An Important North Shore Collection
Thoughtfully curated over 30 years by a couple with an impeccable eye for quality, sound guidance from reputable dealers, and a strong sense of what they liked and would enjoy living with in their home.
5,000/8,000
HEPPLEWHITE BOWFRONT BUREAU ATTRIBUTED TO JUDKINS AND SENTER Portsmouth, New Hampshire, Circa 1810 In cherry. Four graduated full-width drawers, each with cock-bead molding along edges and three flame birch panels framed with string inlay. Brass beehive pulls, possibly original. Shaped skirt with matching flame birch panel drop at center. High splayed French bracket feet. Height 38”. Width 41”. Depth 21.75”.
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. 115, fig. 11A.
Cabinetmakers Jonathan Judkins and William Senter established operation in 1808 in Portsmouth.
JOHN WHITE ALLEN SCOTT Massachusetts, 1815-1907
View of Eastern Point Lighthouse from Stage Fort, Gloucester, Massachusetts. Signed and dated on mast lower right “JWA Scott 1866”. Oil on canvas, 30” x 50”. Framed 42” x 62”. 20,000/30,000
Exhibited:
Cape Ann Museum, Gloucester, Massachusetts: May 23, 1998-February 28, 1989.
John White Allen Scott, a painter and lithographer, is closely associated with Fitz Hugh Lane, with whom he operated a lithography firm from 1844 to 1847. The two maintained a friendly relationship with thereafter. Scott belonged to the New England Art Union and the Boston Art Club; he was the club’s oldest member at the time of his death.
FEDERAL TWO-PART CYLINDER DESK SECRETARY
Probably Boston, Circa 1810
In mahogany with flame satin veneer. Reverse-arch pediment with three brass eagle finials. Upper case with two Gothic arch glazed doors enclosing two shelves. Lower case with two tiers of varied small drawers, a cylinder front, half drawers above a full-width drawer, and delicate ring-turned legs. Cylinder opens to reveal six drawers, four pigeonholes and a slide-out writing surface. Height 90”. Width 36.25”. Depth 32”.
10,000/15,000
SIMON WILLARD TALL-CASE CLOCK
Boston, Circa 1800
Mahogany case. Pierced fretwork joins three fluted plinths, the central plinth supporting an eagle finial and the side plinths with ball-and-steeple finials. Arched dial door and arched glazed side windows. Bonnet fronted by full fluted columns with brass stop fluting. Molded pendulum door flanked by brass-capped fluted quarter columns. Molded base on ogee bracket feet. Painted metal face with floral decoration at corners, a Roman numeral hour dial, an Arabic numeral minutes register, a second sweep and a calendar dial. Moon phase disk in lunette. Signed on dial “Simon Willard”. Height 88”. 25,000/35,000
CLASSICAL KNIFE BOX
19th Century
Sarcophagus form in flame mahogany and mahogany veneer with brass line inlay. Hinged lid with brass ball knob. Fruitwood interior knife partition with contrasting inlay along perimeter. Brass grape cluster medallions applied to each of the four corners of the plinth base. Brass paw feet fitted with casters. Includes a 50-piece cutlery set with green wood handles and silver bolsters. Height 16”. Width 14.5”. Depth 10.75”. 5,000/7,000
SHEICHUR RUG: 3’4" x 3’10"
Circa 1900
Ivory field with traditional faded blue, brown, gold and tangerine X-shaped medallions. Interior border with a traditional cresting blue and brown wave motif. 400/600
CHINESE EXPORT ROSE MEDALLION PORCELAIN COVERED SOUP TUREEN AND UNDERTRAY
19th Century
All three pieces with matching figural decoration and floral vignettes. Cover with gilt stem-form knop. Tureen with gilt boar’s-head handles. Tureen height 6”. Length across handles 13”. Undertray length 14”. 800/1,000
EXCEPTIONAL AND HISTORIC CHINA TRADE SEWING BOX
Dated 1854
Presented to Mrs. E. Hunt by Namcheong Tailor, Whampoa (China). Includes original photos of Captain Thomas Hunt and Mrs. Hunt, as well as a fine assortment of carved ivory and other sewing implements. Mansard-style box covered with ivory veneer and micromosaic and set on ivory ball feet. Ivory plaque mounted to interior of lid engraved “Presented to Mrs. E. Hunt By Namcheong Tailor Whampoa 1854”. Interior lined in purple velvet and fitted with a compartmented liftout tray, the compartment covers with coordinating ivory veneer and micromosaic. Height 4.75”. Width 13”. Depth 9”. 4,000/6,000
Thomas Hunt founded his eponymous company in Salem, Massachusetts in the mid-1840s. Initially only carrying dispatches between Canton and Whampoa, Thomas Hunt & Company soon expanded from the packet boat business to include ship chandlery, dry dock support and merchant commissions. After having made his fortune, Hunt sold his business in 1854.
Hunt family papers indicate Hunt’s wife, Elizabeth (Cook) Hunt, and their young son, Thomas “Frankie” Hunt, joined Captain Hunt in China around 1848, using one of the company ships as a residence. This box was presumably a goodbye gift for Mrs. Hunt when the family returned home in 1854.
BIDJAR RUG:
7’0" x 14’0"
First Quarter of the 20th Century Navy blue field with three columns of red, blue, green, pink, gold and lilac boteh arranged in cruciforms. Two phrases in Arabic script near the center line of the field. Multiple narrow borders contain a variety of motifs. 1,000/2,000
AMERICAN SCHOOL
19th Century
Portrait of a Black nanny holding an infant. Unsigned. Oil on board, 20” x 17”. Framed 29” x 26”. 3,000/5,000
AMERICAN SCHOOL
19th Century
View of a farm with a stagecoach in the foreground. Signed and dated lower right “E.S.B. 1875”. Frame with maker’s label for Hall and Garrison, Philadelphia. Oil on canvas, 16” x 24”. Framed 25” x 33”. 2,000/3,000
VERY FINE THREE-DRAWER WORK TABLE
Philadelphia, Circa 1820
Exceptionally figured mahogany, bird’s-eye maple and tiger maple veneer. Top with a tiger maple panel bordered with rosewood. Compartmented top drawer fitted with writing slant. Graduated drawers below. Period, possibly original, ivory escutcheons and brass pulls. Ring-turned turrets at corners of case with ivory caps. Mahogany base with a spiral-carved knop, four reverse-arched legs with carved moldings, and brass-capped paw feet fitted with casters. Height 29”. Width 21.75”. Depth 16”. 3,000/5,000
JOHN CROWLEY BRACKET CLOCK
Philadelphia, Early 19th Century
Rare and desirable example of a bracket clock with an American-made case and movement. Chippendale mahogany and mahogany veneer case with white pine and oak secondary woods, a brass handle at top, a molded cornice, glazed rectangular panels at sides, and brass bracket feet. Matching tombstone-shaped glazed dial and rear doors with inlaid diamond-shaped key escutcheons. Painted iron face with a Roman numeral hour dial, an Arabic numeral minutes register and a strike/silent selector in the arch. Cut steel hands. Brass double fusee movement. Back plate is not engraved, further indication the clock works were produced in America and not England. Dial signed “John Crowley Philad.a”. Superb old surfaces. Height 18.25”. Width at feet 13”. Depth 8”. 3,000/5,000
John Crowley was active from circa 1803 to 1823 producing bracket and shelf clocks. Bracket clocks produced by American makers are particularly rare; the majority were produced in England and sold via American retailers.
