THE FALL SALE NOVEMBER 19-20, 2020
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THE FALL SALE Thursday and Friday, November 19-20, 2020 Robert C. Eldred Co., Inc. Headquarters 1483 Route 6A P.O. Box 796 East Dennis, MA 02641 (508) 385-3116 fax: (508) 385-7201 MA License #155 Connecticut Office 5 Roosevelt Avenue Mystic, CT 06355 (860) 912-8169
Terms
A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 25 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000. We accept checks, cash, money orders, wire transfers and major credit cards for payment. There is a 2 percent buyer’s premium discount for payment made in full via cash, check, money order or wire transfer within ten (10) days of the invoice date. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. Mixed payment methods are not eligible for the buyer’s premium discount.
info@eldreds.com www.e ldre ds.com
Auction
Both sessions beginning at 10 a.m. Eastern at our East Dennis Headquarters. Online, phone and absentee bidding available. In-person bidding to be determined.
Bidders holding a Massachusetts or out-of-state resale number must provide the certificate or copy thereof when registering to bid or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Residents of other states may be subject to state and local sales taxes.
Important notices
Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot.
Exhibit
Tuesday and Wednesday, November 17-18, from 10 a.m. to 5 p.m., and by appointment.
Absentee and Telephone Bidding
Please use the bid form found at the back of this catalog, visit our website, or phone 508-385-3116 to make arrangements for absentee and telephone bidding.
Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is. All dimensions and weights are approximate.
Online Bidding
This auction will be held simultaneously online at www.invaluable.com and www.eldreds.com. Prospective bidders must register and be approved prior to bidding.
Covid-19 Notice
It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition.
As the situation regarding the virus unfolds, we urge you to visit our website, www.eldreds.com, for the most up-to-date information regarding auction dates, times and bidding options.
Per Federal and international regulations, items made with whale bone, ivory or other protected species will not be shipped internationally without CITES and other necessary permits. Obtaining these permits is the exclusive obligation of the buyer. Items made with these materials and marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state. Firearms marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License.
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Staff Directory Antiques & Fine Art Specialists
Production & Administrative Staff
Joshua F. Eldred CEO and President Head of American and European Paintings jeldred@eldreds.com
Mary Ann Giddings Eldred Chairwoman of the Board maeldred@eldreds.com Wendy A. Dunford Treasurer wendy@eldreds.com
William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com Eric S. Mulak Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com
Devyn Henry Administrative Assistant dhenry@eldreds.com Angela R. McParland Executive Assistant amcparland@eldreds.com
Leah S. Kingman Head of European Decorative Arts lkingman@eldreds.com
Kristyn Mills Head of Photography kmills@eldreds.com
Glen Krawczyk Head of Oriental Rugs glen@eldreds.com
Madison Morris Assistant Head of Photography mmorris@eldreds.com
Anne G. Lajoie Head of Asian Arts annie@eldreds.com
Kathleen Morse Auction Coordinator kmorse@eldreds.com Tanya Sargent Assistant to the Treasurer tsargent@eldreds.com
Gregg Dietrich Senior Consultant and Specialist
Caleb G. Seaver Shipping cseaver@eldreds.com
John H. Schofield Consultant Susan M. Schofield Consultant Jennifer Lacker Mystic Representative
Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com Sarah Eldred Taylor Vice President of Human Resources sarah@eldreds.com
Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants
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eldredsauction
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s 2020 fades, and with Thanksgiving right around the corner, I find myself in a season of reflection, contemplating the many things we have to be thankful for in a seemingly thankless year. To start, I am thankful for our staff, whose tireless efforts and adaptability as we transitioned to and from working remotely allowed us to maintain our usual full auction schedule. I am also incredibly proud that, while there were some sacrifices, we were able to keep our staff intact and employed during the height of COVID-related closures. I am also thankful to you, our faithful clients, as your continued patronage has allowed us to navigate our 73rd year of business. Finally, I am thankful that we were able to pull together such a diverse and well-rounded final cataloged sale of the year. In this Fall Sale, we are fortunate to offer several wonderful estates, including an eclectic Provincetown Estate, the Estate of Carl and Mary Breyer of central Massachusetts and the Kelton Collection of Marine Art and Artifacts. Rounding out the sale is a fine selection of material culled from collections and homes all around New England. I think we are all eager to get 2020 in the rearview mirror, but I am excited to report that we have a great start on 2021 auctions, with some wonderful consignments already in house and many more in the works. We continue to reshape our traditional auction schedule, and in 2021 we will hold our first Winter Marine Sale and winter/spring Paintings Auction. There is also some more exciting news to come regarding the expansion of our staff, offices and auction schedule. Thank you again for your helping us “survive� 2020. We wish you well and look forward to a more positive 2021.
Joshua Eldred President
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Properties From
A Chatham Home A Yarmouth Port Collection The Kelton Collection of Marine Art and Artifacts The Estate of Carl and mary Breyer A New England Collection A Provincetown Estate A New Hampshire Collection of Paintings A Stonington, Connecticut Estate The Estate of a Massachusetts Collector A Private Collection, Newport, Rhode Island A Private Collection, North Carolina A Private Collection, Cape Cod, Massachusetts And numerous other estates and collections
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index
Auction Information Page 1 Staff Directory Page 2 Index of Artists Page 6-7 Session I Lots 1-485 Session II Lots 501-940 Bidder Information Page 320 Conditions of Sale Page 321 Absentee and Phone Bid Form Page 322 New Buyer Registration Page 323 Illustrations Page 328
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Index of artists Albers, Josef Ames, Joseph (after) Audubon, John James (school of ) Baker, David Curtis Baldwin, William E. Barber, Sam Baron, Jack Bartlett, Harley Baumann, Gustave Beck, Walter Otto Bernath, Sandor Bernstein, Theresa Ferber Birdsey, Alfred Bonnar, James King Boogar Jr., William F. Borstel, Reginald Arthur Botticelli, Sandro (after) Briggs, Irving Brown, George John (manner of ) Brown, John Appleton Browne, Byron Brownell, Charles De Wolf Burleigh, Sydney Richmond Cahoon Jr., Ralph Eugene Cahoon, Martha Farham Cahoon, Ralph and Martha Cardinal, Robert Carter, John Michael Chaffee, Oliver Newberry Chapin, Bryant Cheong, Nam Claus, William Anton Joseph Clausen, George Coes, Peter Colacicco, Salvatore Coleman, John Coles Jr. and Sr., John (attr.) Coulter, William A. Couse, Eanger Irving Cozzens, Frederic Schiller Craig, Thomas Bigelow Crooks, W. Spencer Cruikshank, William D'Arcangelo, Allan Davidson, Albert Allan Davis, William R. De Grailly, Victor De Simone, Antonio Demers, Donald W. deTirefort, Bela Dickinson, Ross Edward Diehl, Arthur Vidal Dowd, John Drew, Clement (attr.) DuMond, Frank Vincent Dumont-Smith, Robert
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505 416 158 132 888 765 529 671 821 517 611 904 747 900 811 355 563 283, 284 440 612 782 622-626 677 727, 729 728, 730 731, 732 773-775 485 809 669 351 779 903 744 311 514 390 373 243 316 94 679 245 509 291 739-742 588, 589 385 751, 752 901 516 734, 735 768, 769 313 593 676
Dunlay, Thomas R. Dunning, Robert Spear Dunphy, Kathleen Durand, Asher Brown (school of ) Durer, Albrecht Ebert, Charles Henry Edouart, Auguste (attr.) Elwell, D. Jerome English, Frank F. Enneking, John Joseph Fassett, Truman Edmund Feeney, Loretta Field, Erastus Salisbury Fondo (Funno), Nicola Foster, Jed S. Frost, Francis Seth Gates, Robert Franklin Gilmartin, Garry Girard, Johan-Peter Goodwin, Arthur Clifton Gordon, Russell W. Gore, Ken Greene, Albert Van Nesse Griffel, Lois Gruppe, Emile Albert Halsall, William Formby Hamilton, James Harrington, James Harris, Charles Gordon Hart, William Hasbrouck, Dubois Fenelon Hawthorne, Charles Webster (attr.) Heng, Lee Hercule, Benoit Lucien Higham, Thomas Blagdon Hill, Laura Coombs Hinckley, Thomas Hewes Hofmann, Hans Hopkins, Edna Boies Howes, Jerome Hull, Gregory Stewart Hutty, Alfred H. Inness, George (manner of ) Insley, Albert Babb Jenkins, Fran Jenkins, Paul Johnson, Marshall Keeler, Burton Keith, William Key, John Ross Kienbusch, William Kitson, Patrick Knaths, Karl Knaths, Karl (attr.) Knight, Louis Aston Knowles, Kenneth J.
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743 663, 664 761 596 568 899 26 613 134 598 883 753 114 384 276 619 508 766 556 614 762-764 882 133 770, 771 880, 881 818 298 759 670 607 684, 685 780 352 559 746 605 115 816 820 737 521 244 601, 602 615 264 511 314, 315 293 606 621 510 760 784 783 597 895-898, 908-911
Index of artists Kuehne, Max Land, Ernest Albert LaValley, William Leavitt, Edward Chalmers Legander, Nikolay Tysland Lie, Jonas Loemans, Alexander (after) Lucioni, Luigi Lyman, Joseph Macadam, Anne Macknight, Dodge Max, Peter (Finkelstein) Mayer, Peter Bela Mays, Maxwell McGurl, Joseph McLean, Susan O'Brien Merrill, Christine Herman Meunier, Mark Miller, Oscar Moffett, Ross E. Mongeau, Alice Mooy, Jan Mora, Francis Luis Morton, James Movalli, Charles J. Mumford, Elizabeth Murphy, John Francis Nasmyth, Alexander (attr.) Nemethy, Albert Neusch, Erwin Nickerson, Reginald Eugene Noyes, George Loftus O'Sullivan, Sean Osgood, Charles Osgood, Samuel Stillman Owen, Robert Emmett Packard, Anne Peterson, Jacob Plamondon, Peter Pope Jr., Alexander (attr.) Rafferty, Carole Ranger, Henry Ward Rann, Vollian Burr Rehn, Frank Knox Morton Remington, Frederic Sackrider (after) Ricardi, G. Robbe, Louis Roberts, Peter Rees (attr.) Rockwell, John H. Ryder, Chauncey Foster Sample, Paul Starrett Sander, Sherry Salari Schiller, Lawrence Scott, John White Allen (attr.) Seeholzer, Werner Shapleigh, Frank Henry
902 620 105 674, 675 140 889 252 526 599 814 781 530, 531 886, 890 672, 673 738 767 756, 757 754 678 817 745 387 426 528 893 736 618 93 374 627 74 609 519 150 145 887 776-778 386 523 166 885 591 812, 813 137 233 695 694 292 520 905 907 165 469 690 522 603
Shaw, Charles Green Sheehan, Dennis Shepard, Willard Shimidzu, H. Shimidzu, H. (attr.) Shinn, Everett Simmons, Edward Emerson Sisson, Laurence Sisson Slonem, Hunt Smith, Clarice Smith, Frank Vining Smith, Henry Pember Smith, Vernon B. Stevenson, James Strain, Daniel Straus, Meyer Stubbs, William P. Sully, Thomas (attr.) Swift, Clement Takayama, Michio Tcherniawsky, Charles Thieme, Anthony Thompson, Bill Tomakan, Yasemin Kyrena Tucker, Allen Tyler, James Gale van Boskerck, Robert Ward Van De Kerckhoven, Jacob van Rijn, Rembrandt Voorhees Jr., Clark G. Wagoner, Harry B. Waldron, Charles J. (attr.) Wall, William Allen Watkins, Anthony Webster, E. Ambrose Weiler, Milton Christian Weisman, William H. Wescott, Paul Whelan, Michael Whitaker, George William Whiting, Allen Whorf, John Whorf, Nancy Whyte, Mary Wiggins, John Carleton Willett, Christopher G. Williams, Frederick Dickinson Williams, James Francis Willis, Edmund Aylburton Winkfield, Frederick A. Woodville, Richard C. (after) Wuermer, Carl Yorke, William Gay Yorke, William Gay and Mary E. Yorke, William Howard Zorach, Marguerite Thompson
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506, 507 892 437 380, 381 379 631 164 246 512 518 894 600 733 14 135 124 371 617 317 501-504 527 879 513 749, 750 484 318-320 594, 595 604 567 1, 70 247 356 18 884 785, 786 161 299 815 758 665 748 3 810 483 590, 592 755 610 891 95 301 418 906 364-366 367, 368 369, 370 524, 525
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Session I Thursday, November 19 at 10 a.m. Lots 1-485
Contents of a Chatham Home Lots 1-25 A Yarmouth Port Collection Lots 56-91 Sporting Art & Decoys Lots 157-208 Firearms & Weaponry Lots 209-232 Indigenous Art & Artifacts Lots 233-268 Marine Art & Chinese Export Lots 269-388 The Kelton Collection of Marine Art & Artifacts Lots 350-388 Historic Documents, Prints & Ephemera Lots 389-427 Also Americana, Folk Art, Paintings, Furniture and More
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contents of a
Chatham Home
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1.
