Eldred's Summer Sale July 30-31, 2020 by Eldred's Auction

THE SUMMER SALE J U LY 3 0 - 3 1 , 2 0 2 0

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THE SUMMER SALE

Thursday and Friday, July 30-31, 2020

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

A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 25 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000. We accept checks, cash, money orders, wire transfers and major credit cards for payment. There is a 2 percent buyer’s premium discount for payment made in full via cash, check, money order or wire transfer within ten (10) days of the invoice date. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. Mixed payment methods are not eligible for the buyer’s premium discount. Bidders holding a Massachusetts or out-of-state resale number must provide the certificate or copy thereof when registering to bid or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Residents of other states may be subject to state and local sales taxes.

info@eldreds.com www.e ldre d s.com

Auction

Both sessions beginning at 10 a.m. Eastern at our East Dennis Headquarters.

Exhibit

Due to COVID-19, public exhibition hours to be determined, however, preview by appointment is available.

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.

Online Bidding

Terms

This auction will be held simultaneously online at www.invaluable.com and www.eldreds.com. Prospective bidders must register and be approved prior to bidding.

Important notices

Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. 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. Per Federal and international regulations, items made with whale bone, ivory or other protected species will not be shipped internationally without CITES and other necessary permits. Obtaining these permits is the exclusive obligation of the buyer. Items made with these materials and marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state. Firearms marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License.

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Staff Directory Antiques & Fine Art Specialists

Production & Administrative Staff

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

Mary Ann Giddings Eldred Chairwoman of the Board maeldred@eldreds.com Wendy A. Dunford Treasurer wendy@eldreds.com

William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com Eric S. Mulak Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com

Devyn Henry Administrative Assistant dhenry@eldreds.com Kristin Kiley Client Services Manager/Shipping kkiley@eldreds.com

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

Angela R. McParland Executive Assistant amcparland@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Kristyn Mills Head of Photography kmills@eldreds.com

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

Madison Morris Assistant Head of Photography mmorris@eldreds.com Kathleen Morse Auction Coordinator kmorse@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

Tanya Sargent Assistant to the Treasurer tsargent@eldreds.com

John H. Schofield Consultant Susan M. Schofield Consultant Jennifer Lacker Mystic Representative

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

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

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

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Caleb G. Seaver Shipping cseaver@eldreds.com

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eldredsauction

Dear Friends & Clients: I can’t remember a year that has presented so many life-altering events and historydefining moments, and we are barely halfway into 2020. While it has been a challenging year, to say the least, I am amazed and comforted at the positivity that has remained throughout. I am blessed with an exceptional and truly gifted staff that flawlessly transitioned to working remotely, and an incredibly understanding client base that rolled with the punches, embraced the curbside economy, and bid in droves in the online-only auctions we had while the state of Massachusetts was under a stay-at-home advisory. Here at Eldred’s, and across the auction marketplace, the past few months have seen record prices and record numbers of people bidding at auction for the first time. While COVID-19 has made an impact on our business, you will notice some other significant developments at Eldred’s that were set in place long before the virus came to our shores. The biggest change is to the masthead, where you will notice that John and Sue Schofield are no longer listed at the top. After almost a combined century of service, John and Sue are enjoying a well-deserved retirement. They both remain on as consultants, trusted advisors and friends, and I am sure you will see them around the auctions now and then. Eldred’s would not be what it is today without their contributions, and we wish them the best in their retirement. We have also made substantial changes to our auction schedule. Our major catalog sales will now be more evenly spaced apart and slightly smaller, focusing on just the best material. There will be more evening, market and online-only sales, which will allow us to offer our consignors and buyers a more efficient marketplace. Lastly, you may have noticed a brand new Eldreds.com that allows for streamlined bidding, account management and our very own iOS and Android bidding apps. While change is afoot, we remain as dedicated as always to providing exceptional service to our consignors and buyers. We look forward to seeing you socially distanced, but in person, this summer.

Joshua Eldred President

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Properties From

The Mr. & Mrs. Ken DeLong Collection of Crowell Bird Carvings The Important New Hamphire Collection of Lawrence and Dorothy Perkins A New Hampshire Collection of Paintings The Kelton Collection of Marine Art and Artifacts An Important Private Newport, Rhode Island Collection Private Collection, Cape Cod, Massachusetts Private Collection, Massachusetts Private Collection, Newport, Rhode Island And numerous other estates and collections

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index Auction Information Page 1 Staff Directory Page 2 Index of Artists Page 6-7 Session I Lots 1-449 Session II Separate Catalog, starting at Lot 1001 Bidder Information Page 196 Conditions of Sale Page 197 Absentee and Phone Bid Form Page 198 Illustrations Page 200

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Index of artists

Albert, Ernest

221

Anderson, Rowenna Dodge

399

Austin, John Bard, John and James

214

Belknap, Zedekiah

347

Birdsey, Alfred

425

Blanch, Lucile E. Lundquist

287

Bliss, Robert R.

246-249

Brackett, Walter M.

169

Brewerton, George Douglas

166

Brown, John George

213

Cahoon Jr., Ralph Eugene Cahoon, Charles Drew

420-422 408

Cahoon, Martha Farham

417-419

Capuletti, Jose Manuel

279, 283

Casilear, John William (attr.)

205

Champney, Benjamin (attr.)

174

Clark, Alson Skinner Coates, Edmund C. (attr.)

250, 251 349B

Coleman, John

297

Coleman, Vernon Herbert

412

Colombo, Lorenzo

275

Cornoyer, Paul

207

Corwin, Charles Abel

406, 407

Crafft, Reson B. (attr.)

349C

Curtis, David

265

Davis, Alice

252

De Grailly, Victor

217

Desch, Frank H.

263

Diehl, Arthur Vidal

429-433

Donaldson, Don

409

Drysdale, Alexander John

219

Dunbar, Harold C.

388-390

Eaton, Charles Warren

220

Eger, Joseph

413

Elkins, Henry Arthur

160

Farndon, Walter

434, 435

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253, 254

Index of artists

Feeney, Loretta Frame, Robert Aaron

386, 387 286

Mumford, Jane

401

Ordway, Alfred T.

158, 159 394-396

Friedeberg, Pedro

281, 282

Packard, Anne

Frost, Francis Seth

162-165

Parrish, Maxfield

173

Gerry, Samuel Lancaster

161

Phillips, Ammi

346

Gifford, Robert Swain

208

Rivera, Diego (attr.)

280

Greacen, Edmund William

427

Roseland, Harry

215

Green, Frank Russell

170

Sawyer, Helen Alton Farnsworth

392

Schenck, Franklin Lewis

209

Hare, William

319

Shapleigh, Frank Henry

157

Helleu, Paul-Cesar

273

Shaw, Charles Green

Hensche, Henry

393

Shilstone, Arthur

Hicks, Thomas

212

Smith, Joseph Lindon

348

Hill, Gregory

436

Smith, Ralph B.

139

Hitch, R.A.

410

Smith, Vernon B.

Hitchings, Henry

172

Stark Jr., Robert W.

423

255, 256, 264

Stoddard, Alice Kent

405

424

Stuart, Gilbert (attr.)

216

Gruppe, Robert Charles

Hoffman, Harry Leslie Howes, Jerome Hunt, Peter

438, 439, 443-445

Susinno, Mark

290-294 71

403, 414, 415

69, 70

Johnston, Ynez

284

Tharp, Twanette

Kent, Herman Latham

411

Thompson, Albert

168

Keuterickx, Jean B.

318

Wasson, George Savary

326

Knaths, Karl

400

Waugh, Colton

381

Webster, Stokely

262

Knowles, Kenneth J.

257-260

Kottler, Howard

295

Wesson, Robert Shaw

140

Lindenmuth, Tod

402

Whorf, John

428

Linnell, John

270

Willett, Christopher G.

398

Logan, Robert Henry

244

Williams, Frederick Dickinson

167

Macy, Wendell

426

Woelfle, Arthur William

391

Macy, Wendell (attr.)

416

Woodbury, Charles Herbert

261

Margulies, Joseph

245

Wust, Ferdinand Alexander

206

Wyeth, N.C. (Newll Convers)

222

Young, Purvis

285

Mason, Joseph Robert (attr.) Max, Peter

349A 300-303

McGurl, Joseph

397

Mears, Henrietta Dunn

404

Mecray, John

325

Movalli, Charles J.

243

Zorach, Marguerite Thompson

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298, 299

Session I Thursday, July 30 at 10 a.m. Lots 1-449 Sporting Art & Decoys Lots 1-73 The DeLong Collection of Bird Carvings Lots 1-47 Collectible Weapons Lots 74-76 The Perkins Collection Lots 77-156 A New Hampshire Collection of Paintings Lots 157-172 Clocks Lots 143-145, 183-185 Needlework Samplers Lots 196-203 Oriental Rugs Lots 231-242, 363-372 Chinese Exports Lots 304-316 Marine Art Lots 317-329 Weather Vanes Lots 129, 330-335 Also Americana, Folk Art, Paintings, Furniture and More

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 1-37, 49-50

EXTREMELY RARE PAIR OF DECORATIVE LIFE-SIZE BOBWHITE QUAIL Circa 1938 Glass eyes. Carved tail feathers. Mounted together on stepped oval base, with one quail looking at a carved fly on the base. Signed on base “A.E. Crowell E. Harwich Mass Cape Cod 1938”. Oval stamp. Male quail height 7.25”. Female quail length 7.75”. Total height 9.25”. Total length 13.5”. Width 9.75”. 15,000/20,000

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The Mr. & Mrs. Ken DeLong Collection of Bird Carvings Mr. and Mrs. DeLong, as I knew them in my childhood, are my second parents. Living two houses apart on the same street, our families became great friends. Ken and Lee, as I refer to them now, are very special people to me and I could write a book on our relationship. (Sorry, not enough pages here.) Ken started restoring items for my dad’s auction business, the Richard E. Bourne Co., and in a short time we all saw a man with a natural-born talent, not just for restoring decoys, but many types of antiques. In a few words, he’s the best. Over the years they formed the Collection presented here. My, my, how time does fly – 50 years in the blink of an eye. I hope you enjoy these offerings and improve your collection from two of the ﬁnest people I know. Bill Bourne, Vice President, June 2020

Lot 32

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952

MINIATURE BLACK-BREASTED PLOVER Second Quarter of the 20th Century Exceptional feathered paint pattern. Rectangular brand. Length 3.5”. 1,500/2,000

MINIATURE GOLDEN PLOVER Second Quarter of the 20th Century Rectangular brand. Length 3.25”. 1,800/2,400

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MINIATURE GODWIT Circa 1930 Exceptional feathered paint pattern. Rectangular brand. Length 3.25”. 2,000/3,000

The Mr. & Mrs. Ken DeLong Collection of Bird Carvings

A. Elmer Crowell Decoys and decorative bird carvings are one of the only truly American art forms, and each one reflects the diversity of America: the waterways and landscapes the bird inhabits, the method of hunting prevalent in that region, and the creativity of the carver who created it. The earliest decoys, some 1,000 years old, were crafted by Native Americans from sticks, skins and feathers. Colonial settlers followed their examples but created more durable and reusable versions from carved and painted wood. The craft grew and flourished throughout the 18th and 19th Centuries as more men began hunting for both food and sport. The best examples capture the essential appearance, attitude and animation of the bird. Without question, A. Elmer Crowell was one of the best. Crowell was born on Cape Cod and grew up on a cranberry farm in East Harwich. At age twelve, Crowell’s father gave him a shotgun, and the young boy amused himself by devising ways to get birds to land on the lake near his home. Although he carved some decoys, he primarily used live decoys – tethered geese and ducks he trained to lure wild birds as they flew over his pond during their migration. His reputation as a hunter and decoy trainer grew, and around 1900 he was asked to manage a hunting camp on Wenham Lake owned by affluent Boston physician Dr. John C. Phillips. Around 1912, when he was no longer able to make a living training live decoys, Crowell, at age 50, turned to carving. Perhaps it was innate ability coupled with a lifetime spent observing and interacting with his subjects that enabled Crowell to create such exceptional carvings. His decorative pieces were carved with such delicate features they achieve a sinuous, sculptural quality, and his unique “wet on wet” painting technique gives plumage a distinct softness and realism. Crowell is also notable for the extraordinary range of birds he carved – more than 200 kinds of ducks, shorebirds, songbirds and upland game birds. Miniatures, in particular, were a commercial endeavor for Crowell, as they made an attractive souvenir for tourists visiting the Cape. His market ranged from hunters to bird lovers, and to schools and museums wanting to display bird likenesses. Documented visitors to Crowell’s shop included DuPonts, Rockefellers and Henry Ford.

Examples of oval brands, from Lot 30 at top, and rectangular stamps, from Lot 31 at bottom.

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952

MINIATURE COMMON TERN Unsigned. Length 4.25”.

Circa 1930 1,000/1,500

MINIATURE QUAIL Circa 1925 Nice patina. Exceptional feathered paint pattern. Unmarked. Length 2”. 1,200/1,500

MINIATURE RUDDY TURNSTONE Second Quarter of the 20th Century In feeding position. Mounted to a driftwood base. Unsigned. Length 3”. 1,200/1,800 5

MINIATURE PIPING PLOVER Second Quarter of the 20th Century Rectangular brand. Length 2.5”. 1,500/2,000

MINIATURE YELLOWLEGS Second Quarter of the 20th Century Rectangular stamp. Length 4”. 1,500/2,500

10.

MINIATURE KNOT Second Quarter of the 20th Century Exceptional feathered paint pattern. Rectangular brand. Length 3.25”. 1,500/2,500

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The Mr. & Mrs. Ken DeLong Collection of Bird Carvings

A. Elmer Crowell East Harwich, Massachusetts, 1862-1952

11.

LIFE-SIZE SANDPIPER MANTEL CARVING Second Quarter of the 20th Century Glass eyes. Mounted on a sculpted oyster shell-form base. Rectangular brand. Height 4.5”. Length 5”. 3,500/5,000

12.

PAIR OF MINIATURE MALLARDS Second Quarter of the 20th Century Drake in feeding position and hen’s head turned back toward her body. Mounted together on a sculpted base. Rectangular brand. Height 3.75”. Total length 6.25”. 2,500/3,500

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13.

MINIATURE RED-BREASTED MERGANSER DRAKE Second Quarter of the 20th Century Rubber stamp mark. Length 5.25”. 1,200/1,800

17.

MINIATURE AMERICAN MERGANSER DRAKE Second Quarter of the 20th Century Rectangular stamp. Length 5”. 1,000/1,500

14.

MINIATURE BLACK DUCK Second Quarter of the 20th Century Paper label with “Black duck” in Crowell’s handwriting. Length 5.5”. 700/1,000

18.

MINIATURE WIDGEON DRAKE Second Quarter of the 20th Century Rectangular brand. Length 4”. 900/1,200

15.

MINIATURE WOOD DUCK DRAKE Second Quarter of the 20th Century Head tucked into a content position. Rectangular brand. Length 4”. 1,200/1,500

19.

MINIATURE MALLARD DRAKE Second Quarter of the 20th Century Paper label with “Mallard” in Crowell’s handwriting. Length 4.75”. 1,000/1,400

16.

MINIATURE CANVASBACK DRAKE Second Quarter of the 20th Century In feeding position. Rubber stamp mark. Length 4.25”. 1,000/1,500

20.

MINIATURE MALLARD HEN Second Quarter of the 20th Century Rubber stamp mark. Length 4.75”. 900/1,200

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The Mr. & Mrs. Ken DeLong Collection of Bird Carvings

A. Elmer Crowell East Harwich, Massachusetts, 1862-1952

21.

MINIATURE GREEN-WINGED TEAL DRAKE Second Quarter of the 20th Century Unsigned. Length 3.75”. 900/1,200

23.

MINIATURE REDHEAD DRAKE Second Quarter of the 20th Century Rubber stamp mark. Length 4”. 1,000/1,400

22.

MINIATURE RUDDY DUCK DRAKE Second Quarter of the 20th Century Rectangular brand. Length 2.75”. 800/1,200

24.

MINIATURE BUFFLEHEAD DRAKE Second Quarter of the 20th Century Rubber stamp mark. Length 2.75”. 800/1,000

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952

25.

MINIATURE PINTAIL Second Quarter of the 20th Century Rectangular brand. Marked “Pintail” in pencil in Crowell’s handwriting. Length 5.5”. 900/1,200

27.

MINIATURE CANADA GOOSE Second Quarter of the 20th Century Exceptional feathered paint pattern. Rubber stamped mark. Length 5.75”. 1,500/2,500

26.

MINIATURE PINTAIL HEN Second Quarter of the 20th Century Rectangular brand. Length 3.25”. 900/1,200

28.

MINIATURE BRANT Second Quarter of the 20th Century Unsigned. Length 5.5”. 1,200/1,800

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The Mr. & Mrs. Ken DeLong Collection of Bird Carvings

A. Elmer Crowell East Harwich, Massachusetts, 1862-1952

29.

LIFE-SIZE ROBIN Second Quarter of the 20th Century Unsigned. Height 5.75”. Length 8.75”. 5,000/7,000

30.

LIFE-SIZE COMMON TERN Early 19th Century Mounted on a sculpted wooden base. Oval brand. Height 5”. Length 11.75”. 5,000/8,000

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952

31.

LIFE-SIZE KINGFISHER WITH A FISH IN ITS BILL Second Quarter of the 20th Century Mounted on a chip-carved base. Rectangular brand. Height 5.75”. Length 7”. 7,000/9,000

32.

LIFE-SIZE LEAST TERN Dated 1939 Head turned 90 degress to the left. Mounted to a chipped-carved base. Two rectangular stamps. Signed “A.E. Crowell Cape Cod 1939 Least Tern”. Height 4.25”. Length 6”. 3,000/5,000

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The Mr. & Mrs. Ken DeLong Collection of Bird Carvings

A. Elmer Crowell East Harwich, Massachusetts, 1862-1952

33.

MALLARD DRAKE DECOY Early 20th Century Glass eyes. Rectangular brand. Length 15.5”. 1,800/2,500

34.

BLACK DUCK DECOY Early 20th Century Original paint. Glass eyes. Oval brand. Paint pattern on underside consistent with the decoy having been mounted to a tri-rig. Length 17.5”. 1,200/1,800

35.

DECORATIVE THREE-QUARTER-SIZE GOLDENEYE DRAKE Second Quarter of the 20th Century Rectangular brand. Length 10.75”. 1,200/1,800

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952

36.

GOLDEN PLOVER DECOY Early 20th Century Inset glass eyes. Nicely mottled feather pattern. Split tail. Length 9.25â&#x20AC;?. 9,000/12,000

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The Mr. & Mrs. Ken DeLong Collection of Bird Carvings

37.

A. ELMER CROWELL CANADA GOOSE DECOY East Harwich, Massachusetts, First Quarter of the 20th Century Repainted. Oval brand. Rig brand on underside for “D. Chase”. Length 23.5”. 500/800

38.

CHARLES HART DECORATIVE WOOD DUCK DRAKE Gloucester, Massachusetts, 1862-1960 Red glass eyes. Carved feathered details at wing tips and tail feathers. Superb patina. Height 10”. Length 11.5”. 2,000/4,000

39.

DECORATIVE BLUE-WINGED TEAL DRAKE Dated 1932 Signed “Blue Wing Teal by: R.W. Means 1932”. Height 6.5”. Length 8”. 500/800

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George Boyd Seabrook, New Hampshire, 1873-1941 Lots 40-41

40.

BLACK-BELLIED PLOVER DECOY Early 20th Century Black glass eyes. Retains superb original paint. Length 10.5”. 3,000/4,000

41.

CANADA GOOSE DECOY Length 26.5”.

3,000/5,000 40

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The Mr. & Mrs. Ken DeLong Collection of Bird Carvings

42.

43.

CHARLES FOOTE MERGANSER HEN DECOY Seabrook, New Hampshire, Circa 1900 Wonderful racy lines. Inset shoe-button mother-of-pearl eyes. Rig brand at top of tail for “RWC”; tag indentifies it as Richard W. Coombs of New Hampshire. Maker identified by inscription and label on underside. Length 17”. 1,000/2,000

JOE LINCOLN BLACK DUCK DECOY Accord, Massachusetts, First Quarter of the 20th Century Brass tack eyes. Old repaint. Length 16”. 700/1,000

44.

TWO DODGE FACTORY BLACK DUCK DECOYS Detroit, Late 19th/Early 20th Century Rig brand for “Bourne”. Lengths 16.5” and 17.25”. 400/700

45.

PAIR OF MASSACHUSETTS SANDPIPER DECOYS Late 19th/Early 20th Century Maker unknown. Brass tack eyes. Slightly raised wing tips. Backs with nicely executed feather painting. Mounted together on a wooden base. Length 5.75”. 5,000/8,000

46.