SCHOOL OF GODDARD-TOWNSEND
CHIPPENDALE CARD TABLE Newport, Rhode Island, Circa 1780 In mahogany. Modified serpentine top with delicate carved molding along edge. Diminutive foliate molding along lower edge of skirt. Fluted and stop-fluted block front legs with Chinese Chippendale-style corner returns. Rear swing leg conceals a drawer. Finish possibly original.
Height 28.5”. Width 34.25”. Depth 16.75”. 6,000/9,000
CAUCASIAN SCATTER RUG: 3’10" x 5’6"
Late 19th/Early 20th Century
Abrashed blue field contains three blue, faded red and khaki Lesghi stars surrounded by small colorful geometric medallions with latch hook perimeters. Several colorful borders contain a variety of motifs. 400/600
FRANK HENRY SHAPLEIGH
New Hampshire, 1842-1906
“Mount Washington & Saco River at Hiram, Maine”. Signed and dated lower left “F.H. Shapleigh 1888”. Titled in the artist’s hand verso. Housed in a period hand-carved frame. Label verso for art supplier Frost and Reed, Boston. Oil on canvas, 18” x 30”. Framed 26” x 38”. 5,000/8,000
EXCEPTIONALLY RARE QUEEN ANNE FOOTSTOOL
Boston, Circa 1760
In walnut. Rounded rectangular molded frame for slip seat. Cabriole legs with beautifully carved C-scrolls and robust pad feet. Interior of legs with excellent color. Slip seat, not original, with ivory striped upholstery. Height 18”. Length 20.5”. Width 15.75”. 5,000/10,000
SET
OF SIX CHIPPENDALE DINING CHAIRS ATTRIBUTED TO ROBERT HARROLD Portsmouth, New Hampshire, Circa 1770
Each seat and frame numbered in Roman numerals I through VI. In mahogany, the finish with a rich dark color and excellent patina. Backs with nicely carved and pierced Gothic splats. Original trapezoidal seat frames. Cabriole legs with foliate-carved knees and claw & ball feet are joined by block and turned stretchers. Back heights 38”. Seat heights 18”.
5,000/8,000
A chair with a similarly carved and pierced back attributed to Robert Harrold 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. 322, fig. 87.
Robert Harrold (d. 1792), who arrived in Portsmouth in 1765, was the town’s principal preRevolutionary War cabinetmaker. He received commissions from Governor Wentworth, including a pair of chairs for the governor’s pew at Queen’s Chapel and another chair for the governor to use at the state house. 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. He spent the Revolutionary War years in Conway, New Hampshire, located in the Mount Washington Valley, but he returned to Portsmouth after the war and continued working as a cabinetmaker until his death.
HERIZ RUG: 8’8" x 11’2"
EDWARD PERCY MORAN
New York/Pennsylvania, 1862-1935
“The Opening of the Erie Canal”. Depicts New York Governor DeWitt Clinton christening the canal by pouring water from Lake Erie into the Atlantic Ocean. Signed lower left “E. Percy Moran”. Titled on frame plaque. Oil on canvas, 30” x 40”. Framed 38” x 48”. 3,000/5,000
A major civil engineering project spearheaded by Governor Clinton, the Erie Canal connected the Hudson River to Lake Erie. It cemented New York’s role as the leading port for commerce and aided in the growth of many of New York’s secondary cities, including Buffalo, Syracuse and Albany.
First Quarter of the 20th Century Brick red field with a bright ivory subfield, blue spandrels, and a navy blue, salmon pink and light olive green gabled medallion. Golden vines bearing colorful leaves and blossoms throughout. Broad midnight blue main border features a turtle motif.
1,500/2,500
EXCEEDINGLY RARE AND IMPORTANT JACOB HURD
AMERICAN SILVER LIDDED SUGAR BOWL
Boston, Circa 1745
Engraved crest on side. Marked on lid and bowl “Hurd”. Height 4.5”. Diameter 4.875”. Approx. 12.6 troy oz.
40,000/60,000
Jacob Hurd (1703-1758) is considered the most talented and prolific Boston silversmith of his time, and a leading silversmith of colonial America. He worked in a late baroque style and his engraving has been described as without parallel. His work was favored by the city’s leading merchant and political families, and thus he received the most important commission work, but he died bankrupt.
He was father to silversmiths Nathaniel Hurd (1729-1777) and Benjamin Hurd (1739-1781), and grandfather to Benjamin Hurd, Jr. (1778-1818).
Hurd pieces are in the collection of several museums, including Boston’s Museum of Fine Arts, the Metropolitan Museum of Art, the Peabody Essex Museum and Winterthur.
NEWPORT QUEEN ANNE TRAY-TOP TEA TABLE
Rhode Island, Mid-18th Century
In mahogany. Delicate cabriole legs end in slipper feet. Height 26.25”. Length 31”. Width 20”. 3,000/5,000
RARE CHINESE EXPORT PUNCH BOWL OF MASONIC INTEREST
Late 19th Century
Decorated with numerous Masonic emblems including the square and compass. Almost identical to a bowl made for Richard Gridley of Massachusetts, which is currently in the collection of the Diplomatic Reception Rooms, the U.S. Department of State, Washington, D.C. Height 4.5”. Diameter 11.5”. 500/1,000
GEORGE WASHINGTON INAUGURAL BUTTON 1789
Round brass button with “Long Live The President” and “GW” in raised lettering. Original shank on reverse. Diameter 1.5”. 2,500/3,000
WILLIAM MATTHEW PRIOR Massachusetts/Maine, 1806-1873
Portrait of a mother and child. Unsigned. Stamp verso for canvas preparer O. Sterns, Boston. Oil on canvas, 27” x 22”. Framed 35.5” x 30”. 20,000/30,000
Provenance:
A Private New England Collection. A Private Indiana Collection.
Exhibited:
The Midwest Museum of American Art, Elkhart, Indiana.
QUEEN ANNE BONNET-TOP HIGHBOY Massachusetts, Mid-18th Century In mahogany. Nicely arched bonnet with an unusual back panel and flower blossom carvings at the ends of the scrolls. Three flame and urn finials with gilt twisted flames. Upper case with three side-by-side drawers, the central with shell carving, over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with repetitive shell carving. Skirt with two acorn drops. Cabriole legs end in pad feet. Old label and chalk writing on upper case backboard. Height 84”. Width 40.5”. Depth 21.75”. 8,000/12,000
EARLY AMERICAN ARMCHAIR Circa 1690
In hardwood, accompanied by an analysis identifying the wood as American Arched raised carved crest with scrolled ends. Foliate-carved arms. Front legs carved with an effigy design. Turned and blocked H-stretcher. Back and seat with old, possibly original, painted leather upholstery. Back height 52”. Seat height 18.75”. 1,800/2,500
PEWTER DOUBLE-LENS
MASSACHUSETTS NEEDLEWORK SAMPLER
Dated July 1818
Wrought by “Sally W. Hum born April 23 1807 aged 11 Marlborough July 1818”. Rows of alphabets, numerals and small images above the verse “Jesus permit thy gracious name to stand, As the first efforts of an infants hand, And while her fingers o’er this canvas move, Engage her tender heart to seek thy love”. Maker’s inscription below flanked by trees. Wide floral sprig border. 16” x 16” sight. Framed 23” x 22.75”. 1,000/1,500
LACEMAKER’S WHALE OIL LAMP
First Half of the 19th Century Height 9”. 250/350
FIREBOARD DEPICTING A HUDSON RIVER SCENE
18th/19th Century
Unsigned. Oil on canvas laid down on board, 31.75” x 36.5”. 3,000/5,000
THE WAY FAMILY OF PAINTERS
New London, Connecticut/New York, Early 19th Century Collection of six portrait and other miniatures by three different family members:
1) “Temple of Friendship” by Eliza Way Champlain Riley (1897-1886). Depicts a lady hanging flower garlands on a garden folly. Titled in script lettering lower margin. Complex, fine workmanship and an appealing subject. Watercolor, 2.125” x 2.125”.
