blue borders. 700/1,000
763.
764.
765.
252
ORIENTAL RUG: CAUCASIAN 3’10” x 5’0” Several rows of a variety of stylized elements, rendered in red, ivory and faded shades of green and gold, on an abrashed midnight blue field. Ivory, olive green, red, blue and brown borders feature repeated stylized elements. 400/600
ORIENTAL RUG: MESHED 4’8” x 6’9” Red field with pale orange central medallion and pendants outlined in blue. Blue and ivory spandrels. Elaborate colorful flowering vines throughout. Multiple blue and bright ivory borders. 300/500
ORIENTAL RUG: CAUCASIAN CORRIDOR CARPET 4’10” x 11’8” Traditional geometric medallions are surrounded by a variety of colorful stylized elements, all rendered in shades of red, blue, turquoise, pale yellow and subtle brown on a navy blue field. Ivory Kufic main borders. Faded yellow, blue and brown borders. 800/1,200
766.
ORIENTAL RUG: SERAPI DESIGN 8’1” x 9’10” Light blue field with pale gold and navy blue garrus vines bearing a variety of blossoms in red, tan, gold and ivory. Tan guard borders. Bright ivory main border. 600/900
767.
ORIENTAL RUG: KAZAK DESIGN RUNNER 2’10” x 10’6” Bright red field with a single column of bold stylized elements in dark blue, light blue, pale green, pale yellow and bright ivory. Bright ivory main border. 350/550
768.
ORIENTAL RUG: SAROUK 4’4” x 6’5” Traditional floral bouquets and flowering branches rendered in blue, turquoise, yellow, ivory, salmon red and olive green are arranged symmetrically about the center lines of a red field. Narrow gold guard borders. Midnight blue main borders. 350/550
769.
ORIENTAL RUG: CAUCASIAN PRAYER 3’5” x 6’0” Yellow field with several staggered rows of a stylized floral element rendered in red, tan, blue and ivory beneath a red mihrab. Red, ivory and dark blue borders. 300/400
770.
ORIENTAL RUG: TABRIZ 4’5” x 5’9” Vines, blossoms and palmettes in abrashed midnight blue, light blue, olive green, moss green, tan, yellow and ivory are elegantly arrayed across a tomato red field. Abrashed tan, midnight blue and slate blue borders. 200/300
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761
762
765
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253
771.
ORIENTAL RUG: HERIZ 9’7” x 12’6” Traditional gabled medallion and pendants of midnight blue, slate blue, red, dark gold and bright ivory occupy a dark red field above an ivory subfield with red and green spandrels. Traditional colorful elements throughout. Midnight blue main border features blossoms and serrated leaves. 800/1,200
772.
ORIENTAL RUG: HERIZ 10’0” x 12’4” Gabled medallion contains blossoms, palmettes and Shah Abbas and suspends anchor pendants. Abrashed tan field with blue flowering branches throughout. Bold spandrels echo medallion. Abrashed tan borders. Chemically bleached to alter traditional colors. 700/1,000
773.
ORIENTAL RUG: CAUCASIAN DESIGN RUNNER 2’8” x 13’6” Rich blue field with a single row of a variety of bold stylized blossoms rendered in bright red, cordovan, peach, pale yellow, light blue and bright ivory. Ivory guard borderes and a rich red main border. 550/750
774.
ORIENTAL RUG: PERSIAN DESIGN RUNNER 2’7” x 10’5” Several birds of paradise amidst tree branches, rendered in dark brown, light yellow, blue, red, green and gray against a white ground. 500/800
775.
ORIENTAL RUG: NORTHWEST PERSIAN RUNNER 3’7” x 9’5” Dark blue field is covered in a Herati pattern of red, light blue, ivory and subtle gold. Red and ivory borders. 350/550
776.
ORIENTAL RUG: SERAB 3’0” x 5’4” Red central medallion contains blue and salmon pink stylized elements. Striped camel’s-hair-colored field with a red and brown perimeter. Ivory subfield features red, blue and tan stylized elements. Red and ivory abrashed borders. 200/300
771
772
254
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777.
ORIENTAL RUG: HERIZ 8’7” x 11’9” Overlapping black and dark red medallions on a dark red field with ivory subfield and red spandrels. Traditional vines and other elements rendered in gray, ivory, red, pink and brassy gold throughout. Red and black borders. 800/1,200
778.
ORIENTAL RUG: SULTANABAD DESIGN 9’0” x 11’7” Pale blue field is traversed by delicate light red and yellow vines bearing a variety of bold blossoms in rust red, light tan, pale gold, gray and ivory. Light green guard borders and a broad ivory main border. 1,400/1,800
779.
ORIENTAL RUG: BIDJAR 11’8” x 7’6” Navy blue field with quatrefoil motifs in red, pink and yellow. Red main border with turtles. 1,000/1,500 777
761
778
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779
255
Charles Hawthorne teaching a class
THE PROVINCETOWN ART COLONY The concept of the art colony first appeared in Europe in the late 19th Century. It stemmed in part from William Morris and John Ruskin’s Arts and Crafts movement, which sought to focus on artisans and works made by human hands rather than machines. At the same time, Claude Monet and his band of “Impressionists” were reinventing the centuries-old practice of studying under a single master while honing their skills by copying works from the past. Rather than practice in the artificiality of man-made urbanity, they chose to paint “en-plein air” and translate their visions directly from nature to the canvas. As a result, students and masters alike migrated toward the countryside, specifically toward remote areas relatively untouched by the tentacles of progress, where the simplicity of the common man set against inspiring beauty and natural light provided the perfect subject matter.Vibrant artistic communities sprung to life, often revitalizing the local economy. Traveling through Europe in the 1870s, Boston artist William Morris Hunt visited some of these communities and became determined to translate the concept to his homeland. He repatriated in 1877 and founded the first acknowledges American Art colony in Magnolia, Massachusetts. Others soon followed in Cape Ann, Long Island, Connecticut and New Mexico. But it was 22 years later, on the outermost spit of land that comprises Cape Cod, that the largest and most successful of the colonies would rise. After study and travel in Europe, a then-28-year-old Charles Webster Hawthorne set off to found his very own school of art. Seeking the ideals of the great European colonies -- brilliant and natural light, relative isolation and an honest working class - he settled on a small fishing community at the extreme end of Cape Cod, the village of Provincetown. At the time Provincetown was a small but thriving fishing community comprised of aging whalemen and a growing class of Portuguese fishermen. When Hawthorne arrived the town was recovering from “The Portland Gale” of 1898, which had decimated the fleet and resulted in numerous abandoned buildings. Many of these buildings became the homes and studios of the artists who started to arrive. As the fishing industry rebuilt, the artist colony continued to grow. The two remain intertwined to this day. Hawthorne’s Cape Cod School of Art rapidly gained in popularity and reputation, attracting artists and students from around the country. The colony grew steadily through the first decade of the 20th Century but its most explosive growth occurred in the teens, when its growing reputation combined with artists fleeing the oncoming war in Europe. By the end of the decade, Provincetown featured no less than six art schools and saw the founding of the Provincetown Art Association, the Beachcombers and the Provincetown Printers. To this day, Provincetown has remained one of the most active and important artistic centers in the country, where artists and fishermen still share stools at the local taverns and tourists clog Commercial Street every summer, buying the latest creations.