CLARK G. VOORHEES, JR. Connecticut/Vermont, 1911-1980 Carved and painted wooden bottlenose dolphin. Stamped “C Voorhees” verso. Length 18”. 1,000/1,500
2.
WHALEBONE CANE 19th Century Inlaid walnut and ebony handle. Length 35”. 200/300
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3.
JOHN WHORF Massachusetts, 1903-1959 Fishing trawler Sea Fox. Signed lower right “John Whorf ”. Watercolor on paper, 14.5” x 21.5” sight. Framed 25.25” x 31.75”. 1,800/2,500
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contents of a
Chatham Home
4.
FEDERAL LOLLING CHAIR Boston, Circa 1800 In mahogany, with green and ivory printed upholstery. Block legs joined with H-stretcher. Back height 45”. Seat height 17.5”. 500/800
5.
QUEEN ANNE DROP-LEAF BREAKFAST TABLE New England, Circa 1760 In mahogany, with nicely shaped skirt and cabriole legs ending in pad feet. Height 28”. Length 14” plus two 12.75” drop leaves. Width 34.5”. 500/1,000
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TALL-CASE CLOCK BY LEMUEL FRENCH Canton and Stoughton, Massachusetts, Late 18th Century Mahogany case. Bonnet with pierced fretwork flanking three plinths supporting brass ball and steeple finials. Arched glazed dial door flanked by brass-capped fluted full columns with brass stop fluting. Paneled pendulum door with string and corner fan inlay. Door flanked by brass-capped fluted quarter columns with brass stop fluting. Base panel with repetitive inlay. Flat bracket feet. Painted Roman numeral dial with floral decoration at corners, moon phase with two globes in lunette, and a second sweep and subsidiary calendar dial. Face signed “Lem.l French”. Height 94.5”. Width 20”. Depth 9.25”. 2,500/3,500
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contents of a
Chatham Home
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NEW ENGLAND BUTTERFLY DROP-LEAF TABLE 18th Century In maple. Turned splayed legs joined with box stretcher. Height 26”. Length 13.75” plus two 13” drop leaves. Width 26.5”. 500/1,000
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SIX TOBACCO BOXES 19th Century Five English and one Continental. Lids with painted figural decoration. Diameters from 3” to 5”. 300/500
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PAIR OF IRON KNIFE BLADE PENNY FOOT ANDIRONS America, 18th Century With brass urn-form finials. Heights 24”. Depths 15.75”. 250/350
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VERY LARGE SPLINTWORK GATHERING BASKET New England, 19th Century Two-handled. Height 22”. Diameter 23”. 300/400
FIVE-GALLON STONEWARE BUTTER CHURN 19th Century Cobalt blue decoration of a leaf. Height 18.5”. 250/350
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THREE PIECES OF STONEWARE All with cobalt blue decoration. Includes a five-gallon jug marked “SA Ryan Springfield Mass”, height 19”, a fourgallon butter churn marked “Albany NY” above a songbird, height 16.5”, and an unmarked two-gallon crock with leaf decoration, height 11”. 250/350
13.
AMERICAN SCHOOL Second Quarter of the 19th Century Primitive winterscape with skaters on a river. Unsigned. Oil on canvas laid down on masonite, 20” x 30”. Framed 23.25” x 33”. 500/1,000
14.
JAMES STEVENSON New York, 1929-2017 Man fishing in a rowboat. Signed lower left “Stevenson”. Watercolor, 19” x 13.25” sight. Framed 24.5” x 18.25”. 300/500
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contents of a
Chatham Home
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15.
CHIPPENDALE WING CHAIR America, 18th Century Walnut legs; front legs with foliate-carved knees and claw & ball feet. Ivory lattice print upholstery. Back height 45”. Seat height 20”. 1,000/1,500
16.
QUEEN ANNE LOWBOY Pennsylvania, Circa 1750 In walnut. Top with molded edge and cut corners. Full-width drawer over three varied side-by-side drawers, all retaining original brass hardware. Extensively scrolled skirt. Cabriole legs end in trifid feet. Height 29”. Width 35.75”. Depth 20.25”. 2,000/3,000
17.
QUEEN ANNE BALLOON-SEAT SIDE CHAIR Boston, Circa 1760 In mahogany. Back with vasiform splat. Needlework upholstered seat. Cabriole legs joined with turned H-stretcher and end in pad feet. Back height 40”. Seat height 19”. 800/1,200
18.
WILLIAM ALLEN WALL Massachusetts, 1801-1885 “Fleece Plats, Christian Creek, PA 1854”, a country landscape with road, several fishermen at a stream, a large building and distant hills. Signed lower left “W.A. Wall”. Titled on Newman Galleries label verso. Oil on canvas laid down on board, 22” x 34”. Framed 28” x 40”. 2,000/3,000
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Lot 18, above and detail see photos of all lots and view condition reports at www.eldreds.com
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contents of a
Chatham Home
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LOT OF CHINESE EXPORT PORCELAIN, MANY PIECES WITH ARMORIAL DECORATION 18th/19th Century Includes a lidded coffeepot with Masonic decoration, height 10”, two lidded teapots, heights 5.5” and 6.5”, a helmet-form creamer, height 4”, a lidded creamer (significant chips), height 5”, a tankard, height 4.75”, a teacup, height 2.75”, three shallow bowls, diameters 5.5” and 6.5”, a gravy bowl, length 8”, two matching plates, diameters 10.25”, and two matching smaller plates, diameters 7.5”. 1,000/1,500
20.
FEDERAL DRESSER MIRROR Circa 1800 Similar to the work of the Seymour cabinetmakers. In mahogany with mahogany secondary woods. Rectangular mirror with ivory finial and reeded supports. Base with three varied side-by-side drawers flanked by panels with lattice inlay. Ivory ball feet. Height 20.5”. Width 23.25”. Depth 9.5”. 400/600
21.
OVAL BANDBOX 19th Century Floral and foliate decoration. Height 5.5”. Width 10”. Depth 7.5”. 150/250
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22.
FOUR NEEDLEWORK SAMPLERS 19th Century English and American. 1) Wrought by Charlotte P. Larkin, 1833. Flower basket and tree design. Framed 17.5” x 12.75”. 2) Wrought by Sally Stephens, born June 27, 1792. Tree and cross design. Framed 13.5” x 13”. 3) Wrought possibly by Frances Hartridge, born 1810. Heart and tree design. Framed 13” x 9.25”. 4) Wrought by Mary Hawley, 1782. Heart and tree design. Framed 9.75” x 15”. 900/1,200
23.
SHERATON DIMINUTIVE ONE-DRAWER DRESSING TABLE Possibly Bermuda, 19th Century In mahogany. Drawer with circular brass pull. Delicate tapered legs. Height 31”. Width 37.5”. Depth 20.5”. 250/350
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FEDERAL MIRROR Late 18th Century In mahogany veneer, with gilt broken arch pediment centering a floral urn crest, and gilt floral and foliate swags. Height approx. 54”. Width 22.25”. 600/900
25.
QUEEN ANNE HIGHBOY Connecticut, Circa 1760 In cherry. Upper case with a central deep drawer flanked by stacks of two narrow drawers, all over two graduated full-width drawers. Central drawer with six-point star inlay. Lower case with repetitive construction of a central deep drawer flanked by stacks of drawers. Central drawer with shell carving. Cabriole legs end in modified pad feet. Height 66.75”. Width 41.5”. Depth 20”. 2,000/3,000
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conclusion of the collec tion see photos of all lots and view condition reports at www.eldreds.com
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26.
ATTRIBUTED TO AUGUSTE EDOUART Louisiana/France, 1789-1861 Silhouettes of Miss Jane Elizabeth Orr and Miss Mary Orr. Identified on labels affixed below silhouettes. Artist identified in a later hand verso. Housed in a frame with a black and gilt eglomise mat with oval aperture. 8.75”x 12.25” sight. Framed 13.5” x 18”. 900/1,200
27.
AMERICAN SCHOOL Circa 1840 Silhouette of John Gloninger Marshall, M.D. Identified on note affixed to frame. Pencildrawn landscape background. 10.75” x 8.5”. Framed 16.5” x 14.5”. 500/800
28.
OVAL FOLK ART MINIATURE PORTRAIT 19th Century Marked verso “Josiah Lyttleton”. Watercolor and gouache on paper. Framed 5.5” x 4.75”. 300/500
29.
SHERATON FOUR-DRAWER BUREAU Circa 1815 In tiger maple. Turret-corner top surmounted by a shaped backsplash. Case with four graduated full-width drawers flanked by turned and reeded columns terminating in turned legs ending in ball feet. Height 41.5”. Width 42.5”. Depth 19.25”. 600/1,000
30.
BLANKET CHEST Southeastern Massachusetts, 19th Century In pine, with brown sponge-painted finish. Top attached with wrought iron hinges. Interior with ditty box. Height 18”. Width 39”. Depth 18”. 250/350
31.
QUEEN ANNE POLE SCREEN 18th Century Mahogany pole with spiral-turned knop and cabriole legs ending in pad feet. Needlework screen depicts a shepherd and his dog. Height 57.5”. Screen diameter 15”. 200/400
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32, two
32.
RARE AND IMPORTANT PAIR OF NEEDLEWORK SAMPLERS BY THE LINCOLN SISTERS OF HINGHAM, MASSACHUSETTS Dated 1819 and 1830 One “Wrought by Mary C. Lincoln Ag’d 7” and executed at Derby Academy, Hingham, in 1819. Floral vine border surrounds an octagonal panel with seven rows of letters and numerals above the verse “In the essence of early youth When all my cares are few I’ll show to others of my age What busy hands can do” and the maker’s inscription. The other wrought by Mary’s younger sister, “Charlotte Lincoln AEt 11 Boston 1830”. Three sides with geometric, entwined vine and floral borders surrounding a rectangular panel with six rows of letters and numerals above the verse “How blest the maid whom circling years improve Her God the object of her warmest love, Whose useful hours successive as they glide The Book, the Needle and the Pen divide.” and the maker’s inscription. Mary and Charlotte were two of the eleven children borne to Noah Lincoln (1772-1856) and Sally Howe (1785-1833). 15.75 “x 16.5” and 17.25” x 16.25”. Framed 17” x 18” and 18” x 17”. 3,000/5,000
33.
NEEDLEWORK SAMPLER, POSSIBLY PENNSYLVANIA Dated 1768 Wrought by Catherine Clopper. Fine early example with three blocks of lettering above verse “Life is short and miserable ah few and full of sorrow are the days of miserable man and his life decays like a fragile flower ...” and maker’s inscription. 14.75” x 11” sight. Framed 16.5” x 13”. 500/800
34.
TWO NEEDLEWORK SAMPLERS America, 19th Century One wrought by Eunice Williams, 1839, with flower and leaf designs. The other wrought by Paula Davis, 1826, with urn and flower basket designs. 15.75” x 15.75” and 17” x 12” sight. Framed 17.25” x 17.25” and 18.5” x 14”. 300/400
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35.
LADDERBACK ARMCHAIR New England, 18th Century In maple and ash. Sausage turnings on backs and legs. Stiles with elongated finials. Sinuous arms with primitive scrolled ends. Woven twine seat. Back height 46.25”. Seat height 17.5”. 300/400 Provenance: The Important New Hampshire Collection of Lawrence and Dorothy Perkins.
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SPONGE-PAINTED BLANKET CHEST New England, Early 19th Century In pine, with exceptional black spongepainted decoration on a red ground. Lift top attached with iron hinges. Interior with ditty box. Shaped bootjack ends. Height 23.5”. Width 37.5”. Depth 16”. 500/800
37.
JELLY CUPBOARD 19th Century In pine and fruitwood, with a red-painted finish. Two paneled doors enclose three shelves. Shaped base. Height 48.5”. Width 51”. Depth 18.5”. 300/400
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38.
QUEEN ANNE CANDLESTAND Late 18th Century In tiger maple, with square top, turned pedestal and pad feet. Height 25.75”. Top 16.25” x 16”. 200/300
39.
SHERATON FULL-SIZE BED Circa 1820 In tiger maple. Urn-carved posts. Bulbous turned sides and footboard. Height 44.5”. Width between rails 51.5”. 500/800 37
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41.
HANDLOOM WEAVING COMB 19th Century Also referred to as a weaving fork. Made from a single piece of cherry. Carved “John: _” on one side, and “DAURA” and “Allan” on the other side. Relief-carved geometric design on both sides. Length 12”. 300/500
CHIP-CARVED NEEDLE CASE 19th Century Rectangular walnut box with sliding lid, scrolled handle and chip-carved design on edges. Contains some needles and other tools. Height 2.5”. Length 7”. Width 2.75”. 250/350
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EXCEPTIONAL MOUNTED PICTORIAL HOOKED RUG Depicts a child feeding a horse an apple. “For Danny” in red lettering on beige panel lower right. 37” x 48”. 800/1,200
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COPPER QUILL WEATHER VANE 19th Century With green patina. Mounted on a contemporary wooden base. Total height 18”. Length 37”. 700/1,000
44.
QUEEN ANNE MIRROR Mid-18th Century White pine and black walnut veneer frame with traces of original red paint. Height 15.5”. Width 9.75”. 600/900
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45.
WHALE-SIDE SHELF 19th Century In mahogany. Three shelves over two drawers with circular wooden pulls. Height 34.75”. Width 25”. Depth 8.5”. 250/350
46.