GEORGE B. ROBERT CORK-BODIED BLACK DUCK DECOY Mastic, Long Island, Circa 1920 In preening position. Rig brand on underside for “Manning”; tag identifies it as William P. Manning of Saratoga Lake, New York. Length 13.5”. 300/400

47.

CORK-BODIED DECOY, POSSIBLY A GADWALL First Quarter of the 20th Century Branded on underside “G.C.C.”. Length 13.25”. 250/350

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conclusion of the collec tion see photos of all lots and view condition reports at www.eldreds.com

48.

JAMES WALTER FOLGER Nantucket, Massachusetts, 1851-1918 Red-breasted merganser drake in flight, mounted on a seascapepainted plaque. Signed lower left “Jas. Walter Folger. 1896. Nantucket.”. Inscribed in yellow paint on reverse “Carved & Painted - by - James Folger Nantucket Mass”. Also affixed verso is Folger’s business card, marked “James W. Folger Ornamental Designer & Wood Carver Heads, Portfolios &c Cut to order. Crayon Portraits and Oil Painting A Specialty. ... Designs of Birds Carved and Painted from Nature. Studio Cor. Main & Union Streets”. Oil on board, 15.5” x 24”. Drake length 18”. 15,000/20,000

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952

49.

CANADA GOOSE DECOY Circa 1925 Tack eyes. Original paint with traces of gunning repaint on white areas. Oval brand. Branded “Q” for the Quandy Collection. Length 21”. 7,000/10,000 Illustrated in New England Decoys by Shirley and John Delph, p. 151.

50.

RARE GOLDEN PLOVER DECOY IN ECLIPSE PLUMAGE Circa 1900 In feeding position. Original bill with hairline crack. Glass eyes; right eye cracked. Original paint with minor gunning wear. Carved primaries. Exceptionally plump. Lightly hit with shot. Length 11.5”. Width 3”. 15,000/20,000 50

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51.

MASSACHUSETTS 52. MASSACHUSETTS GOLDEN PLOVER DECOY GOLDEN PLOVER DECOY Circa 1890 Circa 1890 Maker unknown. Painted eyes. Maker unknown. Tack eyes. Original Carved wing detail. Length 11”. paint with considerable gunning 1,400/1,800 wear. Length 10”. 500/700

53.

Ex-Collection: Hillman.

MASSACHUSETTS GOLDEN PLOVER DECOY Circa 1890 Glass eyes. Original paint with gunning wear. Carved wing detail. Length 11”. 1,400/1,800 Ex-Collection: Hillman.

54.

LIFE-SIZE SWAN DECOY 20th Century Maker unknown. Turned head. Carved “turtle” back. Height 24.5”. Length 38”. 1,000/1,500

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55, pair

55.

PAIR OF GEORGE STRUNK 56. AL JORDAN MINIATURE GREAT HORNED OWL LIFE-SIZE BOBWHITE QUAIL CARVINGS New York, 20th Century New Jersey, 20th Century Mounted on a wooden rockery-style Glass eyes. Hen with exceptional base. Signed on lower right of base painted feather details. Mounted on “A Jordan”. Height 7”. 700/1,000 oval chip-carved bases. Signed in ink on underside of bases “G. Strunk” and stamped “Strunk”. Heights 6” and 8.75”. 1,400/1,800

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57.

FRANK ADAMO MINIATURE BELTED KINGFISHER Late 20th Century Mounted on an oval driftwood base adorned with mushroom carvings. Signed on underside “F. Adamo”. Height 8”. 400/700

58.

A.B. WILSON DECORATIVE MALLARD DRAKE Louisiana, 1990 Head turned slightly left. Glass eyes. Fantastic carved feather detail. Signed and dated. Length 16.5”. 500/800

Marty Collins East Wareham, Massachusetts, 20th Century

59.

CROWELL-STYLE BLACK DUCK DECOY In preening position. Glass eyes. Carved wing and tail feathers. Mounted on a round base. Branded “Martin D. Collins Decoys”. Height 10”. Length 14”. 550/650 Ex-Collection: Colby Wood.

60.

BUFFLEHEAD DRAKE DECOY Carved eyes and wings. Length 10.75”.

61.

BLACK DUCK DECOY Hollow-carved. Head turned left. Glass eyes. Chip carving under tail. Branded on underside “Martin D. Collins”. Length 14.5”. 450/550

400/500

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62, pair

62.

63.

64.

TWO FRANK ADAMO MINIATURE BLACK DUCKS Late 20th Century One in preening position. Both with glass eyes. Mounted on oval bases. Both signed “F. Adamo”. Heights 3.25” and 3.5”. 300/500

65.

REGGIE BIRCH CURLEW Virginia, Late 20th Century In preening position. Glass eyes. Carved signature “R. Birch”. Length 13”. 500/800

66.

RAND GLEASON DOWITCHER CARVING Scituate, Massachusetts, Late 20th Century In feeding position. Painted eyes. Height 8”. Length 10.5”. 350/450

67.

RAND GLEASON WHIMBREL CARVING Scituate, Massachusetts, Late 20th Century Head turned right. Glass eyes. Carved feather detail. Mounted on a wooden base. Signed on underside “Rand Gleason”. Height 13.75”. Length 9.5”. 450/550

BUD TALPEY MINIATURE MALE TURKEY Whitman, Massachusetts, Contemporary Mounted on a wooden base. Signed in ink “Bud Talpey”. Height 4.5”. 300/400

RUSS BURR MINIATURE CANADA GOOSE Hingham, Massachusetts, 20th Century Mounted on a driftwood base. Stamped “Russ P Burr Hingham, Mass.”. Height 3”. 300/400

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68.

CARVING OF A STRIPED BASS Massachusetts, Contemporary On a rockery and seagrass base. Height 18”. Length of bass 15”. Width 7”. 1,000/2,000

69.

MARK SUSINNO Massachusetts, Contemporary “‘Race to the Crab’ Study Permit and Blue Crab”. Signed and dated lower right “Mark Susinno 2007”. Titled verso. Acrylic, 12” x 16”. Framed 20” x 24”. 1,500/2,500

70.

MARK SUSINNO Massachusetts, Contemporary “Striped Bass and Eel”. Signed and dated lower right “Mark Susinno 2009”. Titled verso. Acrylic, 12” x 16”. Framed 20” x 24”. 1,500/2,500

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71.

ARTHUR SHILSTONE Connecticut/New York, b. 1922 Hunting in winter. Signed lower left “Arthur Shilstone”. Watercolor on paper, 16” x 23”. Framed 26” x 33”. 1,000/1,500

72.

TWANETTE THARP Martha’s Vineyard, Massachusetts, Contemporary Twanette Tharp is a prominent residential designer Swan in flight. Pine, with body built on Martha’s Vineyard and is the sister of acclaimed up in lifts. Residual white, black and choreographer Twyla Tharp. orange paint. Designed to suspend from the ceiling. 48” x 63”. 1,000/1,500 Provenance: An Important Private Collection, Newport, Rhode Island.

73.

PAIR OF MINIATURE SWAN SILHOUETTES America, Early 20th Century Traces of original white paint. Mounted on a molded wooden base with iron rods. Largest height 5.5” and length 19”. 500/800 73

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74.

BLACKSMITH-MADE WROUGHT IRON SHORT SWORD 19th Century Wooden handle. Serpent-form hilt. One side with a blood-letting groove. Unmarked. Length of blade 19.5”. Total length 24”. 1,000/1,500

75.

AMERICAN KENTUCKY-STYLE MUSKET 18th Century Converted to percussion. Approx. 28-bore. Half-octagonal, half-round barrel. Brass trigger guard and butt plate. Length of barrel 50”. Overall length 65”. 400/700

76.

REVOLUTIONARY WAR-ERA FLINTLOCK MUSKET 18th Century Approx. 16-ga. smooth bore. Engraved on left side of stock “ID”. Length of barrel 52”. Overall length 68”. Includes period ramrod. 700/1,000 Provenance: Discovered in a Connecticut home.

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an important New Hampshire Collection Carefully and Thoughtfully Assembled Over Two Decades by New Hampshire Residents

Lawrence & Dorothy Perkins

sss

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

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sss 77.

FEDERAL WORK TABLE WITH PAINTED DECORATION BY SARAH EATON-BALCH OF DEDHAM, MASSACHUSETTS Circa 1810 In figured maple and pine. Decorated by Eaton-Balch at Mrs. Rowson’s School, Boston Neck, Roxbury, Massachusetts, circa 1798-1810. Rectangular top with cookie corners and decoration of floral bouquets surrounding an oval reserve depicting a landscape with figures, a mill and trees. Similar floral decoration on all sides of case. Fitted with a compartmented drawer above a slide, lacking its bag. Tapered ring-turned and fluted legs end in turned feet. Includes handwritten note “Given to me in 1914, this table was painted by Sarah (Eaton) Balch of Dedham, who was at one time a student of Miss Rowson’s Ladies Seminary in the vicinity of Boston about 1810. Mrs. Balch was a sister of Luther Eaton whose son Luther Holland Eaton was my grandfather, signed Francesca Eaton Walker”. Height 28.5”. Width 18.25”. Depth 17.75”. 5,000/10,000 Provenance: The Eaton family to Nina Fletcher Little. Sotheby’s, New York, The Bertram K. Little and Nina Fletcher Little Collection Part II, October 21-22, 1994, Lot #990. (Accompanied by a copy of the auction catalog.) Skinner, Inc., Boston, March 6, 2011, Lot #46. Literature: Little by Little: Six Decades of Collecting by Nina Fletcher Little (N.Y.: E.P. Dutton, Inc., 1984), p. 217, plate 291. American Painted Furniture 1660-1880 by Dean A. Fales, Jr. (N.Y.: E.P. Dutton, Inc., 1972), p. 183, plates 293 and 293a.

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

78 80

83, two

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sss 78.

SHERATON ONE-DRAWER STAND Probably New Hampshire, First Quarter of the 19th Century Hardwood with grain-painted and red-wash finish. Single drawer with mahogany and bird’s-eye maple veneer front. Delicate turned legs. Height 28”. Width 17.25”. Depth 15.75”. 1,000/1,500

79.

TILT-TOP CANDLESTAND Southeastern New Hampshire Area, Circa 1810 In birch, with a nice, crusty, light brown, dark brown and brick red grain-painted finish that simulates walnut. Octagonal top on turned pedestal raised on spider legs ending in spade feet. Height 28”. Top 20.75” x 14.75”. 1,000/1,500 Provenance: Israel Sack, Inc., New York, circa 1981. Private Collection, New York. Hirschl & Adler, New York. Donald R. Sack American Antiques, Buck Hill Falls, Pennsylvania, circa 1991. Private Collection, New Hampshire. Peter Sawyer Antiques, Exeter, New Hampshire (retains label and accompanied by bill of sale). Illustrated in American Antiques from the Israel Sack Collection, Vol. VII, p. 1895, item #P5088. Peter Sawyer believes a similar table with the same cleat arrangement is in the collection of the Woodman Institute Museum in Dover, New Hampshire, and Sack cites a related example in the collection of the Corbitt-Sharp House in Odessa, Delaware. Other similar examples are in the collections of the Art Institute of Chicago and the Henry Ford Museum in Dearborn, Michigan (illustrated in American Painted Furniture by Dean Fales, Jr., p. 99, item #165). Another similar example at the Strawbery Banke Museum in Portsmouth, New Hampshire, was discovered in the Piscataqua Region of New Hampshire. All are believed to have originated from the same cabinet shop. The unusual box-like cleat arrangement seen on this table is thought to be indicative of Dover, New Hampshire, and the octagonal top, use of birch, the spade feet and the painted decoration points to a Portsmoutharea attribution. Lot accompanied by several pages of notes and research information.

80.

GRAIN-PAINTED PRESERVES CUPBOARD New England, Early 19th Century In pine, with chestnut top and backboards. Original brick red and black grain paint. Interior with three shelves. Height 57.25”. Width 39”. Depth 14”. 1,200/1,800

81.

DOME-TOP DOCUMENT BOX New England, Early 19th Century In pine, with original pale yellow, medium brown and dark brown grain-painted decoration. Retains original brass bail handle at top. Height 7”. Width 12”. Depth 7”. 800/1,200

82.

DOME-TOP DOCUMENT BOX BY JEREMIAH GOODEN New Hampshire, First Quarter of the 19th Century In pine, with exquisite black and red grain-painted decoration. Top with incised and painted fan corners. Retains original brass bail handle. Interior of lid with label for Jeremiah Gooden, Cabinet Maker, Milford. Height 7.5”. Width 14”. Depth 8”. 1,500/2,000

83.

TWO HINGHAM, MASSACHUSETTS COVERED SUGAR FIRKINS 19th Century One painted slate blue and stamped “Q. Hersey” on lid and bottom. The other painted deep red and stamped “H...& Co.” on lid. Heights 9” and 12”. 1,200/1,800

84.

RARE AND IMPORTANT SCHOOLGIRL BOX WITH PAINTED DECORATION Salem, Massachusetts, Early 19th Century In figured bird’s-eye maple veneer, with four brass ball feet. Lid, front and sides with finely detailed painted decoration. Lid with red berry and green leaf vine surrounding a rectangular reserve depicting a landscape with two houses, a bridge and trees. Front depicts two baskets filled with red berries and green leaves, and a repetitive vine surround. Sides depict green leaves and an identical vine surround. Fitted interior. Height 5”. Width 13”. Depth 10”. 3,000/5,000 Provenance: Taylor B. Williams Antiques, Chicago. Includes original 2008 sales receipt.

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

85.

QUEEN ANNE WING CHAIR Boston, Circa 1760 In walnut, retaining what appears to be the original finish. Reupholstered by Eaton Hill Textile Works, Marshfield, Vermont, with burgundy-colored reproduction custom dyed and woven worsted moreen fabric. Back with flat crest. Nicely scrolled-out arms. Cabriole front legs end in pad feet and are joined by turned and blocked H-stretcher. Back height 44.5”. Seat height 18”. 4,000/6,000

86.

QUEEN ANNE TAVERN TABLE New Hampshire, Last Half of the 18th Century In maple and curly maple, with oval top, delicate scrolledout corner returns, and cabriole legs ending in pad feet. Top with old finish. Base with old, possibly original, finish, with a deep rich patina. Height 26.5”. Top 32.5” x 25.75”. 3,000/5,000 Provenance: Peter Sawyer Antiques, Exeter, New Hampshire, who acquired it from a home in Exeter.

86, with detail of pins coming through the legs

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sss

87, pair

87.

PAIR OF FEDERAL SIDE CHAIRS ATTRIBUTED TO ROBERT HARROLD Portsmouth, New Hampshire, Second Half of the 18th Century In walnut, with old, possibly original, finish. Backs with arched crest rails and pierced splats. Broad bowed seats, According to Jobe, Robert Harrold arrived in Portsmouth in typical of Portsmouth, with cranberry-colored upholstery, 1765 and established his own business in 1767. He appears to reupholstered by Robert Mussey in a manner that does not have sourced some of his designs from Manwaring’s Cabinet and impact original frame. Straight molded front legs joined Chair-Maker’s Real Friend and Companion of 1765. He received with H-stretchers. Back heights 38.5”. Seat heights 18.5”. commissions from Governor Wentworth, including a pair of chairs 4,000/6,000 Provenance: for the governor’s pew at Queen’s Chapel and another chair for the Northeast Auctions, Portsmouth, New Hampshire, governor to use at the state house. August 2003. A similar example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 319. These chairs exhibit the same splat, seat and leg design as the illustrated example.

It’s believed Harrold came from England, based on his affiliation with the Church of England and the English training and aesthetic indicated in his pieces. While he spent the Revolutionary War years in Conway, New Hampshire, located in the Mount Washington Valley, he returned to Portsmouth after the war and continued working as a cabinetmaker until his death in 1792.

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

88.

RARE CHIPPENDALE PEMBROKE TABLE Portsmouth, New Hampshire, Late 18th Century In mahogany. Working drawer at one end of apron and faux drawer at opposite end, both retaining original hardware. Molded legs with chamfered interior edges and pierced corner moldings. Cross stretcher with pierced heart design. Height 27.25”. Width 21” plus two 9” serpentine drop leaves. Depth 29.5”. 9,000/12,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 2004. A similar example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 246, which also has single loops in the corner brackets and a pierced heart design in the cross stretcher.

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sss

89.

SHERATON CARD TABLE Portsmouth, New Hampshire, Circa 1805 In mahogany, with beautifully figured flame satinwood veneer panels, and tapered reeded legs with an elongated bulb foot. Height 30.25”. Width 37.5”. Depth 17.25”. 2,000/3,000

A nearly identical example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 259. The illustrated example, owned by the Moffatt-Ladd House in Portsmouth, has a different inlay pattern along the front edge, but the veneer pattern, and the shape of the top and legs are the same as this table.

90.

SHERATON WING CHAIR Portsmouth, New Hampshire, Circa 1820 Back with shield-form crest and bold wings. Beautifully carved mahogany legs with exposed knob-like handles at tops, a distinctive feature of Portsmouth examples. Upholstered in a periodstyle blue and cream floral print. (Accompanied by photographs of the bare frame.) Back height 43.5”. Seat height 18”. 4,000/6,000 Provenance: Collection of Charles E. Buckley, Mount Vernon, New Hampshire. Buckley was the director of the Currier Museum of Art in Manchester, New Hampshire and the Saint Louis Art Museum in St. Louis, Missouri. Peter Sawyer Antiques, Exeter, New Hampshire.

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

94, four

91.

REDWARE OVOID HANDLED JUG First Half of the 19th Century Mottled rust and moss green glaze. Handwritten paper label on base inscribed “A pristine example of Gonic Redware”. Height 8.75”. 300/500

92.

REDWARE LIDDED JUG WITH APPLIED HANDLE Portsmouth, New Hampshire, First Half of the 19th Century Rich, deep brown glaze. Paper label on base inscribed “GillsPotter cream jug Portsmouth-NH”. Height 10”. 400/600 Accompanied by a placard indicating brothers William Gill (1800-1853) and John H. Gill (1809-1888), both born in Boscawen, New Hampshire, operated a pottery in West Plymouth, New Hampshire until about 1847.

93.

REDWARE LIDDED STORAGE JAR Probably New Hampshire, First Half of the 19th Century Moss green and slightly mottled rust red glaze. Upper portion with two areas of horizontal ribbed banding. Height 5.75”. 300/400

94.

FOUR SMALL REDWARE JUGS Probably New Hampshire, First Quarter of the 19th Century All with deep brown glazes; one with red scrolled design. Largest with paper label inscribed “Attributed to Daniel Clark, 1768-1828”. Heights from 4” to 7”. 700/1,000

95.

THREE REDWARE POURING JUGS New England, First Half of the 19th Century All with brown glazes and applied handles. One with deep brown vertical banding. Heights from 5” to 8.5”. 300/400

96.

TWO REDWARE JUGS AND A STONEWARE JUG 19th Century All with applied handles. Stoneware jug marked “A. Tucker Spring Hill Portsmouth, NH”. Heights from 7” to 7.5”. 200/300

97.

FOUR UTILITARIAN POTTERY ITEMS 19th Century A storage jar, height 5.75”, and three baking dishes, diameters from 5” to 11.5”. 200/300

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sss

98.

ROBERT CHARLES GRUPPE Massachusetts, b. 1944 “Gloucester Tall Ships”. Signed lower right “Robert C. Gruppe”. Titled verso. Oil on canvas, 30” x 25”. Framed 37” x 31”. 3,000/5,000

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

101

100

99.

FEDERAL ARCHITECTURAL MIRROR Early 19th Century Frame with original gilding. Reverse-painted panel depicts a landscape. Retains original miror glass and backboard. Height 38”. Width 21.25”. 500/700

100.

FEDERAL SHAVING MIRROR Probably Portsmouth, New Hampshire, Circa 1800 In figured maple veneer. Shield-form mirror with turned urn-form bone finial. Case with serpentine front, three drawers of assorted sizes, and flat bracket feet. Height approx. 23.5”. 800/1,200

101.

SMALL QUEEN ANNE MIRROR Probably Boston, Circa 1740 Mahogany frame with horse-head forms flanking gilt floral crest. Gilt liner. Retains original mirror glass with some loss of silvering. Original pine backboards. 16.25” x 9.75”. 1,000/1,500

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sss

102.

RARE AND IMPORTANT WILLIAM & MARY GATE-LEG TABLE Boston, First Quarter of the 18th Century In walnut, with old, possibly original, red-washed finish. Single drawer at one end of apron. Beautifully turned legs end in turned feet. Stretcher turnings show normal wear from people’s feet resting upon them. Leaves and underside of table retain original iron butterfly hinges. A truly rare and exceptional find. Height 28.25”. Length 37.75”. Width 18” plus two 19.75” drop leaves. 35,000/50,000 Provenance: Peter H. Eaton Antiques, Inc., Newbury, Massachusetts.