256
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Lot 792 illustrated
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257
780
782
258
781
780.
ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 “At East End, Provincetown, Mass”. Signed lower left “Arthur V. Diehl”. Oil on board, 12” x 20”. Framed 13.5” x 21.5”. 1,500/2,500
781.
ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Orientalist street scene. Signed lower left “Arthur V. Diehl”. Oil on canvas, 10” x 8”. Framed 20” x 18”. 800/1,200
782.
DAISY MARGUERITE HUGHES California/Massachusetts, 1882-1968 “The Willows. Provincetown, Mass.”. Signed lower right “D.M. Hughes”. Titled and signed verso. Remnants of University of Southern California exhibit label on stretcher. Oil on canvas, 16” x 20”. Framed 20” x 24”. 800/1,200
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THE PROVINCETOWN ART COLONY
783.
EDITH JANE BACON Illinois, 1879-1970 “Provincetown Farming 1931”. Signed in pencil lower left “Edith Jane Bacon - 1931”. Numbered 1/25 lower right. Titled verso. Color woodcut on paper, image size 12” x 9.5”. Sheet size 16” x 13.5”. Framed. 500/1,000 Provenance: Private Collection, Cape Cod, Massachusetts. Edith Jane Bacon was an active printmaker in Provincetown.
783
784.
TOD LINDENMUTH Massachusetts/Florida, 1885-1976 “The Net Menders”. Signed in pencil lower right. Titled lower left. Linocut, 10.5” x 9.25” sight. Framed 26” x 22”. 400/600 Tod Lindenmuth was a founder of the Provincetown Art Association and one of the original Provincetown Printers.
784
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259
Blance Lazzell Massachusetts/West Virginia, 1878-1956 Lots 785-786
785
785.
260
“Sail Boat”. Titled in pen lower left and signed lower right “Banche Lazzell - 1931”. Printed signature in image lower right “B. Lazzell”. Inscribed in pen verso “301/5 number from all bocks / number from this block”. Numbers repeated at all four corners. Also signed and inscribed “Blanche Lazzell. July 13/31. One Block Method Provincetown, Mass. ‘Sailboat’ Wood block print”. Color wood block on paper, plate size 12” x 14”. Sheet size 16” x 18”. Unframed. 40,000/60,000
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THE PROVINCETOWN ART COLONY
Blance Lazzell Massachusetts/West Virginia, 1878-1956 Lots 785-786
786
786.
“My Provincetown Studio”. Signed lower right “Blanche Lazzell - 1934”. Titled lower left. Inscribed verso “Color wood block print ... 375/7 No. from all blocks to date / No. from this block - Blanche Lazzell”. Numbers repeated at all four corners. Also inscribed “My Provincetown Studio, Print, made in Morgantown, Mar 1934 for Frank Wilson Charleston”. Color wood block on paper, plate size 14” x 12”. Sheet size 18” x 16”. Unframed. 40,000/60,000
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261
Grace Martin (Frame) Taylor West Virginia, 1903-1995 Lots 787-788
787
262
787.
“Tulips”. Signed lower right “Grace Martin Frame - 1930”. Titled lower left. Color wood block on paper, plate size 14.5” x 12”. Sheet size 18” x 16”. Unframed. 500/1,000
788.
“Bittersweet”. Signed lower right “Grace Martin Frame - 1934”. Titled lower left. Color wood block on paper, image size 14” x 12”. Sheet size 18” x 15.75”. Unframed. 500/1,000
Grace Martin Taylor studied with her cousin, Blanche Lazzell.
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788
THE PROVINCETOWN ART COLONY
789.
HENRY HENSCHE Massachusetts/Louisiana/Germany, 1899-1922 Landscape. Signed lower left “Henry Hensche”. Oil on canvas, 20” x 24”. Framed 26” x 30”. 1,000/1,500
789
790.
JOHN WHORF Massachusetts, 1903-1959 A hunter in a forest. Signed lower right “John Whorf ”. Watercolor on paper, 15” x 22” sight. Framed 21” x 29”. 4,000/6,000
790
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263
791.
ROBERT BERGLUND Massachusetts, 20th Century “Low Tide” / “Waterfront, Provincetown”. Signed lower right “R. Berglund”. Titled differently on two exhibition labels verso. Oil on canvas, 24” x 20”. Framed 30” x 35”. 800/1,000 Exhibited: Jordan Marsh Annual Exhibition, 1949. Provincetown Art Association, 1948.
791
792.
ADELAIDE MORRIS GARDNER New York/Texas, 1881-1974 View from Crowne Pointe, Provincetown. Signd lower right “Adelaide 1931”. Oil on canvas, 20” x 24”. Framed 26.5” x 30.5”. 2,000/3,000
792
793.
JERRY FARNSWORTH Massachusetts/Florida, 1895-1982 “Meeting House”. Signed lower center “Farnsworth”. Oil on board, 32” x 28”. Framed 36” x 32”. 1,000/1,200
793
264
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THE PROVINCETOWN ART COLONY
794
794.
DONALD FREDERICK WITHERSTINE Massachusetts, 1895-1961 French village scene. Signed lower right “D.F. Witherstine”. Oil on canvas, 24” x 30”. Framed 31.5” x 36.5”. 1,000/2,000 Donald Frederick Witherstine, one of Provincetown’s print makers, operated a gallery and studied in Provincetown in the 1940s.
795.