EARLY INN SIGN 19th Century In pine. “Marlock House” in black lettering on a white ground. Double-sided. 28” x 20”. 500/800
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PINE BENCH 18th Century Bootjack ends. Legs with scroll-carved fronts. Height 20”. Length 59”. Depth 10.75”. 400/600
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COPPER ROOSTER AND ARROW WEATHER VANE Circa 1900 Height 28”. Length 39”. 1,000/1,500
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TAVERN TABLE Circa 1780 In pine under an old brown finish. Oval top on stretcher base with turned legs ending in knob feet. Height 24.75”. Top 30” x 24”. 250/350
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50.
TWO-GALLON STONEWARE JUG Impressed “Fresh Tomatoes” above cobalt blue decoration of tomatoes. Height 15”. 200/300
51.
NORTON & CO. THREE-GALLON STONEWARE CAKE CROCK Worcester, Massachusetts, 19th Century Cobalt blue tornado and branch decoration. Height 6”. Diameter 13”. 500/800
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DRY SINK WITH PAINTED DECORATION 19th Century In pine, under original red paint with yellow scroll decoration. Fitted with a single drawer and a paneled door, both with milk glass pulls. Height 33”. Width 38”. Depth 19”. 700/1,000
52
53.
THEOREM PAINTING Middletown, Rhode Island, 19th Century Depicts a compote of fruit. 19” x 20” sight. Framed 22” x 24”. 800/1,200
53
54.
BLANKET CHEST Pennsylvania, Early 19th Century In pine, with yellow and brown sponge-painted decoration. Molded lift top attached with iron hinges. Interior fitted with ditty box. Dovetailed sides. Turned bun feet painted black. Height 24.75”. Width 43”. Depth 20”. 300/500
54
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25
the Yarmouth Port ColleCtion of Bill Roth and Sandra Bliss K. Roth
55.
PAINTED WOODEN GAME BOARD 19th Century Red and black checkerboard on top. Simple frame, underside and square feet painted dark green and red. Includes 22 turned wooden checkers, 10 black and 12 red. Pieces contained within a sliding lid compartment on underside of board. Metal hanging loop. 10.5� x 10.75�. 200/300
55
26
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v
56.
56
QUEEN ANNE-STYLE LOWBOY ATTRIBUTED TO BILL ROTH Yarmouth Port, Massachusetts, 20th Century In beautifully figured plum pudding mahogany. Top with molded edge. Full-width drawer over three varied side-by-side drawers, the central with fan carving. Skirt with acorn drops. Cabriole legs end in pad feet. Height 30.5”. Width 33.25”. Depth 21.25”. 400/600
In 1981, William “Bill” Roth (d. 2013) and his wife, Sandra Bliss K. Roth, founded a small business restoring and building replicas of early American furniture. For his impeccable workmanship, Bill was frequently named as one of the 100 best traditional craftsmen in America by Early American Life Magazine. Bill had a PhD in art history, studying under Earle Powell, a curator at the National Gallery of Art, and his career also included working as a consultant for the 18th Century Co. in Durham, Connecticut, and Benjamin S. Clark and Associates, a furniture moving and restoration firm in New England. Sandra, a 13thgneration Yankee, is also a well-known local artist.
57.
WILLIAM & MARY-STYLE SLANT-LID DESK ATTRIBUTED TO BILL ROTH Yarmouth Port, Massachusetts, 20th Century In tiger maple. Drop-well and stepped interior fitted with molded-front letter drawers, a paneled compartment door, pigeonholes and a variety of other drawers. Case with two half drawers over two full-width drawers, and turned bun feet. Height 41”. Width 33”. Depth 19”. 500/1,000
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57
27
Ya r mouth Port Collection
58.
PAIR OF ENGLISH CRANBERRY GLASS COVERED SWEET MEATS Last Quarter of the 19th Century Covers and bases with etched-to-clear grape and grape leaf decoration, and gilt spiral and other designs. Covers with clear faceted finials. Square feet with an etched-to-clear grape leaf at each corner. Heights 9”. 300/400
58, pair
59.
WILLIAM & MARY-STYLE TAVERN TABLE ATTRIBUTED TO BILL ROTH Yarmouth Port, Massachusetts, 20th Century In maple and tiger maple. Top with molded edge. Beautifully turned splayed base under brick red paint. Height 25.5”. Length 26”. Width 20.25”. 400/600
59
28
60.
FEDERAL LOLLING CHAIR Late 18th Century In mahogany, with contemporary floralpatterned upholstery. Back with curved crest rail. Carved and molded arms and arm supports. Square tapered legs joined by an H-stretcher. Back height 42.5”. Seat height 17.5”. 800/1,200
60
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61
61.
AMERICAN SCHOOL 19th Century Portrait of two children and their dog in a bucolic setting. Inscribed verso “By Benjamin West Salem Mass”, believed to be an erroneous attribution. Oil on canvas, 34” x 42”. Unframed. 500/1,000
Accompanying notes and research indicate the painting was purchased in the 1960s by Virginia Bliss Keith of Somerset, Massachusetts, from antiques dealer Mason Cleveland, who had purchased it at an auction in Falmouth, Massachusetts. The work is compared with several others by or attributed to Joseph Whiting Stock (Massachusetts, 1815-1855), noting similarities in facial features, the stylized dogs seen in the paintings, and the roses held by the subjects. The inscription on the reverse could be an attempt to falsely attribute the painting to artist Benjamin West (Pennsylvania/ United Kingdom, 1738-1820), known for historical and allegorical scenes and considered to be the first American artist to gain international fame. Another artist named Benjamin West (Massachusetts/California, 1818-1854) was born in Salem, Massachusetts, and though there is little information about him, he is known for ship paintings rather than figural portraits, making it unlikely this is his work.
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29
Ya r mouth Port Collection
62.
TIGER MAPLE PIPE BOX ATTRIBUTED TO BILL ROTH Yarmouth Port, Massachusetts, 20th Century Shaped back, sides and front panel. Single drawer at base with metal pull. Height 21”. Width 6”. Depth 4.75”. 250/350
63. 62
PAIR OF TIN MIRROR-BACK WALL SCONCES Early 19th Century Heights 9”. 400/600
63, pair
64.
WROUGHT IRON FLOOR-STANDING CANDLEHOLDER 18th Century Adjustable arm supports two brass candle cups. Stem with brass urn-form finial and medial knop. Tri-legged base. Height 59.5”. Width 19”. 500/1,000
64
30
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65
65.
WILLIAM & MARY BLANKET CHEST First Quarter of the 18th Century In pine with a nice old finish. Lift top attached with snipe hinges. Front with two faux full-width drawers above a working full-width drawer. Bootjack ends. Height 34.5”. Width 38”. Depth 19.25”. 500/700
66.
WILLIAM & MARY-STYLE BUREAU ATTRIBUTED TO BILL ROTH Yarmouth Port, Massachusetts, 20th Century In strongly figured tiger maple. Molded-edge top over four drawers, the top drawer simulating two half drawers. Molded base on turnip feet. Height 35.5”. Width 35”. Depth 17.75”. 500/1,000
67.
PAIR OF BRASS LEMON-TOP ANDIRONS Early 19th Century With arched spurred legs ending in ball feet. Heights 19.5”. Depths 17.5”. 250/350
68.
WILLIAM & MARY-STYLE CHEST OF DRAWERS ATTRIBUTED TO BILL ROTH Yarmouth Port, Massachusetts, 20th Century In oak. Four drawers with paneled fronts and brass drop pulls. Turned bun feet. Height 36.25”. Width 39.75”. Depth 23.75”. 500/800
69.
PAIR OF IRON KNIFE BLADE PENNY FOOT ANDIRONS 18th Century With brass ball-form finials. Heights 21”. Depths 20”. 200/300
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66
68
31
Ya rmouth Port Collection
70.
CLARK G. VOORHEES, JR. Connecticut/Vermont, 1911-1980 Carved and painted wooden sperm whale. Branded “CV” and “C. Voorhees” on reverse. Length 17.75”. 900/1,200
70
71.
WARREN CHAIR WORKS HANDMADE REPRODUCTION WINDSOR FAN-BACK ARMCHAIR Warren, Rhode Island, Contemporary After a Pennsylvania example. Under antiqued green paint. Scrolled ears and carved knuckles. Branded “W.C.W.” underneath seat. Back height 45”. Seat height 17.5”. 500/700
72.
WARREN CHAIR WORKS HANDMADE REPRODUCTION WINDSOR SACK-BACK ARMCHAIR Warren, Rhode Island, Contemporary Under an antiqued green paint. Carved knuckles. Branded “W.C.W.” underneath seat. Back height 41”. Seat height 17.5”. 300/500
71
72
73.
MOUNTED HALF HULL MODEL OF A SHIP Late 19th Century Hardwood model built up in lifts. Pine backboard covered in a gray fabric. Backboard 12” x 39”. 500/800
73
32
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74
74.
REGINALD EUGENE NICKERSON Massachusetts, 1915-1999 “The Brig Eliza Ann Whaling Off The Marquesas Islands Capt. Ezra Pollard”. Signed lower right “William Trenholm”, a known pseudonym for Nickerson, and spuriously dated 1886. Oil on wood panel, 16.25” x 75.75”. Unframed. 1,000/2,000
75
75.
HUDSON VALLEY TAVERN TABLE 18th Century In walnut, with pine secondary woods. Pinned top. Apron fitted with two varied drawers, both with turned wooden pulls. Straight legs with medial incised banding and pad feet. Height 29”. Width 54.75”. Depth 30.75”. 1,000/1,500
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33
Ya r mouth Port Collection
76
77
34
76.
TAVERN TABLE ATTRIBUTED TO BILL ROTH Yarmouth Port, Massachusetts, 20th Century In maple. Shaped top with porringer corners. Tapered legs end in pad feet. Height 25.5”. Top 34” x 26”. 400/600
77.
QUEEN ANNE-STYLE CANDLESTAND Made up from old parts. Under black paint over red paint. Round top set on a vasiform pedestal raised on cabriole legs. Height 25.5”. Diameter of top 16.5”. 400/600
78
78.
WILLIAM & MARY SIDE CHAIR Late 17th/Early 18th Century Under black paint. Caned seat and back. Pierced and carved crest rail and arched front stretcher. Turned stiles, legs and side stretchers. Back height 48.75”. Seat height 18.5”. 400/600
79.
CHIPPENDALE-STYLE TIGER MAPLE MIRROR ATTRIBUTED TO BILL ROTH Yarmouth Port, Massachusetts, 20th Century Gold-painted liner. Height 28”. Width 15”. 250/350
80.
JOINT STOOL 19th Century or Earlier Probably English. In oak and other hardwoods. Molded top and skirt. Bold turned legs joined with a box stretcher. Height 20”. Length 24”. Width 10.75”. 200/300
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82
81.
FOUR BRASS CANDLESTICKS In varying forms. Heights from 5” to 7.5”.
18th Century 300/500
82.
QUEEN ANNE-STYLE HIGHBOY ATTRIBUTED TO BILL ROTH Yarmouth Port, Massachusetts, 20th Century In tiger maple. Upper case with two half drawers over three graduated full-width drawers. Lower case with three varied side-by-side drawers, acorn drops at skirt, and cabriole legs ending in pad feet. Height 65”. Width 38.25”. Depth 22.25”. 800/1,200
83.
QUEEN ANNE CANDLESTAND 18th Century In maple. Square top with shaped corners. Vasiform pedestal raised on cabriole legs. Handwritten inscription on underside indicates the table descended in the Bliss family of Tiverton, Rhode Island and was repaired and refinished by Bill Roth. Height 26.5”. Top 18.5” x 18”. 200/300
84.
QUEEN ANNE SIDE CHAIR 18th Century In mahogany. Back with shaped crest rail and vasiform splat. Slip seat with burgundy harlequin-patterned upholstery. Slightly cabriole front legs end in pad feet. Back height 39.5”. Seat height 18”. 250/350
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35
Yar mouth Port Collection
85.
SIX BLOWN GLASS BOTTLES 19th Century Green and dark amber. Differing forms. Heights from 6.5” to 9.5”. 300/400
85
86.
SHERATON TIGER MAPLE DROP-LEAF TABLE Circa 1810 Drop leaves with shaped corners. Ring- and ropeturned legs. Height 29.5”. Length 20.5” plus two 13.25” drop leaves. Width 47.5”. 400/600
86
87.
FOUR SIMILAR BANNISTERBACK CHAIRS First Half of the 18th Century One armchair and three side chairs, all under old, possibly original, black paint, and with lobed crest rails, rush seats and turned stretchers. Back heights approx. 44”. Seat heights approx. 18”. 1,200/1,800
87, four
36
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v 88.
89.
PAIR OF BRASS QUEEN ANNE CANDLESTICKS 18th Century With petal-form bobèches and lobed bases. Heights 8”. 400/600
QUEEN ANNE-STYLE TAVERN TABLE ATTRIBUTED TO BILL ROTH Yarmouth Port, Massachusetts, 20th Century In tiger maple and maple, with oval top, shaped apron and straight legs ending in pad feet. Height 26”. Top 26” x 21.25”. 500/700
88
90. 89 90
91.