102

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

103 104

103.

ONE-PIECE STEP-BACK CUPBOARD New Hampshire, Early 19th Century In pine. Upper section with three shelves and scalloped sides. Lower section with a single cupboard door enclosing a single interior shelf. Height 75”. Width 54.75”. Depth 18.5”. 1,000/1,500 Provenance: Prentis Collection. Skinner, Inc., Boston, Auction 2258, August 2004.

104.

DIMINUTIVE WILLIAM & MARY BLANKET CHEST First Quarter of the 18th Century In pine, with old, possibly original, red-wash finish. Lift top attached with snipe hinges. Single full-width drawer below blanket compartment. Turned bun feet. Height 29.25”. Width 33”. Depth 17.75”. 1,200/1,500 Similar to an example illustrated in The Pine Furniture of Early New England by Russell H. Kettell, plate 35.

Literature: The Prentis Collection at the New Hampshire Historical Society (Concord, N.H.: New Hampshire Historical Society, 1958). This cupboard is illustrated in a color insert that accompanies the booklet, both of which are included in the lot.

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sss

105

105.

ROGERS FAMILY WILLIAM & MARY HIGHBOY New England, Probably Rhode Island, Early 18th Century In maple, with poplar and chestnut secondary woods. Upper case with molded cornice and two half drawers over three graduated full-width drawers. Lower case with three varied side-by-side drawers, a triple-arcade skirt, and tulip legs joined by a shaped stretcher and ending in turnip feet with flared lower pads. Base completely original. Retains original etched brass hardware. Height 65.75”. Width 40.25”. Depth 22.5”. 10,000/20,000 Provenance: Descended in the William Rogers (1709-1772) family of Newport, Rhode Island: to John Rogers (Providence, Rhode Island, 1756-1810) to Horatio Rogers, Sr. (Rhode Island, 1798-1867) to Judge Horatio Rogers, Jr. (Rhode Island, 1836-1904) to Lucien Rogers (Rhode Island, b. 1867) to Dr. Horatio Rogers (North Andover, Massachusetts, 1897-1989) to Samuel Stevens Rogers (North Andover). Offered for the first time publicly by Peter H. Eaton Antiques, Newbury, Massachusetts, circa 2010 (accompanied by bill of sale, letter from Peter Eaton and genealogy.

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

106.

LARGE HANNAH DAVIS BANDBOX New Hampshire, First Half of the 19th Century Labeled on interior of lid. Oval, with floral and foliate decoration; several panels with ewer design. Height 13”. Length 18.75”. Width 13.5”. 500/800

107.

THREE HANNAH DAVIS BANDBOXES New Hampshire, First Half of the 19th Century All labeled on interior of lids. All oval, covered in colorful floral and foliate wallpaper; one also with bird designs. Heights from 6” to 9”. Lengths from 9.75” to 11.5”. Depths from 7.75” to 9”. 500/1,000

108.

THREE HANNAH DAVIS BANDBOXES New Hampshire, 19th Century All retain labels on interior of lids. Larger oval box in solid black with strip of colorful wallpaper on top. Height 5.5”. Length 10.25”. Width 8”. Two smaller round boxes covered with foliate and floral wallpaper. Heights 3”. Diameters 4”. 300/500

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sss

107, three

106

108, three

109.

GERMAN HAND-TOOLED BRASS CHARGER Circa 1650 Central raised flower blossom design within two circular bands of lettering. Outer edge with hand-tooled flower blossom and foliate design. Marked on reverse “4915” over “JNRT” over “HEZT”. Diameter 16”. 1,000/1,500

110.

TWO IRON ITEMS 18th Century A rush light, height 7.75”, and a trivet, length 15.5”. 150/200

111.

AN IRON AND BRASS BEDWARMER AND A BRASS SKIMMER Late 18th/Early 19th Century Bedwarmer with iron handle and a floral design on pierced lid. Length 39”. Skimmer length 20.25”. 200/300 109

112.

PAIR OF SPUN BRASS CANDLESTICKS America, 19th Century With ejectors. Heights 12”. 100/150

113.

EARLY AMERICAN TIN CANDLE HOLDER Late 18th/Early 19th Century Conical base. Central rod supports a medial ring and ruﬄed-edge drip pan with three candle sconces. Height 19.5”. Diameter of drip pan 8.5”. 300/500

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113

The Important New Hampshire Collection of Lawrence and Dorothy Perkins

114.

115.

QUEEN ANNE FIVE-DRAWER CHEST Likely Salisbury, New Hampshire, Dated 1795 In maple, with strongly figured tiger maple drawer fronts. Graduated full-width drawers retain original hardware. Cabriole legs end in pad feet. Painted date of 1795 and initials “LJ” on backboards. “LJ” is likely Leonard Judkins, brother of cabinetmaker Jonathan Judkins of Judkins and Senter, both of whom were from Salisbury. Height 49.25”. Width 38.5”. Depth 19”. 10,000/15,000

BANISTER-BACK SIDE CHAIR BELONGING TO JAMES DRAKE, AND RELATED EPHEMERA First Half of the 18th Century Rush-seat chair with turned legs and stretchers, and old, probably original, black paint. Initialed on front of top splat “ID” for James Drake of Pittsfield, New Hampshire (Js were written as Is in that time period). Lot includes Drake’s 1785 appointment papers to the New Hampshire militia, his records as tax constable for Pittsfield, and a warrant he wrote as commanding officer to a first sargent to collect a $1.50 fine from an AWOL militia member. Also accompanied by a handwritten tag inscribed “Chair used by Major ... Drake in his pew in the Pittsfield Meeting House which was built in 1769”. Back height 44.25”. Seat height 17.5”. 1,500/2,500

114

116.

TILT-TOP CANDLESTAND New England, Second Half of the 18th Century In walnut, with circular top, vasiform pedestal, and cabriole legs ending in snake feet. Pedestal is believed to retain original finish. Height 25.5”. Diameter of top 21”. 1,000/1,500

116 115

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sss

117

117.

QUEEN ANNE HIGHBOY New Hampshire, Circa 1760 In maple, with mellow finish. Upper case with five graduated full-width drawers. Lower case with two full-width drawers, the lower simulating three side-by-side drawers, the central with fan carving. Cabriole legs end in pad feet. Retains original hardware. Height 73.25”. Width 38.75”. Depth 19.5”. 7,000/10,000

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

118, pair

118.

PAIR OF QUEEN ANNE SIDE CHAIRS New Hampshire, Mid-18th Century In maple under old black paint. Backs with arched rabbit ear crest rails and pierced vertical splats. Rush seats. Block and turned front legs end in pad feet. Back heights 39.5”. Seat heights 17.5”. 2,000/3,000

119

119.

120

QUEEN ANNE TAVERN TABLE 120. QUEEN ANNE TALL CHEST New England, Mid-18th Century New Hampshire, Last Half of the 18th Century In maple, with oval top, gracefully shaped skirt, and delicate In maple, with old, possibly original, deep rich finish. Five turned splayed legs joined with a box stretcher. Base with graduated full-width drawers retain original hardware. rich old patinated finish. Height 26.25”. Top 32.75” x 25”. Cabriole legs end in pad feet. Height 50.75”. Width 39.75”. 2,500/3,500 Depth 19.75”. 5,000/8,000 A similar example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 219.

Provenance: Discovered in a house in Boscowan, New Hampshire.

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sss

122

121, pair

121.

PAIR OF QUEEN ANNE SIDE CHAIRS New England, Circa 1750 In maple with old, possibly original, finish. Backs with yoke crest rails and vasiform splats. Rush seats. Block and turned legs end in Spanish feet. Back heights 40.25”. Seat heights 17.75”. 2,000/3,000

122.

DIMINUTIVE QUEEN ANNE DROP-LEAF TABLE Probably New Hampshire, Mid-18th Century In maple and figured maple, with nicely shaped skirt and ever-so-slightly cabriole legs ending in pad feet. Rich old finish with great color to underside. Height 26.5”. Length 32.5”. Width 11.75” plus two 10.25” demilune drop leaves. 5,000/7,000 Provenance: Skinner, Inc., Boston, Auction 2442.

124 123, pair

123.

PAIR OF BANISTER-BACK SIDE CHAIRS New Hampshire, Second Quarter of the 18th Century Black and red grain-painted finish. Backs with double arched crests, oblong turned finials and three vertical splats. Rush seats. Turned stretchers. Back heights 42”. Seat heights 16.5”. 1,000/1,500

124.

BLANKET CHEST New England, Early 19th Century In pine under a red-wash finish. Beveled-edge lift top attached with snipe hinges. Two full-width drawers below blanket compartment. Bootjack ends. Retains original hardware. Height 43.25”. Width 40”. Depth 18.25”. 2,000/3,000

Provenance: Descended in the family of Revolutionary War General Joseph Cilley of Nottingham, New Hampshire. Peter Sawyer Antiques, Exeter, New Hampshire.

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

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sss

125

125.

RARE AND IMPORTANT DIMINUTIVE FEDERAL SERVER A similar example is illustrated in Portsmouth Furniture ATTRIBUTED TO JUDKINS AND SENTER Masterworks from the New Hampshire Seacoast edited Portsmouth, New Hampshire, Circa 1810 by Brock Jobe (Hanover, N.H.: Society for the Preservation of In mahogany with exceptional flame satinwood veneer drawer New England Antiquities/University Press of New England, fronts. Slightly bowed top with thin banded inlay along edge. 1993), p. 143. While now more commonly referred to as Conforming case with a full-width drawer over a stack of two servers, this style piece probably served as a dressing table in the drawers flanked by bottle drawers. Delicate double-tapered 19th Century, a place to store personal items like combs and legs with string, and bellflower and dot inlay. Retains original handkerchiefs. According to the book, cabinetmakers Jonathan hardware. Height 39.25”. Width 42.75”. Depth 21.75”. Judkins and William Senter, who established operation 35,000/50,000 in 1808 in Portsmouth, were notable competitors of the leading craftsman Langley Boardman, who trained in Salem, Provenance: Massachusetts before moving to Portsmouth in 1798. Skinner, Inc., Boston, Auction 2337, November 4, 2006, Lot #522.

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

126

126.

128.

FEDERAL DRESSER BOX Possibly Portsmouth, New Hampshire, First Quarter of the 19th Century Mahogany veneer case with flame satinwood panels and multiple alternating varied wood inlay. Retains original brass ring hardware on lid. Interior with mirror on underside of lid and pink paper lining. Height 7.25”. Width 12”. Depth 7”. 1,500/2,000

127

127.

RECTANGULAR DRESSER BOX First Half of the 19th Century In mahogany and flame birch, with inlaid veneer on all sides and a diamond-shaped ivory escutcheon. Interior lined with polychrome bird and landscape paper labels. Height 4.25”. Width 10”. Depth 7.75”. 500/800

SHERATON WING CHAIR Portsmouth, New Hampshire, Circa 1820 Back with shield crest and bold wings. Boldly turned mahogany legs with exposed knob-like handles at tops, a distinctive feature of Portsmouth examples. Burgundy upholstery. Back height 41.25”. Seat height 18”. 4,000/6,000 A similar example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 374.

128

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sss

129

129.

ROCHESTER IRON WORKS CAST IRON ROOSTER WEATHER VANE 19th Century Believed to retain traces of original paint. Applied tin plumed tail. Molded feather designs. Includes contemporary metal stand. Height on stand 32”. Length 31”. 3,000/5,000

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

130

130.

HEPPLEWHITE LADY’S TWO-PART WRITING DESK ATTRIBUTED TO JOSEPH CLARK Portsmouth, New Hampshire, Circa 1810 In mahogany with select satinwood and bird’s-eye maple veneer. Left cupboard door opens to reveal two drawers and three pigeonholes. Central compartment with medial shelf and two drawers. Open right compartment. Lower case with fold-out writing surface over four graduated full-width drawers. Skirt with drop panel. French splayed bracket feet. Upper and lower case with alternating wood string inlay. Retains original hardware. Height 49”. Width 37”. Depth 20”. 2,500/3,500 Provenance: Gary R. Wallace Auctioneers, Ossippee, New Hampshire, August 5, 2002, acquired from the Avery family home in Wolfeboro, New Hampshire. Accompanied by a copy of a letter from Wallace stating this information. Gary F. Yeaton Antiques, Concord, New Hampshire.

A secretary bookcase with a similar veneered frieze and pendant drop in the skirt to this example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 178. While the illustrated example is attributed to Judkins and Senter, it is far more likely this lady’s writing desk is by fellow Portsmouth cabinetmaker Joseph Clark, based on its provenance. This desk and a card table were both found in a Wolfeboro home that belonged to the Avery family, descendants of Joseph Clark through his eldest daughter, Mary, who married Samuel Avery. The card table was initialed “SA”, believed to be for Samuel Avery, on the underside. Both this desk and the card table were sold at the same Gary R. Wallace auction in 2002. A Joseph Clark chest of drawers, with similar inlay and pendant drop to this desk, illustrated in Jobe, p. 119, also descended in the Avery family and bears an inscription indicating it was made by Joseph Clark and was part of Mary Clark Avery’s trousseau.

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131

131.

According to Jobe, Joseph Clark (1767-1851) was born in Greenland, New Hampshire, located not far from Portsmouth. It seems that legal troubles and economic hardship drove Clark north to Wolfeboro, New Hampshire around 1814, where he again established trade as a cabinetmaker.

HEPPLEWHITE BUREAU ATTRIBUTED TO JOSEPH CLARK Portsmouth, New Hampshire, Circa 1790 In mahogany, with select mahogany and flame satinwood veneer drawer fronts. Four full-width drawers with cock-bead molding and original hardware. Scrolled skirt with rectangular veneer panel at drop. High splayed French bracket feet. Height 38”. Width 41”. Depth 21”. 10,000/15,000 A similar example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 119. The illustrated example descended in the family of Clark’s eldest daughter, Mary Moody Clark Avery.

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

132

132.

HEPPLEWHITE SWELL-FRONT BUREAU ATTRIBUTED TO JOSEPH CLARK Portsmouth, New Hampshire, Circa 1790 In mahogany, with alternating wood banded inlay to edge of top and front of skirt. Four full-width drawers with cockbead molding, and mahogany and cherry veneer drawer fronts. Rectangular drop panel pendant at skirt, a detail used commonly by Portsmouth workshops. French splayed bracket feet. Retains original hardware. Height 37.5”. Width 40”. Depth 21.75”. 5,000/7,000

Similar examples are illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 114-119. This piece was discovered in a home in Greenfield, New Hampshire, where Clark worked for a few years. The Greek Key inlay on the top edge of this bureau is similar to that seen on the card table, Lot 133, that was found in a home belonging to the Avery family, who were descendants of Clark through his eldest daughter Mary, who married Samuel Avery. The card table was marked “SA” on the underside, believed to be for Samuel Avery. A Joseph Clark chest of drawers, illustrated in Jobe, p. 119, descended in the Avery family and bears an inscription indicating it was made by Joseph Clark and was part of Mary Clark Avery’s trousseau.

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133.

SHERATON CARD TABLE ATTRIBUTED TO JOSEPH CLARK Portsmouth, New Hampshire, Circa 1805 In mahogany. Shaped top with alternating wood string inlay along edge. Reeded tapered legs. Initialed on underside of top “SA”, believed to be for Samuel Avery, Joseph Clark’s son-in-law through his daughter Mary, and presumed to have descended in the Avery family. Height 28.5”. Width 35.75”. Depth 17.25”. 1,500/2,000

A piece attributed to Joseph Clark cited in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 119, descended in the Avery family and bears an inscription indicating it was made by Joseph Clark and was part of Mary Clark Avery’s trousseau.

Provenance: Gary R. Wallace Auctioneers, Ossippee, New Hampshire, August 5, 2002, acquired from the Avery family home in Wolfeboro, New Hampshire. Accompanied by a copy of a letter from Wallace stating this information. Gary F. Yeaton Antiques, Concord, New Hampshire.

133

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

134

134.

SHERATON TWO-DRAWER STAND Portsmouth, New Hampshire, Circa 1805 In mahogany. Porringer top in a rare and unusual form, swelled on all four sides, with an eight-sided satinwood panel inset at center and alternating inlay along edge. Conforming swelled case with repetitive alternating inlay along perimeter of front. Drawer fronts with flame satinwood veneer. Delicate tapered legs with spool turnings at sides of case and reeding below, typical of Portsmouth examples. Retains original hardware. Height 28.5”. Width 17.5”. Depth 17.25”. 4,000/6,000 Provenance: Gary F. Yeaton Antiques, Concord, New Hampshire, who acquired it from a home in Rollingsford, New Hampshire.

A similar example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 271. Work tables like this, easily portable, were made to hold the sewing notions of fashionable ladies. While this form echoes Boston examples, it shows characteristics of Portsmouth furniture, including the legs and the use of highly figured veneer.

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138

135

136

135.

CHIPPENDALE MIRROR America, Late 18th Century Mahogany and mahogany veneer frame with extensive scrollwork. Gilt phoenix crest with intaglio vine design. Height 30.75”. Width 17.75”. 500/1,000

137.

OLIVE GREEN BLOWN THREE-MOLD GLASS INKWELL Keene, New Hampshire, Early 19th Century G-II pattern. Height 1.75”. Diameter 2.75”. 150/250

136.

COUNTRY HEPPLEWHITE CANDLESTAND New Hampshire, Circa 1800 Curly maple circular top. Cherry base with urn-turned pedestal and arched spider legs. Old, possibly original, finish. Height 26.5”. Top diameter approx. 14”. 800/1,200

138.

SHERATON OCTAGONAL TWO-DRAWER WORK TABLE ATTRIBUTED TO OLIVER BATCHELDER Circa 1805 In mahogany. Both drawers with mahogany and birch veneer fronts, shield-form escutcheons and original hardware. Tapered reeded legs, the upper portions in halfspool form. Height 30”. Width 23”. Depth 19”. 2,500/3,500

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

139

139.

RALPH B. SMITH New Hampshire, 20th Century “Snow Roller 1912-1913”. Inscribed lower right “Snow Roller 1912-1913 Painted by R.B. Smith Tamworth N.H.”. Label verso identifies the figures as William Davis and his wife Mary, and A. Tuck Davis and John C. Robinson. Snow rolling was a common practice in New England in the early 20th Century. “Rollers” were used to pack down the snow to create a flat surface for sleds. Lot includes a copy of The Tamworth Narrative by Marjory Gane Harkness, which has another painting by Smith on the cover. Gouache, 10” x 25.5” sight. Framed 14” x 29”. 1,000/1,500

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140.

ROBERT SHAW WESSON Massachusetts/Vermont, 1902-1967 A house in winter. Signed lower right “Robert Wesson”. Oil on canvas board, 16” x 20”. Framed 24” x 20”. 1,000/1,500

140

141.

PAIR OF TRANSITIONAL HEPPLEWHITE SHIELD-BACK SIDE CHAIRS Boston, Circa 1785 In mahogany. Backs with five vertical splats converging to a sunburst-inlaid arch. Seats with beige and gold striped upholstery. Linenfold legs joined with H-stretchers. Back heights 37.75”. Seat heights 17.5”. 1,200/1,800

141, pair

142.

QUEEN ANNE SLANT-LID DESK New Hampshire, Second Half of the 18th Century In mahogany, with an old finish. Slant lid opens to reveal stacks of four drawers flanking three shelves at center. Case with four graduated full-width drawers and cabriole legs ending in pad feet. Retains original brasses. Height 46.25”. Width 37.75”. Depth 22”. 3,000/5,000 Provenance: Gary F. Yeaton Antiques, Concord, New Hampshire, who acquired it from a home in Kingston, New Hampshire. 142

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

143.