UMBERTO ROMANO New York/Massachusetts/Italy, 1905-1984 “Fragment - Man Searching”. Signed lower left “Umberto Romano”. Signed, titled and dated 1962 verso. Most likely from his “Great Men” series. Acrylic on board, 16” x 12”. Framed 25.5” x 21”. 300/500 Provenance: Fine Arts Work Center 7th Annual Benefit Auction, August 2, 1982, Lot #183. Umberto Romano painted expressionist portraits of men who made a mark on history in music, the arts, sciences, religion and government.
795
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265
Vernon B. Smith Massachusetts, 1894-1969 Lots 796-800
796
797
796. “Sails”. Personally inscribed, signed and dated in pencil verso “Vernon B. Smith 1960”. Titled on 1997 Provincetown Art Association and Museum exhibit label. Painted relief wood carving, 21” x 72”. 5,000/7,000 Provenance: Private Collection, Cape Cod, Massachusetts.
266
797.
“Desert”. Signed lower left “Vernon Smith”. Titled verso. Painted bas relief wood carving, 14” x 37.5”. 4,000/6,000 Provenance: Lost Art Salon Fine Art Gallery. Private Massachusetts collection.
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THE PROVINCETOWN ART COLONY
Vernon B. Smith Massachusetts, 1894-1969 Lots 796-800
798
798.
799.
House on Lonnie’s Pond, Orleans, Massachusetts. Signed lower left “Vernon Smith”. Housed in the artist’s hand-carved frame with corner rosettes. Oil on board, 24” x 30”. Framed 29” x 35”. 2,000/3,000
799, two
Two works: “Fairbanks” and “Road House at Circle”. Both titled lower left. Both unsigned. Pencils on paper, 11.25” x 15” sight. Framed 18” x 21”. 600/800 Smith created these works while in Alaska, during his tour as administrator for the Works Progress Administration (WPA).
800.
Landscape of Orleans, Massachusetts, with church and trees. Signed lower left “Vernon Smith 36”. Watercolor on paper, 14” x 22” sight. Framed 24” x 29.5”. 500/700
800
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267
Peter Busa Pennsylvania, 1914-1985 Lot 801
801
801.
268
“Flower Laughter”. Signed lower left “Busa”. Titled and signed verso. Oil on canvas, 46” x 36”. Framed 47” x 37”. 8,000/10,000
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THE PROVINCETOWN ART COLONY
802.
JAMES WINGATE PARR New York, 1923-1969 “Two Dead Crows”. Artist identified and titled on 1977 exhibit label verso stating the painting was on loan by the Provincetown Heritage Museum. Oil on canvas, 80” x 65”. Framed 81” x 64”. 600/800
802
803.
ALBERT H. EDEL Massachusetts/France, 1894-1970 Docked fishing boats, Provincetown, Massachusetts. Signed lower left “A. Edel”. Oil on board, 8.5” x 11.5”. Framed 9.5” x 12.75”. 500/700 Albert H. Edel worked in Provincetown and had a small art gallery on Commerical Street. His wife, Stella Johnson, studied with Charles Hawthorne and was associated with fellow woodblock artist Blanche Lazzell. Johnson was among the first exhibitors at the newly organized Provincetown Art Association in 1915.
803
804.
JOHN SHAYN New York/Ukraine, 1901-1977 “Low Horizon, P’town, Mass”. Signed lower right “John Shayne”. Titled and dated “’49” verso. Oil on canvas, 20.5” x 24”. Unframed. 600/900
804
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269
805.
POSSIBLY PROVINCETOWN SCHOOL First Half of the 20th Century Head of a woman. No signature found. Weathered white marble, height 7”. Width 5.5”. Depth 6”. 600/900
806.
RICHARD EDWARD MILLER New Hampshire/Massachusetts/California/Florida/ Missouri/France, 1875-1943 “Tabletop with Daisies, 1900”. Signed lower right “Miller”. Housed in a Newcomb-Macklin frame. Oil on board, 20” x 16”. Framed 28” x 24”. 4,000/6,000
807.
CHARLES GORDON HARRIS Rhode Island, 1891-1963 Looking across Cape Cod Bay to Provincetown, Massachusetts. Signed lower left “C. Gordon Harris”. Oil on canvas board, 12” x 14”. Framed. 1,000/1,500
805
Provenance: Private Collection, Massachusetts.
807
806
270
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THE PROVINCETOWN ART COLONY
808.
GEORGE A. OBERTEUFFER Massachusetts/Illinois, 1878-1940 “Beached Sailboat, Provincetown”. Signed lower right “Oberteuffer”. Oil on board, 17.5” x 15”. Framed 22” x 19.25”. 3,000/5,000 See Impressionist George Oberteuffer: His Life and Work in France and America by Kathleen Kienholz (Edson Press, 2014), p. 56. Provenance: By descent in the artist’s family.
808
809.
HENRY ALBERT BOTKIN New York/California, 1896-1983 Two works: 1) Three ladies on a bench. Signed lower left “Botkin”. Oil on canvas laid on board, 19.5”. x 16”. Unframed. 2) “Picnic By the Shore”. Titled and signed verso. Pastel on paper, 15” x 23” sight. Framed 23” x 31”. 1,000/1,200 Henry Albert Botkin, cousin and art collaborator to composer George Gershwin, was president of the American Abstract Artist’s Group 256 in Provincetown in the late 1930s.
809, two
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271
Bruce McKain Massachusetts/Indiana, 1900-1990 Lots 810-811
810.
Seascape. Signed lower right “McKain”. Oil on canvas, 24” x 34”. Framed 31” x 41”. 1,000/2,000
811.
Houses on Provincetown Harbor. Signed lower right “McKain”. Oil on canvas, 16” x 26”. Framed 23” x 33”. 1,500/2,500
810
811
272
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THE PROVINCETOWN ART COLONY
Arnold Geissbuhler Massachusetts, 1897-1993 Lots 812-817
812
812.
“Ceramic Relief, #87”. Circa 1959. Ceramic with black, white and aquamarine glaze, housed in a wood frame, 12.5” x 20.75”. 3,000/5,000 From the artist’s estate.
Sculptor and art instructor Arnold Geissbuhler was born in Switzerland. He worked in Switzerland, Paris and New York, as well as in Cambridge, Provincetown and Dennis, Massachusetts. According to the Cape Cod Museum of Art, although Geissbuhler is associated with some of the best-known artists and sculptors of the 20th Century, including Alberto Giacometti and Frederick Waugh, very little is known about the artist or his body of work. His son-in-law, ceramic artist Harry Holl, was one of the founders of the Cape Cod
813.
“Les Vigiles” - figure. Circa 1964. Ceramic sculpture, height 21”. 3,000/5,000 From the artist’s estate.
