Americana, Paintings, Furniture & Decorative Arts

Important Americana, Paintings, Furniture, and Decorative Arts Sale Tuesday, 17 January 2012 10:00 AM

Important Americana, Paintings, Furniture, and Decorative Arts Sale 17 January, 2012 1005

127 East 69th Street New York, NY 10021 +1 212 734 2381 Kenoauctions.com

IMPORTANT AMERICANA, PAINTINGS, FURNITURE, AND DECORATIVE ARTS SALE

Sale: Tuesday, January 17, 2012 10:00 AM

Viewing: Saturday, January 14, 2012

10:00 a.m. to 8:00 p.m.

Sunday, January 15, 2012

10:00 a.m. to 8:00 p.m.

Monday, January 16, 2012

8:00 a.m. to 8:00 p.m.

Tuesday, January 17, 2012

8:00 a.m. to End of sale. (viewing available during sale)

Location: Church of St. Ignatius Loyola, Wallace Hall 980 Park Avenue at 84th Street New York, NY 10028

Auction Code: 1005 In sending absentee bids or making inquiries, this sale should be referred to as SALE 1005.

Auction Inquiries & Bid Department: Sale Inquiries: phone: 212 734 2381 Info@kenoauctions.com

Auction Online: This auction features online viewing and live online bidding at Kenoauctions.com and Liveauctioneers.com.

Conditions of Sale: This auction is subject to Important Notices, Conditions of Sale and Reserves.

Front cover:

Lots 24 (detail), 26(detail), 79 and 80

President and Owner: Leigh Keno, leigh@kenoauctions.com

Back cover:

Lot 8

Inside front cover

Lot 75 (detail)

Jack O’Brien, Jack@kenoauctions.com Amy Sheldon, Amy@kenoauctions.com

Inside back cover

Lot 118

Catherine Skibitcky, Catherine@kenoauctions.com

Page 2

Lot 107

Page 5

Lot 26

Staff: Sarah DeSanctis, Sarah@kenoauctions.com

Consultant: Betty Krulik, Fine Arts

Handling and Collection Lots will not be released until all outstanding charges due to Keno Auctions are paid in full. Please contact Keno Auctions Client Accounts department at +1 212 734 2381 or Clientaccounts@kenoauctions.com.

Administration and Handling Charges Property not picked up the day of the sale or by 3:00 p.m. the following day will result in handling and administration charges plus any applicable sales taxes.

Charges

All Property

Administration (per lot, due on Day 36) Handling (per lot/day, beginning Day 36)

$150.00 $12.00

Welpak Corporation 58-60 Grand Avenue Maspeth, NY 11378 718 391 0155 Info@welpakcorp.com Hours: 9:00 – 5:00 p.m.

Monday – Friday, except public holidays

Keno Auctions Sale Site Church of St. Ignatius Loyola Wallace Hall 980 Park Avenue New York, NY 10028 Hours: 9:00 a.m. – end of sale January 17, 2012 Hours: 10:00 a.m. – 3:00 p.m.

January 18

Directions to the Sale

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By Subway:

Take 6 train to 77th Street OR take 4, 5, or 6 train to 86th Street.

Driving Directions

• •

From Westchester • • • • • • •

New York State Thruway (I-87) South Exit 3, towards East 138 Street

Stay straight to go onto Exterior Street. Turn right onto Madison Avenue Bridge.

Madison Avenue Bridge becomes Madison Avenue. Turn Left onto 135 Street. Turn Right onto Park Avenue.

Turn Left onto East 132 Street, take the FDR Drive South to 96 Street (exit 14) Either go right onto 96 Street, drive across town to Park Avenue and turn left OR Go straight onto York Avenue, turn right at 85 Street, turn left at Park Avenue.

From Long Island • •

•

Long Island Expressway (I-495) to exit 30W, towards Midtown Tunnel Take Grand Central Parkway (Exit 22A) towards 108 St. Keep right at the fork in the ramp.

Grand Central Parkway goes into Triborough Bridge. Keep to the Right, take the exit for Manhattan.

Keep to the center through the tolls, follow signs for FDR Drive South.

Exit at 96 Street (exit 14).

Either go right onto 96 Street, drive across town to Park Avenue and turn left OR Go straight onto York Avenue, turn right at 85 Street, turn left at Park Avenue.

From the Lincoln Tunnel • • • • • •

From Connecticut

On exiting the tunnel, exit on the left towards 40 Street 7 North/West Side Hwy Take West Side Highway to 79th Street Turn left onto Broadway

Take Broadway to 86 Street, turn right onto 86 Street

Take 86 Street through Central Park.

You will exit the park on 84 Street.

The church is on the corner of 84 Street and Park Avenue.

•

I-95 South

•

Take exit for FDR Drive

There are many parking garages in the neighborhood. The closest is Belmont, on 84 between Park and Lexington.

Keep right and follow signs for 125 St./2nd Avenue

Additional parking garages include:

• • • • • • •

Continue onto 1-278 W Merge onto Robert F. Kennedy Bridge Turn right onto E. 125th St

Parking:

•

Turn left on Lexington Avenue (3rd cross street) Turn right on E. 85th St.

Take first left on to Park Avenue

• •

Albert Parking LLC

30 E. 85th Street (between 5th and Madison) 212-249-5290

East 82nd Street Garage 111 E.82nd Street (between Lex and Park) 212-288-9645

Gold East Garage 55 E. 87th Street (between Madison and Park) 212-831-4818

3 1

4 2

Property of a New York Gentleman

1 Fernand Le Gout-Gerard (French, 1854-1924)

3 Henri Joseph Harpignies (French, 1819-1916) PAYSAGE AVEC UNE FEMME AU BORD DE LA RIVIERE Signed and dated lower left, “H Harpignies 1900”

BRETON WOMEN AT THE EMBANKMENT

Oil on canvas

Signed and dated lower left

12 x 17 in.

Oil on canvas laid down on plywood

$4,000-6,000

24 x 28 1/2 in.

Provenance: Arthur Tooth & Sons, New York

$5,000-10,000

Mrs. George E. Rand, Buffalo, New York Exhibitions: Buffalo, New York, the Buffalo Fine Arts Academy, Albright Gallery

Property of a Gentleman

2 Henriette Ronner (Dutch, 1821-1909)

4 Charles Edouard Frere (French, 1837-1894)

THE DOG CART

FEEDING BABY, 1871

Signed lower right “Henriette Ronner”

Signed and dated lower left “Edouard Frere 71”

Oil on canvas

Oil on panel

22 5/8 x 18 in.

14 1/2 x 17 1/2 in.

$1,500-2,500

$3,000-5,000 Provenance: Arthur Tooth & Sons, New York Mrs. George E. Rand, Buffalo, New York Exhibitions: Buffalo, New York, the Buffalo Fine Arts Academy, Albright Gallery

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Additional Information, Photographs and Condition Reports at Kenoauctions.com

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5

6

7

Property of a Massachusetts Gentleman

Property of a Connecticut Lady

5 Attributed to Sir Godfrey Kneller (British, 1646-1723)

7 Auguste Rodin (French, 1840-1917)

Pair of Portraits

VICTOR HUGO

PORTRAIT OF A MAN and PORTRAIT OF A WOMAN

Inscribed M.L. “A.R.”

Oil on canvas in early carved and gilt wooden frames

Dry point etching, state five

30 x 24 in. (oval) (2)

8 1/2 x 6 1/8 in.

$5,000-8,000

$1,000-1,500

6 French School, Early 19th Century MADONNA AND CHILD WITH JOSEPH AND PUTTI Oil on canvas Unsigned 17 x 22 1/2 in.

$800-1,200

Additional Information, Photographs and Condition Reports at Kenoauctions.com

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8 William Mason Brown (American, 18281898) STILL LIFE WITH WATERMELON, FRUIT AND CALLA LILLIES Signed with conjoined initials lower left “W M Brown” Oil on canvas Unframed 19 3/4 x 16 in.

A letter from Dr. William H. Gerdts authenticating this work accompanies the lot.

$20,000-40,000 Provenance: Purchased in New York in the 1950’s by a prominent theater entertainment family Thence by descent

We are grateful to Dr. William H. Gerdts, Professor Emeritus of Art History, Graduate School of the City University of New York for preparing the following: “I have examined the vertical painting of watermelon, grapes, and an apple, situated in a landscape, and signed WMBrown. This is the artist’s typical signature, but more, the painting is very much in Brown’s manner.

Comparisons with other works by him--the manner in which he highlights both green and purple grapes; the larger watermelon with the roughened interior, though not with the deep cuts sometimes found in his work; the beautifully rendered apple; and not only the use of dir[t] and stony ground plane, but that particular formation of ground plane, is very typical of Brown and can be found in numerous other works painted by him which situated his fruit subjects in the out-of-doors. In my opinion this is a work by William Mason Brown.”

– W. H. G. December 2011

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9 William Rickerby Miller (American, 18181893) PEACHES ON A MARBLE TABLE TOP Signed lower left, “W.R. Miller 1862” Inscribed verso “A Study of Peaches W.M. R. Miller / Artist 709 Broadway NY” Oil on panel 5 1/2 x 7 1/2 in.

$3,000-6,000

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12

Property of a West Coast Gentleman

12 Jacob Eichholtz (American, 1776-1842) PORTRAIT OF MRS. LAWRENCE LEWIS Circa 1825 Oil on canvas 11

30 x 25 in.

Property of a New York Gentleman

$3,000-5,000

10 American School, 19th Century

Anna Maria Stocker (b. July 6, 1796, Pottstown, d. April 11, 1879), was the daughter of John Clements Stocker (1760-1813), and his wife Mary Katherine Rutter (17621813). She was married Dec. 4, 1817, to Lawrence Lewis, a Philadelphia merchant.

CAMPFIRE SCENE Signed lower right indistinctly H 1840 (?)

Oil on canvas 22 x 30 1/4 in.

$3,000-6,000 Provenance: Part of the Guennol Collection of Alastair B. Martin Property of a Gentleman

11 George Henry Hall (AMERICAN, 1825-1913)

Provenance: Robert M. Lewis, 1829-1899, son of the subject To his son; Lawrence Lewis, 1857 -1890 Anna Shippen Lewis. 1865- 1946, grandniece of the subject Robert M. Lewis, 1886- 1958, great grandson of the subject To his widow, Mrs. Robert M. Lewis, who owned the portrait when it was listed by Rebecca Beal in 1969 Mrs. Robert M. Lewis, New Haven, Connecticut Literature: This portrait is listed a s No. 468 in the catalogue raisonné of Jacob Eichholtz’s work by Rebecca Beal, The Historical Society of Philadelphia, Philadelphia, 1969.

MARKETING ON A COLD DAY, 1858 Signed and dated lower center “1858 G.H. HALL” Oil on canvas 11 3/4 x 10 in.

$1,200-1,800

Additional Information, Photographs and Condition Reports at Kenoauctions.com

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Property of a New York Family

13 Levi Wells Prentice (American, 1851-1935) CURRANTS GROWING ON A VINE Signed lower right “L.W. Prentice” Signed verso “L.W. Prentice” Oil on canvas 10 x 7 1/8 in.

$8,000-12,000 Provenance: Acquired from the artist Descended in the Wilmont Youngs and Hallock families of Long Island, NY

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14

14 Attributed to Thomas Doughty (American, 1793-1856) TWO FISHERMAN AT A STREAM Unsigned Oil on canvas 18 1/4 x 30 in.

$3,000-6,000 10

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15

Property of a New York Gentleman

15 William Lewis Sonntag Jr. (American, 1869-1898) WINDMILL ON A SEASIDE and BEACHED BOAT: Two watercolors Each watercolor with gouache on paperboard Each signed lower left “W. Lewis Sonntag Jr.” 6 1/2 x 13 1/2 in. (sight) (2)

$800-1,200

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Property of a New York Gentleman

Property of A West Coast Gentleman

16 William Trost Richards (American, 1833-1905)

17 American School, 19th Century

ST. JOHN’S HEAD, HOY, ORKNAY ISLAND, SCOTLAND

LANDSCAPE WITH MANOR HOUSE BY A SHORELINE

Circa 1873

Circle of DeGrailly

Signed lower left: “Wm. T. Richards”

Oil on canvas

Oil on board

With giltwood frame

9 x 16 in.

22 x 27 1/2 in.

$8,000-12,000

$1,000-2,000

Provenance: Dr. Robert Durell, New York, NY Private collection Exhibitions: Brooklyn, NY, Brooklyn Museum of Art; Philadelphia, PA, Pennsylvania Academy of the Fine Arts, William Trost Richards, American Landscape and Marine Painter, June 20- October 21, 1973, cat. no. 89.

Literature: Ferber, Linda, Brooklyn, NY, Brooklyn Museum of Art; Philadelphia, PA, Pennsylvania Academy of the Fine Arts, William Trost Richards, American Landscape and Marine Painter, June 20- October 21, 1973, cat. no.89, illustrated

Additional Information, Photographs and Condition Reports at Kenoauctions.com

11

Property of A New York Gentleman

18 Amanda Brewster Sewell (American, 1859-1926) PORTRAIT OF CANDACE CATHERINE STIMSON (1869-1930) Signed upper left “A Brewster” Dated upper right “1884” Oil on canvas 21 1/4 x 17 in.

$3,000-4,000 Her grandmother is Candace Wheeler, designer and business partner of L.C. Tiffany and Lockwood deForest.

Her aunt is Dora Wheeler, student and close friend of William Merritt Chase who painted the iconic portrait of Dora (Cleveland Museum) Candace Catherine Stimson’s brother was Henry Stimson, Secretary of War under President Taft, then Secretary of State under President Hoover and again Secretary of War, but under President F. D. Roosevelt.

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Property of a New England Gentleman

19 Christopher High Shearer (American, 1846-1926) FISHING IN AN AUTUMN STREAM Signed and dated lower left “C.H. Shearer 1886” Oil on canvas 18 x 24 in.

$1,200-1,800

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20 *Arthur Parton (American, 1842-1914) FULL SUMMER ALONG A RIVER Signed lower right “Arthur Parton” Watercolor on paper 17 x 23 in.

$300-500

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21 James Gale Tyler (American, 1855-1931) SAILING CLOSE TO SHORE Signed lower right “James G Tyler” Oil on canvas laid down on masonite 16 1/4 x 29 3/4 in.

$5,000-10,000 Provenance: Acquired circa 1950 by a Long Island Collector and thence by descent

21

Property of a West Coast Gentleman

22 John Clinton Spencer (American, 1861-1919) STILL LIFE WITH RASPBERRIES Signed and dated lower left “J. C. Spencer / 1916” Oil on canvas 7 x 12 in.

$500-700

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Property of a New Jersey Gentleman

23 Stephan Schwartz (Austrian, 1851-1924) FAWN WITH GEESE Signed “ST. SCHWARTZ” Bronze cast on marble base overall h. 10 1/2 in.; w. 15 1/2 in.; d. 5 3/4 in.

$1,200-1,800 Provenance: Private Collection Exhibited: Chicago, IL, World’s Columbian Exposition, 1893

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Property of a New York Family

24 Frederick Childe Hassam (American, 1859-1935) SMELT FISHERS, COS COB, 1902 Signed and dated lower right “Childe Hassam / 1902”

Exhibitions: Pennsylvania Academy of the Fine Arts, and Philadelphia Water Color Club, Philadelphia, 1935, 33rd Annual Philadelphia Watercolor Exhibition (lent by Milch Galleries) Art Institute of Chicago, Illinois, 1936 (March 12- May 10), 15th International Exhibition of Water Colors, no. 280 (lent by Milch Galleries)

Pastel and charcoal over pencil on paper board

Hirschl & Adler Galleries, NY, 1987 (April 25-June 6), Painters in Pastel: A Survey of American Works, no. 28, p. 36, illus. in color

9 5/8 x 10 3/4 in.

Graham Gallery, NY, 1988 (February), Works on Paper

$30,000-50,000

Adams Davidson Galleries, Washington, D.C., 1988 (April 15-May 28), Masters of the Medium: Important American Drawings, Watercolors and Pastels, no 14

Provenance: Milch Galleries, NY Private Collection, NY: to sale 3865, Sotheby Parke-Bernet, NY, April 29,1976, no. 125, illus., (sold $4,750.)

James Graham Gallery, NY, 1976 Private Collection, NY, until 1989 Sotheby’s, NY, sale 5941, November 30, 1989, no. 149, illus. in color (sold $44,000) to Private Collection, Florida, 1989

Please note: This painting will be included in Stuart P. Feld’s and Kathleen M. Burnside’s forthcoming catalogue raisonné of the artist’s works.

We are grateful to Kathleen Burnside and Stuart Feld for their assistance in cataloguing this lot.

This work was consigned to Hirschl and Adler Galleries in 1987 via Graham Gallery for inclusion in an exhibition of pastels.

Greenwich Gallery, Greenwich, Connecticut

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26

Property of a New York Family

Property of a New York Family

25 George Henry Hall (American, 1825-1913)

26 Walter Launt Palmer (American, 1854-1932)

STRAWBERRIES

WINTER TWILIGHT

Signed lower right “G.H. Hall”

Signed lower left “W.L. Palmer”

Oil on canvas

Signed and inscribed indistinctly in pencil on the stretcher

8 1/2 x 6 1/4 in.

Oil on canvas

$3,000-6,000

35 x 25 in.

$15,000-25,000

Provenance: Berry-Hill Galleries, New York In its original shadow box frame. As the work has been sealed, the painting and the gilding are in remarkable condition.

Provenance: Mr. Edward Ackerman, Camden, Maine By descent in the family Godel & Co. Fine Art, New York, New York, 1994

Additional Information, Photographs and Condition Reports at Kenoauctions.com

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Property of a New York Family

27 John Haberle (American, 1856-1933) THE ARTIST’S PALETTE Circa 1890 Oil on panel with collage elements including paint brushes and palette knife The panel decorated with pyrography depicting a fanciful night scene with putti, shooting stars, mermaid and animals 18 1/2 x 27 7/8 in.

$20,000-40,000 Provenance: Private Collection Berry-Hill, New York Private Collection Exhibitions: Fort Worth, Texas Amon Carter Museum, “John Haberle Master of Illusion November 29, 1985- January 19, 1986

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Property of a New York Family

28 Frank Vincent DuMond (1865-1951) GRASSY HILL, THE DUMOND’S FARM Signed lower right “F. V. DuMond” Stamped with the estate stamp verso Oil on canvas 26 x 30 in.

$5,000-8,000 Provenance: The estate of the artist

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29

29A

29 Elmer Livingston MacRae (American, 1875-1953)

29A John Fabian Carlson (American, 1874-1945)

STILL LIFE WITH TULIPS IN A VASE

IN SILENT FOREST

Signed and dated lower right “E. L. MACRAE / 1915”

Signed lower right “John F. Carlson”

Oil on canvas

Inscribed on lower stretcher bar “Carlson” label on verso: “Grand Central Art Galleries, 15 Vanderbilt Avenue, New York, 17 NY, Carlson, John F., In Silent Forest, 12/20, S.R.D., D7045”

25 1/4 x 25 1/4 in.

$2,000-4,000

Oil on canvas

Provenance: Doyle’s New York, November 29th, 2006

15 x 20 in.

$8,000-12,000

Additional Information, Photographs and Condition Reports at Kenoauctions.com

17

Property of a New York Family

30 Elmer Livingston MacRae (1875-1953) FROM THE HOLLY HOUSE, WINTER, COS COB, GREENWICH, CONNECTICUT Signed and dated lower right “E L MacRae Jan-1900” Pastel on paper 19 x 13 1/2 in. (sight)

$1,200-1,800

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Property of a New York Family

31 Samuel Harkness McCrea (1867-1944) SNOW PATCHES Signed and dated lower right “S. Harkness McCrea / 1912” Titled on a label affixed verso “Snow Patches” Oil on canvas 30 x 36 in.

$1,500-2,500

31

Property of a Long Island Family

31A Tiffany Studios Leaded Glass Apple Blossom Lampshade Circa 1910 With associated early 20th century white metal base The shade marked “Tiffany Studios” and “New York” on two respective applied metal tabs. h. (of base) 6 3/4 in.; diam. (of shade) 16 in.

$7,000-9,000

31A

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Property of a New York Family

32 Frederick Childe Hassam (American, 1859-1935) SUNSET, ISLES OF SHOALS, 1904 Signed lower left with the artists crescent cipher Signed, dated and inscribed on reverse: “To Alice Preston / Souvenir of the Shoals / Childe Hassam 1904” Oil on wood panel 4 3/4 x 8 in.