TALL-CASE CLOCK BY WILLIAM FITZ Portsmouth, New Hampshire, Circa 1795 Magnificently constructed case in mahogany and mahogany veneer with eastern white pine secondary woods. Arched bonnet with three brass ball and spire finials on plinths joined by pierced and relief-carved fretwork in a foliate design. Conforming arched frieze above dial door with bone inlay in a design that mirrors the fretwork. Arched glazed dial door flanked by brass-capped fluted full columns with partial brass stop-fluting. Additional brass-capped quarter columns at rear of bonnet. The arched shape of the dial door is echoed in glazed openings at both sides of the bonnet and on the pendulum door. Trunk with brass-capped fluted full columns with partial brass stop-fluting. Applied molding along perimeter of pendulum door and on base panel. Bracket base with scalloped skirt. Brass eight-day weight-driven movement with anchor recoil escapement and rack-and-snail striking mechanism. Painted enamel dial with foliate designs at corners, a Roman numeral hour ring, an ordinal minutes ring, subsidiary seconds and calendar dials, and a moon phase dial in the lunette framed with terrestrial hemisphere maps. Signed on dial “W. Fitz Portsmouth”. Branded “S. HAM” on interior of backboard, possibly indicating the clock was owned by merchant Samuel Ham (1770-1813) or clockmaker Supply Ham (1788-1862), both of Portsmouth. Also inscribed “RS” in chalk on the backboard and marked “Osborne Birmingham” on the false plate of the dial. Height 94”. Width 20.5”. Depth 10”. Retains weights and pendulum, all believed to be original. 60,000/80,000 Provenance: Samuel Ham or Supply Ham of Portsmouth. Acquired from a private collection in Portsmouth by Herschel Burt of Exeter, New Hampshire, about 1970. The Collection of Christopher and Kathleen Roper. Northeast Auctions, Portsmouth, New Hampshire, August 2004. Peter Sawyer Antiques, Exeter, New Hampshire. This clock is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 201-203. According to the book, William Fitz opened his clockmaking shop in 1791, at age 21. Fitz was born in Newburyport, Massachusetts, and it’s believed he trained there, as it was a clockmaking center at the time. Fitz lived in Portsmouth from only 1791 to 1798, then returned to Newburyport. He also lived in Portland, Maine and Boston before dying in New Orleans in 1827. Significant details on the clock’s construction and its condition at the time of publication are described in the book, a copy of which accompanies the lot.

143, detail at right

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

144

144.

BENJAMIN MORRELL MIRROR CLOCK New Hampshire, 19th Century Gold and ebonized case with brass rosettes at corners. Upper reversepainted panel with floral decoration and aperture for dial. Mirror below. Roman numeral dial signed “B. Morrell Boscowen”. Height 30”. Width 14”. Depth 4”. 3,000/5,000

145.

EARLY AMERICAN TALL-CASE CLOCK BY DAVID BLASDEL Amesbury, Massachusetts, 18th Century Pine case. Coffin-style bonnet with arched glazed dial door. Simple rectangular pendulum door and flat molded base. Arched brass face with steel Roman numeral dial and applied soft metal figural designs at crest and corners. Typical crude signature on boss in arch “David Blasdel Amesbury”, with the L in Blasdel offset from the rest of the name. Height 85.5”. Width 17.25”. Depth 11”. Includes pendulum and weight. 4,000/6,000 Provenance: Peter H. Eaton Antiques, Wiscasset, Maine. According to Delaney Antique Clocks, David Blasdel was born in 1712 and worked in Amesbury until his death in 1756 during the last French and Indian War, in which he served as a blacksmith, working to maintain troop arms and armor. David and his older brother Jonathan (1709-1802), who worked in East Kingston, New Hampshire, were both clockmakers and metalworkers, and three of David’s sons and a grandson also worked in the trade. The Blasdels may have been the earliest blacksmiths, silversmiths, woodworkers and clockmakers working north of Boston.

145

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146

147

146.

HEPPLEWHITE CARD TABLE New England, Early 19th Century In maple. Shaped top. Full-width drawer with mahogany veneer facing and original hardware. Simple tapered legs. Height 29”. Width 34.75”. Depth 18”. 2,000/3,000

147.

COUNTRY SHERATON ONE-DRAWER STAND New Hampshire, First Quarter of the 19th Century In maple, with an old red-wash finish. Drawer with mahogany veneer facing. Simple tapered legs also support a medial shelf with arched carved gallery. Height 29”. Width 19.25”. Depth 17.25”. 500/800

148.

TRANSITIONAL CHIPPENDALE WING CHAIR Portsmouth, New Hampshire, Circa 1785 Back with shield crest and well-defined flared-out wings. Mahogany linenfold front legs joined with H-stretcher. Reupholstered by Eaton Hill Textile Works, Marshfield, Vermont, with green-colored reproduction woven worsted moreen fabric. Back height 45.5”. Seat height 19”. 3,000/5,000

148

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

149.

SHERATON TESTER BED In mahogany and birch. Simple turned head posts and reeded foot posts are Portsmouth, New Hampshire, Early 19th Century. Remainder is finely crafted reproduction. Height to top of posts 58”. Width between bolt holes 62” (queen size). Rail length 80”. Includes bed bolts, side rails and tester parts. 1,000/2,000

150.

HEPPLEWHITE CORNER WASHSTAND ATTRIBUTED TO THE SEYMOUR FAMILY Boston, Circa 1800 In mahogany. Shaped backsplash. Top cut to hold a washbowl and tumblers. Medial drawer with contrasting veneer around perimeter. Double tapered legs with banded cuff inlay. Height 38.25”. Takes a 16.5” corner. 1,000/1,500

150

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sss 151.

HOODED CRADLE New England, First Half of the 19th Century In pine, with wonderful red and black painted decoration. Height 28.25”. Length 42”. Width 24”. 200/300

151

152.

LADDERBACK ARMCHAIR New England, 18th Century In maple and ash. Sausage turnings on backs and legs. Stiles with elongated finials. Sinuous arms with primitive scrolled ends. Woven twine seat. Back height 46.25”. Seat height 17.5”. 500/700

152

153.

QUEEN ANNE CANDLESTAND Pennsylvania, Last Half of the 18th Century In walnut, with an old rich finish. Unusual nine-sided fixed top. Turned pedestal raised on three cabriole legs ending in snake feet. Height 22.5”. Top 18.25” x 18.25”. 500/800

154.

WOODEN BUTTER CHURN 19th Century Shows traces of milk paint. Complete with plunger and lid. Total height 26”. Diameter approx. 11.5”. 400/600

153

154

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The Important New Hampshire Collection of Lawrence and Dorothy Perkins

156 155

155.

TWO-PART CORNER CUPBOARD Probably Pennsylvania, First Half of the 19th Century In poplar. Upper case with twelve-panel glazed doors enclosing three interior shelves. Many glass panes believed to be original or period. Lower case with two paneled doors enclosing a single interior shelf. Height 84.5”. Takes a 24” corner. 1,000/1,500

156.

COUNTRY CHIPPENDALE BUREAU Probably New Hampshire, Circa 1790 In birch, with traces of grain-painted finish. Four graduated full-width drawers. Flat bracket feet. Original hardware. Height 33.75”. Width 38.25”. Depth 18.25”. 1,000/1,500

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A NEW HAMPSHIRE COLLECTION OF PAINTINGS

ď ˘

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157

157.

FRANK HENRY SHAPLEIGH New Hampshire, 1842-1906 “Bridge at Jackson N.H.”. Signed and dated lower right “F.H. Shapleigh 1874”. Titled verso. Oil on canvas, 10.5” x 17”. Framed 19” x 25”. 4,000/6,000

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NEW HAMPSHIRE COLLECTION

PAINTINGS

158

159

158.

ALFRED T. ORDWAY Massachusetts/New Hampshire, 1821-1897 “Artists’ Brook North Conway NH 1874”. Signed lower right “A. Ordway”. Oil on canvas, 29.5” x 49.5”. Framed 34.5” x 55”. 5,000/10,000

159.

ALFRED T. ORDWAY Massachusetts/New Hampshire, 1821-1897 “Wayside Inn, Sudbury, MA”. Signed and dated lower left “A. Ordway 1896”. Titled verso. Oil on canvas, 12” x 15”. Framed 20” x 23”. 1,500/2,500

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160

160.

HENRY ARTHUR ELKINS Colorado/California/Kansas/Vermont, 1847-1884 “Indian Encampment, Colorado 1867”. Signed and dated lower left “H. Elkins 67”. Titled on frame plaque. Oil on canvas, 28” x 48”. Framed 38” x 58”. 3,000/5,000

161.

SAMUEL LANCASTER GERRY Massachusetts, 1813-1891 “Crystal Cascade, White Mountains, NH”. Signed lower right “S.L.G”. Titled on frame plaque. Oil on canvas, 20” x 14”. Framed 25” x 19”. 2,000/3,000

161

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NEW HAMPSHIRE COLLECTION

PAINTINGS

frAnCis sEth frost Massachusetts, 1825-1902 Lots 162-165

162

162.

“The Artist at Thunder Hole 1886 - Mt. Desert Island”. Signed and dated lower left “F.S. Frost 1886”. Titled on frame plaque. Oil on canvas, 20” x 30”. Framed 27” x 37”. 5,000/10,000

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163.

“Pemigewasset Valley NH”. Unsigned. Titled on frame plaque. Oil on canvas, oval, 20” x 27”. Framed 26” x 31”. 3,000/5,000

163

164.

“Fall Fisherman, New Hampshire”. Signed and dated lower right “F.S. Frost ‘91”. Oil on canvas, 12” x 20”. Framed 15” x 23”. 2,500/3,500

164

165.

“Twilight at Fribourg”. Signed lower right. Titled verso. Oil on canvas, 12” x 20”. Framed 19” x 27”. 3,000/5,000

165

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NEW HAMPSHIRE COLLECTION

PAINTINGS

166

167

166.

GEORGE DOUGLAS BREWERTON California/Rhode Island, 1827-1901 “Sunset from the Rocks near Second Beach Newport RI”. Signed verso “G. Douglas Brewerton artist”. Titled verso. Pastel on board, 15” x 13.25” sight. Framed 22” x 20”. 2,000/3,000 Provenance: Robert King Fine Art, Newport, Rhode Island.

167.

FREDERICK DICKINSON WILLIAMS Massachusetts/New Hampshire, 1829-1915 “Vista at West Campton, New Hampshire”. Signed lower right “F.D. Williams”. Oil on canvas, 24” x 36”. Framed 28” x 42”. 2,000/3,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, November 07, 2004, Lot #1206.

168

168.

ALBERT THOMPSON Massachusetts, 1853“Landscape with Cows”. Signed lower right “A. Thompson”. Titled on frame plaque. Oil on canvas stretched over masonite, 13” x 18”. Framed 16” x 21”. 1,000/1,500

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169.

WALTER M. BRACKETT Massachusetts/Maine/United Kingdom, 1823-1919 “Yellow Perch to a Worm”. Initialed lower right “WMB”. Titled on frame plaque. Oil on canvas, 24” x 18”. Framed 28” x 22”. 1,500/2,500

170.

FRANK RUSSELL GREEN New York/Illinois, 1856-1940 “Chateau de Chillon, Lake Geneva “. Signed lower left “Frank Russell Green”. Titled on frame plaque. Oil on board, 12” x 8.5”. Framed 19” x 15”. 500/1,000

171.

AMERICAN SCHOOL 19th Century “On the Susquehanna”. Inscribed verso “Houghton On the Susquehanna”. Oil on board, 8” x 12.25”. Framed 11.25” x 16”. 400/600

172.

HENRY HITCHINGS Massachusetts, 1823-1902 “Franconia, New Hampshire”. Signed lower right “H.H”. Titled on frame plaque. Watercolor on paper, 10” x 14.5” sight. Framed 17.5” x 14.5”. 300/500

169

170

172

conclusion of the collec tion

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Maxfield Parrish New Hampshire, 1870-1966

173

173.

MAXFIELD PARRISH New Hampshire, 1870-1966 “Evening, Cornish, N.H.” Inscribed verso “M.P. Jr. No. 601” and further inscribed on the frame “Evening Cornish, N.H. 1927”. Signed on the frame “Maxfield Parrish Windsor: Vermont”. Housed in its original frame by Maxfield Parrish. Oil on panel, 10” x 12”. Framed 14.5” x 16.25”. 80,000/120,000 Provenance: American Illustrators Gallery/Judy Hoffman Fine Art, New York. An important Newport, Rhode Island Collection, acquired from the above.

Literature: Illustrated in American Magazine, May 1930, p. 91, in an article titled “Maxfield Parrish Tells Why the First Forty Years are the Hardest”. The painting is titled “Twilight” and described as, “This beautiful landscape is Maxfield Parrish at his best. He painted it solely for his own artistic satisfaction, and it has never before been published.” A photocopy of the magazine article about Parrish is included with the lot.

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174.

ATTRIBUTED TO BENJAMIN CHAMPNEY Massachusetts/New Hampshire, 1817-1907 Ellis River at Pinkham Notch, New Hampshire. Unsigned. Oil on canvas, 18” x 12”. Unframed. 1,000/1,500

For a similiar work see: https://www.whitemountainart.com/ about-3/artists/benjamin-champney-gallery/bc129/.

174A. JOSEPH PARK SWEETSTER Maine, 1831-1889 Sheep and a rooster on the Maine shore. Signed lower left “J.P. Sweetster”. Oil on board, 13” x 18.5”. Framed 17” x 22”. 1,000/2,000

174

175

174A

175.

AMERICAN SCHOOL 19th Century Wooded landscape with a barn. Unsigned. Oil on canvas, 20” x 30”. Framed 25” x 35”. 800/1,200

176.

AMERICAN SCHOOL 19th Century A town scene with church. Signed illegibly lower right. Oil on canvas, 31” x 22”. Framed 35” x 26”. 500/1,000

176

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177.

EXTREMELY RARE AND IMPORTANT MAHOGANY PIPE BOX BY SIMEON FOLGER Nantucket, 18th Century Shaped back. Single drawer at base with brass bail pull and grooved border. Signed on back of drawer “Simeon Folger”. Height 16.75”. Width 6.75”. Depth 5.75”. 1,000/2,000 Simeon Folger (1762-1847) comes from a prominent family line, some of whom were amongst the first settlers on Nantucket in 1663. Abiah Folger (b. 1667) was the mother of Benjamin Franklin. Walter Folger, Jr. (1765-1849) was a self-taught mathematical genius and politician who served as a representative in the Massachusetts legislature and made a reflecting telescope able to see the spots on Venus. In 1808, Mayhew Folger (1774-1828), captain of the ship Topax, found Alexander Smith, one of the last survivors from the settlers on Pitcairn Island after the famous mutiny of the ship Bounty.

177

178.

AMERICAN SCHOOL 19th Century Primitive riverscape with a paddlewheeler and a house on a hill. Unsigned. Oil on canvas, 22” x 27”. Framed 27” x 31”. 700/1,000

178

179.

179, additional image above

RARE KEEPSAKE BOX WITH PORTRAIT-PAINTED INTERIOR Circa 1800 Bold grain-painted exterior with a green scrolled leaf and vine design on front and sides. Green marbleized painted interior. Interior of lid with portrait of a young man within a yellow scrolled frame. Height 6”. Width 11.5”. Depth 8”. 800/1,200

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180.

HAND-PAINTED DOCUMENT BOX Early 19th Century In pine. Well-executed free-hand grain-painted surface throughout, and the lid embellished with a leaf cartouche at center and yellow sprigs at corners. Height 8”. Width 18”. Depth 8.5”. 500/800

180

181.

PAIR OF MINIATURE PORTRAITS ON IVORY America, Early 19th Century Half-length seated portraits of a father and son, identified verso as Samuel Gilbert and Benjamin Gilbert. Drapes and a view of the ocean visible behind the sitters. 4.25” x 3.5” sight. Framed 9” x 8”. 1,400/2,000 181, pair

182.

RARE SILHOUETTE OF EDGAR ALLEN POE 19th Century 3.25” x 2.75” sight. Framed 6” x 4.75”. 500/800

182

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185

183

184

183.

DWARF CLOCK Early 19th Century Cherry case with brass finials. Brass Roman numeral dial. Labeled under dial “Warranted for J. Walker”. Height 47.75”. Width 11.25”. Depth 6”. 2,500/3,500 Illustrated in The Book of American Clocks by Brooks Palmer, fig. 93. Similar to a clock by Samuel Mullikan.

184.

JOHN SAWIN LYRE CLOCK Boston, First Quarter of the 19th Century Foliate-carved mahogany case with highly stylized brass mounts. Painted Roman numeral dial signed “J. Sawin”. Alarm movement. Height 39”. 2,500/3,500 Illustrated in Treasury of American Clocks by Brooks Palmer, p. 49.

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185.

CHELSEA TAMBOUR-MOUNT SHIPS BELL CLOCK Boston, Circa May 1918 Serial#120987. Stamped on face “Bigelow, Kennard & Co., Inc., Boston” and “Chelsea Ships Bell”. Bronze case. Height 12”. Width 23.5”. Depth 7”. 1,000/1,500

186.

ROLLED SHEET IRON DOUBLE-ARM WALL SCONCE America, Early 19th Century Under worn but original green and blue paint. Square backplate. Height 12.5”. Width 11”. Depth 6”. 500/800

186

187.

PAIR OF ROLLED SHEET IRON WALL SCONCES America, 19th Century Oval backplates and drip pans with crimped piecrust edges. Backplates also with embossed design. Heights 12”. 600/900

188

188.

MINIATURE PAINTED WOODEN BUCKET Early 19th Century Exterior under early green paint over original robin’s-egg blue. Unpainted interior with dark patina. Hickory swing handle, tapered pine staves, entwined hardwood bands and inset base. Height inclusive of handle 9”. Diameter 6.25”. 500/800

187, pair

189

189.

FINE FIGURED MAPLE BURLWOOD HANDLED BOWL America, Early 19th Century Possibly American Indian. Height 3.5”. Length 10.5”. 400/600

190

190.

BLUE-PAINTED WOODEN MORTAR AND PESTLE America, 19th Century Mortar height 6.5”. Diameter 5”. 400/800

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193

191 192

191.

LARGE HEART-FORM CHEESE STRAINER Pennsylvania, 19th Century Canted and rolled sides. Base with three circular areas of fine punchwork. Nice early patina. Height 14.5”. Width 13.5”. 500/1,000

192.

CHARMING CUTLERY TRAY WITH PIERCED HEART HANDLE 19th Century Under early red paint. Dovetail construction with canted sides. Height 6.5”. Length 13.75”. 400/600

194.

193.

OVERSIZE PAINTED WOODEN MIXING BOWL America, Mid-19th Century Under mellow original salmon red paint. Nicely carved deep thumb ring around the bowl. Height 6.5”. Diameter 21”. 500/1,000

FINE CARVED MAPLE SCOOP America, Mid-19th Century Carved from a single piece of wood. Hook-form handle branded “HF”. Thin bowl. Length 12.5”. 400/600

194

195.

RARE OVERSIZE FORGED IRON HEART-FORM HEARTH STAND Late 18th/Early 19th Century Heart-form top with double scrolled design. Tall legs with penny feet. Original black surfaces. Height 13”. Length 23.75”. Width 9.75”. 500/1,000

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195

196

196.

197.

198.

MAINE NEEDLEWORK SAMPLER Circa 1827 Wrought by “Amanda Carleton born Nov. 25 1814 Aged 13”. Rows of alphabets and numerals above maker’s inscription and a floral panel. Linear border. Research indicates Amanda Carleton was the fourth daughter of farmer William Wallace Carlton and his wife, Pamela Osgood, of Blue Hill, Maine. The Carlton farm still stands and is owned by the Blue Hill Heritage Trust. 17.5” x 12.5”. Framed 20.25” x 15”. 1,500/2,000 Exhibited: Saco Museum: “Industry and Virtue Joined: Schoolgirl Needlework of Northern New England”, May 8-October 4, 2015. Includes copy of show program.

NEW ENGLAND NEEDLEWORK SAMPLER Dated 1832 Wrought by “Abigail S. Whitney AE 11 Sept 14 1832”. Verse “Of female arts in usefulness The needle far exceeds the rest” above rows of alphabets and numerals. Panel with diamonds and flower baskets at base. Rose border on three sides. 17” x 11.75” sight. Framed 20” x 15”. 1,800/2,200

NEEDLEWORK SAMPLER 19th Century Wrought by “Elizabeth R French”. Rows of alphabets and numerals above the maker’s inscription, which is flanked by hearts and baskets of flowers. Floral vine border. 17.5” x 18” sight. Framed 19.5” x 20”. 500/800

199.

NEEDLEWORK SAMPLER Dated 1840 “Lucy Davis’s piece March 23rd 1840”. Upper half with two verses, one religious, and the lower half with “Adam”, “Eve” and a serpent under the Tree of Knowledge. Brightly colored flowers, birds, figures and baskets throughout. Floral vine borders. 16.5” x 12.5” sight. Framed 20” x 16.5”. 1,000/1,500

200.

NEEDLEWORK SAMPLER Dated 1818 “Ann Bownals Sampler Made the 12 year of Her Age. 1818. Born November 12[?] 1806”. Additional Bownals names above maker’s inscription. Insects, flower baskets, a figure, birds, animals and a building below. 21” x 18” sight. Framed 23” x 20”. 800/1,200

201.