Museum of Art and Geissbuhler donated 41 pieces of his own work to help form the core collection.
813
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273
Arnold Geissbuhler Massachusetts, 1897-1993 Lots 812-817
814 815
814.
“Mirror” (self-portrait). Circa 1965. Stoneware with aquamarine glaze on wood base, height 9.25”. Length 8”. 2,000/3,000 From the artist’s estate.
815.
“Mirror”. Circa 1959. Sketch for “Mirror” (self-portrait) stoneware sculpture. Red and black crayon on paper, 16” x 10.25”. Unframed. 500/1,000 From the artist’s estate.
274
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THE PROVINCETOWN ART COLONY
Arnold Geissbuhler Massachusetts, 1897-1993 Lots 812-817
817
816
816.
“Evolution V”. 817. Sketch for “Evolution V”. Circa 1962. Ceramic sculpture with black glaze, height 17.5”. Taken from the artist’s “Paris Sketchbook 3,000/5,000 1960-61-62”. Black ink and red crayon on the artist’s letterhead, 11” x 7.5”. From the artist’s estate. 1,000/1,500 From the artist’s estate.
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275
Peter Hunt Massachusetts, 1896-1967 Lots 818-825
818.
Painted plywood dollhouse with a green roof and white sides with swallow, heart and rose decoration. Signed “Anno 41” left of front door. Height 39”. Length 34”. Width 17”. 500/1,000
819.
Three wooden household items with painted decoration: 1) Spoon rack with figural decoration on a black ground. 2) Nantucket red bucket with rose decoration. 3) Duck-form dresser box with floral decoration. Dated “47”. All signed “Peter Hunt”. Height of spoon rack 20”. 400/700
820.
Oval wooden serving tray with hand-painted decoration of a rooster surrounded by radishes and hearts on a cream-colored ground. Marked twice “Anno Domini 43 ovince”. Length 34”. 400/700
821.
Two serving trays with hand-painted decoration: 1) With decoration of hearts, radishes and a blue bow on a cream-colored ground. Dated “Anno 43 ovince”. Height 8”. Length 23”. 2) With collapsible X-form base and decoration of flowers, books and a carafe on a red ground. Dated “Anno 45 ovince”. Maximum height 20”. Length 18.5”. 300/500
818
820
276
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THE PROVINCETOWN ART COLONY
Peter Hunt Massachusetts, 1896-1967 Lots 818-825
822
822.
“The Cat that Swallowed the Canary”. Signed lower right “Peter Hunt”. Oil on canvas, 20” x 24” sight. Framed 22” x 25.5”. 1,000/1,500
823.
Small display case with decoration of hearts and strawberries on a salmon-red ground. Case with three interior shelves. Signed on underside “Anno 38”. Height 35.5”. Width 23”. Depth 4”. 200/300
824.
Tin and brass drink dispenser with figural, grape and rose decoration. Dated “44 ovince” on cover. Height including cover 11.5”. 200/300 825
825.
School desk with hand-painted decoration of roses, hearts and school supplies. Height 34”. Width 33”. Depth 21.5”. 300/500
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277
Nancy Whorf Massachusetts/Florida, 1930-2009 Lots 826-830
826
826.
278
Still life of red and yellow flowers in a pitcher. Signed lower right “N. Whorf ”. Oil on panel, 13.25” x 15.25” sight. Framed 16” x 17.75”. 800/1,200
827.
Painted tole tray decorated with a horse and cart, in the style of Peter Hunt. Signed lower right “Whorf ”. 13” x 17.5”. 200/300
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THE PROVINCETOWN ART COLONY
Nancy Whorf Massachusetts/Florida, 1930-2009 Lots 826-830
828.
Whimsical nautical-themed red painted trunk. Lid and front both with whaling scenes. Sides with anchors and American flags. Signed on front lower left “Whorf ”. Includes a letter from Nancy Whorf pertaining to the trunk. Height 12.5”. Width 22”. Depth 13”. 400/600
828
829.
“Maid of Dublin Grog & Beds”. Signed upper right “Whorf ”. Oil on wood, 28.5” x 13.25”. Depth 1”. Unframed. 300/400
829
830.
“Gainsborough Bootery”. Depicts a gentleman leaning against a man’s two-dimensional boot while looking toward a woman on horseback with a lady’s two-dimensional boot below. Also marked “Bootmaker to his Majesty”. Signed lower right “Whorf ”. Two-dimensional oil on board, 30” x 22” including frame. 1,000/1,500
830
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279
Carol Whorf Westcott Massachusetts, 1926-2008 Lots 831-833
831.
Café Blasé, Provincetown, Massachusetts. Signed lower right “Westcott”. Oil on canvas, 18” x 24”. Framed 27” x 34”. 1,500/2,000
832.
Woman reading in a garden. Signed lower right “Westcott”. Oil on canvas, 22” x 28”. Framed 29” x 36”. 1,500/2,500
833.
“Reflections” (Provincetown Harbor). Signed lower right “Westcott”. Titled on Cummaquid Fine Arts label verso. Oil on canvas, 20” x 24”. Framed 25.5” x 30”. 1,500/2,000
831
832
833
280
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THE PROVINCETOWN ART COLONY
Anne Packard Massachusetts/New Jersey, b. 1933 Lot 834
834
834.
Approaching storm. Signed faintly lower left “A. Packard”. Oil on canvas, 46” x 46”. Framed 52” x 52”. 7,000/9,000
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281
835
835.
282
ELDRED WHEELER MULE CHEST Massachusetts, Contemporary In cherry. Three side-by-side drawers, the central with fan carving, over six half drawers. Brass bail handles. Shaped bracket base. Original Eldred Wheeler paper label in central top drawer. Height 35.5”. Width 60.5”. Depth 20”. 900/1,200
836.
ELDRED WHEELER PENNSYLVANIA-STYLE MIRROR Massachusetts, Contemporary Tiger maple frame. Crest with three pierced hearts. Original Eldred Wheeler paper label on reverse. Height 16”. Width 8”. 150/250
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838
837
837.
ELDRED WHEELER QUEEN ANNE-STYLE TAVERN TABLE Massachusetts, 20th Century In maple. Oval top with duck feet. Retains original Eldred Wheeler paper label and brand on underside. Height 27”. Top 31.75” x 25.5”. 400/600
838.