As is typical of Hassam’s Isles of Shoals plein air paintings, this work is painted on a cigar box top.

This work retains the original frame which bares the original Milch Galleries label

$25,000-45,000 Provenance: The artist, 1904 To Alice Preston Private Collection, Norwich, England To the estate of that collection, by 1995 We are grateful to Kathleen Burnside and Stuart Feld for their assistance in cataloguing this lot.

This painting will be included in Stuart P. Feld’s and Kathleen M. Burnside’s forthcoming catalogue raisonné of the artist’s works.

Additional Information, Photographs and Condition Reports at Kenoauctions.com

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Property of a New York Family

33 Walter Launt Palmer (American, 1854-1932) ROUND HILL ROAD, MOORELAND ESTATE, GREENWICH, CONNECTICUT Signed lower left “W.L. Palmer” Watercolor and gouache on paper probably laid down on board 17 3/4 x 23 3/4 in. (sight)

$15,000-25,000 Provenance: The artist Charles Arthur Moore, Greenwich, Connecticut By descent in the Moore Family Greenwich Gallery

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Property of a New York Family

34 Samuel Harkness McCrea (1867-1944) A WINTER’S DAY, DARIEN, CONNECTICUT Signed lower right “Samuel Harkness McCrea” Oil on canvas 30 x 36 in.

$1,500-2,500

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Property of a New York Family

35 Leonard Ochtman A MORNING IN GREENWICH, CONNECTICUT Signed lower left “Leonard Ochtman” Signed, inscribed with title and price verso “Leonard Octman, A Morning in Greenwich, $350.00” Oil on panel 12 x 16 in.

$2,000-3,000

35

Property of Various Owners

35A Tiffany Furnaces Gold Dore Desk Lamp Circa 1905 Underside of bronze and enamel rectangular base stamped “Louis C Tiffany furnaces Inc / 369” Gold dore desk lamp, with mottled blue green enameling supporting a green and iridescent rainbow glass domed shade, engraved “5- L.C.T Favrille” on inner lip at top of shade h. 14 1/2 in.

$4,000-8,000

35A

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36 John George Brown (American, 1831-1913) THE RELUCTANT BRIDE Signed lower left “J.G. Brown ‘67” Oil on canvas 27 1/4 x 20 in.

$60,000-80,000 Provenance: The artist J. H. Sherwood from 1870 Private Collection, Philadelphia, PA To Private Collection, Florida Exhibitions: New York, NY, The National Academy of Design, 24th Annual Exhibition, 1870, catalogue number 300.

Literature: Hoppin, Martha, The World of J. G. Brown, Cameleon Books, Chesterfield, Ma, Jan. 2011, p. 53-54, color illust. p. 54.

Regarding the reluctant bride, Ms. Hoppin notes on page 53 of her book, The World of J. G. Brown “Brown left the bride’s hesitation open to interpretation. She could be pondering either the prospect of a loveless marriage or the loss of personal freedom, her expression made more poignant by her exquisite, and lavishly rendered bridal ensemble, with its rich sheen, transparent veil, and detailed floral headdress”.

A topical discussion in the news of the day reported a decline in marriages. ....The women’s movement, with its press for rights equal to those of men was partly to blame.......Here Brown’s interior portrays a woman measuring many current issues of the day.

36

Property of a Massachusetts Lady

37 Paul Daugherty (American, 1877-1947) SUNSET ALONG THE ROCKY COAST Signed and dated lower right “Daugherty 1909” Oil on canvas 34 1/4 x 36 1/4 in.

In its original frame: marked R C Vose Gallery, Herman Dudley Murphy, 1926

$15,000-25,000 Provenance: Purchased from Vose Galleries, circa 1968

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38

Norman and Mead socialized at their homes in West Arlington, Vermont regularly and often talked “shop.” At one of these get-togethers, Norman mentioned to Mead that he would like to paint a maternity waiting room scene. Both illustrators used locals for models, but Norman wanted a more urban setting for his illustration and West Arlington did not have many local men dressed in suits at the time. At Mead’s suggestion, Norman called Richard Swyers to see if he could arrange for some employees from Batten, Barton, Durstine & Osborn to pose for the illustration.

Property of a Descendant of the Sitter

38 Norman Rockwell (American, 1894-1978) A STUDY FOR “MATERNITY WAITING ROOM” Pastel, charcoal and pencil on paper 14 x 36 in.

$40,000-80,000 This work appeared in a spread in the Saturday Evening Post, July 13, 1946 “Maternity Waiting Room” first appeared in the Saturday Evening Post in July 13, 1946.

It has also appeared in Norman Rockwell’s America published by Readers Digest in the 1970s. Over the years, this illustration has become the image most commonly associated with a waiting room in the post World War II era that marks the beginning of the baby-boomer generation. It is no wonder that this illustration appeared on the cover of a highly acclaimed book that examines the history of the father’s role in child birthing: Make Room for Daddy: The Journey from Waiting Room to Birthing Room (2009).

In the 1940s, Richard Swyers was an account manager at advertising agency Batten, Barton, Durstine & Osborn in New York City. His brother-in-law was Mead Schaeffer, a fellow illustrator at the Saturday Evening Post and good friend of Norman Rockwell.

A date was set, and Norman travelled to New York City to visit the offices of Batten, Barton, Durstine & Osborn. Norman’s visit was announced in BBDO’s newsletter, the “Pink Sheet.” When at BBDO, Norman walked with Richard from office to office and peered at the would-be models as they worked. If Norman thought the employee would be a good model, he was asked to pose. While there, Rockwell had the models pose and took many photographs; one of those models was Richard, who is nervously shredding a magazine in the final work (far right).

After the final double page illustration appeared in the Saturday Evening Post, the drawing was given to Richard in appreciation for his efforts, and the drawing was left to his children upon his demise.

Provenance: Gift from the artist to the grandfather of the present owner.

Thence by descent Exhibitions: The work was recently publicly displayed for the first time (November 2009- May 2010) at the Norman Rockwell Museum as part of the travelling “Behind the Camera” show.

Literature: Norman Rockwell, A Definitive Catalogue, Text and Catalogue by Laurie Norton, Moffatt, The Norman Rockwell Museum at Stockbridge, Stockbridge, Massachusetts, pp.794-795 Rockwell was commissioned to do this work and enlisted men from Batten, Barton, Durstine & Osborn advertising agency in New York City to be his sitters.

The sitters are: Ken Brown, Arthur Kammerman, Paul Metzger, Henry Klein, Warren Lynch, Harry Payne, Henry Miner, George McAndrew, Charles Kitt and Richard Swyers.

Additional Information, Photographs and Condition Reports at Kenoauctions.com

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Property from the Estate of the Artist

39 MILTON MENASCO (American, 1890-1974) EARLY MORNING HIAHLEAH, FLORIDA WITH FLAMINGOS Signed lower right “MENASCO” Watercolor on paper Unframed 15 1/2 x 22 3/4 in.

$1,000-1,500 Provenance: the artist to Florence Menasco 39

Thence by descent to the present owner Property from the Estate of the Artist

40 Milton Talbot Menasco (American, 1890-1974) HARNESS RACE AT GOSHEN, NEW YORK Signed lower right “MENASCO” Oil on canvas 17 7/8 x 24 in.

$3,000-5,000 Provenance: the artist to Florence Menasco Thence by descent to the present owner

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Property from the Estate of the Artist

41 Milton Menasco (American, 1890-1974) CICADA AND SIR GAYLORD AT HIALEAH Signed lower left “MENASCO” Inscribed verso “Cicada and Sir Gaylord” Oil on masonite 9 x 12 in.

$500-700 Provenance: the artist to Florence Menasco Thence by descent to the present owner

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Property from the Estate of the Artist

42 Milton Menasco (American, 1890-1974) BACK STAGE COLOR, LEXINGTON Signed lower left “MENASCO” Inscribed with title on the mat Inscribed with the artists address on the backing board Watercolor on paper Unframed 15 7/8 x 22 7/8 in.

$400-600 42

Provenance: the artist to Florence Menasco Thence by descent to the present owner

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Property of an East Coast Lady

43 Eric Sloane (American, 1905-1985) THE CARRIAGE BARN Signed lower left “THE CARRIAGE BARN SLOANE” Oil on masonite Appears to retain the original frame 30 x 40 1/4 in.

$10,000-15,000 Provenance: Acquired directly from artist, 1954 Thence by descent to the present owner Property of a New York Lady

44 Louis Totte A BRONZE CAST BUST OF WOODROW WILSON Signed and dated “Louis Totte 1902” Stamped “Roman Bronze Works NY” Written in chalk “MM21” H. 20 in., W. 16 in., D. 9.5 in.

$5,000-8,000

44

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Property of a Vermont Lady

45 Max Kuehne (American, 1880-1968) HILLS OF ANDALUSIA Signed and dated lower right “Kuehne / 14” Signed, dated and inscribed with title verso “Hills of Andalusia / Max Kuehne / 1914” Oil on canvas Unframed 26 x 32 in.

$6,000-12,000 Provenance: Purchased with lot 47 by the present owner’s father at a barn sale in upstate New York (near Appalachian Trail), circa 1977.

45

Property of a New York Lady

46 Bronze Head of the Greek Poet Hesiod 19th century Bronze with circular marble base H. (including base) 10 1/2 in., W. 5 in.

$1,200-1,800 Literature: A similar bronze is illustrated and described in Art Bronzes, Michael Forrest, p. 136 and attributed to Auguste Rodin.

46

Property of a Vermont Lady

47 Max Kuehne (American, 1880-1968) VIEW OF MANHATTAN FROM WEEHAWKEN, NEW JERSEY Unsigned Oil on canvas Appears to be the original frame, possibly made by Kuehne 26 x 32 in.

A photocopy of the certificate from Richard E Kuhene authenticating this painting, identifying its location and dating it circa 1914 accompanies the lot.

$20,000-40,000 Provenance: Purchased with lot 45 by the present owner’s father at a barn sale in upstate New York (near Appalachian Trail), circa 1977.

47

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48

Property of a Gentleman

48 Andrew Newell Wyeth (American, 19172009) WINTER BEECH LEAVES Circa 1969 Graphite on paper Signed and inscribed with title lower right On verso is a letter from Andrew Wyeth to the grandfather of the current owner, dated January 20, 1969, Chadsford, PA. It reads: “Dear Leonard, I want you to have this drawing in appreciation for your warm interest in my paintings. Kindest Regards, Andy.”

13 1/4 x 21 5/8 in. (sight)

$8,000-12,000 Property of a Massachusetts Gentleman

49 Glenn O. Coleman (American, 1887-1932) THE RED HOUSE 49

Signed lower right center “Coleman” Oil on canvas

Property of a New York Gentleman

16 x 20 in.

50 Victor Joseph Gatto (American, 1890-1965)

$4,000-8,000

GRINNING HIPPOPOTAMUS

Exhibitions: The Whitney Museum of Art, 10 West 8th St., New York City

Signed lower right “Victor Joseph Gatto”

Owings Dewey Fine Art

Oil on canvas board 16 x 20 in.

Zabriskie Gallery Kraushaar Galleries

$1,500-3,000 Provenance: Part of the Guennol Collection of Alastair B. Martin

50

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Property from the Estate of Lucy Kennedy Miller

51 Mark Tobey (American, 1890-1976) UNTITLED Inscribed lower left “Merrie Xmas” and signed lower right “Mark” Gouache and watercolor on paper 6 x 4 1/8 in.

$800-1,200 Provenance: The artist Acquired from the above by his niece, Janet de Coux, and Eliza Miller in the 1970’s By descent to the present owner Property from the Estate of Lucy Kennedy Miller

52 Mark Tobey (American, 1890-1976) UNTITLED ABSTRACTION 51

52

Pencil, ink, watercolor, crayon and a gel medium on paper 6 x 4 3/8 in.

$1,500-2,500 Provenance: The artist Acquired from the above by his niece Janet de Coux and Eliza Miller in the 1970’s By descent to the present owner

Property from a New England Family

53 Le Pho (French, 1907-2001) PEONIES AND ROSES IN VASE (PIVOINES ET ROSES) Signed twice, at lower right and Oil on canvas Unframed 29 x 39 1/2 in.

$8,000-12,000 This lot is accompanied by the original Wally Findlay Galleries catalogue from 1967 Provenance: Purchased by the present owner from Wally Findlay Galleries, November 4, 1967

53

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54 Johann Berthelsen (American, 1883-1972) TRINITY CHURCH, WALL STREET WITH AMERICAN FLAGS Signed lower right Oil on board 14 x 10 in.

$3,000-6,000 A Certificate of Authentication from The Johann Berthelsen Conservancy, LLC accompanies this lot

53

Property of a New York Gentleman

55 Bryan Pearce (British, 1929-2007) TULIPS ON CHECK CLOTH Signed and dated lower right “Bryan Pearce 1976” Inscribed with title and date verso “Tulip on Check Cloth 1976” Oil on masonite 30 x 24 in.

$3,000-5,000 Provenance: The artist Victor Waddington Gallery, London Guennol Collection of Alastair B. Martin

54

Property of North Carolina Estate

56 Martin Koch (South African, 1940) TUGATELA (ON GUARD) Signed and dated lower left “Martin Koch / ‘71” Oil on canvas 26 x 36 in.

$800-1,200 Provenance: Kennedy Galleries, Inc, New York, New York 55

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57

58

59

60

60

62

59 Two “Delft” Tin-Glazed Chargers and a Covered Vase Probably Dutch,18th century

61

Property of a Massachusetts Lady

Exterior features birds, plants, and butterflies. Identification markings on bottom of vase include joined letters “AP/3n”.

57 A Group of Assorted Mochaware

H. 14 1/2 in. with top (3)

English, early 19th century Comprising a footed salt and three mugs: the smallest with dendritic seaweed pattern, one with a green, blue and white dot pattern, the last with a wavy worm pattern.

H. 5 3/4 (tallest) (4)

$200-400

$400-800 Provenance: Collected mid-century by a Wilmington, Delaware physician

60 Creamware Transfer Printed Pitcher and Two Pearlware Figurines English, circa 1800

Property of a Massachusetts Lady

58 An Assorted Group of Nine Enamel Trinket Boxes English, 18th/ early 19th century (9)

$300-500

The pitcher probably Herculaneum Pottery, Liverpool, with transfer printed decoration “P E ACE , P LE NTY AND INDE P E NDE NCE ” and eagles, banners, cannon, and flag; on the other side is a British frigate, cannon, drum, sword, and sailor’s head.

The two polychrome pearlware figurines depicting “Charity” and perhaps “Hope” (?)

H. 9 ½ in. (3)

$400-800 Provenance: Collected mid-20th century by a Wilmington, Delaware physician

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61 Three Bennington Pottery Flint Enamel Book Bottles Attributed to Lyman & Fenton Bennington, VT, circa 1849 Larger flask embossed “BENNINGTON COMPANION” Smaller two embossed “DEPARTED SPIRITS” Largest: H. 8 in., W. 6 in., D. 3 in. Smaller two: H. 5 3/4 in., W. 4 in., D. 2 in.

(3)

$200-400 Provenance: Collected mid-20th century by a Wilmington, Delaware physician

62 Chinese Export Porcelain Bowl Circa 1795 With decoration depicting urns and flowers

63

H. 5 in., W. 11 1/8 in.

$200-400 Provenance: Collected mid-20th century by a Wilmington, Delaware physician

66

65

Property of various owners

63 Pair of Rococo Silver Candlesticks with Bobeches

65 Diminutive Green-Painted Pine Blanket Chest New England, circa 1830

John Carter, London, 1768

With turned outset corners and feet

With Carter’s touchmarks

At one time the interior chest was fitted with an extra shelf or drawer below the till box, runners remain

H . 10 1/2 in.

$4,000-8,000

H. 18 1/2 in.; W. 31 in., D. 15 in.

$500-800

64 No Lot

66 Monumental Wrought Iron and Brass Trammel, dated 1812 and Initialed J N Probably Pennsylvania, 1812 With initials in brass applied letters. The lower adjustable arm in the form of a stylized bird’s head H. 29 in.

$2,000-4,000

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67 69

68

70

Property of a West Coast Gentleman

69 Attributed to Ruth Henshaw Bascom (1772-1848) PORTRAIT IN PROFILE OF MAN WITH FLOWER PIN New England, 1830-1845 Watercolor, pastel and pencil on paper.

68

In 19th century black painted frame

67 Two Pink Lustre Pearlware Pitchers Staffordshire, 1815-1820 Each with transfer printed decoration, the first depicting the eagle with banners and flag, an Indian with bow, etc.

The second features poem “A Sailor’s Tear” and a cast iron bridge H. 9 1/2 in. and H. 8 in. (2)

13 1/2 x 9 1/2 in.

$800-1,200

70 Two Federal Gilded Looking-Glasses with Eglomise Panels American, probably New York, early 19th century H. 32 in., W. 18 in. (2)

$1,000-1,500

$200-400

Provenance: Collected mid-20th century by a Wilmington, Delaware physician

Provenance: Collected mid-20th century by a Wilmington, Delaware physician

68 Three Pearlware Silver Resist Lustre Pitchers and Three Pearlware Silver-Resist-Lustre Vases

71 Howard Athenaeum Polychrome Painted Wooden Theater Billboard

Staffordshire, circa 1810 Pitchers of similar pattern (floral decorated) and size H. 6 3/4 in.

Vases of similar design H. 7 in. (6)

Boston, second half 19th century The Howard Athenaem was one of the most famous theaters in Boston history. It flourished from 1845 to 1953. Among the great names that appeared regularly were Edwin Booth, Charlotte Cushman and John Wilkes Booth. Later on W.C. Fields, Jackie Gleason, Al Jolson and Buster Keaton were just a few of the famous performers at the Howard Athenaeum.

$1,000-2,000

$500-1,000 Provenance: Collected mid-20th century by a Wilmington, Delaware physician

Property of a New Hampshire Gentleman

72 Gilt Looking Glass with Eglomise Panel Depicting Perry’s Victory American, probably New York, circa 1815

$1,000-1,500 32

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73

74

71

73A

74A 72

73A

73 Silhouette Portrait of a Lady in Blue Dress

74 Profile Portrait of a Young Lady

Painted circa 1830

Probably New England, circa 1830

Probably from New Hampshire or Massachusetts, attributed to the Puffy Sleeve artist

Wearing a Three Strand Necklace and a green dress

Hollow-cut watercolor and pen and ink laid on a black ribbed fabric

4 x 2 1/4 in. (sight)

In what appears to be the original black painted pine frame

$200-400

3 1/2 x 2 7/8 in.

$1,500-2,500

74A Attributed to Mrs. Moses B. Russell (nee Clarissa Peters)

Provenance: Yankee Smuggler Antiques

Portrait of a Seated Young Lady with Child Probably by Clarissa Peters (1809-1854)

Property of a West Coast Gentleman

73A Two Watercolor Profile Portraits Each of a Young Lady

The child in white dress with coral necklace, a secretary-bookcase and window curtain in the background watercolor and gouche on Ivory

First half of 19th century The first depicting a young lady in a coral necklace, wearing a pink and blue dress The second, a portrait of a lady in a gray dress wearing earrings and blue decorated pin. New backing retains old label, “E. Grant�

5 1/4 x 4 in.

$2,000-4,000

First: 3 x 2 1/2 in. (sight) second: 3 1/4 x 3 in. (sight)

$500-1,000

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75 The Drake Family Carved and Painted Joined Chest with Drawer Attributed to the Deacon John Moore (1614-1677) Shop Tradition, Foliated Vine Group, Windsor, Connecticut, circa 1675-1690 H. 31 in.; L. 50 in.; D. 20 in. $100,000-150,000

This joined chest is a masterpiece and very rare survival of its form. With it extensively carved surface, oak lid, sides double paneled over a single panel, back finished with three panels and finished molding on all four sides, it is the most elaborate and fully developed Connecticut River Valley three-panel chest known. It has survived in remarkable condition, retaining its original surface and much of its original painted decoration.

This chest was possibly originally owned by John (1622-1688) and Hannah (Moore) Drake (1633-1686), of Windsor (later Simsbury), Connecticut. It might also have been a wedding gift for their son, Enoch Drake (1655-1698), who married Sarah Porter (1655-1730) on November 11, 1680. This chest descended to Enoch and Sarah Drake’s son, Enoch (1683-1776) and his wife Elizabeth (1685-1717) and next to their daughter, Elizabeth (1707-1802), who married John Gillett (1707-1808). It continued through successive generations of the Gillett, Ward and Riddle branches of their family directly to the current owners.