MASSACHUSETTS NEEDLEWORK SAMPLER Dated 1817 “Mary Parker wrought this in 1817 AE 14 years”. Rows of four alphabets in different scripts and sizes above verse “Let us improve each moment well That we may long in pleasure dwell”. Strawberry border around verse and perimeter. Research indicates Mary Parker was born in Reading, Massachusetts on August 21, 1803. 16.5” x 16.75” sight. Framed 19.5” x 19.5”. 1,500/2,000

202.

NEEDLEWORK FAMILY RECORD Circa 1831 Lists George and Elizabeth Wright, born in 1768 and 1795, and their eight children born between 1815 and 1831. Family believed to live in Massachusetts. Panel of roses below names. Sawtooth and floral borders. 15.75” x 15.75” sight. Framed 18.75” x 18.75”. 1,200/1,800

203.

NEEDLEWORK SAMPLER Dated 1824 Wrought by Sarah Brown and depicting an alphabet, verse, flowers and a home. 11.75” x 11.5” sight. Framed 14.5” x 14”. 500/700

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197

198

199

201 200

202

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203

204

205

204.

HUDSON RIVER SCHOOL 19th Century Expansive river view with boaters and a sidewheeler. Unsigned. Oil on board, 5.5” x 9.5”. Framed 10.5” x 14.5”. 800/1,200

206.

205.

ATTRIBUTED TO JOHN WILLIAM CASILEAR New York/Vermont, 1811-1893 Moonlit cliff. Monogrammed lower right “JWC”. Oil on canvas, 9” x 7”. Framed 14.5” x 11.5”. 2,000/3,000

FERDINAND ALEXANDER WUST New York/Belgium/The Netherlands, 1837-1876 Three framed oils on mahogany panels: Cows grazing below a snow-capped mounain, 8” x 6”, a waterfall, 7” x 6.5”, and a rocky coastal scene 8” x 6”. All signed lower left or right “A. Wust”. Largest framed 11.5” x 10”. 1,000/1,500

206, three

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207.

PAUL CORNOYER New York/Missouri, 1864-1923 “Landscape”. Signed lower left “Paul Cornoyer”. Titled verso. Inscribed verso “Landscape by Paul Cornoyer given to Nelson C. & Aida R. White by Elvia Enders Richards & Harriet Enders Martin -- This painting hung in the house of Mr. & Mrs. John O. Enders at 17 N. Highland St. West Hartford Conn.”. Oil on board, 8” x 10”. Framed 11.5” x 13.5”. 800/1,200

207

208.

ROBERT SWAIN GIFFORD New York/Massachusetts, 1840-1905 “Landscape with Rocks”. Signed lower left “R. Swain Gifford”. Titled on label verso. Oil on canvas, 12.75” x 20.5”. Framed 16.5” x 25”. 3,000/5,000 Provenance: Nelson C. White (as noted on stretcher). An artist associated with the Old Lyme Art Colony, Nelson Cooke White (Connecticut 1900-1989) was also a noted collector and art historian. His research notes are in the Smithsonian. 208

209.

FRANKLIN LEWIS SCHENCK New York, 1856-1927 Barbizon School landscape. Signed lower left “F. Schenck”. Presented in an architectural gilt frame attributed to Stanford White. Oil on board, 8” x 10”. Framed 15” x 17”. 800/1,200

209

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211

210

210.

AMERICAN SCHOOL Early 20th Century Portrait of two young boys dressed as sailors. Unsigned. Oil on canvas, 35” x 30”. Framed 41” x 36”. 3,000/5,000

211.

AMERICAN SCHOOL Circa 1863 Portrait of Sarah Day Trowbridge (1845-1863), who died suddenly while at school in Pelham Manor, New York. She was the daughter of Ezekial Hayes Trowbridge of New Haven, Connecticut. Unsigned. Oil on canvas. 29.5” x 24.5”. Framed 42.5” x 36.5”. 1,000/2,000

212.

THOMAS HICKS Pennsylvania/New York, 1823-1890 Forest interior. Inscribed in pencil on upper stretcher bar “Thomas Hicks”. Oil on canvas, 30” x 25”. Framed 33” x 28”. 2,500/3,500

212

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John George Brown New York/California, 1831-1913

213

213.

Shoeshine boys with a dog. Signed and dated upper right “J.G. Brown 1897”. Oil on canvas, 14” x 18.5”. Unframed. 20,000/30,000 Provenance: Gillette Family. Edward Bloch Family. Private Collection.

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The Wilson G. Hunt was built at New York in 1849 for the excursion trade to Coney Island, but on March 2, 1850, shortly after her completion, she was sent around the Horn to San Francisco, arriving there in early 1850. She was immediately placed in the Sacramento River trade and became a “bonanza steamer,” carrying gold speculators to the gold fields. She proceeded to make a fortune for her owners, clearing over $1 million in her first year. The steamer was sent to Victoria, British Columbia in August 1858, and ran for a short time on the New Westminster route. In October 1858 she was withdrawn, and then in the following year she replaced the steamer Constitution on Puget Sound. Early in the 1860s she was bought by the Oregon Steam Navigation Company and taken to the Columbia River, where she operated on the Cascade Route under command of Captain John Wolf. She ran on the Columbia until 1869, carrying from 250 to 300 passengers, 100 head of stock and a substantial amount of freight on a single trip. The Wilson G. Hunt was rebuilt in 1865, and in 1869 she returned to Puget Sound. She continued to be used on various runs until 1890, when she was broken up and sold for iron scrap to Cohn & Company of San Francisco. Her hull was burned shortly thereafter. Twin brothers John and James Bard were self-taught ship portraitists who specialized in steamships. The painting of the Wilson G. Hunt was one of the last two paintings signed jointly by the Bard brothers, and it has been speculated that John Bard went off in search of gold shortly after the completion of this work. By March of 1850 James Bard was the only signer of these works. After November 1855, John reappears and is known to have become a “destitute painter” in and out of New York almshouses until his death October 18, 1856. James lived a long and artistically productive life. He died 41 years after his brother, on March 26, 1897.

100

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John and James Bard New York, 1815-1897

214

214.

Portrait of the Gold Rush steamer Wilson G. Hunt. Provenance: Signed and dated lower right “Drawn and painted by The Mariner’s Museum, Newport News, Virginia. J&J Bard, NY 1849”. Inscribed at bottom “Steamer Northeast Auctions, Portsmouth, New Hampshire, March 2001. connecting Coney Island, Shreveburg, Red Bank & ‘W... The Kelton Collection of Marine Art & Artifacts, acquired from Cilly’ [indistinct] New York Captain A.H. Haggerty the above at that sale. Commander 1849 For T. Hunt Bros. N.J. Built by Thom. & Wm. Colyer N.Y. Engines of Wilson G. Hunt built by Literature: H.R. Nenham N.Y. Drawn & painted by J & J Bard N.Y. See J & J Bard Picture Painters by Anthony J. Peluso 1849”. Oil on canvas, relined, 28.75” x 49.5”. Framed (Hudson River Press, 1977), p. 7-9 for a reference to this 39.25” x 59.25”. 40,000/60,000 painting, noting it is one of the last paintings signed by John and James Bard, and John Bard’s demise.

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101

215.

HARRY ROSELAND New York, 1866/68-1950 Two figures at the farm. Signed faintly lower right “Harry Roseland”. Oil on canvas, 10” x 14”. Framed 17.25” x 21.25”. 2,000/3,000

216.

ATTRIBUTED TO GILBERT STUART Massachusetts/Rhode Island/England, 1755-1828 Portrait of John Chafy, Esq. Unsigned. Sitter identified on frame plaque. Oil on canvas, 30.5” x 25”. Framed 39” x 34”. 2,000/3,000

215

216

102

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217

217.

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”. 4,000/6,000

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103

218.

REPRODUCTION FREDERICK REMINGTON BRONZE “BUFFALO SIGNAL” 20th Century An American Indian on horseback signaling to a buffalo by waving a buffalo hide. Green marble base. Height 35”. Width 20”. Depth 10.5”. 1,000/1,200

218

104

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219.

ALEXANDER JOHN DRYSDALE Louisiana, 1870-1934 Sunset on the bayou. Signed in pencil lower right “A.J. Drysdale”. Watercolor on paper, 9.5” x 29”. Framed 12” x 32”. 1,000/1,500 219

220.

CHARLES WARREN EATON New York/New Jersey/The Netherlands, 1857-1937 Landscape with trees. Signed and dated lower right “Chas Warren Eaton - 1902”. Watercolor on paper, 13” x 20”. Framed 18” x 25”. 1,000/2,000

220

221.

ERNEST ALBERT New York/Connecticut, 1857-1946 “Autumn In The Berkshires”. Signed lower right “Ernest Albert A.N.A.”. Oil on canvas, relined, 16” x 20”. Framed 19.5” x 23.25”. 2,200/2,600

221

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105

Newell Convers (N.C.) Wyeth Pennsylvania/Maine/Massachusetts, 1882-1945

222.

“The Bonaventure”. Signed and inscribed lower left “N.C. Wyeth C.S.S.”. Oil on canvas, 39.75” x 30”. Framed. 250,000/350,000 Provenance: Charles Scribner’s Sons, New York, until 1949. Mr. and Mrs. David A. Randall, Bloomington, Indiana. Private collection, by descent. John Howell-Books, San Francisco. C.L. Saxe. Somerville Manning Gallery, Greenville, Delaware. An Important Private Collection, Newport, Rhode Island, acquired from the above, 1994. Exhibited: Terra Museum of American Art, Chicago. Brandywine River Museum, Chadds Ford, Pennsylvania: “N.C. Wyeth and His Grandson: A Legacy”, June 28, 1997-March 29, 1998, no. 15. Literature: The Mysterious Island by J. Verne (N.Y.: 1918), p. 320, illustrated. N.C. Wyeth: The Collected Paintings, Illustrations and Murals by D. Allen and D. Allen, Jr. (N.Y.: 1972), p. 222. N.C. Wyeth: Catalogue Raisonné of Paintings, Vol. I by C.B. Podmaniczky and J.H. Stoner (London: 2008), p. 371, no. I.721 (486), illustrated.

106

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107

223

223.

108

CHIPPENDALE SECRETARY DESCENDED IN THE SAME FAMILY OF ORIGINAL OWNER Litchfield, Connecticut, Late 18th Century In cherry, with poplar secondary woods. Upper case with bold broken arch pediment centering a spiralturned finial on plinth above a circular fan carving. Arched solid panel doors flanked and separated by fluted columnar panels. Interior fitted with shelves. Lower case with a slant lid, four graduated fullwidth molded-edge drawers, and bold claw & ball feet. Interior fitted with ten pigeonholes, two letter drawers, and eight other assorted drawers. Retains original hardware. Feet moldings and bracings on underside indicative of Litchfield cabinetmakers. Height 91”. Width 38.75”. Depth 21”. 40,000/60,000

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224.

CHIPPENDALE SERPENTINE-FRONT BUREAU ATTRIBUTED TO FELIX HUNNINGTON Norwich, Connecticut, Circa 1780 In cherry, with pine secondary woods. Moldededge top over four graduated full-width drawers retaining original hardware. Claw & ball feet. Old, dry finish. Height 37.5”. Width 44.75”. Depth 21.75”. 4,000/6,000

224

225.

HANDKERCHIEF TILT-TOP TEA TABLE ATTRIBUTED TO JOHN GODDARD Newport, Rhode Island, Circa 1780 In Cuban mahogany. Column-form pedestal raised on cabriole legs ending in elongated claw & ball feet, indicative of Goddard’s work. Height 27.75”. Top 30.25” x 29.75”. 1,500/2,500

225

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109

226.

RARE QUEEN ANNE BUREAU ATTRIBUTED TO JOHN DUNLAP Bedford, New Hampshire, Circa 1750 In maple, with a crusty, grain-painted finish. Case fitted with four graduated full-width drawers and raised on cabriole legs ending in pad feet. Height 38”. Width 46.25”. Depth 20.5”. 7,000/10,000

226

227.

CHIPPENDALE REVERSE-SERPENTINE BUREAU Norfolk, Virginia, Circa 1790 In mahogany, with four graduated full-width drawers and flat bracket feet. Retains period hardware. Geometric inlay on edge of top. Height 37.75”. Width 47.25”. Depth 22”. 2,500/3,500

227

110

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228. 228

229.

HEPPLEWHITE PEMBROKE TABLE Probably Charleston, South Carolina, Circa 1790 In mahogany. Single drawer at one end of apron. Tapered legs with inlaid oval cotton flower panels at tops and cuff banding at ankles. Height 28.75”. Width 19.5” plus two 9.5” drop leaves. Depth 31”. 2,000/3,000

FEDERAL PLANTATION BED New York, Circa 1825 In mahogany. Headboard with fruit and acanthus leaf carvings. Posts with bold foliate carvings. Carved bolt hole cover panels, two of which are signed in chalk “J.R. Rogers”. Height 94”. Width between bolt holes 56”. Length of side rails 72”. 10,000/15,000

229

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111

230

230.

112

QUEEN ANNE TEA TABLE ATTRIBUTED TO THOMAS ELFE Charleston, South Carolina, Second Half of the 18th Century In mahogany. Skirt with relief-carved lazy eights, indicative of Elfe’s work. Cabriole legs with nicely hewed corner returns, raised foliate and sunburst carvings at knees, and pad feet. Height 27”. Width 33.25”. Depth 25.75”. 10,000/15,000

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231

232

231.

ORIENTAL RUG: SOUMAC 9’11” x 12’6” Three columns of red, blue and gold geometric medallions run the length of a bright ivory field, with a great variety of colorful bird figures, animals and stylized branches throughout. 500/700 Provenance: An Important Private Collection, Newport, Rhode Island.

232.

ORIENTAL RUG: MAHAL 9’0” x 12’5” Sophisticated array of delicate blossoming vines rendered in blues, pale green, ivory, salmon pink, gold and subtle light brown covers a red field. Blue, ivory, pink and green guard borders. Navy blue main border. 800/1,200 Provenance: An Important Private Collection, Newport, Rhode Island.

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113

234 233

233.

114

ORIENTAL RUG: SOUMAC 3’7” x 6’3” Ivory field with three dark red and dark blue geometric medallions surrounded by various animal and bird figures, including peacocks, ducks, turtles, cows, moose, and horses mounted with riders. Dark red and dark blue borders. 200/300 Provenance: An Important Private Collection, Newport, Rhode Island.

235

234.

ORIENTAL RUG: CAUCASIAN 4’2” x 5’10” Field composed of a lattice pattern of red flowers on an ivory ground. French blue border with a salmon red floral pattern. 500/700

235.

ORIENTAL RUG: MALAYER 4’4” x 6’4” Midnight blue field with an abrashed marine blue medallion outlined in red. Meandering vine in shades of green bearing colorful blossoms throughout. Red spandrels. Abrashed ivory border features turtle motif. 200/400 Provenance: An Important Private Collection, Newport, Rhode Island.

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236.

ORIENTAL RUG: HERIZ 7’7” x 19’3” Abrashed dark blue field with ivory medallion with red outline and ivory, blue and red pendants. Largescale blue, red, abrashed gold and pink blossoming vines throughout. Red subfield. Light blue and brick red borders. 2,000/3,000 Provenance: An Important Private Collection, Newport, Rhode Island.

237.

ORIENTAL RUG: TURKOMAN SOUMAC 6’0” x 11’0” Dark green field with multiple staggered rows of contiguous latch hook medallions rendered in blue, red and ivory. Main border consists of repeating geometric elements. Broad flat woven panels at each end. 350/450 Provenance: An Important Private Collection, Newport, Rhode Island.

238.

ORIENTAL RUG: VERAMIN 5’1” x 7’1” Two columns of bold red, blue, ivory and yellow stylized elements on a navy blue field. Yellow and ivory guard borders. Red main border. 450/650 Provenance: An Important Private Collection, Newport, Rhode Island.

239.

ORIENTAL RUG: SHIRVAN KILIM 5’1” x 10’1” Multiple rows of a repeating geometric medallion and other repeating stylized elements, rendered in soft shades of red, pink, blue, aqua, ivory, gold and brown, extend side-to-side along the length of the carpet. 300/500 Provenance: An Important Private Collection, Newport, Rhode Island.

240.

ORIENTAL RUG: TURKISH 5’4” x 8’4” Large ivory geometric medallion contains a central stylized element surrounded by broad rust red, green, pale yellow and amethyst serrated leaves. Light blue field above an abrashed red subfield. Light blue and brick red guard borders. Ivory main border. 450/650 Provenance: An Important Private Collection, Newport, Rhode Island.

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236

115

241

241.

116

ORIENTAL RUG: SERAPI DESIGN 9’0” x 11’8” Light yellow gabled medallion with a navy blue center and salmon pink cartouches on a tomato red field above an ivory subfield. Pink and green spandrels. Navy blue main border. 1,500/2,000

242

242.

ORIENTAL RUG: SULTANABAD DESIGN 9’2” x 11’8” Light blue field with a traditional arrangement of bold blossoms linked by delicate vines, rendered in shades of rust red, ivory, celadon green, pale gray and gold. Celadon green guard borders. Ivory main border. 1,500/2,000

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243.

CHARLES J. MOVALLI Massachusetts/Maine, 1945-2016 “Morning Light”. Signed lower left “Movalli”. Titled verso. Acrylic on canvas, 36” x 36”. Framed 43” x 43”. 4,000/6,000

243

244.

ROBERT HENRY LOGAN Massachusetts, 1875-1942 Fall landscape with figures. Signed lower right “Logan”. Oil on canvas, 20” x 24”. Framed 30.5” x 34.5”. 800/1,200

244

245.

JOSEPH MARGULIES New York, 1896-1984 Fishing shacks. Signed lower right “Jos. Margulies”. Oil on canvas, 24” x 30”. Framed 35” x 28”. 1,500/2,500

245

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117

Robert R. Bliss Massachusetts, 1925-1981

246

247

118

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Robert R. Bliss Massachusetts, 1925-1981

248

246.

“Sandy Neck in Winter”. Signed and dated lower right “Bliss 78”. Titled verso. Oil on masonite, 32” x 48”. Framed 33” x 49”. 1,000/1,500

247.

Sunset over the hills. Signed and dated lower right “Bliss 79”. Oil on masonite, 32” x 48”. Framed 33” x 49”. 1,000/1,500

248.

Moon over a landscape. Signed lower left “Bliss”. Oil on masonite, 32” x 48”. Framed 33” x 49”. 1,000/1,500

249.

Three works. One signed lower left “Bliss 79”. Oils on canvas, 8” x 10”. Unframed. 800/1,200

249, three

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119

250.

ALSON SKINNER CLARK California/Illinois, 1876-1949 Autumnal landscape. Signed lower left “Alson Clark”. Oil on canvas board, 10” x 14”. Framed 14” x 18”. 1,500/2,500

251.

ALSON SKINNER CLARK California/Illinois, 1876-1949 “Old Mill Falls”. Signed and titled verso “Alson Clark Old Mill Falls”. Oil on board, 21” x 25”. Framed 29” x 33”. 1,000/1,500

252.

ALICE DAVIS Cape Cod, 1928-1986 “Wharf - Pigeon Cove” (Rockport, Massachusetts). Signed lower right “Alice W. Davis”. Titled verso. Oil on board, 19” x 22”. Framed 23” x 26”. 700/1,000

250

251

Alice Davis ran the popular Ship’s Bell Studios in Harwich, Massachusetts. A painting by Davis stated noted art historian John Updike said her paintings “spoke of distant freedoms; of giant dunes it would be bliss to run up and down, inhaling great gasps of salt air. No human figures in the vista competed with the viewer for enjoyment of it; thus sandy valley seemed both vast and intimate in its loneliness.”

252

120

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253

253.

WALTER FARNDON New York, 1876-1964 Coastal inlet. Signed lower right “Walter Farndon N.A.”. Oil on board, 14” x 18”. Framed 18” x 22”. 2,000/3,000

254.

WALTER FARNDON New York, 1876-1964 A mountain harbor. Signed lower right “Walter Farndon N.A.”. Oil on board, 14” x 18”. Framed 18” x 22”. 2,000/3,000

254

255.

256.

HARRY LESLIE HOFFMAN Connecticut, 1871-1964 A country party. Unsigned. Estate stamped verso. Housed in a Newcomb-Macklin frame. Oil on masonite, 20” x 24”. Framed 27” x 31”. 1,500/2,500

255

HARRY LESLIE HOFFMAN Connecticut, 1871-1964 Boy playing with a boat on the beach. Unsigned. Estate stamped verso. Oil on board, 9” x 14”. Framed 14” x 19”. 1,000/1,500

256

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121

Kenneth J. Knowles Massachusetts, b. 1968

258 257

259

257.