ELDRED WHEELER QUEEN ANNE-STYLE LOWBOY Massachusetts, 20th Century In maple. Top with molded edge. Case with a full-width drawer over three side-by-side drawers, the central with fan carving. Drawers with brass bail pulls. Shaped skirt. Cabriole legs end in pad feet. Retains original Eldred Wheeler paper label inside top drawer. Also includes original pamphlet. Height 30.5”. Width 33.75”. Depth 20.5”. 500/800
839.
QUEEN ANNE-STYLE TEA TABLE 20th Century In tiger maple veneer and maple. Top with pierced gallery. Factory stamped #1286 on underside. Height 27”. Length 27”. Width 17”. 300/400
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283
840.
WALLACE NUTTING FANBACK WINDSOR ARMCHAIR Early 20th Century With sccrolled ears, shaped saddle seat and turned H-stretcher. Original Wallace Nutting paper label affixed to base. Back height 45.5”. Seat height 18”. 1,000/1,200
841.
WALLACE NUTTING WINDSOR BOWBACK ARMCHAIR Early 20th Century Under an old brown finish. Branded “Wallace Nutting #401” on base. Evidence of once having paper label. Back height 38”. Seat height 18”. 500/700
842.
SET OF FOUR CHICKEN COOP PLANK-SEAT WINDSOR CHAIRS 19th Century Includes three side chairs and one armchair, all under reddish brown paint. Back heights 27.5”. Seat heights 17”. 300/500
843.
COUNTRY HEPPLEWHITE ONE-DRAWER STAND New England, Circa 1800 In bird’s-eye maple. Height 24.75”. Width 12.5”. Depth 14”. 300/500
840
841
284
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844, set of eight (seven illustrated)
844.
SET OF EIGHT SAYBOLT-CLELAND QUEEN ANNE-STYLE DINING CHAIRS Philadelphia, 20th Century In walnut with burgundy-colored upholstered balloon slip seats. Cabriole front legs end in padded slipper feet. Mortise and tenon construction. All branded “Saybolt-Cleland Phila. Penna.”. Back heights 41”. Seat heights 18.5”. 1,200/1,800 Provenance: Alex Westerhoff Antiques, Essex, Massachusetts.
845.
846.
LEONARDS CURLY MAPLE QUEEN-SIZE BED 20th Century Pencil posts with acorn finials. Shaped headboard. Leonards brand. Height 84.5”. Width 63.5”. Includes rails and slats. 800/1,200
LEONARDS KING-SIZE BED 19th Century 847. QUEEN ANNE RUSH-SEAT SIDE CHAIR In tiger maple and maple. Turned posts with acorn finials. Height of posts 70”. Headboard width 76.5”. Includes rails New England, Second Quarter of the 18th Century with bed bolts but does not include footboard. 1,500/2,000 In maple. Back with carved and molded crest, curved and molded stiles and a vasiform splat. Block and turned legs Provenance: joined by turned stretchers. Spanish-influenced carved front feet. Back height 40”. Seat height 17”. 400/600 Does not have original stamp but was purchased directly by the consignor from Leonards.
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285
848 850
849
848.
286
SMALL CHIPPENDALE CHEST Second Half of the 18th Century In figured maple. One-board overhanging top with molded edge. Four graduated full-width drawers retain original post and bail brass pulls. Molded bracket base. Height 32.5”. Width 37”. Depth 18.75”. 1,000/1,500
849.
UNUSUAL QUEEN ANNE CHAIR Eastern Canadian Provinces, 18th Century In maple with needlepoint overupholstered seat. Back with a stylized crown-carved crest rail and a modified vasiform splat. Bold cabriole legs joined by block and turned stretchers. Spanish-influenced carved front feet. Back height 43”. Seat height 18”. 600/900
850.
FEDERAL TILT-TOP CANDLESTAND Northeastern Massachusetts, Fourth Quarter of the 18th Century In mahogany. One-board oval top set on a ring- and urn-turned shaft raised on high arched carved legs ending in spade feet. Height 28.5”. Top 24.75” x 15.25”. 600/900
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852
853
851
851.
CHIPPENDALE SLANT-LID DESK 18th Century In tiger maple. Interior fitted with pigeonholes, drawers and a central cupboard door with half-shell carving. Case with four graduated full-width drawers with brass Chippendale pulls and escutcheons. Shaped bracket base. Height 41”. Width 34”. Depth 23”. 800/1,200
852.
QUEEN ANNE CANDLESTAND Mid-18th Century In figured maple. One-board square top with shaped corners. Tapered ring-turned baluster pedestal raised on arched carved legs ending in padded pointed slipper feet. Height 26.5”. Top 16” x 16”. 400/600
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853.
CHIPPENDALE WING CHAIR New England, Probably Massachusetts, Second Half of the 18th Century Nicely shaped wings and rolled arms. Original mahogany legs joined with H-stretcher. Upholstery partially removed. Back height 44.5”. Seat height 18”. 1,200/1,800
287
854, two views
854.
288
“EXTRA GRADE” WOOTON DESK American, Late 19th Century Large hinged doors open to reveal a lavishly appointed interior with a drop-down writing surface, drawers, cupboards, etc. The doors themselves are also fitted with storage areas including 40 compartments on right door. Height 79”. Width 45.5”. Depth 30”. 3,500/5,500
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Samuel W. Griggs Massachusetts, 1827-1898 Lot 855
855
855.
“View of Cohasset 1869”. Signed and dated lower right “S.W. Griggs 1869”. Titled on frame plaque. Oil on canvas, 13.5” x 23.5”. Framed 23” x 33”. 6,000/9,000
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289
Jerome Howes New York/Massachusetts/Vermont, b. 1955 Lots 856-860
856.
Two frolicking mermaids and whales off Brant Point, Nantucket, with the Rainbow Fleet and hot air balloons. Signed lower right “Jerome Howes”. Oil on masonite, 20” x 24”. Framed 30” x 32”. 1,000/1,500
857.
The Rainbow Fleet. Signed lower right “Jerome Howes”. Oil on masonite, 10.5” x 48.5”. Framed 15” x 53.5”. 1,500/2,500
856
857
290
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Jerome Howes New York/Massachusetts/Vermont, b. 1955 Lots 856-860
858.
““Dauntless’ & ‘Sappho’ 1871 America’s Cup”. Signed lower right “Jerome Howes”. Titled and signed verso. Oil on board, 24” x 36”. Framed 35” x 47”. 2,500/3,500
858
859.
Samuel Colt-inspired trompe l’oeil of a barn door. Signed lower right “Jerome Howes”. Oil on board, 24” x 18”. Framed 29” x 23”. 600/800
859
860.