BRASS-BOUND MAHOGANY CAMPAIGN DESK ON STAND 19th Century Top lifts to reveal a green felt-lined writing surface, a lift-out pen tray and inkwell compartments. Writing surfaces lift to reveal open compartments. Brass bail handles at sides. Stand with carved corner brackets. Height 20”. Width 24”. Depth 12.5”. 500/1,000
HEPPLEWHITE BUREAU Early 19th Century In mahogany. Four graduated full-width drawers with molded oval brasses. Splayed bracket base. Height 35.5”. Width 37.5”. Depth 21.25”. 500/700
91
conclusion of the collec tion see photos of all lots and view condition reports at www.eldreds.com
37
92
93
94
92.
AMERICAN SCHOOL 19th Century Still life of grapes, a glass and other fruit. Unsigned. Oil on canvas, relined, 14” x 17”. Framed 20” x 22”. 500/700
93.
ATTRIBUTED TO ALEXANDER NASMYTH United Kingdom, 1758-1840 Landscape with lake, traveler on a path and sheep with a shepherd. Unsigned. Label verso for Parker Gallery, London. Oil on panel, 8” x 10.5”. Framed 11” x 13.5”. 1,000/2,000
95
94.
Thomas Craig is famous for his bucolic landscapes, often featuring grazing cows. He was born in Philadelphia and it has been suggested he studied with Thomas Eakins at one point. In 1889 he moved to New York and continued to paint the countryside, including the White Mountains of New Hampshire. He exhibited for 45 years at the National Academy of Design.
95.
38
THOMAS BIGELOW CRAIG Pennsylvania, 1849-1924 “By the Mountain Lake”. Signed lower left “Thos. B. Craig”. Titled verso. Oil on canvas, 9.5” x 13.5”. Framed 15” x 19”. 800/1,200
EDMUND AYLBURTON WILLIS New York, 1808-1899 Genre scene with two young women standing by a white horse. Signed lower right “A.V. [sic] Willis”. Oil on canvas, 16” x 20”. Framed 21” x 25”. 1,500/2,000
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96.
FOLDING DOUBLE-SIDED GAMES BOX 19th Century Exterior with checkerboard of salmon and black squares surrounded by red, black and grain-painted borders. Interior with backgammon board in red and black on a yellow ground. Folded 2.5” x 16” x 8”. 500/800
97.
CHECKERBOARD 19th Century In pine. Dark green and light green painted squares surrounded by a red-brown and black border. 16.75” x 16.75”. 300/500
98.
WOOD AND IRON KEROSENE FIRKIN 19th Century Painted red with black stenciled lettering “Kerosene oil” on side and “10 gallons Pat’d 1876” on top. Height 16.5”. Diameter 17”. 250/350
99.
CHIPPENDALE BUREAU Circa 1790 In maple with an old brown finish. Molded shaped top over six graduated full-width drawers with brass bail pulls. High bracket base. Height 54.5”. Width 41.5”. Depth 19”. 500/800
100.
SHERATON TWO-DRAWER WORK STAND New England, 18th Century In mahogany and mahogany veneer. Rope- turned legs end in swelled feet. Height 28.5”. Top 18” x 19”. 250/350
96
97
99
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101.
TWO-DOOR CUPBOARD Late 18th/Early 19th Century In pine under original brown grain-painted finish. Paneled doors enclose three interior shelves. Shaped bracket base. Height 60”. Width 50.5”. Depth 19.25”. 1,500/2,500
101
102.
AMERICAN SCHOOL 19th Century Still life of watermelon and other fruit. Unsigned. Oil on canvas, 19” x 15” sight. Framed 28” x 24”. 500/1,000
102
103.
CHIPPENDALE BUREAU New England, Late 18th Century In hardwood under old, possibly original, red wash finish. Four graduated full-width drawers with molded edges. High flat bracket feet form a bold arch. Height 35”. Width 38”. Depth 20”. 1,000/2,000
103
40
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104.
105.
AMERICAN SCHOOL 19th Century Portrait of a child holding a whip and playing with a dog. No signature noted. Watercolor and gouache on paper board, 25.75” x 17.75” sight. Framed 31.5” x 22.5”. 1,000/3,000
WILLIAM LAVALLEY Vermont, 1863-1943 Floral still life. Signed lower right “Wm LaValley”. Oil on board, 4.25” x 7.5”. Framed 7.5” x 10.5”. 300/500
104
106
108.
TWO BLUE-PAINTED LIFT-TOP CHESTS 19th Century Both in pine, with wrought iron bail handles at sides. Larger with interior ditty box. Heights 12.25” and 15.5”. Widths 27” and 35.5”. Depths 15” and 16”. 300/500
109.
LARGE PEASEWARE CONTAINER America, Late 19th Century Bulbous form with circular lid and bail handle. Height approx. 11”. Width approx. 13”. 250/350
106.
SHERATON BOWFRONT BUREAU
107.
FULL-SIZE FOUR-POST CANOPY BED In tiger maple. Bulbous turned posts. Height 66”. 500/800
Circa 1820 In mahogany and mahogany veneer. Top with turret corners. Four drawers with circular brass pulls. Sides of case with spiral-turned three-quarter columns terminating in turned legs. Height 38”. Width 34”. Depth 20.5”. 500/700
108, two
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41
110.
AMERICAN SCHOOL 19th Century View of a farmhouse and barn. Unsigned. Oil on canvas, 10” x 14”. Framed 14” x 18”. 500/800
110
111.
112.
PAINTED PINE DOCUMENT BOX Maine, 19th Century Painted green and brown with yellow decoration. Lift top with iron bail handle. Height 7.25”. Width 14”. Depth 8.5”. 250/350
WINDSOR SACK-BACK ARMCHAIR Late 18th Century In maple, oak and other woods, under old black paint. Back height 41”. Seat height 18”. 1,000/1,500
111
113.
112
QUEEN ANNE TILT-TOP CANDLESTAND Southeastern Massachusetts, Mid-18th Century In mahogany, with bold cabriole legs ending in pad feet. Height 28.5”. Top 20” x 19.75”. 300/600
113
42
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114
114.
ERASTUS SALISBURY FIELD Massachusetts/New York, 1805-1900 Portrait of a young man. Unsigned. Oil on canvas, 30” x 25”. Framed 34 “x 28”. 5,000/7,000
115
115.
THOMAS HEWES HINCKLEY Massachusetts/California, 1813-1896 Portrait of Salley Wilbur. Inscribed verso “Salley Wilbur of Norton AE 28 March 20th 1838 T.H. Hinckley Pinxt June 6, 1838”. Oil on canvas, 30” x 24.75”. Framed 35” x 30”. 1,500/2,500 This portrait is likely of Salley (or Sally) Wilbur Greenleaf, born March 20, 1810, in Norton, Massachusetts, to Field Wilbur and Rhoda Dean Wilbur. Supposedly painted in 1838, she would have been 28 in this portrait. She married Luke Sawyer Greenleaf (1814-1897) and bore one child in 1847. She died January 1, 1850 and is buried at Winneconnet Second Cemetery in Norton. See: https://www.findagrave.com/ memorial/109596159/sally-greenleaf.
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43
116
117.
PAIR OF CLEAR SANDWICH GLASS WHALE OIL LAMPS Freeblown fonts. Pressed lion’s-paw feet. Heights 12.5”. 300/500
118.
PAIR OF CLEAR SANDWICH GLASS WHALE OIL LAMPS In Horn of Plenty pattern. Heights to collar 10.5”. 200/300
119.
PAIR OF CLEAR SANDWICH GLASS WHALE OIL LAMPS Etched freeblown fonts. Pressed bases. Height to collars 10.5”. 200/300
119
HUTCH TABLE 18th Century In pine and ash, with an oversize three-board top, a hinged storage bin, and carved shoe feet. Height 26”. Diameter of top 51.5”. 800/1,200
121.
44
PAIR OF CLEAR SANDWICH GLASS WHALE OIL LAMPS Etched freeblown fronts. Pressed bases. Pewter collars. Original whale oil double drop burners. Heights 10.5”. 200/300
117
118
120.
116.
CIRCULAR COVERED BOX WITH PAINTED DECORATION America, 19th Century Top with a red and black star design on a black ground surrounded by a red border. Remainder with red wash finish. Height 2.75”. Diameter 6.75”. 200/300
120
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122.
WALL BOX WITH PAINTED DECORATION 19th Century Blue heart and floral design. Front panel initialed “SOD”. Height 12.5”. Width 9”. Depth 6.25”. 500/700
123.
PRIMITIVE PAINTING OF A NEW YORK FARMHOUSE Signed lower right “FH Sweet”. Oil on artist board, 18.5” x 24.5”. Framed 24” x 30”. 400/600
122
124.
MEYER STRAUS California/Illinois/Germany, 1831-1905 Tabletop still life of grapes, watermelon, pears and other fruit. Signed lower left “M. Straus”. Oil on canvas, 20” x 36”. Framed 26” x 42”. 800/1,200
124
125.
APPROX. TWENTY-SEVEN CAST IRON AND BRONZE HEARTH IMPLEMENTS 18th and 19th Century 1) Bronze trifoot pot. Height 11”. 2) Posnet stamped “Cox Taunton. V”. Length 17.5”. 3) Jam kettle. Height 12”. 4-6) Three kettles, one without cover. Heights 4.5”, 10” and 13”. 7-24) Eighteen assorted iron hooks. 25) Iron pan. Diameter 12”. 26) Footed frying pan. Length 17”. 27) Footed hanging cupboard pot. Height 8”. 1,500/2,500
125, approx. 27 items
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45
127
126.
SANDPAPER PAINTING 19th Century Depicts the Chew house in Germantown, Pennsylvania, with figures in the foreground. 9.75” x 13.25” sight. Framed 12.75” x 16.5”. 500/800
128
127.
LIFT-TOP BOX America, Mid-19th Century In pine, with exceptionally grained tiger maple veneer panels at sides. Solid mahogany top with applied tiger maple veneer scrolled panel. Height 5.75”. Width 10”. Depth 7.5”. 400/600
128.
FRENCH TEA CADDY In burled walnut with fruitwood floral inlay. Compartmented interior. Height 4.75”. Width 9”. Depth 4.75”. 250/350
128A
128A. COPPER FULL-BODY RUNNING HORSE WEATHER VANE 19th Century Verdigris finish. Length 40”. 3,000/4,000
46
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129.
AMERICAN SCHOOL Early 20th Century Portrait of two young boys dressed as sailors. Unsigned. Oil on canvas, 35” x 30”. Framed 41” x 36”. 1,500/2,500
130.
GRAIN-PAINTED DRESSING TABLE Maine, Circa 1820 In pine. Exceptional red and brown grainpainted finish with yellow and green highlights. Shaped backsplash. Single drawer with circular wooden pulls. Tapered legs. Height 33.5”. Width 32.5”. Depth 16.25”. 300/500
131.
BLANKET CHEST New England, Late 18th Century In pine, with grain-painted finish. Snipe hinges. Bootjack ends. Height 27”. Width 43.25”. Depth 18.5”. 250/350 129
130
131
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132
133
134
48
135
132.
DAVID CURTIS BAKER New Hampshire/Massachusetts, 1915-1999 “Jackson Farm” (New Hampshire). Signed lower left “David Baker”. Titled verso. Watercolor on paper, 17.5” x 26” sight. Framed 26” x 32.5”. 500/800
134.
FRANK F. ENGLISH Delaware/Pennsylvania/Indiana, 1854-1922 A woman and child on a rural road. Signed lower right “F.F. English”. Watercolor and gouache on board, 18” x 25.5” sight. Framed 26” x 34”. 400/600
133.
ALBERT VAN NESSE GREENE Pennsylvania/Washington, D.C., 1887-1971 Farmhouse at dusk. Signed lower left “A. Greene”. Oil on board, 8” x 10”. Framed 10” x 12”. 500/1,000
135.
DANIEL STRAIN Massachusetts, 1847-1925 Grazing cows. Signed lower left “Daniel Strain”. Oil on canvas, 16” x 22”. Framed 20.5” x 26.5”. 900/1,200
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136
137
139
138
136.
AMERICAN SCHOOL 19th Century “Swampscott Beach Mass”. Unsigned. Faintly inscribed in pencil on upper stretcher bar. Oil on canvas, 6.5” x 10.5”. Framed 12” x 16”. 500/700
137.
FRANK KNOX MORTON REHN Pennsylvania/Massachusetts, 1848-1914 “Cliffs Baker Island, Mass”. Signed lower left “F.K.M. Rehn”. Titled on label verso. Oil on canvas, 30” x 25”. Framed 33” x 28”. 500/1,000
138.
OLD LYME SCHOOL Early 20th Century A woman reading on a porch. Unsigned. Canvas laid down on masonite, 23.5” x 21”. Framed 27” x 24.25”. 600/800
139.
AMERICAN SCHOOL Late 19th/Early 20th Century Mountain landscape. Unsigned. Oil on board, 4” x 6.5”. Framed 5.75” x 8.25”. 200/300
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49
140
140.
NIKOLAY TYSLAND (TUSLAND) LEGANGER New York, 1832-1905 “Afternoon at Hague, Lake George, N.Y.”. Signed lower left “N.T. Leganger”. Titled and dated 1890 verso. Oil on canvas, 30” x 25”. Framed 35” x 30”. 3,000/5,000
141.