“Horse and Carriage Rides Boston, Ma”. Signed lower “Ken Knowles”. Titled verso. Noted verso that the painting won the 2009 North Shore Art’s Rosamond Smith Bouve Award. Oil on canvas, 30” x 30”. Framed 36” x 36”. 2,000/3,000

258.

“‘Historic Lanesville’ Cape Ann”. Signed lower right “Ken Knowles”. Titled and dated 1999 verso. Oil on canvas, 24” x 30”. Framed 32” x 38”. 2,500/3,500

122

260

259.

“Vermont Winter”. Signed lower right “Ken Knowles”. Titled and dated 2010 verso. Oil on board, 24” x 30”. Framed 31” x 37”. 2,500/3,500

260.

“The Mimi”. Signed lower left “Ken Knowles”. Titled verso. Oil on masonite, 20” x 16”. Framed 26” x 22”. 1,200/1,800

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261

262

261.

CHARLES HERBERT WOODBURY Maine/Massachusetts, 1864-1940 “Evening”. Signed and dated lower left “Charles H. Woodbury 1910”. Titled on label verso for Vose Galleries, Boston. Oil on canvas, 20” x 27”. Framed 27” x 34”. 12,000/15,000

262.

STOKELY WEBSTER Connecticut/New York/Illinois, 1912-2001 “Port de. St. Tropez”. Signed lower right “Stokely Webster”. Titled on label verso for The Eric Galleries, Inc., New York. Oil on canvas, 24” x 30”. Framed 29” x 35”. 3,000/5,000

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123

263

264

263.

FRANK H. DESCH Massachusetts, 1873-1934 Seated female nude. Signed lower right “F.H. Desch”. Remnants of label verso for Royal Art Framing Company, New York. Oil on canvas, 16.5” x 12.25”. Framed 27” x 23”. 3,000/5,000 Born in Philadelphia in 1873, F.H. Desch studied under Charles Hawthorne during his Provincetown years. He also studied under William Merritt Chase.

264.

HARRY LESLIE HOFFMAN Connecticut, 1871-1964 Two children in a garden. Signed lower center “Hoffman”. Oil on canvas, 32” x 30”. Framed 39” x 37”. 2,500/3,500

265.

DAVID CURTIS Massachusetts, b. 1950 “Its Own Season (Spring Thaw)”. Signed lower right “David Curtis”. Titled verso. Oil on canvas, 18” x 36”. Framed 25.5” x 43.5”. 800/1,200

265

124

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266.

BUCCELLATI STERLING SILVER SHELL-FORM CENTERPIECE Italy, 20th Century On four seashell and sea star feet. Hammered surface. Fully marked. Height 5”. Width 17”. Depth 13”. Approx. 86.2 troy oz. 3,000/5,000

266

267.

SARCOPHAGUS-FORM SHELL TEA CADDY England, First Half of the 19th Century With ivory moldings and four ivory ball feet. Interior fitted with two cut glass tea jars. Height 7.25”. Width 7.75”. Depth 5.75”. 1,800/2,500 267

268.

UNUSUAL REGENCY TEA CADDY IN THE FORM OF A SIDEBOARD England, Mid-19th Century In mahogany. Height 11.75”. Width 17.5”. Depth 8.25”. 1,000/1,500

268

269.

PAIR OF GEORGE III MAHOGANY-VENEER KNIFE BOXES England, Late 18th Century Exteriors with finely shaped and crossbanded fronts, and silver escutcheons and pulls. Cover interiors inlaid with an eight-pointed star and stringing. Fitted slots with further string inlay. Heights 14.25”. Widths 9”. Depths 12.25”. 400/600

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269, pair

125

270.

JOHN LINNELL United Kingdom, 1792-1882 “Shepherds”. Unsigned. Identified on label verso. Presented in a fine hand-carved gilt frame by Hermann Dudley Murphy under the CarrigRohane Shop. Frame inscribed verso date of 1926 split by Murphy’s “M” monogram. Further inscribed below “Carrig-Rohane Shop Inc R.C. Vose Boston #4313”. Oil on board, 7” x 9”. Framed 12.25” x 14.25”. 2,000/3,000

270

271.

IRISH BIRDCAGE TILT-TOP TEA TABLE IN RARE FORM Late 18th Century In Cuban mahogany. Columnar pedestal supported by three arched legs carved to simulate a human leg sporting a riding boot. Height 28”. Diameter of top 30.25”. 3,000/4,000

271

272.

DELFT BLUE AND WHITE POTTERY FOUR-PIECE GARNITURE SET 19th Century Two octagonal vases with domed covers with guardian dog knops, heights 13.5”, and two slightly flared octagonal vases, heights 10”. Matching floral and bird decoration. 500/800

272

126

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273

273.

PAUL-CESAR HELLEU France, 1859-1927 Nude bathers. Signed lower right “P. Helleu”. Housed in an elaborate gilt frame. Pastel on paper, 30.5” x 39”. Framed 46” x 57.5”. 15,000/20,000

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127

274

275

274.

EXCEPTIONAL CALLIGRAPHIC DRAWING DEPICTING NAPOLEON Probably French, Second Quarter of the 19th Century From the painting of Napoleon by Jacques Louis David, depicts Napoleon on horseback surrounded by a foliate wreath. Inscribed “Executed with the pen by Charles F. Harriman” at lower center. Napoleon executed in sepia, vivid blues and black, and horse executed in sepia tones. 19” x 16.5” sight. Framed 24.75” x 21.5”. 800/1,200 Provenance: Robert C. Eldred Co., Inc., Summer Americana Auction, August 2013, Lot #1480.

276, pair

128

275.

LORENZO (RENZO) COLOMBO France/Italy, 1856-1885 Bust of Napoleon. Signed “R Colombo 1885”. Bronze, height 22”. Width 16”. Depth 12.5”. 1,000/1,500

276.

PAIR OF FRENCH TERRA COTTA GARDEN FIGURES 19th Century A peasant woman carrying a basket of fruit on her head and a peasant man carrying a sheaf of wheat over his shoulder. Traces of white paint. Stepped bases with raised leaf decoration. Total heights 64.5” and 65”. Base heights 21”. 2,000/4,000

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277.

ITALIAN SCHOOL 16th Century-Style Madonna and Child with St. John the Baptist. Unsigned. Paper labels verso handwritten “E.H. James Concord, Mass”, which may refer to Edward Holton James (18731954), a prominent socialist who was the nephew of Henry James and the father-in-law of Alexander Calder. Housed in an antique parquetry frame. Oil on panel, 23.5” x 16.5”. Framed 32” x 25”. 3,000/5,000

277

278

Situated at the northern end of the Roman Forum, the Arch of Septimius Severus is a white marble triumphal arch dedicated in 203AD to commemorate the Parthian victories of Emperor Septimius Severus and his two sons, Caracalla and Geta. It has been painted by numerous artists and is probably best

278.

ITALIAN SCHOOL 19th Century or Earlier The Arch of Septimius Severus. Unsigned. Oil on canvas, 34” x 44”. Framed 38” x 48”. 2,000/3,000

represented by Canaletto’s 1742 view owned by the Royal Collection Trust.

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129

279.

JOSE MANUEL CAPULETTI Spain, 1925-1978 “Retour a la Lumiere”. Signed lower left. Signed and titled verso. Stamp verso for Hammer Galleries, New York. Oil on canvas, 31.5” x 37”. Framed 39.75” x 45.25”. 5,000/7,000

279

280.

ATTRIBUTED TO DIEGO RIVERA New York/Michigan/Mexico, 1886-1957 Two studies: Standing figure and elephants. Elephants signed lower right. Typed note taped to frame on reverse states “Purchased from the family of Diego Rivera at his villa in Acapulco, Mexico”. Housed together in a common frame. Crayon on Japan paper, sheet sizes 11” x 15.25”. Framed 18.25” x 29.25”. 2,000/3,000

280, two

130

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281.

PEDRO FRIEDEBERG Italy/Mexico/America, b. 1936 Mahogany hand chair, circa 1970s. Right hand. Interior of base signed “Pedro Friedeberg”. Height 35.75”. Width 19”. Depth 21”. 4,000/6,000

281

282.

PEDRO FRIEDEBERG Italy/Mexico/America, b. 1936 Silvered wood hand chair, circa 1970s. Left hand. Interior of base signed “Pedro Friedeberg”. Height 35.75”. Width 19”. Depth 21”. 3,000/5,000

282

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131

283.

JOSE MANUEL CAPULETTI Spain, 1925-1978 “El Farucco” or portrait of a flamenco dancer, circa 1966. Signed lower left. Further identified on a handwritten label affixed verso for Hammer Galleries, New York. Tempera on paper, 12.5” x 9.25” sight. Framed 23” x 19.75”. 1,200/1,800

284.

YNEZ JOHNSTON California, 1920-2019 “Territories in Time”. Signed lower right “Ynez Johnston”. Titled label verso for Adele Bednarz Gallery, Los Angeles. Watercolor and ink on fabric laid on board, 54” x 26.25”. Framed 55” x 27”. 4,000/6,000 Provenance: Adele Benarz Galleries. Stewart Galleries, Palm Springs, California. Private Collection.

283

285.

PURVIS YOUNG Florida, 1943-2010 Modernist portait of two boys. Signed upper right “Young”. Oil on fabric attached to a course mat, 46” x 30”. Unframed. 800/1,200

285 284

132

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286

286.

ROBERT AARON FRAME California/United Kingdom, 1924-1999 Monterey Coast. Signed lower left “R. Frame”. Inscribed verso “To Alice with Love 1961 Bob”. Oil on canvas, 26” x 40”. Framed 27” x 41”. 4,000/6,000 Provenance: Stewart Galleries, Palm Springs, California. Private Collection.

287.

LUCILE E. LUNDQUIST BLANCH New York/South Carolina/California/Minnesota, 1895-1981 Abstract. Signed lower right “Lucile Blanch”. Oil on panel, 10” x 8”. Framed 17” x 15”. 500/1,000

287

289

288.

MAKOTO YABE GLAZED STONEWARE BOWL Massachusetts, 20th Century Ribbed body with overlapping interior. Blue and cream slip on an ash-glazed ground. Signed on base. Height 4.5”. Diameter 12.5”. 600/800

289.

MAKOTO YABE GLAZED STONEWARE BLADDER VASE Massachusetts, 20th Century Horizontal blue and green lines and incised shark tooth decoration. Signed on base. Height 11”. 500/700

288

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133

Charles Green Shaw New York, 1892-1974

290.

“Out of Chaos 1959”. Signed lower right “Shaw”. Titled verso. Oil on canvas, 30” x 40”. Framed 32” x 42”. 5,000/10,000

291.

“Yellow Afternoon”, 1959. Signed lower right “Shaw”. Titled and dated on label verso. Oil on canvas, 30” x 40”. Framed 32” x 42”. 5,000/7,000

290

291

134

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Charles Green Shaw New York, 1892-1974

292.

Abstract. Signed lower left “Shaw”. Dated 1955 verso. Oil on canvas board, 36” x 24”. Unframed. 3,000/5,000

293.

“Harbor Sunset”. Signed lower right “Shaw”. Titled and dated 1955 verso. Label verso notes this painting won an award in the 1958 Nantucket Art Association show. Oil on canvas board, 30” x 22”. Framed 35” x 26”. 5,000/10,000

294.

“Montage”. Signed and titled verso. Contains Italian minchiate playing cards and early gaming counters. Collage, 9.25” x 13.25” sight. Framed 10” x 14”. 700/900

292

294

293

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

135

295

297

295.

136

HOWARD KOTTLER Ohio/Washington, 1930-1989 “Seeing is Believing”/”Homage to Gertrude”, circa 1972. Artist’s decal and paper label “12. Seeing is Believing” on reverse. Ceramic decal on porcelain plate, diameter 10.25”. 300/400

296.

THREE PIECES OF VIVIKA AND OTTO HEINO STUDIO POTTERY Third Quarter of the 20th Century A squat vase with brown mottling against a pale blue ground, height 3.25”, a bowl with mottled green glaze, diameter 4.75”, and a bowl with mottled brown glaze, diameter 3.5”. All with incised mark. 300/500

297.

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298

299

298.

MARGUERITE THOMPSON ZORACH New York/Maine/California, 1887-1968 “New England, Saturday Night”. Titled in pencil lower left. Signed lower right “Marguerite Zorach”. Numbered AX 1860. Lithograph with watercolor and pencil on laid paper, 13” x 17.5”. Unframed. 500/700

299.

MARGUERITE THOMPSON ZORACH New York/Maine/California, 1887-1968 “Sunday After Noon, New England”. Titled in pencil lower left. Signed lower right “Marguerite Zorach”. Numbered AX 1858. Lithograph with watercolor and pencil on laid paper, 13” x 17.5”. Unframed. 500/700

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137

Peter (Finkelstein) Max New York/Germany, b. 1937

301

300

300.

“Delta”. Signed upper right “Max”. Titled verso. Mixed media on paper, 28” x 22”. Framed 42” x 36”. 4,000/6,000 Provenance: Private Collection, Newport, Rhode Island.

301.

“Flag with Heart”. Signed lower right “Max”. Titled verso. Mixed media on paper, 17” x 22” sight. Framed 31” x 36”. 2,000/3,000 Provenance: Private Collection, Newport, Rhode Island.

302.

“Peace on Earth”. Signed lower right “Max”. Titled verso. Mixed media on paper, 23” x 17” sight. Framed 40” x 34”. 2,000/3,000 Provenance: Private Collection, Newport, Rhode Island.

302

138

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Peter (Finkelstein) Max New York/Germany, b. 1937

303

303.

“Andy with a Mustache”. Version 6, #4. Signed upper right “Max”. Titled and numbered 70538 verso. Acrylic on canvas, 24” x 20”. Framed 35” x 31”. 8,000/10,000 Provenance: Angela King Gallery, New Orleans. Private Collection, Newport, Rhode Island.

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139

304

305

304.

CHINESE EXPORT IVORY SEWING BOX 19th Century Exterior densely carved with populated landscape scenes. Hinged top encloses a fitted interior. Metal handles and four bun feet. Interior lift-out tray with assorted compartments and two carved, pierced and hinged doors with pomegranate and Buddha’s hand handles. Accoutrements include clamps, a shuttle, silk winders, various reels and boxes. Together with three lice combs. Box height 3.5”. Width 11.75”. Depth 6.5”. 8,000/12,000

305.

CHINESE EXPORT FAN AND CASE Circa 1850 Green paper fan painted with gouache, depicting a scene of Macao Port with the Hongs and ships at center and additional decoration of peonies, birds, scrolls and fish. Gilt black laquer sticks and guard. Black lacquered case marked “Vochon”. Fan and case housed in a shadow box frame. Fan 12” x 16”. Framed 20” x 20”. 1,500/2,500

Provenance: Sotheby’s, November 17, 1999, Lot #1004.

140

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306.

IMPORTANT SET OF CHINESE EXPORT ARMORIAL PORCELAIN 18th Century Includes a 13.75” charger, four 9” plates and a framed parchment with coat of arms similar to the armorials on the porcelain pieces. Parchment crest consists of a lion with banner “Gratitudo” above an escutcheon with field of various charges including stalks of wheat, three blue shells above three blue stripes, an arrangement of orbs, etc., and a banner below with “Spe Labor Levis”. Armorial on porcelain pieces includes many of the same elements but are not an exact replica. Porcelain with floral borders. Parchment frame 14” x 12”. 12,000/18,000 Provenance: Purchased through Cohen & Pearce.

306, set

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141

307, six

308, four

307.

308.

SET OF SIX CHINESE EXPORT BLUE AND WHITE NANKING PORCELAIN TEACUPS AND SAUCERS Mid-19th Century Both teacups and saucers with molded basketweave edges. Saucer diameters 5”. 1,500/2,000

SET OF FOUR CHINESE EXPORT BLUE AND WHITE PORCELAIN OCTAGONAL BERRY BOWLS Second Quarter of the 19th Century Diameters 6.25”. 1,500/2,000 Similar examples are illustrated in Views of The Pearl River Delta by William R. Sargent, et al.

142

309

309.

CHINESE EXPORT ARMORIAL PORCELAIN PLATE 18th Century Armorial identified on label verso as Nash of Kilkenny. Border with four grisaille cartouches of alternating landscape and bird designs. Diameter 9”. 800/1,200 Provenance: Christie’s, January 21, 1998, Lot #220.

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310.

CHINESE EXPORT BLUE AND WHITE PORCELAIN SHALLOW SOUP BOWL Second Quarter of the 19th Century Diameter 9.5”. 800/1,200 A similar example is illustrated in Views of The Pearl River Delta by William R. Sargent, et al.

311.

CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN OVAL PLATTER Second Quarter of the 19th Century 14.5” x 12.5”. 300/500

312.

CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN COVERED SOUP TUREEN Second Quarter of the 19th Century Cover with fruit-form finial. Tureen with applied twist side handles. Height 9”. Length 12.5”. Width 10”. 800/1,200

313.

CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN OVAL HOT WATER TRAY Second Quarter of the 19th Century Height 3”. Length 15.75”. Width 11”. 700/1,000

310

312

313

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143

314.

CHINESE EXPORT REVERSE PAINTING ON GLASS First Half of the 19th Century Depicts a wealthy merchant and attendants under a pavilion and flowering trees. Housed in a hardwood frame with pierced brass handles. 31” x 21” sight. Framed 32” x 24”. 1,000/2,000

314

315, four

315.

SET OF FOUR CHINESE EXPORT BLUE AND WHITE NANKING PORCELAIN OCTAGONAL PLATES Mid-19th Century Unusual molded basketweave edges. Diameters 9.25”. 1,000/1,500

316.

144

CHINESE EXPORT ARMORIAL PORCELAIN CHARGER 18th Century Unidentified crest at center, possibly Swedish, incorporates “Himlen Waghte Foten”. Border with gilt shell and foliate design. Diameter 12.5”. 1,500/2,000

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316

317, two views

317.

SAILOR-MADE CARVED COCONUT SHELL BOX Late 19th Century Extensively carved, with one side depicting a shepherd and his dog tending a flock of sheep, the opposite side depicting an American Indian on horseback spearing a lion, and a leaf and vine design throughout. Metal rings at top and sides. Whalebone knobs. Height 6.25”. 800/1,200

318.

JEAN KEUTERICKX California/Belgium, 1907-1969 Sailboats and a windmill in the distance. Signed lower right “J. Keuterickx”. Housed in a Guido frame. Oil on canvas, 31” x 36”. Framed 35.5” x 41”. 5,000/8,000 Provenance: Private Collection. Exhibited: Century Federal Savings and Loan Association, Brentwood, Los Angeles, 1962.

318

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

145

319

319.

WILLIAM HARE Maryland/England, 1815-1865 The schooner George Fales off the coast, possibly Sampson’s Island. Another ship and two lighthouses in the distance. Unsigned. Oil on canvas, 26” x 36”. Framed 30” x 39.5”. 3,000/5,000

320.

“TABOR ACADEMY” CREW OAR Dated 1981 Blade painted white with red and blue stripes, a red “E”, and marked “Tabor Academy Quinsigamond Regatta 1981”. Label for E. Ayling. Length approx. 150”. 700/1,000

321.

“RADCLIFF VARSITY CREW” OAR Dated 1989 Blade painted red and green and marked “Radcliff Varsity Crew Womens’ 8 Henley Champions 1989”. Label for “Geo. Pocock University Station”. Length approx. 145”. 700/1,000

146

320

321

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322.

AMERICAN SCHOOL Early 20th Century Portrait of the Boston fireboat John P. Dowd. Signed lower right “E. Sheehan”. Designed by William F. Keough, the fireboat was built by Bertelsen & Peterson in East Boston and placed in service in 1909. She was part of Engine 47 Fireboat Company housed in a custom firehouse on a wharf at the foot of Lewis Street, near Maverick Square, East Boston. Gouache, 13.5” x 27.5” sight. Framed 18” x 32”. 1,000/1,500 322

323.

CHARMING MODEL OF A FISHING BOAT America, Mid-20th Century Mixed material construction. Hull painted white with green and red accents. Height 26”. Length 31”. Width 11.75”. 500/700

323

324.

STRONG FIRE ARMS SIGNAL CANNON Early 20th Century 10-ga. Barrel stamped “Manf ’d By The Strong Fire Arms Co. New Haven, Conn. U.S.A.”. Mounted on wooden carriage with brass fittings. Includes a sailor-made knotted ropework firing cord. Length of barrel 14”. Total length 18.5”. 3,000/4,000 324

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147

John Mecray Rhode Island/Pennsylvania, 1938-2017

325

325.

“Daybreak”, depicting the yacht Coronet in the distance after a night of squalls. Signed lower right. Oil on canvas, 24” x 33”. Framed 31” x 40”. 25,000/35,000 Provenance: An Important Private Collection, Newport, Rhode Island.