Topsail schooner - Boston Harbor. Signed lower right “Jerome Howes”. Oil on masonite, 22” x 36”. Framed 28” x 42”. 1,500/2,500
860
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291
861.
AL HIRSCHFELD New York/Missouri, 1903-2003 “The Cape Playhouse”. Copyright 1938. Depicts three backstage scenes at the Playhouse. Reproduced by special arrangement with Hirschfeld’s exclusive representative, the Margo Feiden Galleries, New York. Signed in pencil lower right “Hirschfeld”. Numbered 37/200 lower left. Black and white lithograph on paper, 20” x 26”. Shrink-wrapped. 300/500
862.
BEN NEILL Massachusetts, 1914-2001 “Barnstable Harbor”. Signed lower right “BeNeill [sic]”. Titled verso. Oil on canvas, 12” x 24”. Framed 17” x 29”. 400/700
861
862
863.
864.
MARIELUISE HUTCHINSON Massachusetts, b. 1947 Barns in winter twilight. Signed lower right “Marieluise”. Housed in a red-wash frame crafted of architectural salvage from 19th Century barns or houses of the Northeast. Oil on board, 5” x 7”. Framed 10” x 12”. 300/500
863
MARIELUISE HUTCHINSON Massachusetts, b. 1947 White house with red barn. Signed lower right “Marieluise”. Housed in a white-wash frame crafted from architectural salvage from 19th Century barns or houses of the Northeast. Oil on board, 5.5” x 7.25”. Framed 9.5” x 11”. 300/500
864
292
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Elizabeth Mumford Cape Cod, Contemporary Lots 865-866
865
866
865.
“Happy the Bride the Sun Shines On.” Depicts a bridal party outside a church. Signed and dated lower right “Elizabeth Mumford 1989”. Oil on board, 20” x 30”. Framed 22.5” x 32.5”. 2,000/3,000
866.
“Everyone has a gift for something... even if its the gift of being a good friend”. Depicts a seaside farmer’s market. Signed and dated lower left “Elizabeth Mumford 2001”. Labels verso for the artist and Tree’s Place Gallery, Orleans, Massachusetts. Oil on panel, 18” x 24”. Framed 21” x 27”. 2,000/3,000
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293
Charles Drew Cahoon Massachusetts, 1861-1951 Lots 867-872
867.
Autumnal marshscape. Signed lower right “C.D. Cahoon”. Oil on board, 16” x 30.5”. Framed 19” x 33.5”. 4,000/6,000
868.
“Clearing Storm”. Signed lower right “C.D.C.”. Oil on board, 6” x 16”. Framed 9.5” x 19”. 800/1,200 Provenance: The artist to Colonel and Mrs. William E. Haskell at the Union Club, Boston. Richard A. Bourne Co., Hyannis, Massachusetts, August 21, 1990, Lot #95.
869.
The beach at Gay Head, Martha’s Vineyard, Massachusetts. Signed lower right “C.D. Cahoon”. Oil on canvas, 12” x 22.75”. Framed 15.5” x 27”. 2,500/3,500
867
868
While Charles Drew Cahoon is most noted for his Cape Cod scenes, his brother was the lightkeeper at Gay Head on Martha’s Vineyard for a time, providing the artist the opportunity to paint on his visits.
869
294
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Charles Drew Cahoon Massachusetts, 1861-1951 Lots 867-872
870.
Contemplative young woman on an autumn road. Signed lower right “C.D. Cahoon”. Oil on canvas, 24” x 36”. Framed 29” x 41”. 6,000/9,000
870
871.
Dune scene. Unsigned. Oil on board, 4.75” x 7.25”. Framed 5.75” x 8.25”. 500/700
871
872.
Beach scene with crashing waves. Unsigned. Note verso states the painting is by Cahoon and was a gift. Oil on canvas, 18” x 30”. Framed 22” x 35”. 1,000/2,000
872
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295
873.
EDMUND FRANKLIN WARD New York, 1892-1991 “Cape Cod Sandwich - Bay Side”, a dune landscape, likely Sandy Neck. Signed lower right “Edmund F. Ward”. Dated July 15-22, 1936 and estate stamped verso. Oil on artist board, 12” x 16”. Framed 16” x 20”. 400/600
874.
WARREN FRANCIS SNOW Massachusetts/California, 1869“Highland Light Cape Cod, Mass.” Signed lower left “W.F. Snow”. Titled verso. Oil on board, 13” x 16”. Framed 16” x 19”. 500/700
873
874
875.
RICHARD E. HOWARD Massachusetts, 1912-1996 Finely dressed woman wearing a feathered hat. Signed lower right “Richard E. Howard”. Also signed verso. Oil on canvas, 10” x 8”. Framed 14” x 12”. 300/400
876.
RICHARD E. HOWARD Massachusetts, 1912-1996 Figures on a bowsprit. Signed lower left “REC”. Oil on canvas board, 4” x 6”. Framed 8” x 6”. 200/300
875
876
296
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877.
RAYMOND J. EASTWOOD Kansas/Connecticut, 1898-1987 “West of Pilgrim Heights”. Signed, stamped and titled verso. Oil on canvas board, 16” x 20”. Framed 20.5” x 24.5”. 800/1,000
877
878.
VERNON GEORGE BROE Maine/Illinois, 1930-2011 Children playing in the surf. Signed lower left “Vern Broe”. Oil on masonite, 11” x 14”. Framed 16” x 19”. 500/1,000
878
879.
JOHN CUTHBERT HARE Massachusetts/Florida, 1908-1978 A New England winter scene. Signed lower right “John Hare”. Watercolor on paper, 11.25” x 21.25” sight. Framed 19” x 28”. 600/900
879
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297
Chester Van Nortwick Massachusetts/New Hampshire/Rhode Island, 1881-1944 Lot 880
880
880.
Hauling the nets. Signed lower right “C. Van Nortwick”. Oil on canvas, 30 x 38”. Framed 35” x 43”. 3,000/4,000 Provenance: Private Collection, Brewster, Massachusetts.
298
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Harold Matthews Brett Massachusetts/New York, 1880-1955 Lot 881-872
881.
“Portrait of Tommy Shattuck”. Signed lower right “Harold Brett”. Titled verso. Oil on canvas, 26” x 18”. Framed 30” x 22.5”. 500/1,000
882.