Although John Drake was himself a woodworker from the Drake family tradition in Windsor, this chest is believed to be the work of Hannah (Moore) Drake’s brother, Deacon John Moore (1614-1677), a pioneer and settler of Windsor who established a multi-generational family woodworking tradition. In 1630, he emigrated from England with his father Thomas Moore (1584-1645), along with three puritan ministers -- the Reverends John White, John Warham and John Maverick – and other congregants to establish a religious community in Dorchester, Massachusetts. In 1635, they relocated their community to land north of Hartford on the banks of the Connecticut River, which they named Windsor, after Windsor, Berkshire, England. Deacon Moore was very active in Windsor, serving as Deacon of the First Congregational Church as well as selectman from 1653 to 1674. He was also responsible for building the school house and the meeting house, among other town contracts, for which he was paid in land grants. He secured land on the West side of Windsor (now Simsbury), for his sister Hannah and brother-in-law John Drake.

This chest is part of Deacon Moore’s foliated vine group, so named for the distinctive ornamentation consisting of symmetrical patterns of floral motifs and vines. Approximately 30 boxes are known that stem from this group as well as a table at the Connecticut Historical Society and two joined chests. One of the aforementioned chests in a private collection displays a four panel front. The other example in the collection of Old Sturbridge Village from the Moore shop was possibly made by Nathaniel Gaylord (1656-1720), who was trained in the craft tradition. The present chest and the Old Sturbridge Village example are very similar in their three paneled form and foliate ornamentation, although this one is more elaborately carved and paneled in addition to being finished on the back. For additional information on Deacon John Moore and his work, see Joshua W. Lane and Donald P. White III, “Fashioning Furniture and Framing Community: Woodworkers and the Rise of a Connecticut River Valley Town,” American Furniture 2005 edited by Luke Beckerdite, pp. 178-188.

Provenance: Originally owned by John (1622-1688) and Hannah (Moore) Drake (1633-1686) or by their son, Enoch Drake (16551698), who married Sarah Porter (1655-1730) on November 11, 1680 To Enoch and Sarah’s son, Enoch Drake (1683-1676), who married Elizabeth Barber (1685-1717) To their daughter, Elizabeth Drake (1707-1802), who married John Gillett (1707-1800) To their son, Jabez Gillett (1738-1818), who married Anne Loomis (1741-1795) To their son, Horace Gillett (1779-1868), who married Rachel Austin (1781-1849) To their son, Horace Cornelius Gillett (1806-1876), who married Sarah Ann Watson (1814-1879) To their daughter, Ellen Caroline Gillett (1842-1920), who married Lorenzo Ward (1826-1890) To their daughter, Edith Clara Ward (1875-1958), who married Joseph Bingham Riddle (1862-1964) Thence by descent in the family to the current owners.

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86

75

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Property of a New England Gentleman

76 A Pair of Federal Cherrywood Urn-Carved Side Chairs Connecticut, circa 1790 With rush seats Each chair retains original finish, seats with walnut faced corners, rush is not original H. 39 in.

$1,200-1,800

76

77 A Federal Inlaid Mahogany Serpentine-Front Chest of Drawers Probably Norfolk, Virginia, 1790-1870 With canted corners and inlaid stringing including intertwined serpentine stringing above the top drawer.

H. 42 3/4 in., W. 48 in., D. 22 3/4 in.

$3,000-6,000

77

78 George III Mahogany Veneered Dressing Stand with Pivoting Dressing Glass Late 18th century Secondary wood: oak H. 60 1/2 in., W. 19 1/4 in., D. 15 1/2 in.

$1,200-1,800 Inlay flanking drawer is in unusual opposing zigzag pattern completed with light and dark stringing.

Secondary wood, oak.

78

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79

79 Chippendale Fluted C-Scroll Carved and Inlaid Mahogany Candle Stand with Claw and Ball Feet Eastern New England, circa 1780 H. 27 in.

$10,000-20,000 This stand is among the most fully carved New England examples known and a Tour-de-Force of American craftsmanship. The figured mahogany octagonal top is inlaid with stringing. The combination of vertical fluting above diagonal fluting on the baluster shaped shaft is extremely dramatic. The c-scroll carved legs add movement to the piece. The legs end in well-defined, elongated claw and ball feet.

(See cover illustration)

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37

The Property of a New England Gentleman

80 Fancy-Painted and Gilt Card Table Attributed to Thomas Seymour (1771-1848), the decoration attributed to the school of John Ritto Penniman (1782-1841), probably executed by Joshua Holden (1781-1852) Boston, Massachusetts, 1808-1812 H. 30 5/8 in.; W. 35 7/8 in.; D. 17 3/8 in. (closed)

$50,000-100,000 Literature: Mussey, Robert and Christopher Shelton, “John Penniman and the Ornamental Painting Tradition in Federal-Era Boston, American Furniture 2010, edited by Luke Beckerdite, Hanover and London: The Chipstone Foundation, 2010, Fig. 10, p. 9.

Remarkably surviving with most of its original painted decoration intact, this sophisticated card table represents the combined effort of two of Boston’s most pre-eminent craftsmen of the Federal era - the cabinetmaker Thomas Seymour (1771-1848) and the decorative painter John Penniman (1782-1841). It is one of the earliest extant examples of its form with a top that rotates around a threaded iron pivot rod to reveal an inner well for cards and game pieces. The Moroccan leather on the upper edges of the rails indicates that it is also the work of one of the immigrant morocco leather tanners that Seymour employed to add elegant enhancements to his furniture. It was made between 1808 and 1812, during a period in which Thomas Seymour made his finest work in collaboration with highly skilled craftsmen.

This table is illustrated and discussed in the article “John Penniman and the Ornamental Painting Tradition in Federal-Era Boston,” written by Robert Mussey and Christopher Shelton and published in American Furniture 2010 . Mussey and Shelton attribute the table to Thomas Seymour on the basis of its fastidious construction, square shaping of the legs, paneled therm foot design, and distinctive use of kerfed and bent glue blocks on the underside. The painted decoration is attributed to Penniman’s shop on the basis of its shared similarities with the only extant piece of his signed work, a pier table inscribed “Painted in M __ 1809 by John P__niman” currently in the collection of the Nichols House Museum in Boston. In 1809, Penniman rented space in Thomas Seymour’s warehouse on Common Street. That fact combined with the pier table’s distinctive hardware, use of ash as a secondary wood, and construction details attribute it to Thomas Seymour’s shop.

80 (detail of leg)

Continued...

80 (open top)

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80

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80 (detail of painted central panel)

As seen articulated on the supports of the aforementioned pier table, the present card table displays painted acanthus leaved on the legs perhaps inspired by the “Ornament for a Tablet & Various Leaves” illustrated as pl. 2 in Thomas Sheraton’s Cabinet-Makers and Upholsterer’s Drawing Book (1802). Penniman painted his acanthus leaves with rounded tips and curl at the ends, in different shades of brown oil glaze applied in multiple layers with short fluid brushstrokes, to create the illusion of shadows and depth. He also used pale or drab gray paint to simulate shadows on the right and below his leafage and panels, to give his work dimension and the illusion of a light source at the upper left. The latter technique is a signature detail found in all of his work. The interior wells of this card table appear to retain remnants of their original dark gray paint - the same shade used for the borders on the rest of the table - beneath the layer of blue paint.

This table stems from the same suite of furniture as four painted and gilded birch fancy chairs, one of which bears the stenciled name “Holden.” One with original painted decoration is in the collection at Winterthur Museum and is marked “I” on the underside of the chair and on the caned seat frame. It also displays “$6” written in pencil on the inner surface of the rear seat rail. Another in a private collection on loan to the New York State Museum is marked “II” and inscribed “Holdens.” Israel Sack Inc. formerly owned the aforementioned chairs and two others. They are referenced in Israel Sack, Inc., American Antiques from Israel Sack Collection, Volume VII: 1818, no. 5011, IX: 2439, no. 5011, X: 2705, no. 6341. One with an upholstered seat is illustrated in a Kinnaman & Ramaeker advertisement in The Magazine Antiques (March 1985): 506.

The chairs exhibit virtually identical painted decoration to this table - a stylized shell surrounded by leaves, acanthus leaves on the legs with prominent central veins, roundels, distinctive shadowing in two shades of gray, and use of several shades of brown glaze. The name “Holdens” found on one of these chairs perhaps refers to Joshua Holden (1781-1852), a Boston chair maker and painter. He appears in Boston tax records in 1807 working in partnership with Asa Jones and later worked from 1808 to 1811 as an independent craftsman on Washington Street, close to Thomas Seymour’s furniture warehouse. As Thomas Seymour often commissioned other craftsman to make furniture which he later sold, he perhaps had Holden make or decorate this suite of furniture. Given that the painted decoration closely relates to Penniman’s oeuvre, the artisan who executed it was clearly familiar with his style and was likely trained or employed by him at one time.

40

Provenance: This table has the same family history as a bombe chest-on-chest originally owned

by Captain Edward Allen (1737-1803), a merchant of Salem, Massachusetts, that sold at Sotheby’s, Important Americana, January 23-4, 2009, sale 8512, lot 174. In 1759, he married Ruth (1728-1774), the widow of Israel Gardner and daughter of Gamaliel Hodges, and sister of the wife of Richard Derby. After her death in 1774, he married Margaret Lockart (d. 1808) of North Carolina in 1778. He and his family lived in Salem at a house located at 125 Derby Street, at the corner of Hardy Street, which stands today. He had ten children: Edward (1763-1845), who married Anna Fisk (1770-1826) in 1798; Sarah, who married Stephen Webb in Salem in 1779; Ruth Hodges (1759-1849), who married Thomas Porter of Topsfield in 1785; Alice (b. 1765), who married Captain Josiah Orne (d. 1825) of Salem in 1786; Alexander (1778-1804); John (1779-1814); Sally (d. age 7); Jordan (1781-1797); Nancy (17841806); and Betsy (1787-1827). Although not originally owned by Edward Allen, this table came into the family house through one of his descendants. The house and its contents were inherited by Teresa Lovering Merriam (b. 1880) of Nahant, who never married and died without issue in the mid 20th century. At her death, she gifted her house and its contents to the parents of the present owner. As one of the children of Frank Merriam (1850-1924) and Teresa Beatrice Lovering Merriam (1854-1877), she presumably inherited the house from her parents.

See Robert Mussey and Christopher Shelton, “John Penniman and the Ornamental Painting Tradition in Federal-Era Boston,” American Furniture 2010, edited by Luke Beckerdite, Hanover and London: The Chipstone Foundation, 2010, fig. 10, p. 9.

Ibid, p. 10-11.

See ibid, fig. 1, p. 2.

Ibid, p. 8.

See ibid, fig. 11, p. 10.

We thank Robert Mussey and Christopher Shelton for their groundbreaking research on this table and the Nichols House table. — LRK (see cover illustration)

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Property of a New England Collector

81 Queen Anne Red Stained Maple Drop-Leaf Dining Table New Hampshire, 1780-1820 the oblong top flanked by D-shaped hinged leaves above a frame with a molded edge on cabriole legs ending in wafer pad feet.

H. 26 1/2 in., W. 16 3/4 in., D. 47 in.

$6,000-9,000 Provenance: Leigh Keno American Antiques (1995), New England Private Collection This Queen Anne drop-leaf table has a distinguishing ankle that is characteristic of New Hampshire furniture. As noted in Walter A. Backofen’s book, Some Queen Anne Furniture from New Hampshire’s Federal Period, the cabriole leg... with a prominent ankle spur or hock” is particular to New Hampshire construction[1]. The ankle hock design was likely produced more quickly and cheaply than any alternative with comparably aesthetic appeal[2]. By stopping the turning just as the foot emerges, the craftsman creates this type of foot with a pronounced ankle hock. All subsequent finishing would then be hand work, in which edges might be softened and material carved away to blend the square-edged hock into the back of the round foot. A number of examples in Backofen’s book share this characteristic leg including two tall chests of drawers from Grafton and Concord and two slant-front desks from Andover and Weare[3]. Two of these examples, the Concord chest of drawers and the desk from Andover, are similar to the currently offered table as their maple surfaces are lightly washed with a thin red-stain further indicative of a New Hampshire origin [4].

81

Footnotes: 1 Walter A. Backofen, Some Queen Anne Furniture From New Hampshire’s Federal Period: Identified with help from Peter Bartlet (1788-138), M.D., of Salisbury, (East Plainfield, New Hampshire: Lord Timothy Dexter Press, 1988), p. 12.

2 Backofen, p. 24.

3 See Backofen, Fig. 1, p. 2; Fig. 4, p.10; Fig. 5, p. 13; Fig. 9, p. 30.

4 Backofen, p. 8.

82 A Federal Bird’s Eye Maple and Mahogany Sewing Table and a Federal Mahogany Sewing Table Massachusetts, probably boston circa 1805 82

82

H. 28 1/2 in., W. 26 3/8 in., D. 22 1/4 in. (2)

$500-1,000 Provenance: Collected mid-20th century by a Wilmington, Delaware physician

83 Chippendale Mahogany Dressing Table New York, 1750-1780 secondary woods: tulip poplar and white pine retains much of its original finish and retains original brasses This table relates to a small group of New York dressing tables with molded tops, three drawers, and sinuous legs ending in squared claw and ball feet.

H. 28 in., W. 36 in., D. 21 in.

$3,000-6,000

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84

85

84 Chippendale Stop-Fluted Mahogany Stop-fluted Easy Chair With Original Under-Upholstery

85 Chippendale Figured Mahogany Kneehole Desk with Acanthus carved Knees

Goddard Townsend School

New York 1760-1785

Newport, Rhode Island, circa 1785

With carved drawer and carved knees. Kneehole desks with carving on the central drawer and knees are very rare. The profile of the brackets flanking each leg are typical of high style New York furniture from the 1760’s and 1770’s.

The back, wings and arms retaining most of their original muslin and stuffing and webbing. Mahogany retains original finish.

Each front leg with three stop flutes on front and side.

Seconday wood: maple H. 44 in.

$12,000-18,000 18th century Rhode Island easy chairs retaining original upholstery are very rare. The remains of the original red moreen cover fabric remain in two areas of the chair (right side top of crest-rail and left side on wing) under rose head iron rails and on top of original muslin covering. The mahogany retains a very old and probably original finish.

Constructed of highly figured Mahogany Retaining its original brasses and six of its seven original iron drawer locks Secondary wood: poplar, including poplar dust boards Graphite inscription on carved central drawer reads “No 2 E. 34th St.” in late 19th/ early 20th century script H. 33 in., W. 36 in., D. 21 in.

$12,000-18,000

The seat and cushion were fashioned by Walt Mullen of Valley Forge, Pa. in an ageappropriate style and form.

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86

87

Property of a Massachusetts Gentleman

86 A Federal Inlaid Cherrywood Chest of Drawers with Quarter Columns Attributed to Nathan Lombard (1777-1847) Massachusetts, circa 1805 H. 36 1/4 in., W. 38 1/2 in., D. 19 in.

Exhibiting distinctive design and highly competent craftsmanship, this chest of drawers is a newly discovered piece from the shop of Nathan Lombard (1777-1847), a cabinet maker who produced furniture in central Massachusetts during the early years of the 19th century.

$7,000-10,000 Provenance: Recently discovered in a home on Great Chebeague Island, Maine Literature: This is one of only fourteen known chests, and the only with fluted columns. It relates to Lombard’s two known clocks - see Chipstone article

87 Queen Anne Dish top-Bird-case Stand Philadelphia, circa 1765 This stand is a classic Philadelphia form with a more fully developed shaft than most.

The shaft is very similar to one on the “Seyfert-Koehler Family” (stand with claw and ball feet sold by Leigh Keno American Antiques at the Philadelphia Antiques show in 2002) Retains its original dark reddish finish with desirable buildup of wax and shellac. The top board of the Bird cage shaft was cracked in two places and repaired and the surface colored to match by Roger Gonzales for the present owner in 2011. Please go to Kenoauctions.com for photographs taken by the owner of the birdcage prior to restoration of this area.

In a prior repair, two screws had been inserted to stabilize a split at the pivoting end of the top board of birdcage. These were left in place by Gonzales. A stain now covers the entire top board of the birdcage.

H. 28 1/4 in.; Diam. (top) 21 3/4 in. and 21 1/4 in.

$8,000-12,000

Please see: Brock Jobe, Clark Pearce, “Sophistication in Rural Massachusetts. The inlaid cherry furniture of Nathan Lombard, American Furniture, 1998, pp. 161-193. refer to: Lombard modified the common federal bow front form “by grafting the case onto straight bracket feet instead of onto the usual French feet”. He often used horizontal grained veneers for drawer fronts, his typical chevron stringing along the top, drawers and feet and a narrow beaded strip along the back edge of the top.

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The owners of this fine collection were intent upon furnishing their gracious home with the best of 18th and 19th century American fine art, furniture and decorative arts. Their commitment to excellence can be seen in each piece they collected, striving for the finest in purity of form, materials and condition. The owners were adamant about knowing where or by whom a painting or piece of furniture was made; the pedigree had to match their rigorous criteria. The American furniture and decorative arts you will find on the following pages truly has global style and the pieces are certain to appeal to a wide audience of connoisseurs.

Just a few examples of the furniture that demonstrate the couple’s commitment to their collecting approach include lot 89, a Rare Queen Anne Eight-Legged New York Mahogany Dining Table with its sculptural raised slipper feet. Lot 90, is a Diminutive Basket and Acanthus Leaf-Carved Salem, Massachusetts Sofa, and is a tour de force created by one of America’s greatest craftsmen, Samuel McIntire (1711-1851) of Salem, Massachusetts. Lot 107 is an exceptional and beautifully crafted pair of Hartford, Connecticut Federal shield- back cherry wood side chairs that were formerly part of the Taradash Collection which was assembled and sold by Israel Sack Inc. ( Please see frontispiece of catalogue for detail of back). Lot 112 is a rare gilt and painted gallery wall timepiece; the dial and works are signed by the renowned clockmaker, Aaron Willard of Boston. Lot 118 is the Important Lansdell K. Christie Queen Anne Carved, Veneered and Gilt Walnut High Chest of Drawers, which was made in Boston circa 1740. This well known example, exhibited at the Metropolitan Museum of Art in 1963, is a tour de force of Colonial Boston craftsmanship.

There is also a selection of high quality fine art being offered as well, including lots 24, the charming SMELT FISHERS, COS COB, 1902 and lot 32, the poetic and elegant SUNSET, ISLES OF SHOALS, 1904, both by Frederick Childe Hassam ( American, 1859-1935). Lot 27 is a rare and clever collage by John Haberle (American, 1856-1933) THE ARTIST’S PALETTE. Lots 26 and 33 are works by Walter Launt Palmer (American, 1854-1932) which highlight his amazing ability to capture nature at its most moving and atmospheric times of the day, particularly at twilight.

The owners of this home relished life in well-appointed style and designed their rooms with vision that was both thoughtful and practical.

Leigh Keno December 2011

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Property of a New York Family

88 Chippendale Inlaid Mahogany Serpentine Front Chest North Shore, Massachusetts, circa 1780 The serpentine shaped top with inlaid stringing above a figured mahogany facade with light wood inlaid drop pendant on tall shaped bracket feet.

Secondary wood: pine Appears to retain its original brasses. h. 32 1/2 in., w. (top) 38 1/2 in., (case) 35 3/4 in.

$12,000-18,000 Provenance: Israel Sack, Inc, New York Collection of Thomas Mellon and Betty Evans, Sotheby’s June 19, 1998, sale 7164 Literature: Ralph Carpenter, The Arts and Crafts of Newport, Rhode Island, The Preservation Society of Newport County, 1954; Brock Jobe and Myrna Kaye, New England Furniture, The Colonial Era, Boston, Massachusetts, Society for the Preservation of New England Antiquities, 1984; Charles F. Montgomery, American Furniture, The Federal Period, 1788-1825, Wilmington, Delaware: Winterthur Books, 1966; Joseph K. Ott, The John Brown House: Loan Exhibition of Rhode Island Furniture, Providence, Rhode Island: Rhode Island Historical Society, 1965; Gerald W.R. Ward, American Case Furniture in the Mabel Brady Garvan and Other Collections at Yale University, New Haven, Connecticut: Yale University Art Gallery, 1988

88

Property of a New York Family

89 Queen Anne Eight-Legged Mahogany Dining Table New York, 1740-1765 Secondary wood is oak and poplar This table is a very rare survival of New York QueenAnne craftsmanship at its best. It is constructed of dense figured mahogany primary wood. The eight graceful cabriole legs and slipper feet are of classic New York shape. h. 30 in., w. (leaves open) 73 in., d. 62 1/2 in.