THREE REDWARE POURING JUGS New England, First Half of the 19th Century All with brown glazes and applied handles. One with deep brown vertical banding. Heights from 5” to 8.5”. 200/300
142.
FIVE REDWARE PLATES Includes one Greg Shooner reproduction plate and one with Christmas decoration. Diameters from 7” to 11”. 300/400
143.
FOUR UTILITARIAN POTTERY ITEMS 19th Century A storage jar, height 5.75”, and three baking dishes, diameters from 5” to 11.5”. 100/200
144.
ONE-DRAWER TAVERN TABLE New England, Early 19th Century In pine and maple under an old brown finish. Top with breadboard ends. Drawer with circular wooden pulls. Tapered legs end in knob feet. Height 27”. Width 43”. Depth 29”. 300/500 Provenance: Paul Madden Collection.
144
50
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145.
SAMUEL STILLMAN OSGOOD Massachusetts/California, 1808-1880 Portrait of Anna Quincy Thaxter Parsons. Unsigned. Oil on canvas, 30” x 25”. Framed 41” x 36”. 2,500/3,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, November 5, 2005, Lot #308. A New Hampshire Collection of Paintings. Boston-born Samuel Osgood painted this portrait of Anna after 1831. In 1830, Osgood, a former sailor, survived a ship afire 350 miles off the American coast. In 1831 he returned to Boston from study in England and started painting portraits there in earnest, submitting “Portrait of a Lady” in both 1831 and 1832 to the Boston Athenaeum exhibitions. Anna Quincy Thaxter Parsons was the daughter of Anna Quincy Thaxter (1791-1879) and Nehemiah Parsons (1773-1848), a former mariner and merchant on Boston’s Long Wharf. Anna was a clairvoyant, whose specialty was reading a person’s character, often just from a letter. She was also a women’s rights activist who regularly visited Brook Farm, the utopian commune in Roxbury, where some artists and many of Boston’s intellectuals lived in the 1840s. Anna and her mother and several sisters were early hikers in the White Mountains and they are credited with naming Cathedral Ledge, Echo Lake and White Horse Ledge, well-known sites in the area that were painted by White Mountain School landscape artists.
145
Anna was a friend of Samuel Stillman Osgood’s wife, the poet Frances Osgood, and their letters to one another survive. Sadly, Samuel and Fanny lost their young daughters within a short time. Fanny, too, died young. The family’s touching gravesite at Mt. Auburn Cemetery in Cambridge, Massachusetts, includes a monument with a lyre with broken strings representing each lost soul. Anna is also buried at Mt. Auburn.
146.
CHIPPENDALE BUREAU Circa 1790 In maple. Five graduated full-width drawers with brass bail handles. Shaped bracket base. Height 46.5”. Width 37.75”. Depth 21.75”. 800/1,200
147.
LOT OF FLOW BLUE STAFFORDSHIRE CHINA Includes a covered soup tureen, two sugars, a creamer, four cups and saucers, a teapot, an oval platter, nine soup bowls and four plates. 500/800
146
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51
148.
AMERICAN SCHOOL Mid-19th Century Portrait of Carrie E. Cousins. Depicts the boy in a white shirt, brown jacket, and a red, white and blue striped tie leaning against a table covered with a red damask cloth and topped with a vase of roses. Unsigned. Subject identified on label verso. Oil on canvas, oval, 26” x 20.75”. Framed 31.5” x 26.5”. 800/1,200
149.
PORTRAIT OF A SEATED GENTLEMAN 19th Century Unsigned. Oil on canvas, 10.5” x 9.75”. Framed 16” x 15.25”. 400/700
148
150.
CHARLES OSGOOD Salem, Massachusetts, 1809-1890 Portrait of two boys. No signature noted. Tags verso identify the boys as the sons of Thomas Earle, who commissioned this painting from Osgood in 1858. Oil on masonite, 57.25” x 55”. Framed 69” x 64”. 3,000/5,000 Provenance: Purchased by Will B. Osgood, a descendant of the artist, who later passed it down to the current consignor.
150
52
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151.
COVERED FIRKIN 19th Century Painted red. Iron and wood handle. Height 7.75”. Diameter 8.5”. 150/200
152.
DOUBLE-SIDED GAME BOARD 19th Century In mahogany, mahogany veneer and walnut veneer. 16.5” x 16.5”. 200/250 151
153.
REVERSE-PAINTED GLASS CHECKERBOARD Border with découpaged geometric designs. 15.5” x 15.5”. Framed 18.5” x 18.5”. 250/350
154.
QUEEN ANNE MIRROR Mid-18th Century Pine and mahogany veneer frame. Height 22”. Width 12.5”. 400/600
155.
STILL LIFE PAINTING OF TWO HANGING STRIPED BASS 19th Century Signed lower right “Worster”. Oil on canvas, 28” x 16”. Framed 30.5” x 18.5”. 400/700
156.
PAINTED SHEET METAL WEATHER VANE IN THE FORM OF A HUNTER AND DEER America, Mid-20th Century Hunter pointing his rifle at a running deer, both painted brown, amidst a landscape painted green. Total height 14.75”. Length 34”. 800/1,200 153
156
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53
157, ten
157.
54
TEN PLATES FROM ORIENTAL FIELD SPORTS, AFTER SAMUEL HOWITT AND CAPTAIN THOMAS WILLIAMSON 1805-7 Hand-colored aquatint engravings published by Edward Orme, London. Includes No. 3 “The Chase After a Hog”, No. 4 “Beating Sugar Canes for a Hog”, No. 5 “The Hog at Bay”, No. 6 “The Dead Hog”, No. 9 “Decoy Elephants Catching a Male”, No. 10 “Decoy Elephants Leaving the Male Fastened to a Tree”, No. 11 “A Rhinoceros Hunted by an Elephant”, No. 14 “The Dead Tiger”, No. 27 “Shooting at the Edge of a Jungle”, and No. 34 “Smoking Wolves from their Earths”. Each 17.5” x 22.25”. 1,000/2,000
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158.
SCHOOL OF JOHN JAMES AUDUBON New York/France, 1785-1851 Chukars on a cliffside. Unsigned. Oil on canvas, 31.25” x 25”. Framed 39” x 32.5”. 2,000/3,000 Provenance: Private Collection, New Jersey.
158
159.
SEWER POTTERY PEAFOWL SCULPTURE 20th Century Dark brown glaze. Stump-form base. Height 23”. 400/700
160.
CARVED WOODEN GREAT HORNED OWL Early 20th Century Height 10.5”. 250/350
159
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55
161.
MILTON CHRISTIAN WEILER New Jersey, 1910-1974 Fly fisherman in a brook. Signed lower right “M.C. Weiler”. Illustrated in the book Dud Dean and His Country by Arthur R. Macdougall, Jr.; lot includes a copy of the book. Watercolor, 6.5” x 4.5” sight. Framed 11.5” x 9”. 400/600
162.
CODFISH PLAQUE 20th Century Mahogany under a brown stain. Length 23”. 250/350
161
163
163.
LIFE-SIZE CARVING OF A SEAL Contemporary Height 14.5”. Length 38”. 900/1,200
164.
EDWARD EMERSON SIMMONS Massachusetts/New York/France, 1852-1931 “Sardine Fishing”. Titled and signed lower right “E.E. Simmons”. Pen and ink on paper, 6.5” x 5.5” sight. Framed 12” x 11”. 300/500
164
56
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165.
SHERRY SALARI SANDER Montana, b. 1941 “Lab”. Signed and dated “S Sander 85” and marked “13/35”. Mounted on a green marble and wooden base. Titled on brass plaque affixed to base. Bronze, total height 12”. 400/700
165
166.
166
ATTRIBUTED TO ALEXANDER POPE, JR. Massachusetts, 1849-1924 Portrait of a dog. Unsigned. Oil on board, 5.25” x 4”. Unframed. 1,500/2,500
167.
SET OF SIX WEDGWOOD PORCELAIN PLATES “THE AMERICAN SPORTING DOG” Designed by Margaret Kirmse. Depict various dogs and game scenes with a brown oak leaf and gilt border. Includes “Irish Setter”, “English Setter”, “Pointer”, “Gordon Setter”, “English Springer Spaniel” and “Brittany Spaniel”. Diameters 10.75”. 300/400
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57
168.
PRIMITIVE SHOREBIRD DECOY 20th Century Maker unknown. Note attached under the base marked “Funky Kingston shorebird, purchased from Wally and Barbara Holmes of Kingston, bill replaced”. Height 9”. Length 15”. 300/500
169.
COLLECTION OF NINE TIN FOLDING SHOREBIRD DECOYS 19th Century Two yellowlegs, two golden plovers, a black-bellied plover in winter plumage, a black-bellied plover in summer plumage, a peep and two dunlins. Lengths from 7” to 11”. Includes nine original sticks. 1,000/1,500
169, nine
58
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170.
TWELVE TIN FOLDING YELLOWLEGS DECOYS 19th Century Contained in original tin box. Marked “YL” on side of box in black paint. Decoy lengths 12”. Includes original sticks. 1,400/1,800
170
171
171. MASON DECOY FACTORY CHALLENGE GRADE MERGANSER HEN DECOY Detroit, Circa 1900 Glass eyes. Original paint. Never rigged. Length 17”. Previously mounted as a lamp. 2,000/3,000
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59
172.
ROGER MITCHELL HOODED MERGANSER DRAKE DECOY Kingston, Massachusetts, Mid-20th Century Hollow-carved. Glass eyes. Carved wing and tail feathers. Ink stamp on underside. Length 13.75”. 250/350
173.
FOUR GRAYSON CHESSER DECOYS Maryland, 20th Century A mallard hen, a seagull and a pair of green-winged teals. Lengths from 10” to 17”. 300/500
174.
GRAYSON CHESSER MERGANSER HEN DECOY Maryland, 20th Century Carved “C” on underside. Length 19”. 200/300
175.
RON MARINO BLACK DUCK DECOY Milford, Massachusetts, 20th Century Hollow-carved. Head turned slightly left. Glass eyes. Carved feather detail. Signed on underside “Ron Marino”. Length 16.5”. 400/600
176.
JAMES LAPHAM LIFE-SIZE COMMON TERN Dennis Port, Massachusetts, 1909-1987 Glass eyes. Mounted on a shell-carved base. Branded on underside “James Lapham”. Length 12”. 300/500
177.
JAMES LAPHAM LIFE-SIZE QUAIL Dennis Port, Massachusetts, 1909-1987 In flying form. Signed in pen on underside “James Lapham Dennis Port Mass”. Length 7.25”. Wingspan 9.5”. 300/500
178.
ROBERT AND VIRGINIA WARFIELD LIFE-SIZE WOOD THRUSH Jaffrey, New Hampshire, 1976 Perched by a yellow lady slipper. Signed and dated on underside. Height 14.5”. 400/700
179.
PAIR OF MINIATURE WOOD DUCKS ATTRIBUTED TO RUSS BURR Massachusetts, 20th Century Mounted together on a driftwood base. Height 3.5”. Length 11.5”. 350/450
176
177
178
179, pair
60
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180.
NINE MINIATURE BIRD CARVINGS BY JAMES AHERN Stratford, Connecticut, Mid-20th Century A ruffed grouse mounted on a driftwood base, length 4.75”, and eight in flying form, including two ruffed grouse, a gadwall drake, a pintail drake, a wood duck drake, a whitewinged scoter, a brant and a snipe, lengths from 2.5” to 6”. Some signed under wing “J Ahern”. 800/1,200
181.
FIVE HALF MOUNT BIRD CARVINGS BY ROY CONKLIN, JR. Alexandria Bay, New York, 20th Century A pair of ring-necked ducks, a pair of mallards and a ruffed grouse, all in flying form. Grouse stamped on back “Roy Conklin”. Lengths from 8” to 8.75”. 500/800
182.
EIGHT MINIATURE DECOYS BY FRANK ADAMO Massachusetts, Contemporary A Mason-style merganser, a Crowell-style pintail, a Cape Cod-style merganser, two Canada geese, an oldsquaw, an eider and a merganser. All signed “F Adamo”. Lengths from 4” to 8”. 800/1,200
180, nine
181, five
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61
A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 183-199
186.
LIFE-SIZE YELLOW WARBLER Circa 1930 Mounted on a circular wooden base. Rectangular stamp. Signed “A.E. Crowell Cape Cod”. Height 3”. Length 4.5”. 2,500/3,500
187.
MINIATURE MALE RING-NECKED PHEASANT Circa 1930 Mounted on a chip-carved base. Rectangular stamp. Height 4.5”. Length 7.5”. 2,500/3,500
188.
MINIATURE RUFFED GROUSE Circa 1930 Mounted on chip-carved base. Rectangular stamp. Height 4”. Length 4.75”. 1,800/2,000
189.
MINIATURE BOBWHITE QUAIL Circa 1930 Mounted on a chip-carved base. Rectangular stamp. Height 3”. Length 3.5”. 1,800/2,200
190.
MINIATURE WOODCOCK Circa 1930 Mounted on a chip-carved base. Rectangular stamp. Height 3”. Length 6.5”. 1,800/2,200
191.