Unloading the catch. Signed lower right “Harold Brett”. Possibly an illustration for a Joseph Lincoln book. Oil on canvas, 25.25” x 46”. Framed 30” x 51”. 2,500/3,500
881
882
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299
883.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Interior view of a child and a cat surrounded by playthings. Signed and dated lower right “Martha Cahoon ‘77”. Oil on masonite, 12.25” x 9”. Framed 14.25” x 10.75”. 1,500/2,500
884.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Farmyard scene. Signed lower right “Martha Cahoon”. Oil on masonite, 10.75” x 13.25”. Framed 16” x 19.25”. 1,500/2,500
883
884
885
885.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Man in a kilt. Signed and dated lower right “Martha Cahoon 1981”. Oil on masonite, 12.25” x 9.25”. Framed 14” x 11”. 800/1,200
886.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 A figure riding a white horse. Signed and dated lower right “Martha Cahoon 1981”. Oil on masonite, 10” x 12”. Framed 11.5” x 13.5”. 700/1,000
886
300
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the work of ralph and martha cahoon
887
887.
RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 “Hooper’s Landing - Cotuit Harbor - 1866”. Signed lower right “R. Cahoon”. Titled in black title bar. Oil on masonite, 22” x 30”. Framed 27” x 35”. 30,000/40,000 Provenance: Eldred’s, August 1, 2003, Lot #980. Collection of Benno Brenninkmeyer, Hawaii.
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301
888
888.
302
RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 The portrait painter. Signed lower right “R. Cahoon”. Oil on plywood, 18” x 24”. Framed 20.5” x 27”. 12,000/18,000
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the work of ralph and martha cahoon
889.
RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 A diver and a mermaid. Signed lower right “R. Cahoon Pinxt”. Oil on masonite, 16” x 12”. Framed 22.5” x 16.5”. 10,000/15,000
890.
RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 Sailors and a mermaid on a boat. Signed lower right “R. Cahoon”. Inscribed verso “R. Cahoon Santuit Mass.” Oil on masonite, 13” x 20”. Framed 15.5” x 22.5”. 10,000/15,000 Provenance: Eldred’s, August 1, 2003, Lot #979. The Collection of Benno Brenninkmeyer.
889
890
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303
891.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Two winter scenes executed in pencil and crayon on paper: 1) “Snow Santa”. Signed and dated lower right “Martha Cahoon 1987”. Titled lower center. 12” x 8” sight. Framed. 2) Winter scene of children sledding and building a snowman. Signed and dated lower right “Martha Cahoon 1986”. 10” x 12” sight. Framed. 400/600
892.
ATTRIBUTED TO MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Four thumb-back side chairs painted yellow with red highlights. Crest rails with scenes depicting the four seasons. Grain-painted plank seats. Back heights 32.5”. Seat heights 16”. 1,000/1,500
891, two
892, four
304
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the work of ralph and martha cahoon
893.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Pair of wooden bellows with painted decoration of a mermaid holding a “Cahoon” burgee. Seaweed decoration along perimeter and “RC” painted on handle. Signed below mermaid “Martha Cahoon”. Reverse painted black with central floral design inscribed “Painted by Martha F. Cahoon”. Bellows with brass hanging loop and nozzle, and leather trim affixed with brass tacks. Length 16.5”. 1,500/2,500 Purportedly painted by Martha for her husband, Ralph E. Cahoon, Jr.
893
894.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 “Dancing By the Sea”. Signed and dated lower right “Martha Cahoon 1986”. Crayon and pencil, 10” x 8” sight. Framed 18” x 15”. 300/500
894
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305
895
895.
306
RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 “On Ship Board”. Signed lower right “R. Cahoon”. Titled on label verso. Oil on masonite, oval 16” x 20”. Framed 22” x 26”. 14,000/16,000
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the work of ralph and martha cahoon
896
896.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 “Skating”. Signed and dated lower right “Martha Cahoon ‘70”. Country Art Gallery label verso. Oil on masonite, 14” x 18”. Framed 17” x 21”. 2,000/3,000
897.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 “Winter Coasting”, depicting a group of children sledding and playing in the snow. Signed and dated lower right “Martha Cahoon 71”. Country Art Gallery label verso. Oil on masonite, 10” x 14”. Framed 12.25” x 16”. 1,500/2,000
897
898.
899.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Sandpiper on a beach, with seashells and distant sailboats. Signed lower right “Martha Cahoon”. Oil on masonite, 8” x 10”. Framed 10” x 12”. 1,500/2,500
898
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Coastal scene with seashells. Signed and dated lower right “Martha Cahoon 63”. Oil on masonite, 9.75” x 14”. Framed 11.5” x 15.75”. 1,000/1,500
899
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900.
SHERATON TILT-TOP CANDLESTAND ATTRIBUTED TO THE WORKSHOP OF DUNCAN PHYFE New York, Circa 1795 In mahogany. Shaped top set on an urnturned shaft raised on shaped legs ending in spade feet. Height 28.75”. Top 24.5” x 17.5”. 1,000/1,500 Provenance: William Popham of Scarsdale, New York. Popham family to Lewis C. Popham III of Oswego, New York.
900
901.
901
SHERATON TILT-TOP CANDLESTAND ATTRIBUTED TO THE WORKSHOP OF DUNCAN PHYFE New York, Circa 1800 In mahogany. Shaped top set on a turned pedestal raised on reeded tapered legs ending in turned ball feet. Height 29”. Top 26” x 18”. 1,500/2,500 A similar examples is featured in Charles Montgomery’s Federal Furniture at the Henry DuPont Winterthur Museum, #387.
902.
902
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CHIPPENDALE BIRDCAGE TILT-TOP TEA TABLE New York, Circa 1765 In mahogany, with circular top, an urnturned pedestal, and cabriole legs ending in claw & ball feet. Height 29.75”. Diameter of top 32” x 31.75”. 3,000/5,000 This table is almost identical to one illustrated in Morrison Heckscher’s American Furniture in the Metropolitan Museum of Art - Late Colonial Period: The Queen Anne and Chippendale Styles, p. 196, fig. 125.
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903.
CHIPPENDALE-STYLE TWO-PART SECRETARY 19th/20th Century In maple, mahogany and other woods. Upper case with a broken arch pediment and two glazed doors enclosing three fixed shelves. Lower case with slant lid, four graduated full-width drawers and a shaped bracket base with French splayed feet. Slant lid with quarter-fan inlay at corners and central inlay of an eagle with banner and Liberty shield. Slant lid encloses strongly figured tiger maple drawers and central compartment door. Case drawers with quarter-fan inlay at corners and brass bail handles. Height 96”. Width 40”. Depth 20”. 1,000/1,500
904.