2) “Self Portrait / Girl with Curls” by Elizabeth Way Champlain (1771-1825). Possibly unfinished. Believed to be intended as a gift to Mary Way, circa 1816-1819. Watercolor, oval 1.75” x 1.25”.
3) “Baby” by Elizabeth Way Champlain. Watercolor, oval 1” x 0.75”.
4) “Christ Rejected” by Elizabeth Way Champlain. Watercolor, 2.875” x 3”.
5) “Woman with Black Hat” by Elizabeth Way Champlain. Delicately painted, with excellent detail and subtle color. Watercolor, 2.25” x 1.75”.
6) “Mrs. Lizy Champlain / The Artist’s Stepmother” by Mary Way (1769-1833). Typical work with collaged elements. Fabric and watercolor, 3.25” x 2.375”.
Housed together in folding frame. Frame closed 4.25” x 9.5”.
References:
10,000/15,000
All these works are illustrated in Sisters of the Brush: Their Family, Art, Lives & Letters 1797-1833 by Ramsay MacMullen (New Haven, Ct.: PastTimes Press, 1997), plates 7.17, 3.11,1.2, 4.12, 3.10 and fig. 2, p. 18.
“Christ Rejected” seen here bears similarities to works by Benjamin West (1738-1820) and William Dunlap (1766–1839). West’s painting, “Christ Rejected by the Jews”, was originally exhibited in London at the Royal Academy in 1814. Dunlap completed his work in Norfolk, Virginia in March 1822, exhibiting it locally that spring, and then in Philadelphia, Boston and Portland in June and July.
MacMullen’s notes indicate Eliza identified the subject of “Woman with Black Hat” as Madame Junot, Duchess of Abrantès (1784-1838), based on a circa 1803 engraving.
Mary Way and her sister, Elizabeth “Betsy” May Champlain, are among the first professional female artists in America, working in New London, Connecticut, from the 1790s to the early 1800s. They worked in miniatures, including “dressed” portraits, with pieces of fabric pasted to the painting as clothing. It is believed the two were entirely self-taught, but they taught all they knew to Eliza Way Champlain Riley, Betsy’s daughter, who also became an artist.
AFTER THOMAS COLE America, Circa 1850
“The Voyage of Life”. Unsigned copies of the series of four paintings: “Childhood”, “Youth”, “Manhood” and “Old Age”. Artist unknown. Oils on canvas, 26” x 36”. Framed 33” x 43”. 20,000/30,000
Provenance:
Private Western Massachusetts Collection. Eldred’s, Spring Americana Auction, April 8, 2016, Lot #815. Private Collection, Connecticut.
FEDERAL FIRE SCREEN
Boston, First Quarter of the 19th Century In mahogany. Pole with delicate urn finial. Turned base with arched legs ending in spade feet. Octagonal screen with needlework depicting a woman playing a harp, marked within floral surround “S.W. 1826”. Height 62.75”. 600/900
DELAWARE VALLEY LADDERBACK ARMCHAIR
Circa 1780
In maple under red paint. Back with five arched cross rails. Rush seat. Front stretcher with ring and ball turnings. Back height 47”. Seat height 16”. 700/1,000
AMERICAN SCHOOL
19th Century
View of the estate of Mathias Collins by “itinerant painter Miss Polly”. Unsigned. Old handwritten note affixed verso inscribed “The Estate of Mathias Collins [?] 1852 Weston[?] Mass. Mathias Collins is in his yard. His grandchildren are passing on their way to school. George, Fred & Ann Collins. Their own home adjoins to the grandfather’s estate to the right of the cows in the yard. Painted by an itinerant painter named Miss Polly.”. Oil on canvas, 22” x 30.25”. Framed 27.5” x 36.25”. 10,000/20,000
Provenance: The Collection of Bob & Nancy Skinner.
New York, 1818-1893
Still life of apples. Signed, dated and inscribed lower margin "W.R. Miller 1891. N.Y. No. 10". Oil on canvas, 12.5" x 10.5". Framed 20" x 18.5". 7,000/10,000
WILLIAM RICKARBY MILLER
ENGLISH SHELL TEA CADDY
19th Century
Bombé form with bun feet. Height 7”. Width 7.5”. Depth 4”. 1,000/1,500
CAUCASIAN
AREA RUG: 4’3" x 6’5"
First Quarter of the 21st Century Navy blue field with a central column of six light blue, navy blue, dark red, bright ivory and salmon red Lesghi stars flanked by neatly arrayed geometric elements and stylized bird figures. Salmon red, blue and red reciprocal spearpoint guard borders. Ivory main border. 550/750
WILLIAM CURLETT
America, Mid-19th Century
“John Kemble Esqr as Hamlet”. Inscribed verso “John Kemble Esqr As Hamlet Painted by Wm. Curlett for His Friend James P. Dorritee Baltimore 1839”. The painting is a copy of the 1801 work by Sir Thomas Lawrence, currently in the collection of the Victoria and Albert Museum. Lawrence’s work was the basis of a popular 1838 mezzotint by James Egan, which is likely the source of this copy by Curlett. Oil on canvas, 32.75” x 21.25”. Framed 39.5” x 28”. 5,000/10,000
Little can be found about William Curlett, although he is credited with creating an 1844 campaign banner for Grand National Whig Prize Banner Badge.
PAIR OF CHINESE ROSE MEDALLION PORCELAIN TEMPLE VASES
20th Century
Polychrome and gilt decoration. Heights 37”. With rosewood stands. 2,000/3,000
PAIR OF CHINESE MOTTLED CELADON JADE BOXES
20th Century
One with spinach skin tones. Includes one open-carved wood stand. Box heights 2". Lengths 3". Stand height 2". Length 3". 5,000/7,000
KARL ALBERT BUEHR
Illinois/Vermont/France, 1866-1952
“Afternoon Shadows”. Signed lower right
“Karl Buehr”. Titled on frame verso. Oil on canvas, 25” x 30”. Framed 34.5” x 39.5”. 8,000/12,000
WILLIAM MOORE DAVIS
New York, 1829-1920
Still life of dandelions. Signed and dated lower right “W.M. Davis 1859”. Oil on canvas, 7.25” x 6”. Framed 12” x 10.5”. 5,000/7,000
LEE LUFKIN KAULA
Massachusetts/New Hampshire, 1865-1957
“Vacation Days”. Signed in pencil verso “Lee Lufkin Kaula 311 Fenways Studios Boston”. Titled verso. Oil on canvas, 29” x 24”. Framed 33” x 27”. 5,000/10,000
Provenance:
Private Collection, Cape Cod, Massachusetts.