MINIATURE BOBWHITE QUAIL Circa 1930 Mounted on an oval base. Rectangular stamp. Height 3.5”. Length 6.5”. 1,800/2,200
192.
MINIATURE WOODCOCK Circa 1930 Mounted on a circular wooden base. Round ink stamp. Height 3”. Length 4”. 1,500/2,000
183
184
62
183.
RARE LIFE-SIZE BLUE WARBLER Circa 1948 Glass eyes. Mounted on a driftwood base. Paper label and inscription on underside of base “To Lynat from Elmer C. 1948”. Height 3.5”. Length 4.5”. 1,000/1,500
184.
RARE HALF-SIZE RUFFED GROUSE Circa 1930 Mounted on an oval foliate-painted base. Rectangular stamp. Height 6.75”. Length 7”. 5,000/7,000
193.
LARGE MINIATURE CANVASBACK DRAKE Circa 1930 Rectangular stamp. Height 2.5”. Length 5”. 2,000/2,500
185.
MINIATURE KINGFISHER Circa 1928 Mounted on a driftwood base. Signed on base “A.E. Crowell Cape Cod”. Height 3”. Length 3.5”. 1,500/1,800
194.
LARGE MINIATURE REDHEAD DRAKE Circa 1930 Rectangular stamp. Original paint. Height 3”. Length 4.5”. 2,000/2,500
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185
186 187
188
189
190
191
192
193
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194
63
A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 183-199
195.
GOLDEN PLOVER DECOY Early 20th Century Inset glass eyes. Nicely mottled feather pattern. Split tail. Length 9.25”. 6,000/9,000 From the Mr. & Mrs. Ken DeLong Collection of Bird Carvings.
195
196.
GOLDENEYE HEN DECOY Circa 1920 Low head position. Glass eyes. Original paint with gunning wear. No brand. Length 15.25”. 1,500/2,000
196
64
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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 183-199
197.
GOLDENEYE HEN DECOY Circa 1915 Glass eyes. Carved wings and tail. Traces of original paint, with considerable gunning wear. Prebrand. Length 15.25”. 1,500/2,000
197
198.
REDHEAD DRAKE DECOY Circa 1915 Glass eyes. Traces of original paint. No brand. Length 16”. 1,500/2,000 Information on underside pertaining to a Richard A. Bourne Company auction, Hyannis, Massachusetts, July 22, 1975.
198
199. BLACK DUCK DECOY Second Quarter of the 20th Century Head turned right. Glass eyes. Traces of original paint. Oval brand. Length 16”. 700/1,000
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199
65
200
201
200.
CANADA GOOSE FIELD DECOY Kingston, Massachusetts, Circa 1920 Maker unknown. Owned and used by Alex Holmes, Jr. from a gunning stand in Rocky Nook, Kingston. Length 32”. 500/800
201.
CAPTAIN CLARENCE BAILEY CANVASCOVERED CANADA GOOSE DECOY Kingston, Massachusetts, Early 20th Century Length 26”. 1,000/1,500
202.
CAPTAIN CLARENCE BAILEY OVERSIZE CANVAS-COVERED WHITE-WINGED SCOOTER DECOY Kingston, Massachusetts, Early 20th Century Glass eyes. George Starr Collection stamp. Length 28”. 800/1,200
202
66
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206
203.
TWO CANADA GOOSE DECOYS One in preening form by Carl Cady of Pembroke, Massachusetts, with George Starr Collection stamp, length 24”, and one by Herters, length 19”. 300/500
204.
GOLDENEYE HEN DECOY Southeastern Massachusetts, Early 20th Century Maker unknown. Glass eyes. Length 16”. 250/350
205.
206.
TWO MAINE DECOYS Circa 1930 A goldeneye hen with original paint, including painted eyes, length 12”, and an oldsquaw drake with gunning repaint and wear, length 11.75”. 300/500
GEORGE BOYD CANADA GOOSE DECOY Seabrook, New Hampshire, 1873-1941 Length 26.5”. 1,000/1,500 From the Mr. & Mrs. Ken DeLong Collection of Bird Carvings.
207
207.
GUS WILSON BLACK DUCK DECOY Portland, Maine, Early 20th Century Turned head. Carved eyes and wings. Original paint with considerable gunning wear. Length 15.5”. 3,000/5,000
208.
GOLDENEYE HEN DECOY Ontario, Early 20th Century Maker unknown. Glass eyes. Length 12”. 200/300
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67
209
209.
210.
SPANISH DIRK WITH SHEATH Early 19th Century With steel blade, brass guard, and carved and reeded ebony handle. Leather and brass sheath. Dirk length 11.25”. Sheathed length 13”. 700/1,000
RARE CLUBFOOT FOWLER Bore diameter .75”. Converted to percussion. Lock plate stamped “Farmer 1714”. Appears to be stamped “VC” at rear of barrel. Full tiger maple stock. Length of barrel 45.5”. Total length 61.5”. Includes period ramrod. 500/800
211.
U.S. CONTRACT MUSKET Approx .69 cal. Lock plate stamped “1811 Bidwell Middletown”. Length of barrel 42.5”. Total length 57”. 400/700
212.
U.S. SPRINGFIELD MODEL 1878 TRAPDOOR RIFLE .45-70 cal. Blued finish. Length of barrel 32”. Total length 52”. 300/500
213.
BURNSIDE CARBINE 19th Century .54 cal., Serial #25089. Oval cartouche on left side. Length of barrel 21”. Total length 39.5”. 900/1,200
210
211
212
213
68
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214.
COLT SINGLE-ACTION REVOLVER .32 cal., Serial #150304. Original Colt hard rubber grips. Length of barrel 4.5”. Total length 8.75”. Includes period leather holster. 700/900
214
215
215.
SWISS VETTERLI MODEL M81 BOLT-ACTION RIFLE .41 Swiss cal., Serial #216201. Blued finish. Length of barrel 33”. Total length 51.5”. 150/250
216
216.
217.
* CASED SMITH & WESSON MODEL 617-6 STAINLESS STEEL REVOLVER .22 cal., Serial #CJW4612. Very minor wear. Length of barrel 6”. Total length 11”. 700/1,000
218.
* SMITH & WESSON MODEL 36 SPECIAL REVOLVER .38 cal., Serial #488654. Blued finish. Length of barrel 2”. Total length 6”. 700/1,000
* U.S. SPRINGFIELD M2 BOLT-ACTION RIFLE .22 cal., Serial #2446. Stock stamped “R.A-P”. Length of barrel 24.5”. Total length 43.5”. 500/800
217
218
IMPORTANT NOTICE Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all modern guns be thoroughly checked by a licensed gunsmith.
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69
219, additional view below
219.
70
* CASED PERAZZI MX8 SPECIAL SHOTGUN 12-ga., Serial #79248. Silver receiver etched with a pointing dog. Very minor wear. Length of pull 14.5”. Length of barrel 30”. Total length 47”. Includes a cased set of Briley tubes in 20-ga. and .28 and .410 cal. 6,000/8,000
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220
221
222
220.
* W.W. GREENER SIDE-BY-SIDE SHOTGUN 12-ga., Serial #54798. Barrels choked full and full. Blued finish. Length of pull 13.25”. Length of barrel 29.5”. Total length 45.5”. 700/1,000
221.
* W.W. GREENER SIDE-BY-SIDE SHOTGUN 12-ga., Serial #47955. Barrels choked improved modified. Blued finish. Length of pull 14”. Length of barrel 30”. Total length 46”. 700/1,000
222.
* PARKER V-GRADE SIDE-BY-SIDE SHOTGUN 12-ga., Serial #176375. Length of pull 14.25”. Length of barrel 28”. Total length 44”. Includes leather case. 500/800
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71
IMPORTANT NOTICE Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all modern guns be thoroughly checked by a licensed gunsmith.
223
224
223.
* SKB MODEL 7300 SLIDE-ACTION SHOTGUN 20-ga., Serial #3500269. Vent ribbed barrel. Length of barrel 26”. Total length 47”. 150/250
224.
* BROWNING TWENTYWEIGHT SEMI-AUTOMATIC SHOTGUN 20-ga., Serial #A37191. Vent ribbed barrel. Blued finish. Length of pull 14.25”. Length of barrel 26”. Total length 45.5”. 400/600
225.
226.
* BROWNING MODEL 2000 SEMI-AUTOMATIC SHOTGUN 12-ga., Serial #46452. Vent ribbed barrel. Blued finish. Length of pull 14.5”. Length of barrel 30”. Total length 49.75”. 350/450
227.
* TWO BROWNING A5 SEMI-AUTOMATIC SHOTGUNS 1) 12-ga., Serial #37319. Length of barrel 28”. Total length 47”. 2) 12-ga., Serial #134322. Length of barrel 30”. Total length 49”. 200/400
* BROWNING TWELVETTE SEMI-AUTOMATIC SHOTGUN 12-ga., Serial #17395. Silver receiver. Length of barrel 26”. Total length 45”. 300/500
225
226
72
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228
229
228.
* REMINGTON MODEL 12-C SLIDE-ACTION RIFLE .22 cal., Serial #588583. Blued finish. Length of barrel 24”. Total length 40.5”. 250/350
229.
BENJAMIN MODEL NO. 700 AIR RIFLE Early 20th Century Brass barrel. Length of barrel 23”. Total length 34.5”. 300/500
230.
231.
TWO MUSKETS 19th Century 1) English Tower musket. Approx. .75 cal. Lock plate stamped “Tower GR”. Length of barrel 42”. Total length 58”. 2) U.S. Harper’s Ferry-marked percussion conversion musket. .69 cal. Lock plate stamped “Harper’s Ferry 1855”. Length of barrel 32”. Total length 48”. 600/1,000
232.
FIVE MUSKETS Lengths from 51” to 57”.
19th Century 600/1,000
REMINGTON ROLLING BLOCK RIFLE Length of barrel 44”. Total length 49”. Includes bayonet. 150/250
231, two above and below
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73
233.
AFTER FREDERIC SACKRIDER REMINGTON America, 20th Century American Indians on horseback. Signed lower right “John E. Niebel”. Watercolor on paper, 24” x 36” sight. Framed 29.5” x 41”. 500/800
233
234.
NAVAJO RUG Early 20th Century Central diamond design in shades of brown, red and gray. Brown and red border. 4’1” x 7’0”. 500/800
235.
HOPI BLANKET Early 20th Century Black, red, yellow and white striped pattern. 44” x 52”. 400/600
234
235
74
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236.
NAVAJO GERMANTOWN BLANKET Early 20th Century Eye dazzler motif on a red ground. 43” x 24”. Framed 51” x 29”. 300/500
237.
SOUTHWEST AMERICAN CHIMAYO RUG Circa 1920 Central medallion on a blue and white striped ground. 4’0” x 6’5”. 300/500
238.
SOUTHWEST AMERICAN CHIMAYO RUG Circa 1920 Central black, red and gray medallion on a white, black and red ground. 4’2” x 6’8”. 300/500
238
239.
PIMA WOVEN BASKET Late 19th/Early 20th Century Height 5”. Length 13”. Width 11”. 500/700
240.
APACHE WOVEN BASKET Late 19th/Early 20th Century Height 16”. Diameter 11.5”. 600/800
239
240
241.
FIVE PIMA BASKETS Early 20th Century One conical form, the rest circular. Tallest height 5.25”. Diameters from 9.25” to 17”. 500/700
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75
243
242.
KEWA, FORMERLY SANTO DOMINGO, PUEBLO DEPRESSION-ERA THUNDERBIRD TAB NECKLACE New Mexico, 1930s Shell beads, turquoise chips and found objects. 200/300 Provenance: Hiram Bingham III (1875-1956), and then by descent. Bingham is credited with the modern rediscovery of Machu Picchu in 1911, while a professor of South American history at Yale. He later served Connecticut as a lieutenant governor, governor, and U.S. senator. Per the consignor, Bingham’s descendant, the necklace was a gift from Amelia Hollenback. Hollenback is best known for her 1897 book Immortal Summer: A Victorian Woman’s Travels in the Southwest.
76
243.
EANGER IRVING COUSE New Mexico/New York/Michigan/France, 1866-1936 Herding sheep at sunset. Signed lower right “E.I. Couse”. Oil on canvas, 12” x 16”. Framed 16” x 20”. 4,000/6,000 While primarily associated with his iconic portraits of Native Americans, Eanger Irving Couse spent his early years in France, where he studied under Adolphe Bouguereau and Robert Fleury at the Academie Julian. Over that time he painted many bucolic scenes of the French countryside.
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244
244.
ALFRED H. HUTTY New York/South Carolina/Michigan, 1877-1954 Pines. Signed lower right “Alfred Hutty”. Inscribed in pencil lower left margin under mat “First Publication of American College Society of Print Collectors, Dec. 10, 1930, Marques E. Reitzel, Chairman”. Drypoint etching, 9” x 7.5” to the plate line. Framed 14” x 12”. 500/700
245.
WILLIAM CRUIKSHANK America/United Kingdom, 1848-1922 Bird and a nest. Signed lower right “W. Cruikshank”. Watercolor on paper, 9” x 11.5” sight. Framed 16.5” x 19.5”. 500/700
245
246.