COUNTRY HEPPLEWHITE TWO-DRAWER STAND Vermont, Circa 1810 In maple and curly maple. Drawers with Rockingham glazed pottery pulls. Tapered legs. Height 28”. Width 18.5”. Depth 17.5”. 400/600
903
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905.
UNUSUALLY DIMINUTIVE CHIPPENDALE SLANT-LID DESK American, Late 18th Century In tiger maple. Fitted interior. Bracket base. Height 36”. Width 31”. Depth 16”. 700/1,000
905
906.
EMPIRE-STYLE CARD TABLE Early 20th Century In mahogany and mahogany veneer. Columnar pedestal with ormolu mounts. Acanthus-carved legs end in lion’s-paw feet fitted with brass casters. Height 31”. Width 36”. Depth 17.75”. 300/400
906
310
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907.
CHIPPENDALE ARMCHAIR Van Rensselaer, New York Area, Circa 1780 In mahogany. Back with carved ears and pierced and carved splat. Slip seat. Cabriole front legs with carved knees and claw & ball feet. Back height 36.5”. Seat heat 18”. 800/1,200
907
908.
QUEEN ANNE SLANT-LID DESK New England, Circa 1760 In maple. Slant lid with central hardwood compass rose inlay. Stepped interior comprised of pigeonholes, drawers and a central fan-carved compartment flanked by two letter drawers. Case with four graduated full-width drawers and cabriole legs ending in pad feet. Retains period hardware. Height 41.75”. Width 34.75”. Depth 22.5”. 1,500/2,500
908
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BIDDER INFORMATION ADVICE TO BIDDERS 1. Carefully read the Conditions of Sale. 2. Pre-sale estimates are provided by the auctioneers for the convenience of our customers. They are not meant to be taken as a guide to the value of an item, but as a guide to its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision. 3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form. 5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 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.
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SHIPPING INFORMATION We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale. If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready. We provide shipping services directly from our gallery for select merchandise including small items, small paintings and rugs. We do not ship glass items or items framed under glass. Our staff can assist with determining if your items qualify for in-house shipping. Shipments from our gallery may take four to six weeks from receipt of payment. You will be charged for the shipping or carrier fees, packing and handling fees, and required insurance. There is a minimum handling charge of $15.00 for all shipments. Depending on the carrier, insurance limits may exist (i.e., Federal Express will only insure up to $500). If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent. We require seven to ten business days for your payment to clear our banking system before releasing purchases to your chosen shipping agent. Shipping estimates can be provided only AFTER we receive payment for your invoice.
BIDDING INCREMENTS $0-$49: $5 $50-$199: $10 $200-$499: $25 $500-$999: $50 $1,000-$2,999: $100 $3,000-$4,999: $250 $5,000-$9,999: $500 $10,000-$29,999: $1,000 $30,000-$49,999: $2,000 $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 (with the exception of Connecticut and New York) directly from Eldred’s by a bona fide shipping agent. Connecticut residents picking items up in our Mystic branch or having purchases shipped to their Connecticut address are responsible for CT state sales tax (currently 6.35%). New York residents having purchases shipped to their New York address are responsible for NY state sales tax (currently 4.0%). Due to the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair, residents of other states may be required to pay their state sales tax on purchases as we meet each state’s nexus requirements. Dealers, museums, etc. can apply for a Massachusetts number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, MA 02204. 11. RESERVES: Unless advertised as an “Unreserved Auction”, all sales may have items subject to reserve (an agreed upon price between the auctioneer and the consignor, below which the article will not be sold). 12. COLLECTION OF PURCHASES: Delivery or shipping arrangements must be made within seven (7) days from the close of the auction for all purchases. All items must be removed from Eldred’s facilities within fourteen (14) days of the end of the auction. All items remaining after fourteen days may be subject to a $5/per item/perday storage fee. No items will be released unless storage fees are paid in full. Items remaining over thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees. 13. PACKING: Purchasers are advised that packing and/or handling by Eldred’s employees is undertaken solely as a courtesy for the convenience of customers. In the case of fragile articles, it will be undertaken at the sole discretion of the company. Handling and packing by Eldred’s is at the risk of the purchaser. SHIPPING: When requested, Eldred’s may arrange shipment of paid purchases. Eldred’s will not be responsible for damage or loss once the item has been received by the shipper. In the case of fragile articles, shipping will be undertaken at the sole discretion of the shipper. Please refer to our Advice to Bidders for details. 14. These Conditions of Sale cannot be altered except in writing by Eldred’s or by public announcement by the auctioneer at the time of the sale. 15. Bidding on any article(s) indicates acceptance of the terms set forth above. 16. These Conditions of Sale and any suits arising thereunder shall be construed and governed by the laws of Massachusetts.
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Revised 4/4/19
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bidder pre-registration Thank you for your interest in bidding in our auction. If you have not been a successful bidder with Eldred’s in the past, please help us establish your bidding credentials by completing this form and selecting one of the options that follow.
2
CLient inForMation Name:
Phone:
Company:
Alternate Phone:
Address:
Email:
City:
All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof when registering. Failure to do so will subject the bidder to paying 6.25% Massachusetts sales tax on purchases.
3
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:
Auction House Phone:
Contact:
Account #:
auction house:
Auction House Phone:
Contact:
Account #:
auction house:
Auction House Phone:
Contact:
Account #:
signature (required):
Date:
Bids will not be accepted without your signature on this form. By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc.
Please send form and deposit to The RobeRT C. eldRed Co., InC. P.O. Box 796, East Dennis MA 02641 www.eldreds.com
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1
info@eldreds.com
Phone: 508-385-3116
Fax: 508-385-7201
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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:
or Ship to:
20% buyer’s premium will be added to the hammer price. See Item 5 above.
Total 10% Deposit
Have you examined the items listed above? Yes
No:
All property must be removed from our facility within 28 days of the close of the auction or be subject to a $5 per item/per day storage fee.
PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 www.eldreds.com
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Invitation to consign To speak with a specialist, please call 508-385-3116 or email info@eldreds.com
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fall marine sale november 2019
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Illustrations Cover Lots 786; 525, 476, 18, 888 Page 3 Lot 807 Artist Index Lot 619 Page 7 Lot 74 Page 8 Lot 78 Page 146 Lot 502 Page 312-313 Lot 711 This Page Lot 662
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