JANE PETERSON
Massachusetts/New York/Kansas/Illinois, 1876-1965
Zinnias. Signed lower right “Jane Peterson”. Oil on canvas, 32” x 32”. Framed 38.5” x 38.5”. 10,000/15,000 [detail]
EASTMAN JOHNSON
Massachusetts/Maine /Europe, 1824-1906
“David H. Taylor” (The Shy Musician). Signed lower left “E. Johnson”. Number 31.5.18 in the Eastman Johnson online catalogue raisonné. Oil on board, 21.75” x 13”. Framed 28” x 19.25”. 12,000/18,000 [detail]
Provenance:
Estate of the artist, acquired in 1906. American Art Association, New York, February 26-27, 1907, Lot #56, consigned by the above.
Estate of Bernardine M. Boyle, Connecticut. Fairfield Auction, Monroe, Connecticut, March 24, 2017, Lot #78, titled “Master David Taylor with His Violin”. Acquired from the above by the present owner.
Exhibited:
The Century Association, New York: "Memorial Exhibition of Eastman Johnson", February 1907, no. 56, titled “The Shy Musician”.
JAPY FRÈRES LOUIS XVI GILT-BRONZE CLOCK GARNITURE
France, 19th Century
Retailed through J.E. Caldwell & Co., Philadelphia, 1884. Comprised of a clock and a pair of candelabras in a Japonesque peacock motif. Maker’s mark under bell. Includes key. Height 13”. Width 12.75”.
Depth 6.75”.
2,500/3,500
CONTINENTAL AUTOMATON BIRD BOX
Late 19th Century
Gilt bronze case with repoussé shoreline scenes of figures, sailing vessels, sea birds and assorted cottages, windmills, lighthouses and other structures. Round hinged cover with repoussé decoration of a songbird in a tree. Bird-form latch opens the cover to reveal a feathered singing bird. Key-wind movement. Height 1.5”.
Length 3.75”.
3,000/5,000
This item is being sold to benefit the Cape and Islands United Way, which last year invested more than $700,000 in local nonprofits to support sustainable community impact within the health, education, economic stability, housing and basic needs sectors. To read more about their mission, please visit capeandislandsuw.org.
MONUMENTAL FLOOR-STANDING W. & A.K. JOHNSTON
30-INCH TERRESTRIAL GLOBE
Edinburgh and London, 20th Century
Oak stand with block and turned legs and a cross-stretcher base. Engraved brass meridian and polar ring. Globe with 36 colored printed gores. Maker’s cartouche in the Pacific with a unicorn and lion crest above “30 inch Terrestrial Globe by W. & A.K. Johnston, Limd. Geographers, Engravers and Printers Edinburgh & London”. Total height approx. 47”.
5,000/7,000
W. & A.K. Johnston, Ltd. was founded by brothers William and Alexander Keith in 1825 after they previously worked for leading globe manufacturer James Kirkwood. The Johnston firm quickly became one of the most renowned globe makers in Britain, receiving a royal appointment from Queen Victoria. The firm remained intact into the Early 20th Century. The 30-inch model seen here was the largest they created and the first of that size produced in Britain.
In the mid-1830s, Theodore Frere, traveled to Algeria. Like the many artists who flocked there after Charles X’s conquest in 1830, Frere was intrigued by its culture and climate. He began contributing to the Orientalist movement, which highlighted the architecture, daily life and cultural practices of the near and Far East. He later traveled through Greece, Turkey and Syria, and he spent several years in Egypt, establishing at studio in Cairo. He had a staggering number of paintings accepted by the Salon, indicative of his talent as an artist and the popularity of Orientalist themes with the public and the French government during the time period.
THEODORE FRERE France, 1814-1888
"The Caravan". Signed lower left. Titled on label verso "No. 95 - The Caravan". Oil on canvas, 16" x 24.25". Framed 23.5" x 32.5". 20,000/30,000
Considered a “master of lyrical sculpture”, Harriet Whitney Frishmuth was particularly drawn to the female form. Her favorite models were dancers, and her most well-known pieces feature lithe nudes.
She was born in Philadelphia but spent much of her childhood in Dresden and Paris, studying at age 19 under Auguste Rodin. She later worked under Cuno von Euchtritz, Hermon MacNeil and Gutzon Borglum, and studied at the École des Beaux-Arts and the Art Students League of New York.
She opened her own studio in New York in 1908 and began receiving commissions from the Gorham Manufacturing Co. and the New York County Medical Society around 1910, mostly for utilitarian items like bookends, garden ornaments and park fountains.
Her work was critically well-received, and her reputation grew steadily throughout the first decades of the 20th Century. At the
HARRIET WHITNEY FRISHMUTH
New York/Connecticut, 1880-1980
The Fisherman. Figure seated beside a sundial. Signed and dated on base “Harriet W. Frishmuth 1912”. Bronze, height 11.5”. Length 17”. 20,000/30,000
height of her career, the women’s rights movement escalated with the ratification of the 19th Amendment, giving women the right to vote, in 1920. In response to her growing activism, Frishmuth joined the Philadelphia Ten, a group that promoted women as professional artists, not just hobbyists, through equal exhibition opportunities, salon-style forums, and access to models and instruction.
Frishmuth was forced to leave New York and return to Philadelphia due to financial hardship during the Great Depression. She remained there the rest of her life, continuing to sculpt. Her work was included in exhibitions at the National Academy of Design, the Academy of Fine Arts in Philadelphia, the Salon in Paris, the Golden Gate International Exposition and the National Association of Women Painters and Sculptors, among others, and is currently in the collections of the Metropolitan Museum of Art in New York City and the Dallas Museum of Art.
GILTWOOD AND PAINTED SIX-PEDAL HARP
19th Century
Crown with carved leaf decoration. Body with painted urn, floral and bird decoration. 1,000/2,000
RARE VICTORIAN WICKER "GOSSIP" OR TÊTE-À-TÊTE CHAIR
America, Late 19th Century
Attributed to Heywood-Wakefield Co. Back height 37”. Seat height 16”. Length 48”. 1,000/1,500
FRENCH AUTOMOBILE ADVERTISING POSTER
Circa 1900
“Automobiles De Dietrich & Cie Luneville Neuillys-Seine”. Depicts a woman with a donkey cart being spooked by a De Dietrich automobile. De Dietrich, a holding company based in France that dates back to 1684, manufactured automobiles from 1896 to 1905. Possibly from the 1902 Paris-Vienna car race. Marked lower right “Affiches Belleville, Grande Imprimerie de Montrouge, Paris”. 44.75” x 61”. Framed 45.5” x 61.5”. 1,000/2,000
ROYCROFT ARTS AND CRAFTS HAND-HAMMERED COPPER BUTTRESS VASE BY KARL KIPP
New York, Circa 1910
Cylindrical vase supported by four angular handles or buttresses. Four applied squares at rim. Orb and cross mark on base. Height 8”. Width across buttresses 3.5”. 2,000/3,000
BIRDS OF PARADISE DESIGN RUNNER: 2’9" x 10’0"
21st Century
Borderless peach field contains flowering branches and exotic birds rendered in shades of dark blue, pale blue, ivory, taupe and subtle rose red. 500/800 [detail]
NANCY CALLAN
Massachusetts/Washington, 1964-
Blown glass top in shades of blue and green. Signed and dated near base “N. Callan 09”. Length 17”. 2,000/3,000
JAMIE WYETH
Pennsylvania/Maine/Delaware, 1946“Corbett House”, Monhegan Island, Maine, 1973. Signed lower left “Jamie Wyeth”. Includes a copy of the original bill of sale from Coe Kerr Gallery, New York, March 16, 1981. Watercolor, 20.75” x 28.5”. Framed 32” x 40”. 25,000/35,000
The house depicted here is on Monhegan Island, Maine, and was built in 1908. It sits on the path out to Burnt Head, one of the three cliffs on the eastern side of the island. Helen Corbett bought the house in 1953 and owned it until 1980.