$20,000-40,000

89

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45

90 detail

90 detail

46

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90 A Diminutive Federal Mahogany Upholstered Settee The carving attributed to Samuel McIntire (1751-1811) Salem, Massachusetts, circa 1800-1811 h. 35 1/2 in.; l. 73 in.

$40,000-80,000 Provenance: Christie’s, New York, October 19, 1990, lot 328; Collection of Mr. and Mrs. Eddy Nicholson;

Christie’s, Collection of Mr. and Mrs. Eddy Nicholson, January 27-8, 1995, sale 8082, lot 1145.

With its exposed mahogany arms and crest rail, this sofa represents a version of the camelback sofa form unique to Salem, where it first appeared in the 1790s and became one of the most desirable furniture forms associated with Samuel McIntire (1751-1811). His examples dating to the early nineteenth century were articulated with a distinctive basket of fruit and flowers carved into the crest panel with a star punch ground, beneath a molded edge of alternating C-scrolls with chip carved edges. McIntire carefully conceived the basket to fit snugly into the arch of the crest panel, giving it a tilted perspective to heighten the three-dimensional effect and accommodate a vantage point from above. No two baskets found on extant sofas are identical, suggesting McIntire did not copy a stock design but rather sketched out each design before executing it. The spiral acanthus rosette on the scrolled ends of the arms was inspired by classical ceiling motifs from antiquity illustrated in architectural pattern books, such as Matthias Darly’s Ornamental Architect, or Young Artists Instructor (London, 1774). McIntire used this type of rosette for virtually all of his sofa commissions. Two surviving receipts from the shop of the Salem cabinetmakers, Elijah and Jacob Sanderson, one dated July 31, 1802 and another dated February 3, 1802, indicate that McIntire was paid 1.07.0 pounds for “Carving Sofa & working the top rail”

Retaining an old surface and originally upholstered in black horsehair fabric, this example is one of the most diminutive of its form. It displays McIntire’s virtuoso carving in its complex array of fruit and flowers and scrolled arms accentuated with rosettes and waterleaves. Very similar carving is found on a camelback sofa made for the double parlors of the brick townhouse McIntire designed in Salem in 1804 for John and Sarah Gardner, Elias Hasket Derby’s nephew and his wife. While the carving is the work of McIntire, the sofa may have been made by Nathaniel Safford, who provided a great deal of new furniture for the house in 1805. Referred to today as the Gardner-Pingree House, this commission has long been recognized as McIntire’s finest surviving work.

Less than a dozen other camelback sofas attributed to McIntire with baskets of fruit and flowers have been identified. These include one in a private collection sold at Sotheby’s, January 17-9, 1997, lot 917, one at Winterthur Museum, one in the collection of the Sterling and Francine Clark Art Institute, one in a private collection in Essex, Massachusetts, one in a private collection in Baltimore, Maryland, one in a private collection in Connecticut, one with a history in the Andrews family bequeathed to Williams College in 1956 and later sold to Ginsburg & Levy, and one sold at Christie’s, October 13, 1983, lot 294.

Dean Lahikainen, Samuel McIntire, Carving an American Style, Hanover and London, Peabody Essex Museum, 2007, pp. 70-1.

See ibid, p. 71.

See ibid, fig. 5-97 and 5-98, p. 262-3. The house is discussed on pp. 259-64.

Lahaikainen, note 72, p. 100.

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Property of a New York Family

91 A Federal Carved and Painted Pine Exterior Doorway Probably Maryland, Circa 1800 With a pitched projecting cornice carved with dentil molding above a mullioned and glazed fanlight, the sides with fluted pilasters headed by rosettes h. 10 ft, 8 in.; w. 6 ft, 10 1/2 in.

$2,000-4,000 Provenance: The Metropolitan Museum of Art Sold at Sotheby’s, New York, January 31, 1987, sale 5551 Sold at Sotheby’s, New York, January 30, 1988, sale 5680

91

Property of a New York Family

92 Pair of Monumental Exterior Carved and Painted Columns with Ionic Capitals Salem, Mass., late 18th/early 19th century, retaining very early layers of white paint, flakes, losses, Samuel McIntire School

$3,000-6,000 Literature: For related columns and capitols attributed to McIntire, please see Samuel McIntire: Carving an American Style, Dean T. Lahikainen, Peabody Essex Museum

92 (detail)

Property of a New York Family

93 Federal Mahogany Card Table The carving attributed to Samuel McIntire, Salem, Massachusetts, 1805-1810 This card table is nearly identical to a mahogany card table with carving attributed to Samuel McIntire (1757-1811) in the collection of the Museum of the Shenandoah Valley that is illustrated in Samuel McIntire: Carving an American Style by Dean Lahikainen.1 Representing his work after 1805, both tables prominently display centered on the rail a lavishly-carved and oversized basket of fruit and flowers, McIntire’s signature ornament, which he rendered with a ribbed melon as the most prominent piece of fruit and bunches of grapes at the sides. Following his common practice, he elongated the basket to fit the table rail and oriented it tilting toward the viewer, who would have been looking at it from above. McIntire was carving baskets of this type up until the end of his life, as indicated by a September 21, 1810 receipt charging the cabinetmaker William Hook $4 for “4 baskets.”2 McIntire also ornamented these tables with carved edges of the top, acanthus carved rounded corners, and delicate reeded legs. They are further finished with carefully selected vibrantly figured veneers on the rail. A third virtually identical table from a private collection is illustrated as a “Masterpiece” in The New Fine Points of Furniture by Albert Sack.3

$8,000-12,000 (Endnotes) 93

1 Published by the Peabody Essex Museum and distributed by the University Press of New England, 2007, figs. 4-115 and 4-116, pp. 152-3.

2 Ibid, p. 153.

3 See Albert Sack, The New Fine Points of Furniture, New York, 1993, p. 292.

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83

Property of a New York Family

94 The Parsons Family Chippendale Block-Front Slant-Front Desk with Ormolu Fire-gilt Phoenix Brasses North shore, Massachusetts, circa 1760-1780 Many features of this desk appear on case pieces with Salem histories: the slightly rounded blocking of the top drawer, central shell carved pendant, and the extended bulging brackets of the feet. The base and feet are related to a desk made by Abraham Watson of Salem (see literature).

The exceptionally rare ornate cast brass pulls and escutcheons with phoenix bird crowns would have been among the most expensive made in Birmingham, England, at the time. They are based on illustration in an 18th century Birmingham brass catalogue from which British and colonial cabinetmakers could order. A copy of this catalogue is at Winterthur with a history of being owned by Philadelphia merchant Samuel Rowland Fisher, Charles Hummel, Winterthur Portfolio I (1964), pp. 188-197.

See detail photo for illustration from catalogue in Private New York Collection (no 1199).

H. 45 in.; W. 41 in.; D. 23 in.

$15,000-25,000 Provenance: Descended in the Parsons family of Gloucester, MA Private collector, Connecticut

94 (detail from 18th century Birmingham Hardware catalogue)

Literature: For closely related secretary see Michael Flannigan, American Furniture from the Kaufman Collection, plate 23; for other related Salem pieces see Morrison Heckscher, American Furniture of the Metropolitan Museum of Art, pp. 276-279, 269-270.

A related slant-lid desk descended through the Winthrop Family of Boston. It is part of the Garvan Collection at Yale (see Lowell, Boston Furniture of the 18th Century, Boston, 1974, p. 116, Fig. 80). Another related desk in teh Garvan Collection features a mirrored prospect door (please see Gerald Ward, American Case Furniture in the Mable Brady Garvan Collection at Yale University, New Haven, 1988, p. 305, no. 159.)

Christie’s, January 18, 1997 Americana sale, lot 205

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95

96

Property of a New York Family

Property of a New York Family

95 Ralph Eugene Cahoon, Jr (American, 1910-1982)

96 Ralph Eugene Cahoon, Jr (American, 1910-1982)

CAPE COD PASTRY COMPANY, INC

JELIIES AND JAMS

signed lower right “R. Cahoon”

signed lower right, “R. Cahoon”

oil on masonite 16 x 20 inches

oil on masonite 16 x 20 inches

$8,000-12,000

$8,000-12,000

Property of a New York Family

97 Ralph Eugene Cahoon, Jr (American, 1910-1982) SHREVE’S WATCH SHOP, BOSTON signed lower right “R Cahoon” oil on metal antique pocket watch shop sign. The reverse with the face of a clock and an American Eagle 14 x 14 inches, overall 22 x 16 inches For another example of a 19th century clock maker’s sign painted by Cahoon, please see “Mermaids and their Baloons/The Whimsical Art of Ralph Cahoon” Heritage Plantation of Sandwich, Exhibition catalogue May 10-October 25, 1987, cat no. 34, “Fishing Scene”

$8,000-12,000 Provenance: Wayne Pratt, Inc, Nantucket, Mass.

97

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Property of a New York Family

98 Ralph E. Cahoon, Jr. (American, 1910-1982) STILL LIFE WITH FRUIT IN A BASKET oil on masonite in an octogagonal frame Still life paintings by Cahoon are extremely rare. This painting shows Cahoon at his best. The composition and colors are carefully thought out. 24 x 24 inches in an octagonal frame. One of the few other still lifes known by Cahoon depicts fruit in a bowl, illustrated in “Mermaids and their Baloons/The Whimsical Art of Ralph Cahoon” Heritage Plantation of Sandwich, Exhibition catalogue May 10-October 25, 1987, no. 4 24 x 24 inches

$12,000-18,000 Provenance: Cahoon Family from H Reyes Wayne Pratt, Inc, Nantucket, Mass.

Property of a New York Family

99 Ralph Eugene Cahoon Jr. (American, 1910-1982) ARTISTIC LICENSE IN CANTON Signed lower right “R. Cahoon” 98

oil on masonite in a 19th century Chinese Export Frame 18 x 31 inches

$12,000-18,000 The property of a Connecticut Collector

99A Ralph Eugene Cahoon, Jr. (American, 910 - 1982) MERMAIDS TOILETTE, circa 1970 Signed lower right and inscribed R Cahoon / pinxt Oil on pine panel 27 x 59 3/4 in.

99

$30,000-60,000

99A

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Property of a New York Family

100 A Pair of Queen Anne Walnut Compass Seat Side Chairs Boston, circa 1740-1765 Fitted with flame stich needlework seats from Cora Ginsburg, Inc. Chairs are marked “III” and “IIII” H. 41 in.

$3,000-6,000

100

Property of a New York Family

101 Chippendale Shell and Tassel Carved Mahogany Tilt-top Tea Table Eastern New England, circa 1765 The edge of top, underside of top and base retain an old surface.

A round top hinged to a turned standard with ring turnings and an urn base with swirled fluting supported by three cabriole legs that have shell and tassel carved knees terminating in ball and claw feet.

H. 28 in.; Diam. 34 in.

$8,000-12,000 Provenance: Gift from Parson John Chipman of Beverly, Massachusetts to his daughter Abigail at the same time of her wedding to Captain William Groves in 1776; The Estate of Marjorie Millet Giles Property of a New York Family

101

102 The Hosmer Federal Mahogany Lolling Chair with Inlaid Panels and Reeded Legs Massachusetts, circa 1795 Secondary woods: birch and white pine The bold serpentine crest rail is emphasized by the s-curves of the arms and arm supports. This combined with the delicate reeded legs and the nicely sloping back make the chair one of the best examples of this form.

H. 47 ¼ in.; W. 24 in.; D. (seat) 22 ½ in.

$10,000-15,000 Provenance: Purchased from Herbert Hosmer, Lancaster, Massachusetts, a direct descendent of Winthrop Chandler (1747-1790), a well-known American folk painter from Deerfarm, Lancaster, Massachusetts Literature: Similar examples featured in Fine Points of Furniture, Early American

by Albert Sack, page 73; and New England Furniture at Williamsburg by Barry A. Greenlaw, page 73, plate 64

102

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Property of a New York Family

103 Pair of Mahogany Inlaid Knife Boxes American or possibly English, circa 1780-1810 Secondary wood includes maple. Soft wood on interior not tested because fixed board must be removed to access the wood to take a wood sample.

H. 15 1/8 in.; W. 9 1/4 in.; D. 11 1/2 in.

$5,000-8,000 Provenance: Descended in the family of Thomas Robinson and came from his home on 64 Washington Street, Rhode Island; Israel Sack, Inc, November, 1993. A copy of Israel Sack Incs. write-up and bill of sale accompanies this lot Literature: similar urn inlay can be seen on a labelled William Lloyd, Springfield, Lass. sideboard, circa 1811. Please see American Antiques from the Israel Sack Collection, Vol. VII, p. 1807

103

Property of a New York Family

104 Classical Upholstered Mahogany Sofa with Birdseye Maple Inlay Probably Salem, Massachusetts, circa 1815 The crest with profuse carving including a basket of fruit. This is a rare example of classical seating furniture. The carving is exceptional.

$3,000-6,000

104

Property of a New York Family

105 Federal Upholstered Mahogany Sofa with six legs New England, circa 1795 on six tapering molded legs

$3,000-6,000

105

Property of a New York Family

106 A Federal Fan Carved Mantlepiece New York State, circa 1790-1820

Photography by J. David Bohl

A projecting lip with underside molding above a central raised panel with a fan carved oval flanked by two carved fans and molded pilasters on either side topped by upright fan carved ovals and a rectangular opening with a molded edge

106

h. 61 1/2 in.; l. 85 in., opening: 43 x 57 inches

$1,2000-1,800 Provenance: Removed from a federal era home before it’s demolition in Albany, NY

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107

Property of a New York Family

107 Pair of Federal Mahogany Shield-Back Side Chairs Hartford, Connecticut, circa 1790-1800 Probably from the School of Lemuel Adams H. 39 1/4 in.

(See page 2, frontispiece, for detail of urn carved back of one chair)

$15,000-25,000 Provenance: Formerly in the collection of Mr. & Mrs. Mitchell Taradash Israel Sack, Inc Literature: Related example in American Furniture of the Federal Period by Charles Montgomery, plate 47;

108

Illustrated in American Antiques from Israel Sack Collection, Volume VI, page 1295; & in Opportunities in American Antiques by Israel Sack, Inc. Brochure 48, page 42 Property of a New York Family

108 William IV Mahogany Cellarette English, circa 1815 Constructed of richly figured mahogany with a lead-lined interior

$3,000-6,000 Property of a New York Family

109 Federal Inlaid Mahogany Oval Tilt-top Candle Stand Probably Salem, Massachusetts, circa 1780 H. 24 1/4 in.; L. (top) 25 3/8 in.

$1,200-1,800 54

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109

110

Property of a New York Family

110 A Fine Painted Federal Figured Maple Work Table Possibly from the shop of Thomas Seymour, possibly with John Seymour, the painted decoration school of John Penniman, Boston, circa 1805 With locking sewing bag slide. Old fruit Jar label on underside of drawer “LENT BY / N.F. LITTLE” Made of lively curly maple with floral motifs painted on the apron sides, this elegant table relates to a very small group of worktables attributed to Thomas Seymour (1771-1848), possibly made in collaboration with his father John (1738-1818), with painting attributed to John Penniman (1782/3-1841). Its superior craftsmanship, distinctive foliate painted apron, and locking sewing bag slide are characteristic of the Seymour shop. This table also retains its original lion’s ring brasses of a pattern favored by the Seymour’s. The painted decoration is attributed to John Penniman, the most important decorative painter working in Boston during the Federal period.

In 1809, he rented space in Seymour’s warehouse on Common Street and the two craftsmen collaborated on a number of furniture commissions, including this group of worktables. Penniman’s naturalistic representations of the flowers on this group, probably observed from life, were intended to simulate a lady’s fancy floral needlework.

These renderings have since allowed for the identification of fifteen different species, all grown during that time period in New England.

For other worktables from the group, see one made of bird’s-eye-maple in a private collection that descended in the family of Ebenezer Storer of Boston. It displays a top elaborately painted with a large cluster of flowers, including a magnolia, iris, day lily, blue gentian, and trumpet vines, and a front and sides with monochrome brown

decorative scenes. Another maple example in a private collection was formerly owned by Israel Sack, Inc. It also features a large floral grouping on the top as well as sides painted with peaches, drawer fronts with medallions and trailing leafage, and a rear rail with finely rendered seashells. A set of quartetto worktables with similar floral ornamentation appears to also represent the Seymour/Penniman collaboration.

Elizabeth Derby West commissioned them from Seymour, perhaps for her Oak Hill country estate in Danvers, Massachusetts or for her townhouse on Chestnut Street in Boston.

Robert Mussey, Jr., The Furniture Masterworks of John & Thomas Seymour, Salem, 2003, p. 16., See ibid, no. 90, pp. 314-5.

See ibid, no. 91, pp. 316-7.

See ibid, no. 118, pp. 370-1. h. 29 in.; w. 20 in.; d. 15 3/4 in.

$12,000-18,000 Provenance: Millie Jarvie before 1940, aunt of Nina Fletcher Little; The Bertram K. Little and Nina Fletcher Little Collection; Little Sale, Sotheby’s, January 29, 1994, lot 204 Literature: Stoneman, Vernon, John and Thomas Seymour: Cabinetmakers in Boston, 1794-1816. Related pieces are illustrated in figs. 136-8.

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111

Property of a New York Family

Provenance: Private Roxbury, Connecticut Collection, circa 1980-1990

111 Monumental Chippendale Stop-Fluted Serpentine Seat Mahogany Easy Chair

Literature: Similar examples featured in American Antiques from the Israel Sack Collection, Volume V, Highland House Publishers, plate 4254, page 1274; in The American Chair: Three Centuries of Style, by Robert Bishop, plate 201, page 160; & in Master Craftsmen of Newport by Michael Moses, figure 1.42, plate 53

Newport, Rhode Island, circa 1770-1795 The arched crest flanked by ogival wings and cone-shaped outscroll arms, the serpentine seat with loose cushion, on marlborough stop-fluted legs, joined by box stretchers.

Secondary woods: Chestnut, Oak, Hickory and Ash Please refer to Kenoauctions.com for photographs of this chair unupholstered H. 48 in.; W. 40 1/2 in.; D. (feet) 28 1/2 in.

$40,000-80,000

56

It has been suggested that this chair was made for John Brown (1733-1785), although there is no written or other evidence to support this. This chair would have been custom-made for a client. Alfred Donaldson, in his 1921, “History of the Adirondacks” has written that “Brown was known to be of average height but weighed in at a portly 300 pounds”. John Brown was the richest merchant in Providence, Rhode Island. Until 1771 he was in business with his three brothers and with them was largely responsible for bringing Brown University to Providence. The Brown brothers, then John Brown himself after 1771, had extensive trade relations with Philadelphia, Boston, Newport and New York, and ordered furniture from Philadelphia and from John Goddard in Newport to furnish his houses. In 1786 he built the magnificent mansion in Provenance, now the headquarters of the Rhode Island Historical Society.

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113

112

114

Property of a New York Family

Property of a New York Family

Property of a New York Family

112 Large Giltwood Gallery-Wall Timepiece with Carved Eagle

113 Federal Bell-Flower Inlaid Mahogany Lolling Chair

114 Federal Mahogany Plant Stand

Aaron Willard, Boston MA, 1805-1810

Probably Portsmouth, New Hampshire, 1800-1815

The painted wooden dial is signed “Aaron Willard”

It is extremely rare for a lolling chair to exhibit bellflower carving on both the arm supports and the legs.

The square top with raised reeded rim continuing to circular reeded legs with a medial plant shelf with a reeded lip, terminating in bulb turned feet with brass casters

Importantly, the brass eight day works of this clock are diestamped “A. Willard/Boston”

$4,000-8,000

New York, circa 1810

painted convex wooden dial with weight and key

H. 30 1/2 in.; W. (top) 9 in.; W. (bottom of lower shelf) 13 1/2 in.

h. 44 inches

$2,000-4,000

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Provenance: The Harding Greene Estate, Nantucket, Massachusetts until 1994

$15,000-25,000 Provenance: Kirtland H. Crump Antique Clocks, July 15, 1999, Madison, CT. Bill of sale included with this lot.

Literature: A virtually identical stand is at Winterthur and pictured in American Furniture of the Federal Period

by Joseph Downs, page 383; The two stands may possibly have been made as a pair.