LAURENCE PHILIP SISSON Massachusetts/Maine/New Mexico, 1928-2015 Mountains and trees. Signed lower left “L Sisson”. Wadle Gallery label verso. Oil on masonite, 16” x 20”. Framed 24” x 28”. 800/1,200
247.
HARRY B. WAGONER California/Illinois/Arizona/Indiana, 1889-1950 “Spring in the Desert Palm Springs Calif 1930”. Signed lower right “H.B. Wagoner”. Titled in pencil verso. Oil on canvas, 18” x 26”. Framed 25” x 33”. 1,000/1,500
246
247
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77
248
249
250
251
78
248.
NAVAJO RUG 20th Century Geometric design in shades of brown and gray on an offwhite field. 2’7” x 3’7”. 250/350
250.
NAVAJO RUG 20th Century White, brown and light brown geometric designs on a gray ground. Brown and white border. 2’11” x 3’9”. 250/300
249.
NAVAJO RUG Early 20th Century Brown and white stars and geometric designs on a gray ground. Brown border. 5’6” x 6’3”. 400/600
251.
NAVAJO RUG 20th Century Brown and gray geometric designs on an off-white ground interrupted by red stripes. 2’9” x 4’6”. 250/350
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252.
AFTER ALEXANDER FRANCOIS LOEMANS America, Late 19th Century American Indians in the Rocky Mountains. Initialed lower right “AW”. Aaron Draper Shattuck stretcher keys. Oil on canvas, 26” x 34.5”. Framed 31.5” x 40.5”. 500/1,000
252
253.
NAVAJO WEARING BLANKET Circa 1940 Green, black and red striped design. 97” x 30”. 400/600
253
254. 254
CEREMONIAL OR TROPHY TOOTH NECKLACE Believed to be from the Asmat Tribe of Western New Guinea, Early 20th Century. Teeth are drilled and strung on a fiber cord that is bound in a continuous loop. Necklace length approx. 30”. Teeth lengths approx. 1.25”. 300/400
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79
257
255.
259
258
FOUR HAWAIIAN SHELL LEIS Circa 1890 All made from small seashells, one iridescent. Lengths from 26” to 70”. 200/300 Provenance: Hiram Bingham III (1875-1956), and then by descent. Bingham is credited with the modern rediscovery of Machu Picchu in 1911, while a professor of South American history at Yale. He later served Connecticut as a lieutenant governor, governor, and U.S. senator. He was born in Honolulu, Hawaii to Protestant missionaries.
256.
SOUTH PACIFIC GIANT CLAM SHELL Tridacna Gigas shell. Height approx. 6.25”. Length approx. 18”. 400/700
257.
INUIT CARVED WALRUS IVORY TUPILAK First Half of the 20th Century Inset ebony eyes. Height 5.5”. 1,000/1,500
260
258.
ESKIMO CARVED AND ENGRAVED WALRUS TUSK Early 20th Century In the form of a walrus’s head. Height 4”. 500/700
259.
ESKIMO RELIEF-CARVED AND ENGRAVED WHALE’S TOOTH 20th Century Depicts a whale. Length 4.5”. 500/700
260.
ESKIMO CARVED WALRUS IVORY AMULET First Half of the 20th Century One end carved as a fearsome creature, with a wide toothy grimace, big round eyes and ears pointed back. Opposite end retains the natural shape of the walrus tusk. Pierced with hole for hanging. Length 6”. 300/500
A tupilak, or tupilaq, is an avenging monster fabricated by a practitioner of witchcraft, to be placed in the water to seek and destroy a specific enemy.
80
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261.
NORTHWEST COASTAL CARVED AND POLYCHROMED WALRUS IVORY TOTEM First Half of the 20th Century Carved with birds and human-like figures. Affixed to a wooden base. Total height 9.5”. 400/600
262.
NORTHWEST COASTAL CARVED WALRUS IVORY TOTEM Early 20th Century Carved with animals and mythical figures. Mounted to a whalebone base. Total height 10”. 300/500
263. 261
ESKIMO CARVED IVORY AMULET Late 19th Century Believed to be made from a polar bear tooth. Upper half in the form of a man with his arms clenched to his chest. Hole drilled through the center for suspending from a string. Length 3.25”. 300/500
263 262
264.
FRAN JENKINS British Columbia, b. 1933 A bear. Signed on bottom “Fran 773”. Soapstone carving, height 9”. Length 16”. 300/500 265
265.
CARVING KNIFE WITH TLINGIT CARVED WALRUS IVORY HANDLE Early 20th Century Handle relief-carved with totems in a landscape. Bolster marked “Sterling” and “TG”. Steel blade. Length 15.5”. 300/400
266.
BONE PIE CRIMPER Early 20th Century In the form of a hatted and bearded sailor. Probably Inuit. On a contemporary stand. Height 6.75”. 500/800
266
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81
267, obverse and reverse
267.
ESKIMO POLYCHROME ENGRAVED WALRUS TUSK Dated 1992 Both sides depict busy and brightly colored scenes of Eskimo life, covering nearly the entire surface. One side depicts a village with numerous figures, caribou and igloos. The other side depicts walrus and seal hunting on the ice, with some figures in boats, some walking on the ice, and two polar bears. Signed on base and dated 1992. Length 20”. 1,200/1,500 268.
ESKIMO CARVED AND ENGRAVED WALRUS TUSK CRIBBAGE BOARD 20th Century One end carved and engraved to resemble a walrus’s head, with a removable extended tongue. Top with pierced game board and engraved decoration of a polar bear in the water, a walrus on an ice floe, and small vignettes of birds, rabbits and seals. Seal-form feet. No signature noted. Length 16.5”. 500/700
268
82
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269.
WHALEBONE CANE 19th Century Ball-form handle. Shaft with spiral carving on upper half. Length 34.75”. 400/600
270.
WHALEBONE CANE 19th Century Flattened knob handle. Shaft with sections of fluted and spiral carvings. Length 37.5”. 500/800
271.
WHALEBONE CANE SIMULATING A BAMBOO STALK 19th Century Length 36.25”. 500/800
272.
CANE WITH EXCEPTIONAL CARVED IVORY HANDLE 19th Century Handle carved as a hand grasping a cane, with ruffled and spiral-carved cuffs. Wooden shaft. Length 36”. 500/800
273.
WOODEN CANE WITH GORHAM STERLING SILVER URN-FORM HANDLE Length 36”. 200/300
274.
WOODEN CANE WITH HANDLE CARVED IN THE FORM OF AN ALLIGATOR Late 19th/Early 20th Century Length 37”. 200/300
269
271
272
270
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83
275.
* WHALE’S TOOTH CARVED AND ENGRAVED IN THE FORM OF A PENGUIN 20th Century Wearing a top hat and with a cane tucked under one wing. Height 5.25”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 800/1,000
276. 275
JED S. FOSTER America, 20th Century Three watercolor views of Nantucket, Massachusetts: 1) “Beached Nantucket”, depicting boats beached by Nantucket Wharf. Titled on mat. Signed lower right “JSF”. 8” x 10” sight. Framed 12.75” x 15.75”. 2) “Nantucket Harbor 1953”. Signed in pencil verso “JS Foster”. Titled verso. 7.5” x 9.5” sight. Framed 9” x 11”. 3) Boats in Nantucket Harbor. Unsigned. 7.75” x 10” sight. Framed 14.5” x 15”. 800/1,200
276, three
277.
PRIMITIVE WHALE SCULPTURE Wooden body with copper fins. Mounted on a wooden block. Total height 24”. Length 41.5”. 250/300
277
84
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278
278.
ORIGINAL SHOP SIGN FOR NANTUCKET FOLK ARTIST ALETHA MACY Mid-19th Century Pine quarterboard-style sign with “Macy’s Shop” in carved and white-painted lettering against a black ground with white border. Carved foliate design at ends. 6.5” x 62”. 700/1,000 Aletha Macy opened her shop on Madaket Road on Nantucket in the 1950s. She was known for small whale carvings that were placed on “whaleboards” and used atop Nantucket basket purses woven by Jose Formosa Reyes. Macy died in 1971 and the sign was purchased at the estate sale.
279.
“NANTUCKET” WHALE-FORM SIGN Contemporary In pine. Painted white letters on a blue ground. Length 35”. 250/350
280.
DAVIS HALL NANTUCKET BASKET 1828-1906 Oval, with swing handle. Retains original label. Height excluding handle 5”. Length 12”. 700/1,000 280
281.
NANTUCKET BASKET Circa 1910 Round, with swing handle. Height excluding handle 6”. Diameter 9”. 700/1,000
282.
TWO NANTUCKET BASKETS Contemporary A wine bottle holder signed and dated on underside “Wieskamp 2005”, height 7.75” (excluding swing handle), and a compote signed on underside “King”, height 7” and diameter 12”. 400/600
281
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85
284
283
283.
285
86
IRVING BRIGGS Cape Cod, Massachusetts, 1925-2014 Carved wooden whale. Length 28”.
400/700
284.
IRVING BRIGGS Cape Cod, Massachusetts, 1925-2014 Mobile of five carved wooden whales. Whale lengths from 6.5” to 9”. 600/900
285.
CARVED AND PAINTED WOODEN WHIRLIGIG Contemporary In the form of a sea captain. Height 45.5”. 400/700
286.
PAIR OF SAILOR-MADE ROPEWORK SEA CHEST HANDLES 19th Century Painted red, white and blue. Lengths 9.5”. 350/450
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287.
TWO-MASTED SLOOP DIORAMA America, Early 20th Century Sloop with white sails and an orange and white hull on a primitive seascape-painted board. Height 20”. Width 16.5”. 300/500
287
288.
YACHT’S QUARTERBOARD “ANGELEAK” America, 20th Century Scrolled ribband-form quarterboard with gilt lettering on a black ground. Purportedly from a Mystic, Connecticut yacht. 9” x 82”. 300/400
288
289.
BLUE-PAINTED PINE SEA CHEST Mid-19th Century Vivid blue paint. Impressive ropework handles. Height 19”. Width 50.75”. Depth 19.75”. 300/500
290.
289
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CHARLES FAWCETT MANUFACTURING COMPANY YACHT STOVE “THE LITTLE COD” Early 20th Century Molded cod decoration on front. Height 11”. Width 17”. Depth 11.5”. 200/300
87
291
291.
ALBERT ALLAN DAVIDSON Massachusetts, 1908-1988 “Gloucester Schooner Docking”. Signed and dated lower right “Albert Allan Davidson 1939”. Watercolor on paper, 27” x 19”. Framed 37” x 28.5”. 300/500
292.
ATTRIBUTED TO PETER REES ROBERTS England, 1923-1998 Catboat underway. Signed and dated lower left “P Roberts 68”. Oil on canvas, 20” x 16”. Framed 25” x 22”. 800/1,200
293.
BURTON KEELER New York, 20th Century Dock workers. Signed lower left “Burton Keeler”. Oil on canvas, 10.5” x 13.5” sight. Framed 16.5” x 18”. 400/600
293
292
88
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294.
SAILOR-MADE MODEL OF THE BRIGANTINE IMOGENE. W. Late 19th/Early 20th Century Under original milk white paint with green bootstripe and green bottom. Nicely carved figurehead, trailboards and ribbon-form sternboards. Displayed on a mahogany stand. Height on stand 34”. Length approx. 41.5”. 500/700
294
295.
SEA CAPTAIN’S CHEST 19th Century In pine, under red paint. Top attached with brass hinges. Full-width drawer with circular brass knobs. Brass bail handles at sides. Height 11.5”. Width 17”. Depth 12”. 400/700
295
296.
EIGHT-SPOKE SHIP’S WHEEL 19th Century Wooden wheel with brass hub and brass inlay on rim. Diameter 30”. 200/300 Provenance: The Estate of a Massachusetts Collector.
297.
RARE WORLD WAR II-ERA SUBMARINE BINNACLE KNOWN AS “THE FAITHFUL FREDDIE” England, Early to Mid-20th Century Produced for the Royal Navy from 1909 until just after World War II and widely used in submarines because its small size cleared the narrow passageways. Brass plaque stamped “PATT 189 2219 K”. Lacks compensating balls. 296 Wood base with brass attachments. Height 19”. Width 18”. 300/500
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89
298
299
300
298.
JAMES HAMILTON Pennsylvania/California, 1819-1878 “Storm Warning”. Signed faintly lower left “J. Hamilton”. Titled on frame plaque. Oil on canvas, 14” x 24”. Framed 21” x 31”. 1,000/1,500
301
300.
AMERICAN SCHOOL 19th Century Boat on the rocks. This work by an unknown American artist appears to be influenced by Albert Bierstadt’s 1859 work “Beached Ship”. Frost & Adams label verso. Oil on canvas, 8” x 10”. Framed 12” x 14”. 400/600 Provenance: A New Hampshire Collection of Paintings.
299.
90
WILLIAM H. WEISMAN Massachusetts/Pennsylvania/New Hampshire, 1840-1922 Coastal sunset. Signed and dated lower left “W.H.W. 1873”. Oil on board, 10.5” x 17”. Framed 15.5” x 23”. 1,500/2,500
301.