RARE AND UNIQUE CARVED AND PAINTED WOODEN CRANE
Late 19th/Early 20th Century
Highly decorative and monumental piece of folk art. Height approx. 8'0".
Length approx. 17'0". 8,000/12,000
Provenance:
John C. Newcomer, Harper's Ferry, West Virginia.
Important Connecticut Collection.
DONALD A. DUNLAP TIGER MAPLE SECRETARY DESK
New Hampshire, 20th Century
Fully fitted interior. Signed and dated 2003 on a drawer bottom. Height 87”. Width 39”. Depth 22”. 10,000/12,000
ATTRIBUTED TO ROY LICHTENSTEIN
New York, 1923-1997
Airplane. Signed and dated verso “Roy Lichtenstein 1978”. Newspaper clipping with a felt-tipped pen and ink drawing (of a brushstroke?) adhered to the backside. Acrylic on wood, height 15.5”. Length 34.5”. 1,500/2,500
Possibly an additional mock-up for “Airplane”, 1977. See catalogue raisonné #RLCR 2539 (RL 0262) at lichtenstein.org.
“Airplane” was created as a prop for Kenneth Koch’s three-act play, “The Red Robins”, which was directed by Donald Sanders. Lichtenstein was one of several well-known artists of the time to contribute to the set design. Others included Alex Katz and Red Grooms. The play was performed in New York in late 1977 and early 1978. According to the catalogue raisonné “the artist signed the work when the performances ended and donated it to help cover the cost of production.”
JOHN WHORF
Massachusetts, 1903-1959
Nighttime view of the Brooklyn Bridge from the water. Signed upper right “John Whorf”. Watercolor on paper, 16.5” x 21.75”. Framed 26.5” x 30”. 2,000/4,000
KENNETH NOLAND
New York/Maine, 1924-2010
Geometric abstract. Signed lower right “KN”. Mixed media on paper, 25” x 19” sight. Framed 27” x 21.5”. 8,000/12,000
Provenance: Andre Emmerich Gallery, New York.
BAR CHEST MADE BY EDWARD AUGUSTUS TURPIN
Dated 1948
Brass-bound mahogany chest extensively carved with maritime scenes and verses. A 1935 map of the world drawn by Turpin is affixed to the top. Spinning the small brass and wood ship's wheel raises the top, exposing the fitted interior. Built while at sea as a gift for his wife and dated "XMAS 1948". Height 22”. Width 34”. Depth 24”. 1,000/2,000
Provenance:
Descended in the family of Capt. Edward Augustus Turpin.
Captain E.A. Turpin (Truro, Masschusetts, 1903-1960) was co-author of the Merchant Marine Officer’s Handbook, master of a California Maritime Academy training ship, and commander of United Fruit Co. merchant ships and U.S. Navy ships during World War II and the Korean War. Turpin's many talents included cartography, cabinet making, wood carving and ship model building. He was also a banana farmer, notably spending five years in the Guatemala division.
RARE GRAND ARMY OF THE REPUBLIC FLAG
Portland, Maine, Circa 1909
Silk 46-star flag with “In Memoriam Bosworth Post No. 2 G.A.R.” in gilt and black painted lettering in the field. Honors Frederic W. Bosworth of Portland, Maine, who enlisted August 18, 1862 into Company A of the 17th Maine Infantry. He was killed August 15, 1863 at Wapping Heights, Virginia. 29” x 44”. 1,000/2,000
IMPORTANT AND INTERESTING LOT PERTAINING TO THE CAREER OF COLONEL ERNEST LESTER JONES
Late 19th/Early 20th Century
During his illustrious career Jones (April 14, 1876-April 9, 1929) served as Deputy Commissioner of the United States Bureau of Fisheries from 1913 to 1915 and Superintendent of the United States Coast and Geodetic Survey from 1915 until his death. He was commissioned a lieutenant colonel in the U.S. Signal Corps during World War I, and later became Colonel of the Division of Military Aeronautics. He notably helped settle the Alaska boundary dispute between the U.S. and Canada, was instrumental in establishing the American Legion, and was decorated with the French Legion of Honor and by the King of Italy. Throughout his career he encountered and befriended several well-known men of the time period, including President Woodrow Wilson, Admiral Richard E. Byrd, Charles Lindbergh and General John J. Pershing.
Lot includes photographs, documents, autographs, medals, certificates, several political cartoons, etc. Notable items include a flag Byrd carried on a flight to the polar regions, a small urn with a plaque indicating it was made from wood from the hull of Admiral Peary’s polar exploration ship Roosevelt, letters and a photograph signed by John J. Pershing, a ticket to the gallery of the House of Representatives for the Wilson memorial in 1924, several letters and a photograph signed by Woodrow Wilson, a 1917 letter from the postmaster general sent with two rare stamps, and a photograph of the Directors of the U.S. Coast and Geodetic Survey meeting in Washington D.C., signed by several members including Byrd and Charles Lindbergh. 5,000/10,000
CIVIL WAR CONFEDERATE TRUNK
Circa 1860
In chestnut under gray-black paint. “W.E. Webster C.S.A.” in yellow lettering on lid. Ropework handles. Height 17.5”. Width 37.75”. Depth 17.5”. 1,000/1,500
JOHN ORNE JOHNSON FROST Massachusetts, 1852-1928
“Baker’s Island with Twin Lighthouses”. Unsigned. Inscribed verso “Jo J Frost of Marblehead, Mass” and “Sold at PB Auction April 8, 1971”. Oil on board, 11” x 19”. Framed 14” x 22”. 7,000/10,000
COUNTERTOP BARBER’S POLE TICKET DISPENSER
New England, 19th Century
Carved and red, white and blue painted pine pole with a gilt finial and foot. Four hooks at base with numbered tags. Height 32.5”. 1,000/1,500
EIGHT REDWARE MINIATURES, MOSTLY OHIO
19th Century Six jugs, one pitcher and a crock. Heights to 4.5”. 1,500/2,500
19th Century In olive green. Height 5.5”. 800/1,200
20th Century
19th Century
Design of hearts, peafowl and bells. 29” x 65”. 1,000/1,500
KEEN SUNBURST GLASS BOTTLE
RARE PENNSYLVANIA WOOL BUGGY LAP BLANKET
COPPER BULL’S HEAD TRADE SIGN
Green patina. Height 29”. Width 23”. Depth 18”. 1,000/2,000
ALBERT BIERSTADT
New York/California/Massachusetts/Kansas/Germany, 1830-1902
Sailors on the wave. Signed lower right “A. Bierstadt”. Oil on board, 9” x 10”. Framed 14.5” x 15.5”. 80,000/120,000
RARE SHAKER TWO-PART WORK CABINET
America, 19th Century
In pine. Upper case with 20 small drawers. Lower case with a fold-out work surface over four full-width drawers. All drawers with period turned wooden knobs. Bracket feet. Height 63.75”. Width 42.5”. Depth 20.25”. 3,000/5,000
RARE SHAKER TRESTLE TABLE
America, 19th Century
Pine top with breadboard ends. Arched legs end in diminutive shoe-style feet. Height 26.75”. Length 98.25”. Width 37.25”. 30,000/50,000
EAGLE HEAD HITCHING POST ATTRIBUTED TO J.W. FISKE
Mid-19th Century
Eagle grasping a ring in its beak. Baluster post with acanthus leaves at base. Height 43.75". 1,000/1,500
ADVERTISING CLENCHED FIST HITCHING POST
Circa 1865
Stood in front of the Maxwell Hardware Store in Oakland, California. Cast in the round. Powerful fist with well-defined fingernails and a muscular palm. “Maxwell Hardware Store” on back of hand. Shows traces of blue paint. Height 48.5”. 1,000/1,500
Provenance: Phil and Bunny Savino.