Literature: Illustrated and discussed Paul J. Foley, “Willard’s Patent Timepieces”, Meridian Printing, East Greenwich, Rhode Island, 2002, p. 6, figs. 8 (overall) and fig. 9, illustration of movement with plate stamped “A. Willard”

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115

115

Property of a New York Family

115 An Assembled Pair of Federal Inlaid Mahogany Card Tables Each with Label of Joseph Short Newburyport, Massachusetts, circa 1800-1810 Each bearing the Label of Joseph Short, “WARRANTED CABINETWORK OF ALL KINDS, MADE AND SOLD, BY JOSEPH SHORT at his shop in NEWBURYPORT”.

All orders for work will be gratefully and punctually executed.” each: H. 28 1/2 in.; W. 34 in.; D. 16 in. (2)

$4,000-8,000 Literature: see catalogues of Joseph Short’s furniture at Winterthur & at the Historical Society of Old Newbury

115 Detail

These tables are almost identical. The profiles are slightly different profile.

116 Chippendale Mahogany Lolling Chair with Label of Joseph Short Newburyport, Massachusetts, circa 1795 Joseph Short (1771-1819) The upholstered back with serpentine crest.

Joseph Short (1771-1819) was one of a family of several generations of cabinetmakers by the name of Short but the only one to label his furniture.

His label, affixed to the original webbing attached to the seat-frame, reads “Warranted Cabinet Work of all kinds, Made and Sold by Joseph Short, at his Shop Merrimack Street, between Market- Square and Brown’s Wharf, Newburyport. All orders for Work will be gratefully received and punctually executed.”

H. 44 1/2 in.

$3,000-6,000

116

58

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117

Property of a New York Family

117 Pair of Diminutive Early Classical Carved Giltwood Girandole Mirrors Labeled by C.N. Robinson Philadelphia, Pennsylvania, circa 1813-1822 Each with carved eagles with spread wings holding a chain and ball in their beaks and standing on a shaped plinth with gilt spherules flanked by scrolled gilt acanthus leaves above a convex glass with circular molded frame hung with gilt spherules flanked by two scrolled candle arms with glass candle cups and cylindrical brass nozzles over an acanthus leaf-carved pendant.

One girondole bears label “C.N. Robinson, Carver and Gilder, looking-glass frame and picture frame manufacturer, no. 56, South Street, offers for sale, an assortment of girandoles, brackets, cornices, &c. &c., Also a great variety of profile frames n.b. old glasses re-silvered” h. 36 in.; w. 21 1/2 in. (each)

$15,000-25,000 Provenance: Private Collection, Charlestown, Massachusetts Christie’s, New York, Important American Furniture, Silver, Folk Art, and Decorative Arts, June 17, 1992, lot 132.

117 (detail of label)

Literature: For similar examples featured by Charles N. Robinson see Peter Strickland, “Documented Philadelphia Looking Glasses, 1800-1850,” in Antiques Magazine (April, 1976), p.794 Notes: Between 1811-1857 Charles N. Robinson made and sold picture frames and looking glasses. His shop was located at 56 South Street from 1813-1822, which is the period that the present examples were likely made.

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59

118

60

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Property of a New York Family

118 The Lansdell K Christie Queen Anne Carved, Inlaid Veneered and Gilt Walnut High Chest of Drawers Boston, 1730-1750 H. 81 1/2 in.; W. 40 in.; D. 21 1/2 in.

Provenance: Ginsburg & Levy, Inc., 1962;

$60,000-100,000

Collection of Mr. and Mrs. K Lansdell Christie; With its bonnet top, gilded finials, figured walnut veneers, carved and gilded shells, mariner’s stars, and fluted pilasters, this high chest relates to a small group of high chests and dressing tables made in Boston between 1730 and 1750. Their fashionable design and elaborate construction required the collaboration of a cabinetmaker, gilder, carver, turner and inlay maker. Collectively, they represent the height of Queen Anne craftsmanship stemming from Boston cabinet shops of the early to mid-eighteenth century.

This chest exhibits shell and leaf carving that is very similar to the work of John Welch (1711-1789), the most prolific Boston carver of the pre-Revolutionary period.

Similar carving attributed to Welch with shells’ scrolled volutes separated by gouged bulbs and overlapping leafy carving with angular termini appear on a set of eight side chair that descended from Charles (1698-1758) and Grizell (1709-1796) Apthorp of Boston, as well as on a tall-case clock in the collection of the Art Institute of Chicago, and on the frames of the John Singleton Copley portraits of Jeremiah Lee and Isaac Smith.1 Other high chests from the group include one sold in the Flayderman Sale, American Art Association, Anderson Galleries, New York, January 2-4, 1930, lot 437, one at the Metropolitan Museum of Art, one at the Museum of Fine Arts, Boston and one in the Kaufman Collection.2 Of these, only one -- the Museum of Fine Arts example -- is signed and dated 1739 by its maker, Ebenezer Hartshorne, a joiner working in Charlestown between 1729 and 1743. A dressing table at the Metropolitan Museum of Art and two others in the collection of Historic Deerfield are also part of this group.3 The design of these case pieces evolved from Japanned predecessors. The gilded naturalistic shells were retained while the japanning was replaced with figured matched walnut veneers. This chest differs from the others in the group in its highly arched pediment, compressed shells against a foliate-carved ground, and inlaid stars on the case sides only. The shells on the Kaufman and Flayderman examples are rounded and rendered on a plain ground while the Metropolitan Museum example displays a half shell with a lobed profile. All three have flatter pediments and inlaid stars on the scroll board and sides. These varying details suggest the chests in this group represent the work of multiple shops.

Christie’s, Property from the Estate of Mrs. Lansdell K. Christie, January 27, 1996, sale 8360, lot 329, sold for ($266,500) Christie’s, Important American Furniture, Silver, Prints, Folk Art and Decorative Arts, January 19, 2001, sale 9592, lot 101.

Private Collection Exhibited: New York, Metropolitan Museum of Art, American Art from American Collections, 6 March-28 April, 1963 Literature: Illustrated and discussed, Biddle, James, American Art from American Collections (New York: Metropolitan Museum of Art, 1963), p. 29, fig. 55.

Illustrated and discussed Comstock, Helen, American Furniture: Seventeenth, Eighteenth and Nineteenth Century Styles (Exton, PA: Schiffer Publishing, 1962), no.

183.

Illustrated in color and discussed, Kirk, John T., American Furniture: Understanding Styles, Construction and Quality (New York: Harry N. Abrams, Inc., 2000), p. 104, fig. 117.

(Endnotes) 1 See Leigh Keno, Alan Miller, and Joan Barzilay Freund, “The Very Pink of the Mode: Boston Georgian Chairs, Their Export and Their Influence,” American Furniture 1996, ed. By Luke Beckerdite, Chipstone Foundation, 1996, pp. 266-306, figs. 5, 6, 28, and 32.

2 See Morrison Heckscher, American Furniture in the Metropolitan Museum of Art (New York: 1985), pp. 241-3, fig. 157; Richard Randall, American Furniture in the Museum of Fine Arts, Boston (Boston, 1965), no. 54; and J.Michael Flanigan, American Furniture from the Kaufman Collection (New York, 1986), no. 20.

3 See Heckscher, no. 158, pp. 244-5, and Dean Fales, The Furniture of Historic Deerfield, New York, 1976, figs. 427-8.

The present high chest - as is typical of the best examples of the period - exhibits brilliantly matched figured walnut veneers which are cut from the same flitchs of wood for both the top section and bottom section, including the veneer on the sides.

Additional Information, Photographs and Condition Reports at Kenoauctions.com

61

120

119

Property of a New York Family

Photography by J. David Bohl

119 Classical Ebonized and Giltwood Small Girandole Wall Mirror New York, circa 1815 Surmounted by wing-spread Eagle Finial, the eagle with a suspended ball and chain in its beak, above a plinth and leaf-decorated crest, the circular mirror plate with ebonized slip mounted with spherules above an acanthus leaf pendant.

H. 34 in.; W. 16 in.

$10,000-20,000

119 & 120 Insitu

Provenance: Israel Sack, Inc, New York Sotheby’s, New York, January 17, 1997, lot 940 Literature: Sack Brochure #48, October 1, 1991. A bill of sale from Israel Sack, Inc. accompanies this lot.

Sack, American Antiques from the Israel Sack Collection, Volume X, plate 6352, 2703

Property of a New York Family

120 Federal Birch Wood Veneer and Carved Mahogany Two Drawer Dressing Table New Hampshire, circa 1810 H. 36 in., l. 35 in., W. 17 3/8 in.

$4,000-8,000

62

Additional Information, Photographs and Condition Reports at Kenoauctions.com

122

121

123

124

Property of a New York Family

Property of a New York Family

121 Set of Four Neoclassical Gilt-wood Sconces with Engraved mirrors Depicting the Four Seasons

123 Two Similiar Classical Upholstered Mahogany Stools with Scroll Feet

English, late 18th century (4)

American, 1825-1845 (2)

$2,000-4,000

$1,500-3,000 Property of a New York Family Property of a New York Family

122 Diminutive Chinese Export Upholstered Childs Sofa with Paw Feet

124 Federal Figured Mahogany Shell- Inlaid Pembroke Table with One Drawer

1820-1845

American, possibly Lower Chesapeake Region, circa 1790-1810

The feet are attached with mortises and slots

Secondary wood: yellow pine and white pine

H. 26 ½ in.; L. 61 ¼ in.; D. 19 ½ in.

Note: Top comprised of highly figured mahogany

$2,000-4,000

The Ovolo or Sash cornered top fitted with three-line inlay above a conforming shaped skirt with single drawer and sham back. The drawer is veneered mahogany and inlaid with a single line detail and sash corners.

H. 29 1/2 in.; L. 20 3/4 in.; D. 30 5/8 in.

$4,000-8,000 Provenance: Descended in the Prevost Family of Charleston, SC

Additional Information, Photographs and Condition Reports at Kenoauctions.com

63

Property of a New York Family

125 Federal Inlaid Mahogany Pembroke Table with Bellflowers on Legs New England, circa 1810 The rectangular top with two-hinged line-inlaid serpentine shaped leaves with rounded inset corners above a single drawer with line-inlay, on bellflower inlaid square tapering legs continuing to line-inlaid cuffs.

H. 29 in.; L. (closed) 20 in.; W. 35 1/2 in.

$4,000-8,000

125

Property of a New York Family

126 Inlaid Mahogany and Birdseye Maple Corner Washstand Eastern Massachusetts, circa 1800

$2,000-4,000

126

Property of a New York Family

127 Classical Stenciled Mahogany Wash Stand with Lift Top Probably New York, circa 1835 With fitted, mirrored interior Secondary wood: poplar H. 33 1/2 in., W. 336 in., H. 21 3/4 in.

$3,000-6,000

127

64

Additional Information, Photographs and Condition Reports at Kenoauctions.com

Property of a New York Family

128 A Federal Mahogany Shield-Back Side Chair Rhode Island, circa 1795 Inscribed into wood of inner seat-rail “J H GODDARD” The serpentine molded crest rail with an intricately carved swag and urn back splat, above a serpentine front trapezoidal shaped upholstered seat continuing to tapered molded legs joined by an H stretcher.

H. 37 3/4 in.

$2,000-4,000 Property of a New York Family

129 Federal Two-Drawer Mahogany Work Table 128

129

Salem, Massachusetts, circa 1800 H. 29 1/2 in.; W. 21 in.; D. 17 3/4 in.

$3,000-6,000

130 No Lot Property of a New York Family

131 Queen Anne Red- Painted Maple Child’s Highchair and A Childs Federal Upholstered Easy Chair with Molded Tapered Legs 18th/early 19th century The high chair retaining its original leather covered seat with sail cloth webbing, found in Nantucket H. 39 ¾ in., wingchair H. 26 ½ in.

(2)

$1,200-1,800 131

131

132

133

Property of a New York Family

Property of a New York Family

132 Carved and Painted Eagle with Shield Wall Plaque

133 A Pair of Classical Mahogany Window Benches with Klismos Legs

H. 14 in.; L. 43 in.

$1,000-1,500

American, circa 1820 h. 23 ½ in.; l. 33 ½ in.; d. 20 ½ in.

$3,000-6,000 Provenance: Woldman Brothers Antiques

Additional Information, Photographs and Condition Reports at Kenoauctions.com

65

Property of a New York Family

134 Chippendale Mahogany Reverse-Serpentine Desk and Bookcase Eastern Massachusetts, circa 1765 Secondary wood: white pine H. 97 in.

$10,000-20,000 Property of a New York Family

135 Two Chippendale Upholstered Mahogany Easy Chairs with Molded, Square Legs The taller example inscribed in chalk on crest-rail John Cogswell (1738-1819) Massachusetts, circa 1770-1795 On the front of the crest rail in chalk is written “Dr. Ball”, and on the reverse, also in chalk is written in early script “...Made Cogswell Boston” in early script. secondary wood: maple The legs of the inscribed chair appear to be of later date.

H. (taller) 49 in.; (shorter) 45 ½ in.

$2,000-4,000 Provenance: Inscribed example descended in the Family of Dr. Steven and Lydia Ball Northborough, Massachusetts Dr. Stephen Ball II purchased the house “Twin Gates” in Northborough from the retired sea captain Adrian Haulcins in 1800 when he married Lydia Lincoln of Hingham, Massachusetts.

From 1802 to 1827 they had thirteen children all born in the house.

Literature: A similar chair may be seen in American Furniture by Joseph Downs, Plate 93; for information on Cogswell, see American Furniture 1994, ed. Luke Beckerdite, pp. 73-105 by Robert Mussey and Anne Rogers Haley.

134

135

66

Additional Information, Photographs and Condition Reports at Kenoauctions.com

Property of a New York Family

136 Early Classical Giltwood Over-mantle Looking Glass Probably New York, circa 1815-1840 With carved motifs of eagles and seahorses H. 73 in., W. 72 in.

$5,000-10,000

136A Federal Carved and Painted Fireplace Mantle Salem, Massachusetts, circa 1795 The carving in the style of Samuel McIntire

$2,000-4,000

136 and 136A insitu

Property of a New York Family

137 Federal Inlaid and Veneered Bow-front Chest of Drawers Possibly by Ephrain Mallard Gilmanton, New Hampshire, circa 1795-1810 Birch, Bird’s Eye maple

$8,000-12,000 Provenance: Private Collection, Virginia Literature: A related example is illustrated in “Plain & Elegant, Rich & Common, Documented New Hampshire Furniture, 1750-1850”, New Hampshire Historical Society, 1978, #23, pp. 66-67

137

Additional Information, Photographs and Condition Reports at Kenoauctions.com

67

Property of a New York Family

Property of a New York Family

138 Early Classical Gilwood and Eglomise Looking Glass

140 Chippendale Mahogany Reverse Serpentine Slant-Front Desk with Ball and Claw Feet

American, circa 1815

Eastern Massachusetts, circa 1765 h. 45 in.; w. (case) 42 1/8 in.; D. (case) 23 1/4 in.

H. 42 1/2 in., W. 19 1/4 in.

$2,000-4,000

$800-1,200

The interior with mirrored prospect panel.

Property of a New York Family

139 Mahogany Dressing Glass Inlaid with Shagreen Mid 19th century Possibly Chinese export H. 64 1/4 in., W. 33 1/2 in., D. 21 in.

$3,000-6,000 138

139

68

140

Additional Information, Photographs and Condition Reports at Kenoauctions.com

Property of a New York Family

141 Queen Anne Inlaid Walnut Dressing Table Boston, Massachusetts, 1740-1760 The decorative inlay of the drawer fronts and the radiating fan inlay of the scooped central drawer distinguish this dressing table from other examples; it is a feature characteristic of urban Massachusetts cabinetmaking. A high chest of drawers with similarly inlaid scoop drawers is illustrated in American Furniture at Winterthur (Downs, no. 190) a dressing table in the Bayou Bend Collection at the Museum of Fine Arts Houston demonstrates this elaborate decorative treatment as well (Warren, et al.; p. 43). A third dressing table, attributed to Boston and currently in the collection at Yale, exhibits several similar features as well (Ward, pp. 205-206). The inlaid fan is an early feature, slightly predating the later carved rococo fans and shells.

H. 29 ½ in.; W. (top) 34 ¼ in.; (case) 30 in.; D. (top) 19 ¼ in.

$10,000-20,000 Provenance: Private Family, Boston, Massachusetts

141

Literature: Joseph Downs, American Furniture: Queen Anne and Chippendale Periods in th eHenry Francis du Pont Winterthur Museum, New York: Viking Press, 1952; Gerald W.R. Ward, American Case Furniture in the Mabel Brady Garvan and Other Collections at Yale University, New HAven, Conneecticut: Yale University Art Gallery, 1988; David B. Warren, et al., American Decorative Arts and Paintings in the Bayou Bend Collection, Houston, Texas: Museum of Fine Arts, Houston, 1998.

Property of a New York Family

142 Diminutive Chippendale Cherrywood Chest of Drawers with Dental Molding Connecticut with New London county influence, late 18th century The top drawer is fitted to appear as two drawers Secondary wood: poplar With inscription written on bottom board of top drawer, “Great Grandmother Bradley’s Bureau. M.E. Chatfield, my mother’s grandmother. M.E. Chatfield died Aug. 1952 at age 93.”

H. 35 ½ in.; W. 42 ¼ in.; D. (case) 14 ¾ in.; D. (top and feet) 17 in.

$4,000-8,000 Provenance: Purchased directly from the Bradley family, Branford, Connecticut.

Nathan Liverant and Son, LLC. Antiques, 1999

142

Property of a New York Family

143 Federal Inlaid Mahogany Dining Table with Folding Top and Swing-Leg Probably Connecticut, circa 1790 H. 28 3/4 in.; L. 47 3/4 in.; D. 23 1/2 in.

$4,000-8,000

143

Additional Information, Photographs and Condition Reports at Kenoauctions.com

69

Property of a New York Family

144 Classical Brass Inlaid and Gilt Decorated Gaming Table Probably Boston, circa 1810-1820 h. (closed) 29 1/2 in., w. (top) 36 in., d. (top) 18 in.

$3,000-6,000 Provenance: Francis Bealy Note: This was the first piece of antique furniture acquired by the consignors Property of a New York Family

145 Federal Fan-Inlaid Mahogany Sideboard with Rare Enamel Pulls Probably Massachusetts, circa 1790

$8,000-12,000 Provenance: Israel Sack, Inc. 144

Property of a New York Family

146 Federal Mahogany Inlaid Sofa Northern New England, circa 1810 The rectangular back over down-curving arms terminating in ring-turned and reeded bulbous arm supports over a flame birch inlaid panel, the sofa raised on four ringturned, reeded and tapering front legs and four square back legs.

The curved handholds, bulbous and reeded arm supports, presence of vibrant panels of veneer and bulbous and reeded legs are all characteristics of Portsmouth sofas; this sofa combines all of these elements with a graceful curved back and diminutive proportions. A full-size sofa with comparable elements is illustrated in Portsmouth Furniture: Masterworks from the New Hampshire Seacoast, (Jobe, cat. 105, pp. 375377.)

145

The over-the-rail upholstery on this small sofa prevents a detailed discussion of all but the underside construction of this sofa, which confirms to the construction techniques associated with Portsmouth chairmakers : The leg and arm support at each front corner are of one piece; the top of each arm support is round-tenoned into the curved handhold; triangular glue blocks are nailed at each corner of the seat; three swaybacked seat braces fit into the dovetail-shaped slots in the front of the rear seat rails; double-tenons secure the medial legs to the seat rails.

Research reveals that a cursory examination of estate inventories of the Federal period before 1810, from all of the primary urban centers, indicates that sofas, couches and settees were luxuries. Most were owned by well-to-do individuals. By 1825, however, ownership of these seating forms was much more widespread. They were typically placed on the first floor of large homes, in the parlor, or “drawing room,” the purpose of which Thomas Sheraton wrote was “to concentrate the elegance of the whole house…the highest display of richness of furniture.”

Three lightwood panels appear to be replacements H. 35 1/2 in.; L. 58 1/2 in.