John Mecray described this painting as, “Dawn breaks as the stately schooner Coronet heads for land and a safe harbor. The majesty of a radiant dawn eclipses an undulating wind-tossed sea; a sea that shows all the telltale signs of a recently passed storm.” This was the first (and last) in a new series of paintings by John Mecray. Here the environment dominates the scene as the classic vessel is seen in the far distance. It is a striking departure from Mecray’s close-in depictions of yachts and the teaming harbor scenes he is known for.

148

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149

326.

GEORGE SAVARY WASSON Maine/Massachusetts, 1855-1932 Ships off the Boston coast. Signed lower left “G.S. Wasson - Boston”. Oil on canvas, 10.25” x 15.25”. Framed 16” x 20”. 800/1,200

326

327.

NANTUCKET BASKET FRIENDSHIP PURSE BY DONNA CIFRANIC Nantucket, 1993 Cover with carved whale mounted on an ebony plaque. Cover interior engraved with owner’s initials. Signed and dated on base interior and exterior. Whale indistinctly signed. Length 9”. 1,000/1,500 Donna Cifranic and her husband Dick sold baskets at their shop on Miacomet Ave. Her

327

baskets are known for their tight weave and even stitching.

328

328.

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

329.

329

150

FRANK ADAMO CARVING OF A RIGHT WHALE Massachusetts, 20th Century Mounted on a driftwood base. Signed on base “Adamo”. Height 9.25”. Length 12.5”. 700/1,000

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330.

WONDERFUL LARGE-SCALE COPPER GALLEON WEATHER VANE America, Late 19th Century Well-detailed. Verdigris finish with remnants of old paint. Includes custom museum-style stand. Height inclusive of stand 71”. Length 63”. 5,000/10,000

330

331

331.

COPPER WEATHER VANE BY JOHN GARRETT THEW Norwalk, Connecticut, 20th Century In the form of a fisherman standing and rowing a dory, with a striped bass at the bow to act as a counterweight. Keel faintly stamped “John Garrett Thew Norwalk, Conn Dory 454”. On museum-style stand. Height inclusive of stand 12.5”. Length 29.5”. 1,500/2,000

332.

332

COPPER SPERM WHALE WEATHER VANE Late 20th Century Verdigris patina. Includes finders. Mounted on a turned wooden post painted white. Total height 48”. Length 30”. 500/800

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151

333.

RARE SHEET COPPER CANNON SILHOUETTE WEATHER VANE 19th Century Verdigris finish with traces of original gilding. Height 10.5”. Length 25”. 1,000/2,000

333

334.

LARGE WOODEN WINDMILL WHIRLIGIG Early 20th Century Painted green, red and white. Height 39”. Length 43”. Width 12”. 600/900

334

335.

COPPER QUILL PEN WEATHER VANE America, Late 19th Century Finely detailed. Verdigris finish. On a contemporary wall mount. Height 16”. Length 25”. 1,000/1,500

335

152

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336

337

338

336.

PAINTED WOODEN OPTICIAN’S TRADE SIGN Late 19th Century Depicts aqua-colored eyeglass lenses on a white background with black lettering “Graduate Optician J. Gumbinger 131 West Bay St.”. Thin single-plank construction. 11.5” x 36”. 800/1,200

337.

HAND-PAINTED ROLLED SHEET IRON TRADE SIGN “SANDWICHS HOT DOGS” Late 19th/Early 20th Century Red lettering on a cream ground; the misspelled “Sandwichs” adds a fun element to an already wonderful sign. Fine early, crusty finish. Pine frame. Overall 61” x 24”. 1,000/1,500

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338.

PAINTED WOODEN TRADE SIGN “BOATS & MOTORS FOR THE DAY” America, Circa 1930 Black lettering on a yellow ground. Single-plank construction with applied frame. Overall 16” x 32”. 500/700

153

339.

CHILD’S PAINTED WOODEN ROCKING HORSE 19th Century Carved brown horsehead with button eyes. Red seat with yellow highlights, and yellow and red runners. Footrest with oval landscape depicting a lake scene. Height 19”. Length 50”. Width 12”. 400/700

339

340.

AMERICAN SCHOOL 19th/Possibly Early 20th Century Two children in red dresses, one on a rocking horse and the other on an Empire sofa. Oil on wood panel, 6.5” x 8.5”. Unframed. 500/1,000

340

341.

AMERICAN SCHOOL 19th Century Portrait of a young boy with a hoop. Unsigned. Housed in its original frame. Watercolor on paper, 6” x 5” sight. Framed 8.25” x 7.5”. 500/800

341

342.

WINDSOR ROD-BACK HIGH CHAIR Late 18th/Early 19th Century Under old, and likely original, black paint. Back height 36”. Seat height 22.25”. 500/1,000

342

154

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343.

UNUSUAL SLATE CHECKERBOARD America, Early 20th Century Checkerboard with carved squares and vibrant original red and black paint. Circle design about perimeter with marbleized paint. Framed 22” x 22”. 800/1,200

343

344.

PAINTED WOODEN WAGON Last Half of the 19th Century Green buckboard with “Yale” in chrome yellow lettering. Red wagon seat. A 1926 Maine “Milk License” plate attached to sliding backboard. Length 46”. Width 26.25”. 500/800

344

345.

LATE 19TH/EARLY 20TH CENTURY HOOKED RUG 2’1” x 3’4” Depicts a purple dove in each corner and flowers filling the remainder of the black field. Strong original colors. Professionally mounted on a stretcher. 300/500

345

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155

346

346.

156

AMMI PHILLIPS Connecticut/Massachusetts/New York, 1788-1865 Portrait of Ebenezer Punderson, circa 1821. Unsigned. The Punderson family commissioned Phillips to paint four versions of this portrait. John Davison Rockefeller is a direct descendant of Punderson. Oil on canvas, 32” x 27”. Framed 38.5” x 33.5”. 10,000/15,000

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347, pair

347.

ZEDEKIAH BELKNAP Massachusetts/New Hampshire/Connecticut, 1781-1858 Portrait of a husband and his wife. Unsigned. Oils on board, 28.5” x 22.5”. Framed 33” x 27”. 4,000/6,000

348.

JOSEPH LINDON SMITH New Hampshire/Rhode Island, 1863-1950 “Nefertite”. Signed lower right “Joseph Lindon Smith”. Titled on frame plaque. Oil on canvas, 27.5” x 19”. Framed 35” x 26”. 2,500/3,500

348

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157

349.

AMERICAN SCHOOL 19th Century Portrait of James Lloyd, Jr. Unsigned. Sitter identified verso. Oil on canvas, 30” x 25”. Framed 39” x 34”. 800/1,200

349

349A. ATTRIBUTED TO JOSEPH ROBERT MASON Delaware/Ohio, 1808-1842 Portrait of a minister. This painting is lined in an original frame and is of significant size because of the frame. Oil on canvas, 33” x 27”. Framed 42” x 36”. 1,500/2,500 When Joseph Robert Mason was in his very early teens he took a class with John James Audubon. Audubon was so impressed with Mason’s ability to draw, he took the boy with him down the Mississippi for what was close to a three-year trip. Mason is credited with having done all the background and floral details in Audubon’s watercolors of that period. Mason was 16 when his father, a bookseller, died and he returned to Cincinnati, where he opened a studio. But he had a falling out with Audubon, who took Mason’s name off the watercolors.

349A

158

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349B. ATTRIBUTED TO EDMUND C. COATES New York/England, 1816-1871 “Peekskill Landing, Hudson River”. Unsigned. After the engraving by Bartlett. Oil on canvas, 18” x 24”. Framed 21” x 27”. 2,000/3,000

349B

349C. ATTRIBUTED TO RESON B. CRAFFT Ohio, 1809-1877 Portraits of a husband and his wife. Unsigned. Oils on canvas, 30” x 25”. Framed 37” x 33”. 2,000/3,000

349C, pair

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159

350

350.

FLORAL THEOREM PAINTING America, Mid-19th Century Finely rendered with strong colors. Watercolor on paper, 11.5” x 12.5”. Framed. 500/1,000

351.

HANGING WATCH HUTCH America, Early 19th Century Scrolled and pierced backboard. Fitted sliding cover with oval glass aperture for watch. Height 11”. 500/1,000

352.

SMALL LEATHER-COVERED DOME-TOP DOCUMENT BOX First Quarter of the 19th Century Label on interior of lid for “Amos Tappan, Saddler & Upholsterer, ... Newburyport”. Interior lined with blue and white polka dot wallpaper. Height 5.5”. Width 9”. Depth 6”. Retains original key. 800/1,200

351

352

160

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353.

CHIPPENDALE BLOCK-FRONT CHEST Probably Norwich, Connecticut, Circa 1780 In cherry, with chestnut secondary woods. Molded-edge top over four graduated full-width graduated drawers. Block-molded bracket feet. Retains most of its original blocking. Nice old, crusty finish. Height 35.5”. Width 42.25”. Depth 19.5”. 4,000/6,000

353

354. 354

355.

QUEEN ANNE DROP-LEAF TABLE Portsmouth, New Hampshire, Circa 1750 In Cuban mahogany, with cabriole legs ending in pad feet. Height 28.5”. Length 47.5”. Width 17” plus two 16” drop leaves. 1,500/2,000

HEPPLEWHITE CARD TABLE Salem, Massachusetts, Circa 1800 In mahogany and mahogany veneer, with shaped top, raised panel at center of skirt, and tapered legs. Height 29.25”. Width 35.75”. Depth 17.5”. 1,500/2,000

355

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161

356, four

356.

RARE SET OF FOUR QUEEN ANNE BARSTOOL CHAIRS Tidewater, Virginia Area, Circa 1750 In black walnut with beech and yellow pine secondary woods, and newer off-white upholstery. High shaped backs. Balloon-style seats. Cabriole legs with shell-carved knees and pad feet. Back heights 40.5”. Seat heights 17.5”. 9,000/12,000

357.

SET OF SIX EARLY QUEEN ANNE SIDE CHAIRS Boston, Circa 1740 In walnut with a rich patina. Modified yoke backs with shaped stiles. Slip seats. Cabriole legs joined with box stretchers and have foliate-carved knees; front legs end in pad feet. Back heights 39.75”. Seat heights 18”. 6,000/8,000

357, six

162

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358

359

360

358.

RARE HEPPLEWHITE DEMILUNE CARD TABLE Newport, Rhode Island, Circa 1790 In mahogany. Molded-edge top. Oval rosette moldings at tops of fluted and stop-fluted tapered legs that end in spade feet. Height 29.5”. Width 35.75”. Depth 18.25”. 2,000/3,000

359.

HEPPLEWHITE BOWFRONT BUREAU ATTRIBUTED TO JOHN SEYMOUR Boston, Circa 1800 In mahogany and mahogany veneer, with four slightly graduated full-width drawers and French splayed bracket feet. Height 36.25”. Width 39”. Depth 21.75”. 2,500/3,500

360.

CHIPPENDALE OXBOW SLANT-LID DESK ATTRIBUTED TO NATHANIEL GOULD Salem, Massachusetts, Circa 1785 In mahogany. Stepped interior fitted with pigeonholes and drawers. Case with four graduated full-width drawers and ogee bracket feet. Height 43.5”. Width 42”. Depth 23”. 1,200/1,800

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163

361.

RARE QUEEN ANNE TEA TABLE North Shore of Massachusetts, Circa 1760 In mahogany. Molded-edge tray top. Delicate shaped skirt. Beautiful cabriole legs end in pad feet. Small hand-forged brads used in the construction of the top and skirt; short moldings and skirt with three brads and long moldings and skirt with four brads. Height 27.25”. Width 29.75”. Depth 19”. 10,000/12,000

361

164

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362

362.

RARE FEDERAL TWO-PART LINEN PRESS ATTRIBUTED TO JOHN AND THOMAS SEYMOUR Boston, Circa 1810 In mahogany. Upper case with a hinged lid that opens to reveal a secret divided compartment, and two paneled doors that enclose four full-width shelves. Interior lined in blue paper. Lower case with three graduated full-width drawers and high French splayed bracket feet. Height 78.5”. Width 48.25”. Depth 22”. 8,000/10,000

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165

363.

ORIENTAL RUG: SERAPI DESIGN 11’9” x 15’3” Ivory field with a central salmon red gabled medallion with a navy blue center and sandy gold and light blue orbiting cartouches. Salmon pink subfield. Salmon red main border features turtles. 2,200/2,800

363

364.

ORIENTAL RUG: SERAPI DESIGN 11’3” x 15’0” Ivory field with a symmetrical arrangement of bold blossoms and leaves in pale blue, salmon pink, pale gray and yellow. Coral main border features turtles, blossoms and leaves. 1,800/2,400

364

166

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365.

ORIENTAL RUG: SERAPI DESIGN 8’0” x 9’9” Traditional navy blue medallion with a salmon pink center and pale gold and turquoise cartouches occupies a light rust red field above a pale gold subfield with salmon pink and turquoise spandrels. Navy blue main border with turtle motif. 1,000/1,500

365

366.

ORIENTAL RUG: TABRIZ DESIGN 6’0” x 9’2” Navy blue field with a central pastel green medallion containing and surrounded by palmettes, blossoms and a delicate vine, all rendered in pastel shades of blue, green, ivory, gray and a rich dark red. Light blue spandrels. Blue-gray guard borders. Pastel green main border. 800/1,000

366

367.

ORIENTAL RUG: NIAN 6’0” x 9’1” Lustrous ivory field with scrolling gray and tan vines bearing blossoms in pastel shades of blue, gray, dark tan and garnet red. Ivory borders with motifs to match the field. 900/1,200

367

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167

368

368.

ORIENTAL RUG: KESHAN 10’0” x 15’10” Traditional central medallion, scrolling vines, blossoms and leaves, all rendered in celadon green, light and dark blue, dark rust red and bengal orange, cover an antique ivory field above a dark celadon green subfield. Blue, antique ivory and celadon green borders. 1,200/1,800

369.

ORIENTAL RUG: SULTANABAD DESIGN RUNNER 2’9” x 22’0” Crimson red field is traversed by a single column of a Herati-like pattern with crescent leaves and palmettes as well as delicate vines, all rendered in tan, brown, navy blue, light blue, light green and light tangerine. Narrow light blue and navy blue borders. 900/1,200

168

370.

ORIENTAL RUG: TURKISH IN A CLASSIC 18TH CENTURY DESIGN 12’2” x 17’5” Field with a small central medallion quartered by broad bands reaching from border to border. Three panels in each quadrant in varying sizes feature various motifs and medallions. Cypress and willow motifs throughout main border. 1,000/2,000

371.

ORIENTAL RUG: NIAN 9’1” x 12’3” Ivory, crimson and pale celadon green central floral medallion with orbiting clusters of flower branches and palmettes in navy blue, gray and ivory. Blue-gray field contains delicate blossoming vines echoed in cream-colored spandrels. Tan and ivory borders. 1,800/2,400

372.

ORIENTAL RUG: SERAPI DESIGN 9’0” x 11’9” Blue and ivory gabled medallion on a crimson red field with an ivory subfield and gold and gray spandrels. Light blue guard borders. Navy blue main border. 1,500/2,000

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371

369

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372

169

373

373.

POLITICAL CARTOON “THE ABLE DOCTOR, OR AMERICA SWALLOWING THE BITTER DRAUGHT” Published in The London Magazine in April 1774. Handcolored etching on laid paper, 4.25” x 6.25” sight. Framed 5.75” x 7.75”. 1,500/2,000 Provenance: Purchased at Northeast Auctions, Portsmouth, New Hampshire.

374.

BOSTON ARTISTIC CARVING CO. CARVED WOODEN EAGLE 20th Century Painted gold, red, white and blue. Clutches a “Live And Let Live” banner in its beak and a shield-form banner in its talons. Height 17”. Width 45.5”. 1,500/2,500

374

170

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375.

BOSTON ARTISTIC CARVING CO. CARVED WOODEN EAGLE Mid-20th Century Original gilded and polychromed surface. Clutches arrows and a shield in its talons. Height 9.5”. Width 25.5”. 500/1,000

375

376.

377.

CIVIL WAR ITEMS BELONGING TO GEORGE C. ROBINSON Includes his diary, a photograph of him and a child, his discharge papers, a mustered-out roll, his enlistment papers, three Grand Army badges, and clippings about him. Many framed. Largest 20” x 16”. Framed 23” x 19”. 1,000/1,500 George Robinson, believed to be from Walton, New York, was a member of the 120th New York Volunteers regiment and fought at Gettysburg, Antietam, Bull Run and in the Wilderness Campaign. He was also a prisoner of war who served time at Libby Prison.

FOUR JOSEPH SEYMOUR COIN SILVER ODD FELLOWS JEWELS Syracuse, New York, Mid-19th Century Formed as crossed quills, swords, axes or gavels. Each surmounted by the three-link chain symbolizing friendship, love and truth. Impressed either “J.S. Coin” or “J. Seymour Coin”. Lengths to 4.75”. Approx. 3.6 total troy oz. 250/350

376

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171

378.

GEORGE STAPF Harrisburg, Pennsylvania, 1862-1958 Carved, painted and parcel-gilded wood eagle holding a thirty-five star American flag and a shield. Unsigned. Height 23”. Width 30”. 3,000/4,000

378

379.

COMMEMORATIVE BRONZE FRAME DEDICATED TO JOHN F. KENNEDY, JR. America, 20th Century Relief vignettes around frame pertaining to President Kennedy, including an image of the Capitol and a waving American flag at top and “John F. Kennedy President 1961 1963” at bottom. 26” x 20”. 1,000/2,000

379

380.

DOW JONES TICKER TAPE MACHINE Pot metal with a brown-gold finish. Plaque mounted on front marked “Dow-Jones The Wall Street Journal”. Similarly marked bronze and wood clipboard also attached to front. Height 49”. Width 19”. Depth 14”. 1,000/1,500

380

172

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381

385

381.

382.

COULTON WAUGH New York, 1896-1973 Pictoral map of Cape Cod, Massachusetts. Signed in plate lower left “©1930 Coulton Waugh”. Depicts the Cape, showing towns and landmarks. Border with famous Cape Cod vessels. Lithograph on paper, 19.75” x 27.75” sight. Framed 22” x 30”. 500/1,000

THREE DOCUMENTS PERTAINING TO CAPE COD Two letters dated 1866 regarding the gift of a telescope in appreciation for the rescue of the British ship Brisk, and a land deed from Chatham, possibly dated 1710. Deed 12” x 18”. Framed 16.5” x 11.5”. 500/800

383.

DOCUMENT RELATING TO THE TOWN OF EASTHAM, MASSACHUSETTS Dated 1745 Addressed to William Nickerson Walker. Pertains to town taxes. 14” x 11” sight. Framed 19.5” x 16”. 200/400

384.

PICTORIAL MAP OF CAPE COD, MASSACHUSETTS BY MELANIE ELIZABETH LEONARD Circa 1930 Depicts landmarks and points of interest and a yellow fish-filled border. Signed in plate lower left. 24” x 34” sight. Framed 26” x 37”. 200/300

385.

PAINTED WOODEN SIGN PERTAINING TO YARMOUTH, MASSACHUSETTS First Half of the 20th Century “For Rent Elizabeth M. Hussey So. Yarmouth Tel. HY 1145W” in black lettering on a white ground. 11.5” x 22”. 250/300

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173

386

387

386.

174

LORETTA FEENEY Massachusetts, b. 1961 Harbor scene. Signed and dated lower left “Feeney ‘07”. Oil on canvas, 24” x 30”. Framed 28” x 34”. 2,000/3,000

387.

LORETTA FEENEY Massachusetts, b. 1961 Victoria Station. Signed lower left “Feeney”. Dated 1988 verso. Oil on canvas, 16” x 20”. Framed 21” x 25”. 600/800

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388

389

388.

HAROLD C. DUNBAR Massachusetts, 1882-1953 Cape Cod fishing shacks. Signed lower right “Harold Dunbar”. Watercolor on paper, 12” x 18”. Framed 22” x 28”. 1,500/2,500

389.

HAROLD C. DUNBAR Massachusetts, 1882-1953 Sunset over a pond, possibly Belmont, Massachusetts. Very faintly signed lower right “Harold Dunbar”. Oil on canvas, 13” x 18”. Framed 20” x 25”. 1,500/2,500

390.

HAROLD C. DUNBAR Massachusetts, 1882-1953 Still life of a doll on a chair. Unsigned. Artist identified on label verso. Includes doll and chair used in the still life. Chair height 14”. Doll height 24”. Oil on board, 26” x 22.25”. Framed 29” x 24.75”. 500/1,000

Before settling on Cape Cod, Harold Dunbar had a short but successful career in the Boston area. He studied with Ernest Lee Major, Joseph De Camp and Edmund C.