Illustrated:
Horsing Around: 19th Century Cast Iron Hitching Posts by Albany Institute of History & Art (Albany, N.Y.: W. Douglas McCombs, 2008), p. 49.
Exhibited:
Albany Institute of History & Art, Albany, New York: “Horsing Around: 19th Century Cast Iron Hitching Posts”, January 26, 2008-May 25, 2008.
CAST IRON STAG ATTRIBUTED TO J.W. FISKE
19th Century
No signature noted. Height 59.5”. Length approx. 47.5”. 2,000/3,000
PAINTED TRADE SIGN
19th/20th Century
"4 Miles to Graves and Jennison's One Price Clothing House, Hudson", probably referring to Hudson, Massachusetts. Oil on board, height 47.75". Width 11.75". 2,000/3,000
ATTRIBUTED TO ROBERT WESLEY AMICK
Connecticut/Colorado, 1879-1969
Stagecoach in a Western mountain settlement, in front of a Wells Fargo & Co. branch and other storefronts. Unsigned. Oil on canvas board, 21.75” x 27.75”. Framed 24” x 30”. 4,000/6,000
BRYANT CHAPIN
Massachusetts, 1859-1927
Still life of peaches and grapes. Signed and dated lower left “Bryant Chapin 1904”. Oil on canvas, 13” x 17”. Framed 18.5” x 22.5”. 3,000/5,000
PANTRY CHEST
19th Century
In maple, the case painted black. Fitted with eight drawers, each with a painted ribbon-style label for different foodstuffs. Shaped bracket base. Height 34”. Width 27.75”. Depth 15”. 500/800
KARAJA RUG: 5’1" x 6’2"
First Quarter of the 20th Century
Tomato red field is occupied by three traditional blue and ivory medallions, a busy array of small stylized blossoms, and elaborate light blue, pink and brown scrolling leaves at each corner. Abrashed marine blue and gold guard borders. Navy blue main border. 300/500
FREDERICK A. BUTMAN
California/Maine, 1820-1871
Pair of landscapes depicting Mount Shasta and Mount Hood. Signed lower left “F. Butman”. Oils on canvas, 34” x 24”.
Framed 45.5” x 35.25”.
7,000/10,000
JOHN JAMES LAFOREST AUDUBON
New York/France, 1785-1851
“Wild Turkey: female and young”. Published by the American Museum of Natural History, New York and Alecto Editions. Printed in 1985 from the original plates engraved by W.H. Lizars and R. Havell between 1828 and 1836. Color etching with aquatint and additional hand coloring, 46.75” x 32.25”. Framed 53” x 39”. 1,000/1,500
TITIAN RAMSAY PEALE
Pennsylvania, 1799-1885
“Pilots House at the Mouth of the Rio Negro, Patagonia.”. Signed and dated lower left “T.S. Peale 1839”. Titled lower center. Peale was the chief naturalist on the United States Exploring Expedition (The Wilkes Expedition) from 1838 to 1842. The expedition explored and surveyed the Pacific Ocean and surrounding lands. Pencil on paper, 6.5” x 9.5”. Unframed. 3,000/5,000
Reference: "Titian Ramsay Peale's Specimen Portraiture; or, Natural History as Family History" by Kenneth Haltman, included in The Peale Family: Creation of a Legacy, 17701870 edited by L.B. Miller (Washington, D.C.: Abbeville Press with the National Portrait Gallery, 1996), p. 205.
A. ELMER CROWELL
East Harwich, Massachusetts, 1862-1952
MINIATURE PINTAIL DRAKE
Circa 1925
Mounted on a round base. Height 3.5”. 1,000/1,500
MINIATURE SPOTTED SANDPIPER
Circa 1925
Mounted on an oval base. Rubber stamped. Height 2”. 1,000/1,500
MINIATURE STILT
Circa 1925
Mounted on an oval base. Rectangular stamp. Height 4”. 1,500/2,500
RARE MINIATURE SURF SCOTER
Circa 1930
Mounted on a round base. Rectangular stamp. Height 3.25”. 1,500/2,000
RARE MALLARD HEN DECOY
Circa 1920
Head turned to the right. Glass eyes. Oval brand. Marked “Hoover” in white paint on underside. Length 17”. 3,000/5,000
DAVID A. MAASS Minnesota, 1929 “Deep in the Backwater - Mallards”. Signed lower left “Maass”. Titled on label verso for Abercrombie & Fitch, Madison Ave. at 45th Street, New York. Oil on panel, 24” x 30”. Framed 31” x 35”. 12,000/15,000
Provenance: Private Collection, Watch Hill, Rhode Island.
EMILE ALBERT GRUPPE
Massachusetts, 1896-1978
“Drying the Sails”. Signed lower right “Emile A. Gruppe”. Titled and dated 1961 verso. Oil on canvas, 25” x 30”. Framed 30” x 35”. 8,000/12,000
ALDRO THOMPSON HIBBARD
Massachusetts/Vermont, 1886-1972
“Stream, Branch of the West River, Near East”. Signed lower left. Titled on label verso for Vose Galleries, Boston. Oil on board, 18” x 25”. Framed 26.25” x 33.25”. 8,000/12,000
JOHN JOSEPH ENNEKING
Massachusetts/New York/Maine/Ohio, 1841-1916
“Woodland Whitewater”. Signed lower right “Enneking”. Titled on frame plaque. Oil on canvas, 24” x 36”. Framed 33” x 45”. 6,000/9,000
JAMES BRITTON
Connecticut, 1878-1936
“Coal Picker, Connecticut River”, Hartford, Connecticut. Signed and dated 1902 lower left. Titled verso. Artist’s thumbnail #90 from his sketchbook. Oil on board, 13” x 17.25”. Framed 13” x 15”. 5,000/7,000
HERMANN OTTOMAR HERZOG
Pennsylvania/California/Germany, 1832-1932
Driving cattle down a country path. Signed lower right
“H. Herzog”. Oil on canvas, 30” x 38”. Framed 41” x 49”. 10,000/15,000
WILLIAM STANLEY HASELTINE
New York/Pennsylvania/Italy, 1835-1900
“Narragansett Bay”. Signed and dated lower right
“W.S. Haseltine ‘64”. Titled on gallery label verso. Oil on canvas, 12” x 22”. Framed 21” x 31”. 8,000/12,000
NANTUCKET MINIATURE OR "ONE EGGER" BASKET
Late 19th Century Round, with swing handle. Height 2.25”. 500/800
RARE JOSÉ FORMOSO REYES NANTUCKET BASKET TRAY
20th Century
Shaped handles. Signed on underside. Height 4.5”. Diameter 19”. 3,000/5,000
Provenance: Descended in a ‘Sconset, Nantucket family.