$2,000-4,000

146

70

Additional Information, Photographs and Condition Reports at Kenoauctions.com

147 one of four

Photography by J. David Bohl

148

152

151 insitu

Property of a New York Family

Property of a New York Family

151 Oak Library Steps

147 Four Cut-glass Hanging Lanterns

English, mid-19th century

19th Century Only one pictured h. cut glass bell 12 in.; total height (hanging) approx. 26 ½ in. (one shown)

H. 83 ½ in.; D. 48 in.; W. 24 in.

$2,000-4,000

$2,000-4,000 Property of a New York Family Property of a New York Family

148 Chinoiserie Decorated Laquer Tray on Modern Stand

152 Regency Mahogany Canterbury Fitted with Two Drawers English, early 19th Century

English, 19th Century

H. 21 ½ in. L. 24 in.

Underside stamped “CLAY / King St / Covt Garden”

$1,000-1,500

L. (tray) 29 ½ in.; H. (tray on stand) 20 ¾ in.

$2,000-3,000

149 No Lot 150 No Lot Additional Information, Photographs and Condition Reports at Kenoauctions.com

71

153

Property of a New York Family

153 A Bidjar Carpet North Persia, circa 1880 The midnight blue field with a gerous design of bold polychrome strapwork, palmettes and angular flowering plants, within three narrow light blue, ivory and green arcaded vine, leaf and palmette borders, woolen warps.

This is a rare carpet 18ft x 11ft 5 in.

$12,000-18,000

72

Additional Information, Photographs and Condition Reports at Kenoauctions.com

154

155 No Lot

Property of a New York Family

154 A Heriz Carpet

156 No Lot

North West Persia, circa 1900 The soft terracotta field with a bold terracotta, light and dark blue stepped lozenge medallion, pendant green or light blue palmettes, complementary stepped ivory spandrels, all with angular vinery issuing palmettes and serrated leaves, within a soft terracotta turtle palmette border.

13ft 2in x 9ft 8in

$7,000-10,000

Additional Information, Photographs and Condition Reports at Kenoauctions.com

73

157 163

157

Property of a New York Family

157 Two Bidjar Runners North Persia, each with date “1323� (1905) The first with deep blue herati design field within an ivory arcaded leaf and flowerhead border, illegible inscription panel to upper end, wollen warps.

27ft 4in x 3ft 9in

163

161 No Lot 162 No Lot

The second: Illegible inscription panel to upper end, woolen warps.

Reduced in length.

Property of a New York Family

16ft 3in x 3ft 9in

163 A Bidjar Runner and Hamadan Runner

$2,000-4,000

The first: North Persia, modern

158 No Lot

The red ground with an afshan design within an autumnal leaf garland border.

12ft 8in x 3ft 1in The second: North West Persia, first quarter 20th century

159 No Lot 160 No Lot 74

The red field with a column of green, light and dark blue hooked and stepped medallions, supported by guls and leaves, within a light a light blue linked rosette border.

10ft 4in x 3ft 1in

$800-1,200

Additional Information, Photographs and Condition Reports at Kenoauctions.com

164

165

166

164 Five Glass Flasks Comprising: an olive cornucopia/ eagel pint (H. 6 1/2 in.), An olive cornucopia/ urn half pint (H. 5 1/4 in.), And an aqua cornucopia/ cornucopia half pint (H. 5 1/4 in.)

An aqua quart, on one side “CUNNINGHAM / & CO / PITTSBURGH,” on the other side “GLASS / MANUFACTURERS” (H. 9 in.), A brown pint “STODDARD / NH,” and on the other side, “GRANITE. / GLASS. Co” (H. 7 1/2 in.)

For photographs of all flasks go to Kenoauctions.com.

(5) 165 (back)

$500-1,000 Property of a New England Gentleman

165 A Very Rare Clear with Blue Tint Corn Flower Columbia Flask

166 Group of Three Glass Flasks Depicting Scrolls

Thirteen small six-pointed stars in semi-circle above bust. On reverse, a large American Eagle, head turned to right, nine vertical bars on shield. H. 7 in., W. 4 in., D. 2 1/4 in.

Comprising an amber flask (H. 7 in.) and a aqua flask (H. 7 in.), and a sapphire blue flask (H. 8 3/4 in.),

$5,000-10,000

$500-1,000

Provenance: From a Rhode Island family home Literature: American Glass, George S. and Helen McKearin, pp. 537- 538.

Van Rensselaer in describing his No. 20 states no stars. However, while stars are faint they definitely appear in each of the few specimens of this flask known to us, including the one from which Van Rensselaer’s listing was taken.

Additional Information, Photographs and Condition Reports at Kenoauctions.com

75

168

168

167

169

169

167 A Pair of Canary-Colored Dolphin Candlesticks Massachusetts, probably Boston and Sandwich Glass Company, 1845-65 Figure of a dolphin with tulip-shaped socket on top and a square base

168 Pair of Amethyst-colored Hexagonal Candlesticks and Pair of Clambroth-colored Petal (Six Ball) Candlesticks Probably Boston and Sandwich Glass Company, 18451860 Massachusetts, 1840-1857

169 A Group of Eight Glass Flasks A clear “BENJAMIN FRANKLIN / T. W. DYOTT. M. D.” quart flask (H. 8 in.), second half 19th Century A green scroll quart flask with scrolls and stars (H. 8 3/4 in.), A green wide-ribbed pint flask (H. 8 in.),

H. 10 1/2 in. (2) H. 7 in., H. 7 1/4 respectively

$1,000-1,500 Literature: Ref: Barlow and Kaiser 4056

169

H. 7 1/4 in. (4)

And a green half pint with swirls (h. 4 1/2 in.)

$700-900

The sheath of wheat pint impressed “WESTFORD GLASS Co / WESTFORD / CONN” (h. 7 3/4 in.),

Provenance: Levine Collection

A double eagle pint (h. 6 1/2 in.),

Literature: Barlow and Kaiser 4027

American eagle and stars on one side, on reverse “SUCCESS TO THE RAILROAD” (h. 7 in.)

A Green Pitkin Flask with Vertical and Diagonal Ribbing, One pint, h. 6 1/2 in.

(8)

$1,000-1,500

76

Additional Information, Photographs and Condition Reports at Kenoauctions.com

170

171

172

174

174

173

Property of a Massachusetts Lady

170 Canary-Colored Celery Glass Vase Probably Sandwich Glass Company (or possibly Pittsburgh), 1845-65 h. 9 3/4 in.

$400-800

172 Two Olive-green Glass Flasks The first, a one pint starburst (h. 7 1/4 in.), The second, depicting Lafayette with “LAFAYETTE / T.S.” and Clinton with “aE WITH CLINTON \ COVENTRY \ C-T” inscribed on glass (h. 7 1/4 in.)

(2)

$800-1,200

174 Gothic Arch Pattern Sandwich-Star Pattern Spoon holder and a Covered Sugar Bowl Boston and Sandwich Glass Company Hexagonal-shaped H. 5 1/8 inches The second a sugar bowl with lid Circa 1835-1845

171 Gothic-Arch Pattern Canary-Colored Sugar Bowl with Lid Boston and Sandwich Glass Company, circa 18351845 H. 5 inches (including lid)

$500-700 Literature: Barlow and Kaiser 1084

173 A Canary-Colored Glass Vase

Octagon-shaped top and lid base

Boston and Sandwich Glass Co., 1840-1860

(2)

Trumpet shaped with scalloped edges, six long looppattern panels, on a circular base.

$1,200-1,800

H. 5 inches

Literature: Barlow and Kaiser 1179

H. 10 in.

$300-500 Literature: Barlow and Kaiser 3026

Additional Information, Photographs and Condition Reports at Kenoauctions.com

77

175

Property of a West Coast Gentleman

Property of a West Coast Gentleman

175 Prior-Hamblin School

176 School Girl Silkwood and Watercolor Needlework Depicting Liberty

BLUE-EYED BABY IN A ROCKING BASKET HOLDING CHERRIES AND WEARING A WHITE EMBROIDERED DRESS WITH A PINK SASH

“LIBERTY IN THE FORM OF THE GODDESS OF YOUTH GIVING SUPPORT TO THE BALD EAGLE”

The canopy decorated with pink ribbons and tassels

New England, probably Massachusetts, circa 1796-1810

Circa 1835

After Edward Savage’s June 11, 1796 engraving.

Oil on canvas

Savage’s composition was popular in its day ---as is reflected by many printed copies.

A needlework copy was made in 1804 by sixteen-year-old Mary Green of Worcester.

It is in the collection of the Worcester Art Museum (acc. no. 1963.86)

27 x 22 in

$25,000-35,000

23 x 17 in

$2,000-4,000

78

Additional Information, Photographs and Condition Reports at Kenoauctions.com

178

176

179

178 Fraktur with Inscriptions and Depictions of Four Birds and Floral Decoration Pennsylvania, 19th century 11 1/4 x 14 in (sight)

$800-1,200 This traditional house blessing translates from early German to read the following: God, the Father’s Creator’s Hand, Bless this house and land.

That your Fatherly goodness may always graciously protect this house, farm, stable, and barn from misfortune and especially fire 177

Property of a New York Family

177 A Copper and Wrought Iron Dated Banner Weathervane Dated 1908 American, 1908 Iron, “WEC 1908”

$2,000-4,000

179 Yellow Painted Shaker Carrier Enfield Village, 19th century Retains original yellow paint H. 4 3/4 in.; L. 13 1/2 in.

$2,000-4,000 This carriers interior has been faithfully recreated and lined with silk. The sewing kit includes a pin cushion and wax cake.

Additional Information, Photographs and Condition Reports at Kenoauctions.com

79

180

181

182

183

180 * Copper Banner Weathervane of Impressive Size

181 A Folk Art Stuffed Fabric, Leather, and Bone Bird on a Glass Base

Property of a West Coast Gentleman

American, circa 1860

American, probably New England

With desirable verdisgris patination on copper.

Second-half, 19th century

PORTRAIT OF A BABY BOY WITH ROSE AND ROSEBUD

H. 33 in.; L. 72 in.

H. 13 1/2 in., L. 13 1/2 in.

Eastern New England, circa 1845

$3,000-6,000

$300-600

Oil on board

Provenance: According to Carl Nordblum, originally atop a church in Fitchburg, MA

Constructed on the glass base of what was originally a lamp.

16 1/2 x 13 in.

CRN Auctions, November 19, 2006, sale 709, lot 185, sold $16,100 (including buyers premium)

182 Prior-Hamblin School

$1,500-2,500 Property of a an Illinois Lady

183 Carved and Painted Pine Figure of a Soldier American, late 19th century H. 17 in.

$400-800 Provenance: According to family history this soldier doll was carved from a tree on the Treadwell farm in Elgin, Illinois. It was made for Allie Treadwill by her dad’s hired man.

Descended to the present owner, Allie Treadwell’s great granddaughter.

184

80

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185

186 (seven of fifteen chairs shown)

187

Property of a New York Family

184 John Haley Bellamy (American, 1836-1914) CARVED AND PAINTED EAGLE

186 Set of Fifteen Painted Masonic Lodge Chairs

“Don’t Give Up the Ship”

New Hampshire, circa 1820

Kittery, Maine, late 19th/early 20th century

A fine set of low-back Windsor type chairs, each one with an arm crest bearing the Masonic emblem and forming the central section of the straight arm rail above eight turned spindles set into the D-shaped seat which is supported by four ring and bulbous turned legs with a single stretcher on front and back and double side stretchers.

Now mounted on a painted board.

H. 7 1/4 in., W. 32 1/2 in.

$1,500-2,500

All of the chairs have a dark brown paint with gilt transfer designs on the arm crests and desirable salmon pink seats outlined in robin’s egg blue striping. (7 illustrated)

Property of a New England Gentleman

(15)

185 Attributed to Wilhelm Schimmel (1817-1890)

$3,000-6,000 Provenance: Property of a New York family

A carved and painted spread-winged eagle Cumberland Valley, Pennsylvania, circa 1870

A New York Gentleman

H. 9 1/2 in., W. 18 in., D. 4 1/2 in.

187 PAINTED WOODEN SUNFISH

$3,000-6,000

American, late 19th/early 20th century

Provenance: A Maryland Coast Decoy Collection Literature: For a similar example in the same stance and with similar dry surface with some remnants of paint, please see The Collection of Mr. and Mrs. George W. Scott, Jr., Christies, June 10-11, 1994 lot 553

6 x 11 1/2 in

$500-1,000 Provenance: The Guennol Collection assembled by Alastair B. Martin

Additional Information, Photographs and Condition Reports at Kenoauctions.com

81

Property of the Teroga Red Men’s Club, Johnstown, New York

188 A Carved and Painted Indian “Totem” Figure from the Red Men’s Lodge Headress painted “TOTEM” and axe blade has “I.O.R.M.” (Improved Order of Redmen) h. 60 1/2 in., w. 17 in.

$10,000-20,000 Provenance: Consigned by an upstate New York chapter of the Order of the Red Men, where it has been in their lodges for the last century.

According to member Jim Putman who has been a Member since 1941, The Teroga Redmen’s Club was first formed circa 1938 and originally met at the Oddfellows Hall ( called “The Grange”) on Main Street in Johnstown, N. Y.. The Club was formally established in 1944 when it moved to 16-18 Housac Street, its present location.

In a telephone conversation between Mr. Putman and Leigh Keno on December 15th 2011, Mr. Putman described how the present Carved and painted Indian figure had been at the Lodge since his first meeting and he recalls the Indian being used with its red light bulb lit at meetings through the years. The “tribe” would gather around it in a circle for a council meeting, symbolic of the Native American practice of meetings having been held around around a fire. This figure was used for special meetings at the lodge until recently and Mr. Putman recalled that it had never been taken outside of the lodge (hence its excellent condition).

He recalls that it came from one of the “tribes” of the Society of Red Men which proliferated in upstate New York and across the country in the 1940’s.

The “Improved Order of Red Men”, the consignor of the present lot, is America’s oldest fraternal organization. It is a national organization that is known as the “Totem of the Eagle”. According to their website, they were originally chartered by congress and the origins date back to 1765. After the war of 1812, the name was changed to “The Society of Red Men” which was changed again in 1834 to “Improved Order of Red Men”.

Local lodges, like the Upstate New York Chapter which owns this, are called tribes. The patriotic members that belonged to these tribes, concealed their identification and worked underground to help establish freedom and liberty in the early colonies. Because of the secrecy of the organization, a secret password was required that only members knew, which was “T.O.T.E”. Hence, the word “TOTEM” painted on the chief ’s headpiece. Past members of note include Warren E. Harding and both Franklin and Teddy Roosevelt.

The organization patterned themselves after the Great Iroquois Confederacy and its democratic body. Occasionally, Native American costuming is worn at various public affairs. Their primary beliefs include love of and respect for the American flag, America and the democratic way of life, helping our fellow men through organized charitable programs, and perpetuating the legends and traditions, customs and ceremonies of a once vanishing race. Alzheimer’s research is the national charity project of the Improved Order of Red Men. Since 1991, the organization has giver over two million dollars to the Alzheimer’s Association.

Other Notes: The metal pole with red-colored “GE” lightblub was added probably circa 1930.

188

82

Additional Information, Photographs and Condition Reports at Kenoauctions.com

189

190

190

190

189 Victor Potel (American, 1889-1947)

190 Three Watercolor Portraits

A DAY AT MACK SENNETT, painting of actors with autographed frame.

First half, 19th century

Signed and dated lower right “Vic / Potel / 39”

The first portrait of a young lady in blue, inscribed on verso “By MARY GREEN, 1834 / WIFE OF JAMES GREEN (Portrait Painter) / exh 131 at RA” (5 x 4 in)

Oil on canvas

The second, a portrait of Mother and child, seated (5 x 4 in)

36 x 48 1/4 in

The third, a portrait of a boy with cat and needlework covered stool

$3,000-6,000 The artist Victor Potel was a was an American film character actor who began in the silent era and appeared in over 430 films in his 38 year career he depicted his fellow actors, each of whom autographed the frame, including Charlie Chaplin, Roscoe Arbuckle, Dagmar and Harry Depp.

(9 x 7 1/2 in) (3)

$500-1,000

Please see Kenoauctions.com for photographs and a complete list of signatures.

Additional Information, Photographs and Condition Reports at Kenoauctions.com

83

191

192

194

195 193

Property of a New England Gentleman

From the Collection of Joseph and Janet Shein

191 A Green Painted One-Drawer Pipe Box

194 American School

New England, late 18th century H. 15 1/2 in., W. 5 in., D. 4 1/4 in.

$1,000-2,000

192 A Red Painted One-Drawer Pipe Box New England, late 18th century H. 20 in., W. 5 in., D. 4 1/4 in.

$1,000-2,000 Property of a New York Gentleman

193 Math Book with Calligraphic Designs

BAYOU BELLE Mid 19th century Oil on canvas 24 x 36 in

$4,000-6,000 In 1855, the Bayou Belle was built in the Flesher boatyard in Murrysville, Virginia for a Capt. Walker. A stern wheel packet of 168 tons, it reportedly snagged and sunk on Chaba River, Alabama in 1860, with no lives lost. From the Collection of Joseph and Janet Shein

195 American School, 19th Century NEW EXPRESS A STEAMBOAT

ANN SIMPLON’S CYPHERING- BOOK dated 1809

Unsigned

Signed and dated on back cover “Ann Simplon’s Cyphering [sic]- Book/ Cambridge/ Dec 4th 1809”

Oil on canvas

Ink on paper

$3,000-6,000

15 1/8 x 30 1/4 in.

pages contain whimsical calligraphy and sketches in margins. These sketches include fruits, trees, flowers and other plant drawings as well as fish, roosters and other birds. (closed) 12 1/2 x 7 3/4 in.

See Kenoauctions.com for additional photos of caligraphy

$500-1,000 84

Additional Information, Photographs and Condition Reports at Kenoauctions.com

Property of a New York Family

196 Needlework Flamestitch Pocketbook Roxbury, Massachusetts, circa 1769 The front inscribed “Nathaniel Richard of Roxbury, 1769” Cotton thread, satin

$2,000-4,000 Provenance: The Rosen Family Estate, Boston, MA Literature: Please see Boston Furniture of the Eighteenth Century, University Press of Virginia, page 224 for high chest and dressing table signed by Nathaniel Richards.

The front inscribed “Nathaniel Richard of Roxbury” and bearing the date “1769”, worked all over in colorful flame stitch in shades of blue, yellow, green, and brown, having an interior with pockets of red satin.

This pocketbook was probably owned by Nathaniel Richards (1712-1788), an innholder and saddler of Roxbury, Massachusetts. A highboy and matching lowboy made

by Benjamin Frothingham (1755-1790) of Charlestown, Massachusetts may have also been worked on by Nathaniel Richards, who was a joiner for Frothingham, as his name appears in chalk on the bottom of the long drawer of the high-chest’s lower case.

196

Property of a Massachusetts Lady

197 TWO SCHOOLGIRL SAMPLERS The first inscribed “MARY COOPER” and dated 1720, probably English; The second English, probably 19th century, with stylized depiction of Adam and Eve. 9 x 8 in and 8 1/4 x 8 1/2 in.

(2)

$200-400

197

Property of a Southern Couple

198 Two Victorian Mahogany Tea Caddies and a Regency Brass Inlaid Rosewood Tea Caddy 19th century largest. of the two mahogany examples H. 7 1/2 in.; W. 15 3/8 in.; D. 9 1/4 in.; Regency example H. 7 in.; W. 14 1/2 in.; D. 8 in.

See Kenoauctions.com for additional photos of Regency Tea Caddy (3)

$800-1,200 198

Additional Information, Photographs and Condition Reports at Kenoauctions.com

85

199 Theorem Painting on Velvet American, 1840-1880 Depicting a basket of fruit and flowers including watermelon and strawberries In a gilt wood frame 12 x 16 in.

$500-1,000 Provenance: Collected mid-century by a Wilmington, Delaware physician

200 Two Theorem Paintings on Velvet American, 1830-1860 The first depicting a basket of flowers with rusting on blue feathery ground 199

The second depicting a basket of fruit with grapes, pears, and lemons Both in gilt wood frames First 15 1/4 x 19 1/2 in., second 17 x 23 in.

(2)

$500-1,000 Provenance: Collected mid-century by a Wilmington, Delaware physician

200

200

201 Two Theorem Paintings on Velvet American, 1830-1860 The first depicting a vase with flowers and two butterflies The second depicting a red basket with flowers and green humming bird Both in gilt wood frames First 15 x 20 in., second 17 x 21 1/4 in.