390, with doll and chair

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Tarbell.

175

391

391.

176

ARTHUR WILLIAM WOELFLE New York/New Jersey, 1873-1936 Street scene, likely Provincetown, Massachusetts. Signed lower right “A. Woelfle”. Oil on board, 16” x 12”. Framed 22” x 18”. 1,000/1,500

392

392.

HELEN ALTON FARNSWORTH SAWYER Massachusetts/Florida/ Washington, D.C., 1900-1999 Still life of daisies in an ironstone pitcher. Signed lower left “Helen Sawyer”. Oil on canvas, 30” x 24”. Framed 36” x 30”. 1,000/2,000

393

393.

HENRY HENSCHE Massachusetts/Louisiana/Germany, 1899-1992 Portrait of a red-headed woman. Signed upper right “Henry Hensche”. Oil on board, 24” x 20”. Framed 32” x 27.5”. 1,000/1,500

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Anne Packard Massachusetts/New Jersey, b. 1933

394.

Hopper House. Signed lower left “A. Packard”. Oil on canvas, 20” x 24”. Framed 25.5” x 29.25”. 8,000/10,000 Provenance: Packard Gallery, 2001. Private Collection.

394

395.

Coastal landscape. Signed lower right “A. Packard”. Oil on canvas, 20” x 24”. Framed 25.5” x 29.25”. 8,000/10,000 Provenance: Packard Gallery, 2001. Private Collection.

395

396.

Cottages by the shore. Signed lower left “A. Packard”. Oil on masonite, 5” x 7”. Framed 12” x 14”. 700/1,000

396

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177

397

397.

JOSEPH MCGURL Massachusetts, b. 1958 Fly fisherman casting. Signed lower right “Joseph McGurl”. Oil on board, 9.5” x 12”. Framed 14.5” x 17.5”. 2,500/3,500

398.

CHRISTOPHER G. WILLETT Pennsylvania, b. 1959 “Provincetown, Mass”. Signed lower right “Christopher Willett”. Titled verso. Oil on board, 20” x 24”. Framed 25” x 29”. 1,200/1,800

399.

ROWENNA DODGE ANDERSON America, b. 1930 Three works, each titled and numbered verso: 1) “Cottage Visitor” (3824). Signed lower right. 2) “Seaside Cottage” (3463). Signed lower left. 3) “Smooth Sailing” (3157). Signed lower right. Oils on canvas, 8” x 10”. Framed 12.5” x 14.5”. 600/800

398

399, three

178

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400.

KARL KNATHS Wisconsin/Massachusetts/New York, 1891-1971 “Johnny Appleseed” or “Johnnie Appleseed” 1941. Signed lower right “Karl Knaths”. Stretcher with four paper labels, including one for Paul Rosenberg & Co. at 20 E. 79th Street and one for a Museum of Modern Art loan. Oil on canvas, 42” x 24”. Framed 42.25” x 24.5”. 5,000/7,000

400

401.

JANE MUMFORD Maryland, 1878-1948 Provincetown pier. Signed in pencil on stretcher “Mumford”. Oil on canvas, 18” x 14”. Framed 25” x 21”. 1,200/1,800

401

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179

403

402

404

405

402.

TOD LINDENMUTH Massachusetts/Florida, 1885-1976 “The Seiners Rockport Mass”. Signed and titled verso “‘The Seiners’ Tod Lindenmuth Rockport Mass.”. Oil on masonite, 30” x 25”. Framed 37” x 32”. 800/1,200

403.

VERNON B. SMITH Cape Cod, 1894-1969 Still life of a potted plant and pottery pig. Signed lower right “Vernon Smith”. Oil on canvas, 30” x 24”. Framed 36” x 29”. 500/1,000

180

404.

HENRIETTA DUNN MEARS Massachusetts/Minnesota/California/Wisconsin, 1877-1970 “The Old Green Packet” (Provincetown, Massachusetts). Signed and titled verso “The Old Green Packet Henrietta Mears”. Oil on board, 7.5” x 7.5”. Framed 9.5” x 9.5”. 800/1,200

405.

ALICE KENT STODDARD Pennsylvania/Connecticut, 1883-1976 Seated woman. Signed lower left “Alice Kent Stoddard”. Estate stamped verso from David David Gallery, Philadelphia. Watercolor on paper, 13” x 9.5” sight. Framed 20” x 15.5”. 700/900

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406

407

408

406.

407.

CHARLES ABEL CORWIN New York/California/Illinois, 1858-1938 “A Cool Breath from the Pacific (California Coast)”. Signed and titled lower left “Charles Abel Corwin”. Titled verso. Oil on board, 16” x 23.25”. Framed 20” x 28”. 1,500/2,500

CHARLES ABEL CORWIN New York/California/Illinois, 1858-1938 “Cape Cod”, likely Race Point Light, Provincetown. Signed and titled lower left “Charles Abel Corwin S.W.A. Cape Cod, Mass”. Oil on canvas, 24” x 36”. Framed 30” x 42”. 1,500/2,500

409

408.

CHARLES DREW CAHOON Massachusetts, 1861-1951 Dune scene. Signed lower right “C.D. Cahoon”. Oil on board, 17” x 23”. Framed 21” x 27”. 2,000/3,000

409.

DON DONALDSON America, 20th Century “Provincetown”. Signed lower left “D. Donaldson”. Titled on Salmagundi Club label verso. Oil on canvas, 25” x 30”. Framed 29” x 34”. 800/1,200

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181

410.

R.A. HITCH America, 20th Century Coastal scene with moored dory. Signed and dated lower left “R.A. Hitch 1977”. Oil on masonite, 15” x 24”. Framed 18” x 26”. 300/500

411.

HERMAN LATHAM KENT Cape Cod, 1930-2010 “Cape Shoreline / Water Street Beach”. Signed lower right “H.L. Kent”. Titled on sales receipt verso. Oil on canvas, 24” x 30”. Framed 30” x 36”. 500/1,000

410

411

412.

413.

VERNON HERBERT COLEMAN Cape Cod, 1898-1978 Dory fishing. Signed and dated lower right “Vernon Coleman Cape Cod - ‘59”. Oil on canvas board, 18” x 24”. Framed 23” x 31”. 500/700

412

JOSEPH EGER New York/Massachusetts, 1919-2012 Gas station in the dunes, likely Truro, Massachusetts. Signed lower right “Eger”. Oil on masonite, 13.75” x 18”. Framed 17” x 22”. 400/600

413

182

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414.

VERNON B. SMITH Cape Cod, 1899-1969 Hand-carved and painted panel with quail and trees. Signed lower right “Vernon Smith”. 11” x 35”. Unframed. 1,200/1,800 414

415.

VERNON B. SMITH Cape Cod, 1894-1969 Figure in front of a house, Cape Cod, Massachusetts. Signed lower right “Vernon Smith”. Remnants of artist’s label verso inscribed “Good... 607”. Also inscribed in pencil verso “Vernon Smith Cape Cod, Mass. Painted March 1928”. Housed in a frame hand-carved by the artist. Oil on board, 24” x 30”. Framed 29” x 35”. 3,000/5,000 Provenance: Private Collection, Cape Cod, Massachusetts.

415

416.

ATTRIBUTED TO WENDELL MACY Massachusetts, 1845-1913 Portrait of the sidewheel steamship Island Home, a black-hulled ship flying a bold American flag off the stern. Whimsically rendered pilot house resembles a human head wearing a hat. Unsigned. Watercolor on paper, 10” x 16.25” sight. Framed 15” x 21.5”. 800/1,200 Provenance: Nina Hellman, Nantucket. 416

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183

417.

MARTHA FARHAM CAHOON Cape Cod, 1905-1999 A man and a woman dancing in a field while holding a banner reading “And what is so rare as a day in June? Them of ever comes perfect days!!”. Signed and dated lower right “Martha Cahoon 70”. Oil on masonite, 10” x 12”. Framed 11.5” x 13.5”. 1,000/1,500 Provenance: Eldred’s, August 4, 2006, Lot #1019. Private Collection, Cape Cod, Massachusetts.

417

418.

MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Two young girls gathering daisies. Signed and dated lower right “Martha Cahoon 70”. Oil on masonite, 10” x 12”. Framed 11.5” x 13.5”. 800/1,200 Provenance: Eldred’s, August 4, 2006, Lot #1020. Private Collection, Cape Cod, Massachusetts.

418

419.

MARTHA FARHAM CAHOON Cape Cod, 1905-1999 A child on a rearing horse. Signed and dated lower right “Martha Cahoon 78”. Oil on masonite, 9” x 10”. Framed 10.5” x 11.5”. 800/1,200

419

184

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420

420.

RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 “A View of Provincetown, Mass.”, a wonderful and rare view of Provincetown with boats named “Martha”, “Rose”, “Ann” and “Sally”. Signed lower right “R. Cahoon”. Oil on masonite, 24” x 30”. Framed 30.5” x 36.5”. 40,000/60,000 Provenance: Eldred’s, August 1, 1986, Lot #942 (cover illustration).

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185

421

421.

RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 “Weighing In”. Signed lower right “R. Cahoon”. Oil on masonite, 18.5” x 26”. Framed 21.5” x 29.5”. 12,000/18,000 Provenance: Marine Arts Gallery, Salem, Massachusetts, 1977. Private Collection, Massachusetts.

422.

422

186

RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 Painted tin pie safe. Front door depicts a locomotive in a country setting, signed lower left “R. Cahoon”. Gilt feet and handles. Remainder of safe painted black. Height 22”. Width 13”. Depth 11”. 1,500/2,500

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423

423A

423.

ROBERT W. STARK, JR. Massachusetts, 1933-2014 Sailing on calm waters. Signed lower left “R. Stark”. Oil on canvas, 8” x 10”. Framed 12” x 14”. 8,000/10,000

423A. ROBERT W. STARK, JR. Massachusetts, 1933-2014 Red sailboat off the beach. Signed lower right “R. Stark”. Oil on canvas, 7” x 9”. Framed 14” x 16”. 6,000/9,000

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187

424.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Coastal sunset. Signed lower right “J. Howes”. Oil on board, 16” x 26”. Framed 24” x 34”. 1,500/2,000

424

425.

ALFRED BIRDSEY Bermuda, 1912-1996 Hamilton, Bermuda. Signed lower right “Birdsey”. Purchased directly from the gallery. Oil on canvas, 36” x 24”. Framed 43” x 31”. 800/1,000

425

426.

WENDELL MACY Massachusetts, 1845-1913 Bones on the shore, likely Nantucket. Signed and dated lower left “Wendell Macy 81”. Faint illegible pencil inscription verso. Oil on panel, 4” x 8”. Framed 8.5” x 12.5”. 2,000/3,000

426

188

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427

428

427.

EDMUND WILLIAM GREACEN New York/Connecticut, 1876-1951 “Provincetown”. Unsigned. Titled on gallery label verso. Oil on board, 8” x 10”. Framed 14” x 16” 1,000/1,500 Provenance: Christie’s New York, Rockefeller Center, May 29, 1987, Lot #158. Meredith Long and Co., Texas. Debra Force Fine Art, New York.

428.

JOHN WHORF Massachusetts, 1903-1959 New England home in winter. Signed lower left “John Whorf ”. Watercolor on paper, 14” x 20”. Framed 24” x 30”. 2,000/3,000

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189

Arthur Vidal Diehl Massachusetts/New York/England, 1870-1929

429

429.

Large panoramic dune scene. Signed and dated lower right “Arthur V. Diehl 1919”. Oil on board, 30” x 60”. Framed 39” x 69”. 7,000/10,000

430.

Dunes, likely Provincetown, Massachusetts. Signed lower right “A.V. Diehl”. Oil on board, 2.5” x 5”. Framed 3” x 5.5”. 600/900

431.

Dune scene, likely Provincetown, Massachusetts. Signed and dated lower right “Arthur V. Diehl 1925”. Oil on board, 10.5” x 16”. Framed 14” x 20”. 1,000/2,000

430

431

190

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Arthur Vidal Diehl Massachusetts/New York/England, 1870-1929

432

433

432.

Tending to the boats, Provincetown, Massachusetts. Signed lower left “Arthur V. Diehl”. Oil on board, 13.75” x 21.75”. Framed 19” x 27”. 5,000/7,000 433.

Beached vessels, Provincetown Pier. Signed lower left “Arthur V. Diehl”. Oil on board, 6.5” x 12”. Framed 11” x 17”. 1,500/2,500

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191

434.

JOHN AUSTIN Massachusetts/New York, 1918-2000 “Libby” at dock. Tempera on board, 9.25” x 13”. Framed 14.5” x 18”. 1,000/1,500

435.

JOHN AUSTIN Massachusetts/New York, 1918-2000 “Silver lane Pickles”. Signed lower right “Austin”. Tempera on board, 6” x 9”. Framed 11” x 14”. 800/1,200

436.

GREGORY (GS) HILL California, b. 1944 “The Lightning 1871 - Nantucket”. Signed and dated lower left “G.S. Hill 03”. Titled verso. Oil on canvas, 18” x 24”. Framed 24.5” x 30.5” 800/1,200

434

435

436

192

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437

437.

438.

PETER HUNT DOUBLE-SIDED SHOP SIGN “PETER HUNT’S PEACOCK ALLEY ANTIQUES” 20th Century Image of a peacock at center of red and brown lettering on a faded white ground with blue border. “Antiques” only on one side. Height 50.5”. Width 98”. Depth 4”. 1,500/2,500

PETER HUNT Massachusetts, 1896-1967 Marcus Illions carousel horse with painted decoration of hearts, strawberries, carrots and radishes. Horse with glass eyes. On a painted wooden base fitted with casters. Height 50”. Length 44”. Width 15”. 3,000/5,000

438

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193

439, six

439.

PETER HUNT Massachusetts, 1896-1967 Six plywood panels with oil paint decoration, framed to look like windows. Hung on the outside of Hunt’s shop in Orleans, Massachusetts. Depict a vase of flowers, a seated man with hearts and birds, a woman with hearts, “Peter Hunt” and hearts, a woman with a cat and bird, and a woman carrying a wine bottle and glasses on a tray, all against a white ground. Each framed 53” x 27.5”. 1,000/2,000

As legend goes, Peter Hunt arrived in Provincetown in the early 1920s when the yacht he was sharing with Scott and Zelda Fitzgerald encountered a gale and was forced to take safe harbor. Wearing a black broad-rimmed hat and a billowing black cape, holding the leashes of his afghan hounds and with a red-headed dwarf scurrying behind, Hunt said he strolled the streets of the village and declared “This is a wonderful place. I must stay here.” Hunt did stay in Provincetown, establishing himself as a folk artist and furniture director at a collection of shops he named Peasant Village. He employed talented young artists to decorate stools, tables, dressers and other household goods in a colorful peasant style that became the Peter Hunt trademark, and was sought out by members of Boston and New York society. In 1959 he closed his shop in Provincetown and relocated to Orleans.

194

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440

440.

DOUBLE-SIDED SIGN “PETER HUNT’S PEACOCK ALLEY” 20th Century Yellow and white lettering on a blue ground. Image of a peacock above lettering. Height 37.75”. Width 60.5”. Depth .75”. 1,000/2,000

441

441.

DOUBLE-SIDED TRADE SIGN “PETER HUNT’S PEACOCK ALLEY” 20th Century Polychrome image of a peacock and “Peter Hunt’s” in yellow lettering against a black reserve. “Peacock Alley” in bold white lettering on a blue ground. Height 37.5”. Width 60.5”. Depth 3.25”. 1,000/2,000

442

442.

DOUBLE-SIDED SHOP SIGN “PEACOCK’S PRIDE ART GALLERY” 20th Century White lettering on a blue ground. Height 7.75”. Width 28”. Depth .75”. 200/400

443.

PETER HUNT Massachusetts, 1896-1967 Two paint-decorated items: 1) Tin child’s stepback cupboard with figural and heart decoration. Height 21”. Width 16”. Depth 5.5”. 2) School desk with swag, heart and rose decoration on a white ground, and a light green open compartment inscribed with four handwritten lines of text. Top fitted with a pen tray with six evenly spaced holes for writing implements and a larger one for an inkwell. Marked “anno domino 44 ‘ovince”. Height 18”. Width 26”. Depth 17”. 300/400

443, two

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444.

PETER HUNT Massachusetts, 1896-1967 Child’s school desk and stool with painted decoration. Desk with an open compartment and remnants of faded heart and floral decoration. Back, sides and base with typical swag, floral and heart decoration against a white ground. Top with pen and pencil tray and six evenly spaced holes for pens and a larger one for an inkwell. Height 20”. Width 24.25”. Depth 18”. Stool with heart, floral and swag decoration on ivory ground. Remnants of writing below heart on top (possibly “anno ‘40 ovince”). Height 8.75”. Length 16”. Depth 8”. 150/250

445.

PETER HUNT Massachusetts, 1896-1967 Five paint-decorated items: Two birdhouses, a hanging bell, and a pair of egg-shaped salt and pepper shakers. One birdhouse, height 11.5”, signed “Anno 44 Ovince”. Bell signed “Peter Hunt”. 500/700

446.

IRONING BOARD WITH PETER HUNT-STYLE PAINTED DECORATION 20th Century Depicts hearts and roses on a yellow ground. Height 48”. Width 11.5”. 150/250

447.

DROP-LEAF TABLE WITH PETER HUNT-STYLE PAINTED DECORATION 20th Century Painted green, with a chicken, eggs, hearts and roses on top and similar heart and rose decoration on apron and legs. Table with single drawer in apron. Height 33”. Width 23” plus two 10” drop leaves. Depth 36”. 500/800

448.

PETER HUNT-INSPIRED PAINTED BUREAU BY VIRGINIA PINA 20th Century Whimsical figural and landscape decoration. Bureau with two half drawers over two full-width drawers and tapered legs fitted with casters. Height 35”. Width 42”. Depth 19”. 400/700

449.

FOUR PETER HUNT-INSPIRED PAINTED WOODEN ITEMS BY VIRGINIA PINA 20th Century 1-2) Two painted panels, one with a ship scene and one with a figural and cherub scene. 10.75” x 18.5” and 14” x 20”. 3-4) Two shelving units, both with angel, floral and heart decoration. One with four shelves, height 36” and width 15”, and one with two shelves, height 31” and width 28.5”. 300/500

445

447

448

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BUT WAIT! THEREâ&#x20AC;&#x2122;S MORE! PLEASE SEE SEPARATE CATALOG OR ELDREDS.COM FOR SESSION II OFFERINGS

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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, or complete and submit it on our website, www.eldreds.com. 5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 25% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. 6. Online bidding is available 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: $2,500 $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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ABSENTEE/TELEPHONE BID FORM 1. Clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow our standard bidding increments. 2. Carefully review your bid form for accuracy of lot numbers, phone numbers, shipping information, etc. Although we attempt to confirm descriptions against lot number, bids are posted by lot number. 3. Please submit your bids in a timely manner, to avoid the chance of posting error. We request all bids be received by 3 p.m. the day before the auction. In the event of identical Absentee bids, the earliest received takes precedence. 4. A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount will be returned promptly to you. 5. A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 25% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.

Are you a new bidder with Eldred’s?

Yes:

No:

If so, please also complete our Buyer Pre-Registration form.

6. At the conclusion of the sale you will be notiﬁed if you were the successful bidder. All invoices must be paid in full within ten (10) days of the close of the auction. We accept checks, cash, money orders, wire transfers and major credit cards for payment. There is a 2% buyer’s premium discount for payment made in full via cash, check, money order or wire transfer within ten (10) days of the invoice date. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. Mixed payment methods are not eligible for the buyer’s premium discount. We reserve the right to hold goods until payment has cleared. 7. All purchases are subject to state and local sales tax unless you possess a Massachusetts or out-of-state sales tax exemption or resale number and register that number with us. 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. All bids are kept in strict conﬁdence.

Date: SHIPPING Do you have a tax resale #? Yes: Will pick up:

No:

Ship to address above:

25% buyer’s premium will be added to the hammer price. See Item 5 above.

Or ship to:

Total 10% Deposit

Have you examined the items listed above?

Yes:

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

200

info@eldreds.com

Phone: 508-385-3116

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Fax: 508-385-7201

No:

THE MARINE SALE AUGUST 13, 2020 Featuring the Kelton Collection of Marine Art & Artifacts

CONTEMPORARY PAINTINGS

AUGUST 20, 2020

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201

Illustrations Cover Lot 222 Back Cover Lots 134, 400, 143, 420, 1 Page 5 Lot 330 Pages 6-7 Lot 158 Page 8 Lot 169 This Page Lot 378

202

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