JAMES WALTER FOLGER
Nantucket, 1851-1918
Nantucket homestead, possibly the home of Captain Benjamin Whitford Joy. Signed and dated lower right “Jas. W. Folger 1886”. Inscribed verso “Painted by Jas. Walter Folger Sept 24th 1886 Nantucket, Mass. B. Whitford Joy Present”. Oil on canvas, 8” x 15”. Framed 9.5" x 16.5”. 4,000/6,000
Captain Joy was the last of the Nantucket’s squarerigger captains. His family had deep roots in Nantucket’s whaling industry, with “A Dead Whale or a Stove Boat” as their family motto.
NANTUCKET ROCKING HORSE
Circa 1830
Made by John Way Coleman for his son Edwin Monroe Coleman, born in 1828. John Way Coleman was a mariner whose father was lost at sea in 1802, the year of his birth. Painted pine horse with footrests and canted rockers. Upholstered seats with leather nailhead trim. Leather nailhead bridle. Card documenting provenance affixed to underside. Height 28”. Length 41”. Width 14”. 2,000/4,000
RARE AND IMPORTANT WELLFLEET FAMILY RECORD NEEDLEWORK
Cape Cod, Massachusetts, Datd 1829. Wrought by “Harriot N Rich ads 12th year 1829”. Lists members of the Covell-Wiley family born between 1788 and 1828. Floral border. 22.5” x 17” sight. Framed 25.5” x 20”. 1,000/1,500
C. MYRON CLARK
Massachusetts/Maine, 1858-1925
The steamship Mayflower. Signed and dated lower left "C. Myron Clark 1892 after Wm Hudson Jr. 1848". Oil on canvas, 23" x 34". Framed 27" x 40". 2,500/3,500
CAPE COD LEATHER FIRE BUCKET
Dated 1815
Together with two pairs of bellows with painted floral decoration. All found in an Orleans, Massachusetts barn. Fire bucket with “Jos. Bassett. 1815” in yellow painted lettering against a green-black ground. Bucket height 12.5”. Bellows lengths 18”. 500/700
ELMER O. STENNES GIRANDOLE CLOCK
Weymouth, Massachusetts, 20th Century Mahogany case with a gilt spread-wing eagle finial, brass sidearms and a gilt foliate presentation bracket. Doors and throat with elaborate gilt surrounds. Reverse-painted lower door depicts “Aurora”. Arabic numeral dial. Height approx. 48”. 4,000/6,000
HINGHAM FIRKIN
19th Century
Painted green. Partial stamp on lid. Height 10”. 1,000/2,000
VERNON B. SMITH Massachusetts, 1894-1969
Cape Cod houses in a tree-filled landscape. Etched signature lower left “Vernon Smith”. Painted bas-relief wood carving, 13.75” x 36”. Unframed. 2,000/3,000
RALPH EUGENE CAHOON, JR.
Massachusetts, 1910-1982
“Bound Home”. Signed lower right “R. Cahoon”. Set within an octagonal shellwork valentine by Bernard A. Woodman, signed on interior of case “B.A. Woodman #93”. Painting diameter 5.5”. Valentine case 15” x 15”. 10,000/15,000
ELIZABETH MUMFORD
Massachusetts, 1950-2020
“Why Does a Fireman Wear Red Suspenders?”. Depicts the “Volunteer Fire Co” in a seaside village parade. Unsigned. Artist identified on label verso for Tree’s Place Gallery, Orleans, Massachusetts, where she was represented for many years. Oil on panel, 18” x 30”. Framed 20.5” x 32.5”. 5,000/7,000
ELDRED WHEELER DUNLAP-STYLE CHEST-ON-FRAME
Massachusetts, 20th Century In tiger maple. Shaped cornice over five graduated full-width drawers, the top drawer simulating three small drawers with central fan carving. Frame with scroll and fan carvings, and cabriole legs ending in pad feet. Original Eldred Wheeler paper label inside a drawer. Height 63”. Width 36”. Depth 21”. 2,000/3,000
STEVAN DOHANOS
Connecticut/Ohio, 1907-1994
Gay Head Light, Martha’s Vineyard, Massachusetts. Shows an early location of the lighthouse. Signed lower right “S. Dohanos”. Reverse painting on glass, 23.5” x 30.5”. Framed 27.5” x 34.5”. 15,000/25,000
New York, 1954Day at the beach, Nantucket. Signed lower right “Dahl Taylor”. Oil on canvas, 20” x 30”. Framed 23” x 33”. 2,500/3,500
WILLIAM ROBERT DAVIS
Massachusetts, 1952“Windswept”. Signed lower left “William R. Davis”. Signed and titled verso. Oil on canvas, 15” x 30”. Framed 23” x 38”. 10,000/15,000
DAHL TAYLOR
JOSEPH MCGURL
Massachusetts, 1958“The Deep Blue Sea” (Naushon Island). Signed lower right “Joseph McGurl”. Titled on label verso for Tree’s Place Gallery, Orleans, Massachusetts. Oil on canvas, 24” x 48”. Framed 36” x 60”. 25,000/35,000
Provenance: Tree’s Place Gallery, Orleans, Massachusetts.
JOSEPH MCGURL
Massachusetts, 1958“Offshore”. Signed lower right “Joseph McGurl”. Titled verso. Oil on canvas, 24” x 48”. Framed 34” x 58”. 20,000/25,000
Provenance:
Tree’s Place Gallery, Orleans, Massachusetts. The Henry and Sharon Martin Collection of Contemporary Realist Paintings.
Exhibited:
Cape Cod Museum of Art, Dennis, Massachusetts: August 21, 2010-November 7, 2010. Lyman Allyn Art Museum, New London, Connecticut: March 18, 2011-August 21, 2011. Maryhill Museum of Art, Goldendale, Washington: June 9, 2012-September 3, 2012.
A Private Cape Cod Collection
HOPE HAZARD VOORHEES
Massachusetts/Michigan, 1891-1970
“A Provincetown Street”. Signed and dated lower right “Hope H. Voorhees, 1930”. Titled lower left. Titled verso on label cut from original, inscribed “Given to [...] Mrs. Swartz by Hope Voorhees, September 1935”. Colored woodblock print, 9.5” x 13.5” sight. Framed 16” x 20”. 3,500/4,500
VOLLIAN BURR RANN
Massachusetts/North Carolina, 1897-1956
“Pamet River”. Signed and dated lower right “V.B. Rann 1935”. Signed, titled and marked “W.P.A. 1935” on stretcher. Oil on canvas, 25” x 30”. Framed 30” x 34”. 3,500/5,000
Provenance:
A Provincetown Estate.