(2) 201

201

$400-800 Provenance: Collected mid-century by a Wilmington, Delaware physician

86

Additional Information, Photographs and Condition Reports at Kenoauctions.com

202 Four Theorem Paintings American, 19th Century The first on paper depicting a basket of flowers in gilt wood frame The second on paper depicting a blue feather edge platter with fruit including pineapple and plums in gilt wood frame The third on velvet depicting a basket with scroll handles with leaves and fruits including pears, grapes and peaches in a gilt wood frame The fourth on paper depicting basket with fruit and flower including pineapple and grapes with chestnuts in foreground in wooden frame Together with an early 20th century watercolor depicting a plate of fruit in a gilt wood frame (not illustrated) First 10 1/2 x 13 1/4 in., second 6 1/2 x 8 3/4 in., third 12 1/2 x 16 in., fourth 11 x 13 1/4 in., together with 7 x 9 1/2 in.

202

(5)

$1,000-1,500 Provenance: Collected mid-century by a Wilmington, Delaware physician

203 The Slinden Family Farm Iron Rooster Windmill Weight American, 19th Century This has been in the family for four generations

$4,500-6,500 For addtional photos and information, including a circa 1900 photo of this windmill in use on the Slinden family farm, go to Kenoauctions.com.

202

202

203

202

Additional Information, Photographs and Condition Reports at Kenoauctions.com

87

204

204 205

The Peter Brams Collection

207 American Ash Burl Box and Burl Bowl with Cover Ash burl box with slide lid Circa 1840 This is a form not often encountered in burl. It may be unique. Four sides are made from solid ash burl slabs (with dove tails joints), as is the slide top. The interior has six divided compartments.

Turned ash burl bowl with cover Circa 1780-1800 206

Cover is a marriage, but with similarly aged patina.

The Peter Brams Collection

(2)

204 Two Papier-Mâché Snuff Boxes of American Interest

$1,200-2,200 Provenance of bowl: Yehl Collection

Comprising a rare General George Washington black lacquer papier-mâché snuff box with polychromed transfer print of “General George Washington” astride a brown horse.

The Peter Brams Collection

Early 19th century

208 Three Ash Burl Snuff Boxes

2 7/8 in.

A painted black lacquer papier-mâché snuff box with the American flag containing seventeen stars. Ohio became the 17th state in 1803. (2)

$2,000-4,000

Circa 1780-1840 The first with silver mounted plaque on cover with initials ‘JL’ (from Tom & Carolyn Porter Collection), the second with hinged lid retaining early collection label numbers to the interior, and the third with lift-off lid.

(3)

The Peter Brams Collection

205 Turned and Painted Ash Burl Bowl American, circa 1780-1820 This bowl, even without the paint, has a strong presence - bold turnings, well-defined form, surface and paint integrity is excellent. h. 4 in., d. 11 3/4 in.

$2,000-4,000 Provenance: on-site estate sale in Lapeer, NY. in 2008 The Peter Brams Collection

206 A Collection of Thirteen Pieces of American Treen Mostly Peaseware of Ohio, circa 1830-1880 Comprised of 10 covered Peaseware containers of various sizes (one with an early inked note on the bottom), together with a large maple turned covered vessel (possibly Shaker, identified as “New Lebanon, NY” on the interior), an outsized teacupprobably made as a trade stimulator, and a covered container of globular form.

(13)

$1,000-1,500 The Peter Brams Collection

209 Two Folk Art Canes The first, a carpenter’s walking stick/cane American, circa 1880 Overall length 34 3/4 in.

The second, a folk art cane with recumbent dog American, circa 1850 Of natural form with remains of bark to the exterior with a large dog lying over the top hand hold.

Overall length 34 3/4 in.

$1,200-1,800

$1,500-2,500 88

Additional Information, Photographs and Condition Reports at Kenoauctions.com

209 (detail)

209 (detail)

207

207 210

208

The Peter Brams Collection

210 A Group of Three Turned Burl Mortars Circa 1720-1780 One ash burl with multiple turnings over entire form, one of maple burl with a well-defined foot and a high collar, and a small ash burl mortar with bronze pestle (3)

$1,200-1,800 Literature: Illustrated in: Powers, Steven, S. North American Burl Treen: Colonial & Native American. Brooklyn, NY, 2005, p. 131. (the two larger) Powers, Steven, S. North American Burl Treen: Colonial & Native American. Brooklyn, NY, 2005, pps. 76, 79.

Additional Information, Photographs and Condition Reports at Kenoauctions.com

89

213

211

212

214

The Peter Brams Collection

The Peter Brams Collection

211 Unusual Folk Art Anne Radciffe, Harvard Cast Iron Doorstop

213 Folk Art Double Human Pipe Bowl

New England, Circa 1900

American, mid-19th century

Solid cast iron female figure in early-mid Victoran dress, the base with irregular aligned text, “ANNE RADCLIFFE - FIRST DONOR TO HARVARD.� In her honor, Harvard created The Radcliffe Institute for Advanced Study. h. 13 3/4 in., w. 7 1/2 in. (base)

With two human figures climbing on opposing sides of the pipe bowl, carefully rendered with openwork between the figures and bowl, alternating black and red paint.

$800-1,200 The Peter Brams Collection

212 Two Turned Ash Burl Bowls The first, a deep ash burl bowl with gnarly exterior and well-used interior Northeastern, United States 19th Century The burl grain is overtly fissured. The turner maintained a portion of the gnarly exterior to show off the true origin of the bowl h. 4 in., w. 16 in.

The second, an ash burl bowl

L. 3 1/2 in.

$1,200-2,200 The Peter Brams Collection

214 A Group of Twelve Ash Burl Mortars American, 19th century One with original dark red paint to the exterior, one with matching burl pestle (very rare), and others of various form and sizes. Several illustrated in Powers, North American Burl Treen, 2005 (12)

$1,000-1,500

Northeastern, 19th century H. 5 3/4 in., W. 13 3/8 in. (2)

$1,000-2,000 90

Additional Information, Photographs and Condition Reports at Kenoauctions.com

215

217

216 217

The Peter Brams Collection

215 Painted Treen Covered Spice Cup Pennsylvania, dated 1859 (Possibly Mahantongo Valley.)

Poplar painted red with yellow and green stylized flower decoration and the name and date, “ELIZABETH SHEELY 1859.”

H. 4 in., D. 3 in.

$800-1,200 The Peter Brams Collection

216 Folk Art Bird Form Snuff Box

218

American, circa 1800-1830 Carved from the solid of maple, this whimsical box with large body and small head and tail, has a well fitting hinged cover.

Very good example of a rare box that contains in miniature, the entire wording of the Declaration of Independence including signatures and all. Black lacquered papiermâché with amber toned transfer prints. diam. 3 9/16 in. (largest)

H. 2 1/4 in., L. 4 in., W. 1 5/8 in.

(3)

$800-1,200 $800-1,200 The Peter Brams Collection The Peter Brams Collection

217 Three Snuff Boxes of American Interest The first, George Washington manufactured in Birmingham of fused plate, circa: 1790-1810 (identical example illustrated in Donald A. Fennimore Metalwork in Early America, Winterthur, Del., p. 324, fig. A).

218 Ten Folk Art Carvings 19th/early 20th century

The second, black lacquer papier-mâché snuff box depicting polychromed transfer print of Chief Black Hawk, the Sauk Indian warrior.

Including a painted male dog, a female form pipe, a coquille snuff box (mid 19th) GAR pipe (civil war) and a Bird Form Pipe, bag stamped with FM carved at bottom, a Tamp with a civil war figure.

Circa 1835

(10)

The third, a double-sided snuff box with the Declaration of Independence

$2,000-4,000

First half 19th century

Additional Information, Photographs and Condition Reports at Kenoauctions.com

91

219

221 (comprising only the five bowls in the center of the photo)

219

222

220

H. 9 in. (tallest) (4)

$2,200-2,800 Provenance: (the bird/flame chopper) Ex. Berdan Collection, Cyr Auctions, January 28, 1998 sold for $6,050 The Peter Brams Collection 223

The Peter Brams Collection

219 A Group of Three Trays, Three Peels and One Sorting Implement Three North West Coast trays Circa mid-late 19th century Of graduating sizes, each with early, dry surfaces.

221 A Small Turned Ash Burl Bowl with Red Paint and Five Miniature Turned Ash Burl Bowls American, 19th century The red painted example of good form and color retaining an early red paint (illustrated in Powers, North American Burl Treen, 2005), together with five miniatures bowls (salts).

Three peels and one sorting implement

Plese note the covered boxes, two flasks, and box to the right of the flasks pictured are not included in this lot.

Early American, circa 1780-1840

(6)

The three peels of graduating sizes and of different, but related forms. Together with a large sorting implement. All artfully mounted on bases.

$1,500-2,000

L. 23 1/2 in. (largest) (7)

$600-900 The Peter Brams Collection

220 A Group of Four Food Choppers American and Continental, first half 19th century Comprising of a first rate Folk Art chopper with birds and flames, Continental, an American chopper with a deep wave crest shaped steel blade, an American example with tiger maple handle and steel blade, and a large American made mahogany example mortised and tenoned handle with incurvate shaped sides

The Peter Brams Collection

222 Pipe Case and Folk Art Cupid Figure A large and rare Penobscot made carved pipe case with original long stem clay pipe intact, 19th Century l. 24 in., w. 1 3/16 in.

Together with a carved Folk Art Cupid Figure, American, late 19th century.

H. 10 in., W. 6 3/16 in. (base) (2)

$800-1,200 92

Additional Information, Photographs and Condition Reports at Kenoauctions.com

224

226

225 227

The Peter Brams Collection

223 A Folk Art Maple Hand Saw Carved with the Head of An Eagle and a Carved and Painted Bust of a Lady The saw, possibly American, circa 1850. The bust, American, circa 1840 With highly stylized handle and large birds’ head forming the hold for the pushing/ stabilizing hand. With serrated blade The figure of the lady with glass eyes and traces of polychrome paint.

The Peter Brams Collection

226 A Group of Three Miniature Ducks and Four Smaller Miniature Decoys by Willie Ross Together with an assorted group of carved decoys including a Canadian goose, a regander and 5 assorted punch bowl ducks together with 2 map weights in the form of miniature ducks.

(17)

Saw: H. 8 1/2 in., W. 7 3/4 in.

$2,500-4,500

Bust: H. 8 9/16 in., D. 2 1/4 in. (with stand)

Provenance: Willie Ross, gift to Ruth Osgood in 1979, gift to her son Henry and his Wife Barbara Libby. Henry Libby died May 1979- A copy of letter of provenance accompanies this lot. Copley Fine Art Auctions, July 2009 Sporting Sale lots 162, 163, 164

(2)

$1,000-2,000 Provenance: Allan Katz

The Peter Brams Collection The Peter Brams Collection

227 A Group of Ten Cast Iron Objects

224 Eaton Fuller’s Horn Cup

Late 19th century/early 20th century

Brimfield, MA, dated 1792

Including an architectural element; shooting gallery targets and doorstops.

Rare American horn cup or salt with heart cutout handle. Inscribed “Eaton Fuller his cup, Brimfield, Massachusetts, 1792.” with wooden bottom.

$800-1,200

The painted Indian a architectural element was manufactured by the William F. Mangel (1866-1958) Company in Coney Island. It went on the frame of a carousel.

Circa 1910.

(10)

The Peter Brams Collection

225 An Assorted Group of Fourteen Wooden Butter Pats

$500-1,000

American, 19th century Comprising of box mold with tulip decoration, a various carved pats; one with with sheaf and “1776 - Centennial - 1876,” a fylfot, bird, tree, and others.

Box H. 3 1/8 in., L. 6 in., W. 4 7/8 in.

(14)

$800-1,200

Additional Information, Photographs and Condition Reports at Kenoauctions.com

93

230

228

231

The Peter Brams Collection 229

229 Six Implements With Figured Wooden Handles

The Peter Brams Collection

19th century

228 Turned Maple Burl Covered Sugar Bowl

Comprised of an ash burl handled draw knife, a tiger maple spoke plane, an ash burl handled gouge, one is an ash burl handled knife- probably native American with trade blade, one ash burl handled crooked knife with original sheath and a maple burl hooked implement

Circa 1780-1835 A very fine piece with a strongly defined cover with multiple decorative turnings.

The bowl has a turned flange detail inside the flared rim, which secures it to the bottom bowl.

Retains original shellac.

H. 7 1/4 in., D. 6 1/4 in.

L. 23 in. (largest) (6)

$1,200-1,800 The Peter Brams Collection

$2,500-3,500

230 Turned Ash Burl Compote or Salver

Provenance: Marguerite Riordan

Northeastern, circa first half 19th century

Joan and Larry Kindler

Refined form turned in three parts: the base, the stem, and the bowl. The bowl is wafer thin and has excellent figure.

Literature: Powers, Steven, S. North American Burl Treen: Colonial & Native American. Brooklyn, NY, 2005, p. 72.

Accompanied with note from DeVere Card dated 9/13/76 discussing the bowl.

This piece shows little evidence of use, which is expected, as it would not be a piece for everyday use-more for holidays or entertaining.

As opposed to everyday bowls, typically items such as compotes or sugar bowls were finished with shellac because they were brought to the table.

H. 4 1/2 in., W. 8 5/16 in.

$2,000-3,000 Literature: Powers, Steven, S. North American Burl Treen: Colonial & Native American.

Brooklyn, NY, 2005, p. 19.

94

Additional Information, Photographs and Condition Reports at Kenoauctions.com

232

234

233

235

The Peter Brams Collection

233 Red and Black Painted Raven Rattle

231 A Group of Three Carved and Painted Totem Poles

Probably British Columbian, 1910-1940

Northwest Coast, early-mid 20th century

H. 4 in., W. 3 1/4 in., lL 12 in.

Of graduating size, three highly carved and painted totem poles.

$2,000-4,000

(3) h. 24 in. (tallest)

$1,000-2,000

234 A Northwest Coast Carved Seal Form Bowl Tlingit, likely Sitka, AK, early 20th century

knife: L. 10 5/8 in.; sheath: l. 10 in.

Grease bowls were made to contain edible oils used as an accompaniment to the dried fish or meats that were served during feasts and potlatch celebrations on the Northwest Coast. Smaller bowls of this kind were often personal property, used by individuals or family groups on a daily basis, while the larger ones were used for bigger gatherings as serving vessels, from which these oils were ladled into smaller bowls.

$500-1,000

$1,000-2,000

232 Wrought Iron Knife in Embroidered Sheath Northwest Coast, late 19th century

235 Pair of Plains Indian Beaded Moccasins 19th century H. 4 in., W. 3 1/2 in., L. 10 1/4 in. each

$800-1,200

Additional Information, Photographs and Condition Reports at Kenoauctions.com

95

238

236

239

237

236 Plains Indian and White Striped Bandolier Bag

239 Plains Indian Tobacco Bag with Blue Diamond Decoration

19th/early 20th century

Probably Sioux, late 19th century H. 36 1/2 in., W. 7 in.

L. 29 1/2 in.

$3,000-6,000

$1,000-2,000

237 Haida Raven Type Ceremonial Carved Wood Dance Rattle

240 A Northwest Coast Mountain Goat Horn Spoon with Etched Copper Decoration

Probably Northern North West Coast, late 19th century

Probably Tlingit, late 19th/early 20th century

The Haida are an Indigenous peoples of the Pacific Northwest Coast of North America. Their national territories lie along the west coast of Canada and include parts of south east Alaska. Within Haida mythology, the raven is a central character, as he is for many of the Indigenous peoples of the Americas, see Raven Tales. While frequently described as a “trickster”, Haidas believe Raven or Yelth or Hoya to be a complex reflection of one’s own self (center section of right arm replaced. Left arm original but reglued) H. 12 in.

$1,000-1,500

$7,000-10,000

Depicting a snake and reindeer Kachina dance

241 Watercolor of Dancing Figures Julian Martinez (Native American, 1879-1943) Circa 1920’s-1930’s

Signed lower right “Julian Martinez”

238 Plains Courting Scene Ledger Art Plains Indian, 1875-1900 Ink and watercolor Depicting red horse and two figures H. 7 in., W. 12 in.

H. 9 1/4 in., W. 12 in.

$500-1,000

242 Beaded Medicine Bag with Flags

$1,500-2,500

Souix, circa 1920

Provenance: Cowan Auctions, Cincinnati, Ohio March 25, 2011, lot 222

H. 5 3/4 in., W. 4 1/4 in., L. 10 1/2 in.

$500-1,000 96

Additional Information, Photographs and Condition Reports at Kenoauctions.com

242

240

243

241

243 Indian Suit with Feathers Late Preservation Period l. 30 7/8 inches

$800-1,200

244 Two Haida Argillite Totem Poles Haida, late 19th century H. 18 1/2 in., H. 14 3/8 in.

$1,000-1,500 For additional photographs please visit Kenoauctions.com

245 Culture Du Ghana Carved Wood Comb Depicting A Stylized Female Bust with Christian Missionary Cross Necklace

244 (photo of one)

245

Coastal West Africa, probably Ghanaian, first-half, 20th century

$3,000-5,000 Property of a New York Gentleman

246 Pomo Miniature Woven Basket Circa 1910 3 x 2 in.

$200-400

246

Provenance: Part of the Guennol Collection of Alastair B. Martin

Additional Information, Photographs and Condition Reports at Kenoauctions.com

97

The Estate of Lucy Kennedy Miller

249 Assorted Group of Four Figures Including Pre-Columbian Figures Two pre-Columbian pottery figures of a women, one with painted decoration Together with a carved stone figure of kneeling man, and a sculpted and incised terracotta head of a tribal woman H. 7 3/4, H. 4 3/4 in.

(4)

$400-800 247

250

The Estate of Lucy Kennedy Miller

250 Large Colima Pottery Warrior with Club in Hands circa 100 BC - 250 AD H. 16 in.

$1,000-1,500 The Estate of Lucy Kennedy Miller

251 Polished Terracotta Cotta Warrior with Small Club West Coast Culture, Nayarit, Mexico 248

H. 14 1/2 in.

251

$800-1,200

252 No Lot 253 Silver Repousse Pair Case Pocket Watch Winckler, Breslau, Germany. circa 1750.

The dial, champleve, the repousse back cover depicts figure of Athena; silver dial with Roman numerals, Arabic five-minute divisions, gilt filigree hands; old German manuscript in cradle of outside case has 1784 date. diam. 35 mm 249

$1,500-2,000

247 Three Figural Antiquities Cypriot Limestone Head, circa 3rd Century B.C. (H. 4 in.)

Bust of a man, Greek, circa 4th Century B.C (H. 5 in.)

Pottery Figure of a draped lady (H. 7 3/4 in.)

(3)

$500-700

Property from the Estate of Stephen Cline

248 Egyptian Polychrome Wood Figure Ptah-Sokar-Osiris Ptolomaic Period, 304-30 B.C. The rectangular cavity in plinth with front once had a cover.

With vertical column of hieroglyphs down the center of the body.

$1,500-2,500 Literature: a comparable statuette of Ptah-SokarOsiris, published in Mummies: Death and the Afterlife in Ancient Egypt, Treasure from the British Museum.

98

Additional Information, Photographs and Condition Reports at Kenoauctions.com

254 Silver and Tortoise Shell Pair Case Pocket Watch with Sun and Moon Dial Quare, London. No. 1072, circa 1700 Outer tortoise shell case decorated with silver pinpoint and applied scrollwork design, centering on an engraved sun and moon dial with Roman numerals across the top crescent, Arabic five-minute divisions, single black hand. diam. 55 mm

$5,000-7,000

255 Brass and Silver Triple Case Pocket Watch T. Loor, Amsterdam, mid-18th century Silver repousse middle case depicts multi-figural scene, enamel arcaded dial features painted canal scene diam. 65 mm

$1,200-1,500

256 Silver Pair Case Pocket Watch Signed Gregg, London, circa 1720 Rare personalized dial with “Henry Hawkins” instead of Roman numerals and Arabic five-minute divisions, old handwritten note in cradle of outer case about Francis Gregg making this watch for Henry Hawkins. diam. 56 mm

253

256

254

257

255

258

$2,500-3,500

257 Gilt Covered Pocket Watch with Foliate Engraving and Scalloped Edge Ralph Gout, London, 18th century case no. 44947 Made for the Turkish market diam. 55 mm

$1,200-1,500

258 Gilt Brass Drum-Shaped Pendant Watch Appears to be German, with early case and later custom made (18th century style) movement The elaborately pierced and engraved outer case features apertures revealing the hours. Engraved 24-hour dial with single hand, Roman numerals 1-12, Arabic numerals 13-24. “2”s engraved as “Z”s. diam. 57 mm

$2,000-3,000 Literature: See photo of similar example in Watches (Clutton and Daniels).