Eldred’s, The Fall Sale, November 19-20, 2020, Lot #813.
Reference: Cape Cod Gardens and Houses by Catherine Fallin and Taylor Lewis (Simon & Schuster, 1994), p. 231.
New York/Colorado/California/Kansas, 1901-1962
“Provincetown Playhouse, 29”. Signed lower left “M. Lois Murphy”. Titled verso. Oil on canvas, 20” x 28”. Framed 29” x 36”. 10,000/15,000
MINNIE LOIS MURPHY
ROSS E. MOFFETT
Massachusetts/California/Iowa, 1888-1971
“Winter Afternoon, 1917”. Signed lower left “Ross E. Moffett”. Housed in a Heydenryk frame. Oil on canvas, 36” x 46”.
Framed 45” x 54”.
Provenance: James Bakker Fine Arts, Cape Cod, Massachusetts.
30,000/50,000
BLANCHE (NETTIE BLANCHE) LAZZELL
Massachusetts/West Virginia, 1878-1956
Street Scene, Provincetown. Signed lower right “B. Lazzell”. Inscribed verso in the artist’s hand “painted in Provincetown, Mass. [...] Aug. 1915, by Blanche Lazzell”. Housed in a Heydenryk frame. Oil on canvas, 17” x 15”. Framed 24” x 23”.
25,000/35,000
Provenance: Swann Galleries, June 14, 2012.
LUCY BROWN L’ENGLE
New York/Massachusetts, 1889-1978
“Figure”. From the Martha Graham Dancer series. Signed and dated lower right “Lucy L’Engle 1928”. Titled, signed and marked “151 E. 53rd Street” verso. Oil on board, 24” x 30”. Framed 33” x 38”.
20,000/30,000
Provenance: Christie’s, Sale 1859, July 31, 2007, Lot #89.
TOD (RAPHAEL LEROY) LINDENMUTH
Massachusetts/Florida, 1885-1976
The Rescue Dory. Signed and dated lower left “Tod Lindenmuth '34”. Oil on canvas, 30” x 50”. Framed 35” x 55”. 12,000/18,000
Exhibited:
Provincetown Art Association and Museum (PAAM), Provincetown, Massachusetts: “Themes and Variations: Tod Lindenmuth 1915-1917”, May 12-July 2, 2017.
KARL (OTTO KARL) KNATHS
Massachusetts/Wisconsin, 1891-1971
Still life of fruit and bread. Signed lower left “Knaths”. Remnants of Los Angeles Exposition label verso. Oil on canvas, 18” x 18”. Framed 23” x 23”. 5,000/8,000
Provenance:
Christie’s, Sale 1971, March 4, 2008, Lot #94.
EDWIN WALTER DICKINSON
New York/California/Massachusetts, 1891-1978
View of Wellfleet, Massachusetts. Titled, dated and artist identified on label for Graham Gallery, Madison Avenue, New York. Handwritten “painted in Wellfleet, flats between Partridge Heights and Wellfleet” and dated 1942 verso. Oil on canvas, 12” x 10”. Framed 11.5” x 13.25”. 15,000/20,000
Provenance:
Christie’s, Sale 2455, June 21, 2011, Lot #9.
PETER BUSA
Pennsylvania, 1914-1985 Monumental Indian Space Painting, circa 1950. No signature noted. Oil on canvas, 63” x 69”. Framed 66” x 71.5”.
25,000/35,000
Provenance: Purchased directly from the estate of the artist by the consignor.
Three generations of Provincetown Artists
Turn-of-the-century Impressionist Max Bohm lived in Provincetown toward the end of his career, painting seascapes while also being an instrumental force in the creation of Provincetown’s emerging art colony. His granddaughter, Anne Packard, synonymous with contemporary Provincetown art, continues to be greatly influenced by his work. Although she never met him, she grew up with his paintings and his presence around her. Her pieces are typically harbor landscapes inspired by the view out her window. Anne's daughter Cynthia Packard works closely with her mother, using a variety of mediums and focusing on figures and interiors.
Although these artists have a different approach to their work, each embodies a sense of changing light, shadows and color to convey the mood of their subject. Determined, motivated, inspired and compassionate, this family of artists connects over 150 years of representational art in Provincetown.
MAX BOHM
New York/Ohio/France/England, 1868-1923
“In the Orchard”. Titled verso on canvas, stretcher and label for Alfred Walker Fine Art, Newbury Street, Boston. Estate stamped. Oil on canvas, 19.5” x 12.5”. Framed 25.5” x 18.5”. 2,000/3,000
Provenance: Brunk Auctions, September 15-17, 2022, Lot #1343.
ANNE PACKARD
New Jersey/Massachusetts, 1933View of Provincetown, Massachusetts from the Harbor. Signed and dated lower right “A. Packard ‘80”. Oil on canvas, 36” x 53”. Framed 39” x 56”. 30,000/40,000
CYNTHIA PACKARD
Massachusetts/Florida, 1957Interior scene with a chair and a vase of flowers. Signed lower right “Cynthia Packard”. Label verso for Erdreich White Fine Art, Boston. Oil on canvas, 60” x 48”. Framed 64” x 51”. 5,000/7,000
BLANCHE (NETTIE BLANCHE) LAZZELL
Massachusetts/West Virginia, 1878-1956
Still life. Signed and dated in margin lower right “B. Lazzell 1924”. Watercolor and gouache on paper, 9” x 6.5”. Framed 16” x 14”. 10,000/12,000
Provenance: Private Connecticut Collection.
BLANCHE (NETTIE BLANCHE) LAZZELL
Massachusetts/West Virginia, 1878-1956
“Star Phlox”, 1930. Signed, titled and dated in pencil lower margin. Inscribed in pencil verso “Wood Block Print ‘Star Phlox’. 280 no. from all blocks 1 no. from this block Blanche Lazzell. Provicetown, Mass September 20th, 1930”. Fraction “280/1” written in pencil in all four corners of the sheet verso. Color white-line woodcut, 14” x 12”.
Framed 24.75” x 22.5”.
35,000/45,000
TONY VEVERS
Massachusetts/Indiana/England, 1927-2008
Figures in a doorway under a full moon.
Signed and dated lower right “T. Vevers ‘69”. Oil on canvas, 36” x 26”. Framed 37” x 27”. 3,000/5,000
OLIVER NEWBERRY CHAFFEE
Massachusetts, 1881-1944
“Sun Goddess, or Venus of Provincetown”. Signed and dated lower right “Chaffee ‘41”. Titled on Hirschl & Adler label verso. Other labels verso for Grogan, Julie Heller, Provincetown Art Association and Museum (PAAM) and Cahoon Museum of American Art exhibitions. Woodcut print, 14” x 12” sight and original woodblock, 14” x 12” sight, housed together in a common frame. Framed 26” x 37.5”. 8,000/10,000
Provenance:
Hirschl & Adler Galleries, New York. Julie Heller Gallery, Provincetown. Private Boston Collection.
23. WOLF KAHN
New York/Vermont/Germany, 1927-2020
Trees in an expansive landscape. Signed lower left “W. Kahn”. Pastel on paper, 21” x 28” sight. Framed 29” x 36”. 15,000/20,000
[detail]
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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. ONLINE BIDS: Eldred’s shall not be held responsible for any failure to properly execute bids placed online. All online bidding 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.