Additional Information, Photographs and Condition Reports at Kenoauctions.com

99

259

262

260

263

260 Silver Pocket Watch with See-Through Face Armand Schwob & Freres, Swiss, circa 1890 Hammered crescent frames with cartouche motifs featuring a see-through face with Arabic numerals. Back signed A.S. & F / Mysterieuse / Brevete, S.G.D.G. diam. 53 mm

$2,500-3,000

261 Two Silver Repousse Pair Case Pocket Watches The first: London, circa 1750, made for the Dutch market Enamel Dutch style arcaded dial with gilt filigree hands, repousse design on back cover depicts figures in a landscape.

261

The second: George Graham, London, no. 5945, second half 18th century

259 A Gilt Pocket Watch and A Silver Repousse Pair Case Pocket Watch with Painted Dial

Engraved frame surrounding enamel dial with Roman numerals, Arabic minutes, gilt beetle and poker hands; repousse outer back cover depicting multiple figures dining. the first: diam. 54 mm; the second: dial diam. 43 mm

The gilt pocket watch: London, circa early 18th century

(2)

The silver pocket watch: Stoakes, London, no. 17451, circa 1779

$1,200-1,800

Dutch style arcaded dial with painted deer hunting scene and gilt filigree hands, repousse back cover depicting classical figures and setting the first: diam. 60 mm, the second: diam 48 mm (2)

$2,000-3,000

262 Silver and Faux Tortoise Enamel Triple Case Pocket Watch with Concealed Enamel Portrait Dufour, London, no. 116, early 18th century Case, enamel dial, gilt hands date later than movement; balance bridge decorated with open scrollwork and 1/2� painted enamel portrait of a lady. diam. 46 mm

$2,000-4,000 100

Additional Information, Photographs and Condition Reports at Kenoauctions.com

263 Gold-Tone Repousse Pair Case Pocket Watch Willamson, London; hallmarked 1737 Dial and case style suggest third quarter 18th century manufacture.

Enamel Dutch style arcaded dial with Roman numbers, Arabic five-minute divisions, gilt beetle and poker hands. diam. 47 mm

$2,500-3,500

264 Gilt and Underpainted Horn Pair Case Pocket Watch L. Kirby, English, mid - 18th century

264

265

268

266

Outer case with gilt pinpoint decoration on edge, underpainted horn depicting fern motifs and figure of a standing lady. diam. 50 mm

$800-1,200

265 Gold Tone Engraved Pocket Watch Signed “Abm. Vacheron Girod, A Geneve, N. 40121.”

Circa 1820-30 Case decorated with engine-turned and foliate engraving.

Silver tone engraved dial with Roman numerals and second hand dial, later hands. Signature is from the succession of names used by Vacheron & Constantin diam. 45 mm

$1,200-1,800

266 Two Pocket Watches

267 Two Pocket Watches (one shown) The first, silver, Gilt and Blue Enamel Pocket Watch with Openwork Dial Circa 1800

Silver Gilt Pocket Watch with Three Dials

Marked “MAC”, “77”, and “I” on inside of case

Mercier, French, movement circa 1820, case circa 18601880

Silver 12-sided case with engraved palmette motifs, framing blue enamel and engraved silver gilt dial centering on a gilt skeleton-cut scroll medallion. diam. 62 mm

front signed “A. Paris” and “Mercier” interior of engraved case stamped “PM”, assumed to be for Paul Mercier together with Gilt and White Enamel Pocket Watch with Painted Scene Circa 1800 White enamel dial with Arabic numerals and central painted gilt scene of columns and plants in the French style. (back of watch is missing) diam. 60 mm

The second: Silver Pair Case Pocket Watch, Signed Payne, London.

No. 3151. Mid - 18th century Engraved silver dial with Roman numerals and Arabic five-minute divisions, centering on scroll and banner motifs, signed Payne, London. diam. 47 mm, diam. 37 mm (2)

$1,500-2,500

267

The second: a silver Quadruple Case Pocket Watch with Inner Tortoise Shell Case, Signed Edward Prior, London. No. 61728. Circa 1820

(2)

$1,200-1,800

268 Two Engraved Silver Pocket Watches The first a silver and Engraved Brass Pair Case Pocket Watch Signed Nicolas Nicod, early 18th century Engraved silver dial has fleur-de-lis motifs, centering on a repousse scene of two classical figures holding a crown over a “G” and the maker’s name, with Roman numerals and Arabic five-minute divisions.

The outer travel case is richly engraved with foliate scrollwork, the inner silver and tortoise shell case is decorated with pinpoint, engraved, and hammered design; white enamel dial with Turkish numerals. diam. 45 mm, diam 70 mm (2)

$2,500-3,000

Additional Information, Photographs and Condition Reports at Kenoauctions.com

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270

272 (stool not pictured)

Property of a New York Family

269 Pair of Limestone Ribbed Urns with Bases American, 19th/early 20th Century See Kenoauctions.com for illustration (2)

$1,500-3,000 Property of a New York Lady

270 A Queen Anne Maple Candle Stand and A George III Mahogany PoleScreen The Stand, New England, late 18th Century The Pole-Screen, in Hepplewhite Taste, second half 19th Century (2)

$200-400 Property of a Lady

271 Tramp Art Tall Case-Clock American, 19th century With painted wooden dial and wooden works H. 78 1/4 in.

$1,000-1,500 Property of a New York Lady

272 George III Silver Table on Casters with Marlborough Legs Together with a carved Victorian Sewing Stool.

See Kenoauctions.com for illustration of stool H. 28 in.; W. 32 in.; D. 22 in (2)

$300-600

271

102

Additional Information, Photographs and Condition Reports at Kenoauctions.com

274

278

276

276

Property of a New York Family

The other side depicts the infant Hercules, representing America, strangling two snakes, representative of the British armies of Saratoga and Yorktown. At Hercules’ left is Minerva, who’s fleurs-de-lis on her shield and spear indicates that she is representative of France, attacking a lion representing Britain. This side reads “NON SINE DIIS ANIMOSUS INFANS” at the top dated “1719 Oct. 1777 / 1781”. These dates reference victories at Saratoga and Yorktown. It is also signed “DUPRE F”, for Augustine Dupré, who engraved the dies.

273 Two Copper Kettles with Wrought Iron Handles 19th Century See Kenoauctions.com for illustration (2)

D. 1 7/8 in.

$800-1,200

274 An Assorted Group of Tin Types, Daguereotypes and Photographs

$2,000-4,000

277 Classical Circular Convex Mirror

American, 19th Century

$200-400

diam. 27 1/2 in.

See Kenoauctions.com for illustration

275 Charles Dickens (English, 1812-1870)

$200-400

(English, 1812-1870)

Provenance: Collected mid-century by a Wilmington, Delaware physician

LITTLE DORRIT See Kenoauctions.com for illustration

Property of a Florida Estate

$200-400

278 Colonial Revival Chippendale Block-Front Lowboy with Carved Shells H. 30 in.; L. 34 in.; D. 21 1/4 in.

276 Bronze Libertas Americana Medal

$400-800

April1783, conceived by Benjamin Franklin One side depicting a bust of Liberty, with the date “6 JUIL. 1776” at bottom, and “LIBERTAS AMERICANA” along top. The neck of the bust has the signature “DUPRE”

End of Sale

Additional Information, Photographs and Condition Reports at Kenoauctions.com

103

Index Adams, Lemuel

107

Ochtman, Leonard

35

Bellamy, John Haley

66

Palmer, Walter Launt

26, 33

Berthelsen, Johann

53

Parton, Arthur

21

Brown, John George

36

Pearce, Bryan

54

Brown, William Mason

8

Penniman, John

110

Potel, Victor

71

Cahoon, Ralph Eugene Jr

95, 96, 97, 98, 99, 99A

Prentice, Levi Wells

13

Coleman, Glenn O.

49

Prior-Hamblin

175, 182

Daugherty, Paul

37

Richards,William Trost

16

Deacon John Moore

75

Robinson, C.N.

117

Doughty, Thomas

14

Rockwell, Norman

38

DuMond, Frank Vincent

28

Rodin, Auguste

7

Ronner, Henriette

2

Schimmel, Wilhelm

67

Schwartz, Stephan

23

Sewell, Amanda Brewster

18

Seymour, Thomas

80, 110

Shearer, C.H.

19

Eichholtz, Jacob

Frere, Charles Edouard

Gatto, Victor Joseph

12

4

50

Haberle, John

27

Short, Joseph

115, 116

Hall, George Henry

11, 25

Sloane, Eric

43

Harpignies, Henri Joseph

3

Sonntag,William Lewis, Jr.

15

Hassam, Frederick Childe

24, 32

Spencer, John Clinton

22

Kneller, Sir Godfrey

5

Tobey, Mark

51, 52

Koch, Martin

55

Tyler, James Gale

20

Kuehne, Max

45, 47 Willard, Aaron

112

Wyeth, Andrew Newell

48

Le Gout-Gerard, Fernand

1

MacRae, Elmer Livingston

29, 30

McCrea, Samuel Harkness

31, 34

McIntire, Samuel

90, 93

Menasco, Milton Talbot

39, 40, 41, 42

Miller, William Rickerby

9

Moore, Deacon John

81

104

Additional Information and Condition Reports at Kenoauctions.com

Conditions of Sale

Bidding Increments

Participation in this auction is subject to and governed by the following contractual terms. Each prospective buyer is deemed to have reviewed, understood and accepted these conditions of sale and participation in the auction in any manner (in person, by telephone, by written bid or on-line) will constitute an acceptance of these conditions of sale by the participant.

The auctioneer will commence the bidding at any level and in increments considered appropriate. Bids will be sought in increments selected by the auctioneer who will have the absolute discretion to select any increments for any lot (and the discretion to vary the increments in the course of the bidding for any lot). However, generally speaking, the increments will depend upon the low estimate for the lot. Thus for example, for lots having a low estimate below $1,000, bids will be sought at increments of $50. The normal pattern for bidding increments will be as follows:

BEFORE THE SALE Condition Every item offered for sale will be sold subject to the actual condition of the property at the time of the sale (generally referred to as as is). Prospective buyers are permitted and strongly encouraged to thoroughly examine any property before the auction with the understanding that there is no representation or warranty of any kind concerning the condition or any of the physical aspects of any items offered for sale. Catalogue descriptions or verbal statements are offered as opinion and shall not constitute a representation or warranty or assumption of liability of any nature whatsoever.

Registration before Bidding Prospective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom approximately 30 minutes before the start of the sale to register in person. A prospective buyer must complete and sign a registration form and provide identification (possibly including a check acceptance form) before bidding.

Absentee Bidding Reasonable efforts will be used to carry out written bids delivered to us before the sale for the convenience of prospective purchasers who are not present at the auction in person, by an agent or by telephone. If written bids for identical amounts are submitted for the same lot and are the highest bids on this lot at the auction, the property will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and there shall be no liability for failing to execute any written bid or for errors and omissions in connection with any written bid.

Telephone Bidding Telephone bids will be accepted on lots with a low estimate of more than $2,500, no later than twenty-four (24) hours prior to the commencement of the sale and only if capacity allows. Arrangements to bid in languages other than English must be made well in advance of the sale. We will use reasonable efforts to contact prospective purchasers to enable them to participate in the bidding by telephone as a free service, however there will be no liability for any failure or for any errors or omissions in connection with telephone bidding.

Low Estimate < 999 $1,000 – 1,999 $2,000 – 4,999 $5,000 – 9,999 $10,000 – 29,999 $30,000 – 49,999 $50,000 – 99,999 > $100,000

Increments $50s $100s $250s $500s $1,000s $2,500s $5,000s at auctioneer’s discretion

These increments may vary during the course of the auction at the discretion of the auctioneer.

Estimates Pre-sale estimates are provided to encourage competitive bidding. These estimates may not be relied upon as any predictions of the selling price and may not be considered to be any opinion or representation regarding the value of the property. Keno Auctions shall not be responsible or liable for any difference between a pre-sale estimate and the actual selling price for any lot.

Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is a confidential minimum price set by the seller below which the lot will be not be sold. The reserve will not exceed a given low pre-sale estimate at the time of the auction. Regardless of whether there is a reserve, the auctioneer may reject any bid and withdraw any lot for any reason. In order comply with the seller’s reserve on any lot, the auctioneer may open bidding by placing a bid on behalf of the seller. The auctioneer may bid further on behalf of the seller (i.e. a bid from the book held by the auctioneer) up to the amount of the reserve by placing consecutive bids or by placing bids in response to other bidders. If a lot is not sold, the auctioneer will announce that fact (normally by stating that the lot has been unsold or passed).

Property of Keno Auctions / Guarantees

Please register for online bidding at Artfact.com. Reasonable efforts will be exerted to place on-line bids in the saleroom. However there will be no liability for any failure or error in the placement of such bids.

Should Keno Auctions own any lot in whole or in part or have a financial interest in any lot equivalent to an ownership interest, the catalogue will clearly identify any such property as the Property of Keno Auctions. From time to time, a lot may be offered for which a guaranteed minimum price or an advance secured by the consigned property has been given to the seller. Such property will be identified in the catalogue with the symbol * next to the lot number.

AT THE SALE

AFTER THE SALE

Terms of Bidding

Successful Bids

Online Bidding

The auctioneer has the absolute and sole discretion to refuse any bid and to advance the bidding in any manner. The auctioneer also has the right to withdraw any lot, and in the case of error and dispute (whether during or after the sale) to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the property. The highest bidder acknowledged by the auctioneer will be the purchaser. In the case of a tie bid, the winning bidder will be determined at the sole discretion of the auctioneer. In the event of a dispute between bidders, the auctioneer has final discretion to determine the successful bidder or to reoffer the lot in dispute. If any dispute arises after the sale, the sale record of the auctioneer is conclusive.

Participation in the auction may be disallowed for any reason. A bid is an offer to purchase and by making a successful bid, a bidder is accepting personal liability to pay the purchase price, plus the buyer’s premium, all applicable taxes and all other applicable charges.

Keno Auctions is not able to notify successful absentee bidders. While invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary handling charges.

Buyer’s Premium A buyer’s premium will be added to the hammer price of each lot and is payable as part of the total purchase price (comprising the hammer price, buyer’s premium and any applicable taxes). The buyer’s premium is 24% of the hammer price.

Sales Tax Unless exempted by applicable law, all purchases are subject to the 8.375% sales tax of the City and State of New York. Any buyer claiming exemption from sales tax must have the appropriate documentation on file with Keno Auctions prior to the release of the property.

Additional Information and Condition Reports at Kenoauctions.com

105

Payment Buyers are expected to pay the full amount due (comprising the hammer price, the buyerâ&#x20AC;&#x2122;s premium and any applicable taxes) the day of the auction. Please note that Keno Auctions will not accept payments for purchased lots from any party other than the registered buyer.

Lots purchased may be paid for in the following ways: (i) bank checks (ii) checks (iii) cash (up to $7,500) (iv) money orders (up to $7,500) (v) travelers checks (up to $7,500) (vi) Pay Pal (up to $10,000) Bank checks and personal checks should be made payable to Keno Auctions.

Checks must be drawn on a US bank and payable in US dollars. In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions. Buyers not known to us who wish to write a check must complete a bidder registration form and check acceptance form no later than two business days preceding the auction.

Remedies for Non Payment If a buyer fails to make payment in full in good cleared funds, Keno Auctions shall be entitled in its absolute discretion to exercise anyone or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge interest at a rate of 1.5% per month; (ii) to charge $50 for any dishonored check; (iii) to hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to cancel the sale; (v) to resell the property publicly or privately on any terms; (vi) to pay the seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting buyer; (vii) where several amount are owed by the buyer in respect of different purchases, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs; (viii) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids; (ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located and in this regard the buyer will be deemed to have granted such security to Keno Auctions which may retain such property as collateral security for such buyerâ&#x20AC;&#x2122;s obligations; (x) to take such other action as may be deemed necessary or appropriate.

If the property is resold as described above, the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due and the price obtained upon resale as well as all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If any amount is paid to the seller as described above, the buyer acknowledges that Keno Auctions shall have all the rights of the seller, however arising, to pursue the buyer for such amount.

Collection of Purchases We shall be entitled to retain items sold until all amounts due to us have been received in full in good cleared funds or until the buyer has satisfied such other terms as we, in our sole discretion, shall require.

Packing, Handling, and Shipping The removal of purchased property is entirely the responsibility of the buyer.

Accordingly, packing, handling and shipping arrangements for any purchased lot is at the entire risk and cost of the buyer. Where we may suggest other handlers, packers or carriers if so requested, we do not accept responsibility or liability for their acts or omissions.

In the event that the property is removed from the auction premises by Keno Auctions, the buyer will be charged for 120% of the actual packing and shipping cost incurred in transporting the property and a daily storage charge of 1.5% of the purchase price of the property (commencing on the day following the completion of the auction). At the option of Keno Auctions the property may be transferred to and stored at a bonded warehouse and the buyer agrees to pay all the transfer and storage expenses and accepts all risks of loss or damage.

Keno Auctions will only release the items after payment in full has been made of transportation, administration, handling, insurance any other costs incurred, together with all other amounts due to us.

Warranty Except as specifically described in this particular condition, Keno Auctions makes no representation or warranty of any kind as to the accuracy of any description of any lot and any information regarding any subject including quality, authenticity, medium, size, date, importance, rarity, provenance or historical relevance.

Any statements made in the catalogue or at the sale or in any invoice or in any other writing shall not be deemed or constitute any warranty, representation, statement of fact or assumption of liability. Notwithstanding the foregoing, Keno Auctions will warrant the accuracy of any statement or information set forth in BOLD type in the catalogue description of the lot, unless clearly and conspicuously modified prior to the bidding on the applicable lot. This warranty regarding the information in bold type shall exist for a period of five (5) years from the date of the auction and is given solely to and strictly for the benefit of the original purchaser of record at the auction. It may not be transferred to any third party. Furthermore, the exclusive remedy of the original buyer in the event of any inaccuracy not otherwise excluded herein shall be a refund of the hammer price and buyerâ&#x20AC;&#x2122;s premium actually paid by the buyer for the lot at the time of the sale. Keno Auctions and its consignor shall not be liable for any incidental or consequential damages incurred or claimed under this warranty.

The warranty does not apply if: (i) a written claim supported by a written report by a recognized expert in the applicable field is not delivered by the original buyer to Keno Auctions before the expiration of five (5) years from the date of the sale; or (ii) the catalogue description was consistent with the opinion(s) of generally accepted scholar(s) and/or expert(s) at the date of the sale; or (iii) the only method of establishing any inaccuracy in the warranted information is by means or processes not generally available or accepted at the time of the auction sale or by means and processes at the time of the auction sale that could have caused damage to the lot or could have caused loss of value to the lot; or (iv) there has been no material loss in value of the lot from its value had it been in accordance with its description in the Bold type; or (v) the property is not returned to Keno Auctions in the same condition as on the date of the auction sale.

Governing Law These Conditions of Sale and the rights and obligations of all participants hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of New York. The buyer and any agent for the buyer shall be deemed to have consented to the jurisdiction of the state courts of, and the federal courts sitting in, the State of New York.

Notice: Regarding jewelry, all weights and dimensions are approximate only. It is strongly recommended that you bring your own expert to examine any property prior to the auction.

Regarding colored stones: Historically colored stones have been enhanced or treated to improve their appearance. It is widely believed that these treatments are permanent; buyers should assume that treatments may not be permanent and stones may require additional care over time. These treatments have been accepted by the jewelry trade.

Keno Auctions, its employees, or representatives make no opinions or warranties regarding these enhancements/ treatments. All Jewelry is sold as is with no representations of enhancements, treatments or assumption of liability is assumed. This includes all weights, measurements, carats and clarity.

Failure to Collect Purchases Where purchases are not collected from the auction premises, whether or not payment has been made, Keno Auctions will remove and store such property in any manner and by any means that it deems appropriate. Keno Auctions will not be responsible or liable for any damage caused as a direct or indirect result of the removal and storage of such property.

106

Photo Credit Lots 106, 119, 120 and 151 Lifestyle images are courtesy the Summer 2006 issue of Antiques & Fine Art Magazine

Additional Information and Condition Reports at Kenoauctions.com

INVITATION TO CONSIGN We are currently accepting property for Keno Auctions Spring 2012 Sale Property Accepted Through April 2012

Winslow Homer (American, 1836-1910), FIVE BOYS AT THE SHORE, GLOUCESTER, 1880 Sold for $414,800 January 18, 2011

127 East 69th Street New York, NYâ&#x20AC;&#x2C6;10021 +1 212 734 2381 Kenoauctions.com