FREDERICK A. WINKFIELD United Kingdom, active 1873-1920 Sunset over a harbor. Signed lower left “F.A. Winkfield”. Oil on canvas, 16” x 26”. Framed 19 “ x 29”. 1,200/1,800
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302
302.
303.
ARTIFACT FROM THE SHIPWRECK OF THE QUANNAPOWITT OFF CAPE COD Section of the mid-ship or bow of the schooner, which wrecked off Wellfleet, Massachusetts, in November 1913. Artifact includes an original cast iron scupper, embedded line sheave, probably for foremast or anchor, and the frame for a deck rail and scupper. Several pieces from this shipwreck washed ashore, notably the main boom that was re-purposed to serve as the lower spar of the Wellfleet Town Hall flagpole. Approx. 63” x 12” x 15”. Approx 125 lbs. 800/1,200
CONTINENTAL SCHOOL 19th Century A sidewheeler in stormy seas. Unsigned. Oil on canvas, 27” x 39.5”. Framed 33” x 46”. 800/1,200
303
304.
MODEL OF THE SCHOONER BENJAMIN W LATHAM 20th Century Hull painted red and black. Height 28”. Length 32”. 400/600
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91
305.
PAIR OF MOTHER-OF-PEARL AND MAHOGANY YACHT SCONCES First Quarter of the 20th Century Arched reflectors and dish-form backs inlaid with mother-of-pearl tiles and edged in silver. Bone sockets and pans on weighted ball gimbal mounts. Heights 22”. Widths 10.25”. 2,000/3,000 Provenance: Skinner, Inc., Americana Auction, August 8, 2015, Lot #246.
306.
SIGNED SHERATON CAPTAIN’S DESK Salem or Boston, Massachusetts, Dated 1823 In mahogany and mahogany veneer. Top folds open to reveal a slanted writing surface and three varied side-by-side drawers. Hinged writing slant lifts to reveal open compartments. Case with two full-width cock bead-molded drawers and nicely tapered reeded legs. Signed in ink on interior “ ...capty own work on Monday August 4th 1823”, with other ink and pencil inscriptions including “Salem” and “Boston”. Height 36.75”. Width 35.75”. Depth 18.25”. 800/1,200
307.
MOUNTED HALF HULL MODEL 19th Century Wooden model painted black. Backboard 6.75” x 35.25”. 250/350
308.
THREE MOUNTED HALF HULL MODELS Wooden models, one painted black, one painted brown and one with natural brown stain. Backboards painted red and gold, green and black. Backboard lengths 22.5”, 23” and 23.5”. 500/800
309.
MOUNTED HALF HULL MODEL OF A BALTIMORE CLIPPER Identified on plaque. Backboard 9.5” x 33”. 400/700
310.
TEN-SPOKE SHIP’S WHEEL Brown-painted wood wheel with brass. Diameter 60”.
305, pair
306
92
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300/500
311.
SALVATORE COLACICCO Canada/United Kingdom/Italy, b. 1935 Steam freighter. Signed lower left “Colacicco”. Oil on panel, 17.5” x 26”. Framed 20” x 29”. 1,400/1,800
311
312.
AMERICAN SCHOOL 19th Century Portrait of a steam/sail sidewheeler with the No. 2 pilot boat off her bow. Initialed on hull above wheel “PMSSC”, likely for Pacific Mail Steam Ship Company. Well-detailed deck with numerous figures and an eagle and patriotic banners on the panel above the wheel. Unsigned. Oil on canvas, 23” x 39.5”. Framed 27” x 44”. 2,000/3,000
312
313.
ATTRIBUTED TO CLEMENT DREW Massachusetts, 1806-1889 “Barque Vesuvius in a Heavy Gale ... FW Call Master”. Unsigned. Oil on canvas, 18.25” x 23.5”. Framed 22.25” x 27.75”. 800/1,200
313
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93
314.
MARSHALL JOHNSON Massachusetts, 1850-1921 Brigantine off a coast. Signed lower left “Marshall Johnson”. Oil on canvas, 10” x 14”. Framed 13” x 17”. 800/1,200 Provenance: Private Collection, Cape Cod, Massachusetts. Eldred’s, November 22, 2008, Lot #1020. A New Hampshire Collection of Paintings.
314
315.
MARSHALL JOHNSON Massachusetts, 1850-1921 Gunnery ship in a storm. Signed lower left “Marshall Johnson”. Oil on canvas, 17.75” x 23.5”. Framed 21” x 27”. 800/1,200
315
316.
FREDERIC SCHILLER COZZENS New York, 1846-1928 The New York Harbor tug Admiral Dewey. Signed and dated lower left “Fred S. Cozzens 1900”. Vessel identified on frame plaque. Watercolor on paper, 15.25” x 28.25” sight. Framed 28” x 40”. 1,500/2,000
316
Provenance: Private Collection, California. Thomaston Place, Thomaston, Maine, August 22, 2009, Lot #94.
317.
CLEMENT SWIFT Massachusetts, 1846-1918 Moonlit scene of a sailboat by the shore. Signed lower left “Clement Swift”. Oil on canvas, 16” x 26”. Framed 20.75” x 30.25”. 450/550
317
94
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318.
JAMES GALE TYLER New York/Connecticut, 1855-1931 A tug passing ships at dock. Signed lower left “J.G. Tyler”. Oil on canvas, 22” x 18”. Framed 33” x 29”. 4,000/6,000 Provenance: Private Collection, New Jersey. Private Collection, Massachusetts.
319.
JAMES GALE TYLER Connecticut/New York, 1855-1931 Sailboat on windy waters. Signed lower right “J.G. Tyler”. Oil on board, 10” x 8”. Framed 15.5” x 13.5”. 500/700
320.
JAMES GALE TYLER Connecticut/New York, 1855-1931 Paddle steamer. Signed lower right “J.G. Tyler”. Oil on board, 10” x 8”. Framed 15.5” x 13.5”. 500/700
319
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318
320
95
321
321.
LIVERPOOL PITCHER Late 18th/Early 19th Century Three polychrome transfers depict an American flagged ship, an American eagle with a shield, and a sea captain surrounded by poetic verses. Height 9”. 800/1,200
322.
LIVERPOOL PITCHER 19th Century Transfers of a Masonic design on one side and a twomasted ship on the other. Height 7.75”. 300/500
323.
LIVERPOOL PITCHER Late 18th/19th Century Together with a later transferware pitcher depicting a “Mariners Arms / Success to Commerce” scene, a clipper ship, and a verse surrounded by a floral vine border, and with blue painted borders and foliate decoration. Liverpool pitcher with grisaille scenes, one depicting “Hope” and the other “East Indiaman Taking a Pilot on Board.” Retains a business card for Alexandre Raghinsky Antiques, London, with a handwritten receipt verso indicating the pitcher was purchased for £10 in 1962. Heights 5.75” and 8”. 400/700
322
323, two
324.
325.
96
SAUNDERS & COOKE GIMBALED STICK BAROMETER Portsmouth, New Hampshire, 19th Century Brass and mahogany. Height 37”. 600/1,000
TWENTY-ONE COPIES OF CAPTAIN MARRYAT’S NOVELS Made exclusively for members of Larchmont Yacht Club. 500/800
324
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326.
RARE DOUBLE SAILOR’S VALENTINE 19th Century Composed of multicolored shells. Left side with floral designs. Right side with “Think Of Me”. Octagonal hinged wooden case. Each side 9” x 9”. 1,000/1,500 326
327.
CONTINENTAL SCHOOL 19th Century Beach scene with figures observing fishing boards. Unsigned. Oil on wooden panel, 14” x 19.25”. Framed 19.5” x 24.75”. 1,000/2,000
327
328.
PEWTER YACHT RACING TROPHY FROM THE WIANNO YACHT CLUB, OSTERVILLE, MASSACHUSETTS Dated 1902 Vase-form trophy with raised leaf and flower design and etched presentation “Wianno Yacht Club Match Races. Attila vs Barracouta Sept 16th-20th-25th -1902 - Won by Attila”. Mahogany base with pewter ring marked with race times and results. Height 15”. 300/500
328
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97
329.
ENGLISH WOOLWORK PICTURE DEPICTING A SHIP AND A FLORAL VINE 19th Century Full-length photograph portraits of a sailor and his wife inset at lower half. Swagged curtain design about perimeter. 12.75” x 12.75” sight. Framed 17” x 17”. 800/1,200
329
330.
WOODEN FOUR-MASTED SCHOONER WEATHER VANE 20th Century Black and blue hull. Height 29.5”. Length 60”. 500/700
330
331.
MCLOUGHLIN BROTHERS PUZZLE DEPICTING THE STEAMBOAT CITY OF WORCESTER America, Circa 1890 Lithographed wooden puzzle pieces. Assembled and framed. Framed 13.5” x 38.5”. 200/250 Provenance: The Estate of a Massachusetts Collector.
98
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332.
CONTINENTAL SCHOOL 19th Century “Ship Hannah Crooker of Bath ...”. Signed and dated lower right “H. Cassinelli au Harve 1849”. Possibly Horacio Cassinelli. Watercolor and gouache on paper, 16.5” x 23”. Framed 20” x 27”. 800/1,000
332
333.
CURRIER & IVES LITHOGRAPH “THE NEW EXCURSION STEAMER COLUMBIA. ‘GEM OF THE OCEAN’...” America, Circa 1877 After Charles R. Parsons and Lyman W. Atwater. Gale no. 4802. 23.25” x 35.25” sight. Framed 29.5” x 42”. 600/800 Provenance: The Estate of a Massachusetts Collector.
333
334.
SAILMAKER’S CHEST 19th Century With lift top, fitted interior and shallow drawer. Filled with tools, sailor-made items and other miscellany. Height 11.5”. Width 20.5”. Depth 13”. 1,200/1,800
334
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99
335
335.
CHINESE SCHOOL Mid-19th Century Fishing vessels off the coast. Unsigned. Oil on canvas laid down on board, 16” x 31”. Framed 19.5” x 34.5”. 4,000/6,000 Provenance: Private Collection, North Carolina.
336.
CHINESE EXPORT CELADON PORCELAIN VASE 19th Century Extensive raised insect, fan, flower and other designs. Ruffled rim. Gilt foo dog handles at sides of neck. Height 25.25”. 1,500/1,800
336
100
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337.
UNUSUAL ANGLO-INDIAN INLAID MAHOGANY DRESSER BOX 19th Century Shaped cornice. Two paneled doors with raised floral decoration over a secretary drawer with writing surface and compartments. Doors enclose a glass panel over a single drawer. Bun feet. Height 14.5”. Width 15.75”. Depth 8”. 400/600
337
338.
LARGE CHINESE EXPORT ROSE MANDARIN PUNCH BOWL 19th Century Height 7.25”. Diameter 18.75”. 1,200/1,800
338
339.
ASSEMBLED SET OF CHINESE EXPORT ARMORIAL PORCELAIN Includes an octagonal platter, length 12.75”, an oval platter, length 17.25”, a soup tureen with liner, diameter 7.75”, a plate, diameter 7.5”, and a covered tea caddy, height 5”. Also includes a covered tureen sans armorial decoration, length 13”. 300/500 339
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101
340.
CHINESE EXPORT BLUE AND WHITE PORCELAIN SHALLOW SOUP BOWL Second Quarter of the 19th Century Diameter 9.5”. 800/1,200 A similar example is illustrated in Views of The Pearl River Delta by William R. Sargent, et al.
341.
PAIR OF CHINESE EXPORT “SACRED BIRD AND BUTTERFLY” PORCELAIN COVERED VEGETABLE DISHES 19th Century With gilt highlights and chestnut-form knops. Heights 6”. Lengths 9”. Widths 7”. 400/600
340
341, pair
342.
CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN COVERED SOUP TUREEN Second Quarter of the 19th Century Cover with fruit-form finial. Tureen with applied twist handles. Height 9”. Length 12.5”. Width 10”. 800/1,200 342
343.
SET OF FOUR CHINESE EXPORT BLUE AND WHITE PORCELAIN OCTAGONAL BERRY BOWLS Second Quarter of the 19th Century Diameters 6.25”. 1,500/2,000 Similar examples are illustrated in Views of The Pearl River Delta by William R. Sargent, et al.
343, four
102
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344
344.
345.
346.
SET OF CHINESE EXPORT ARMORIAL PORCELAIN 19th Century Includes two shallow bowls, diameters 9.75”, two plates, diameters 9.75”, three oblong teapot stands, lengths 7.25”, and a nesting set of six platters, lengths from 8.5” to 17”. 3,000/5,000
347.
TWO NEARLY IDENTICAL CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN BOWLS Second Quarter of the 19th Century Diameters 5.75”. 300/500
348.
PAIR OF CHINESE EXPORT BLUE AND WHITE NANKING PORCELAIN SHALLOW BOWLS Mid-19th Century With ruffled scalloped edges. Diameters 7”. 250/350
349.
CHINESE EXPORT ROSE MEDALLION PORCELAIN BOTTLE VASE 19th Century With dragon-form handles, and figural and bird decoration. Height 8.5”. 250/350
CHINESE BRASS-BOUND CAMPHORWOOD TRUNK Mid-19th Century Brass carrying handles at sides. Height 19”. Width 40”. Depth 21”. On a contemporary stand. Total height 38”. 500/700
CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN COVERED VEGETABLE DISH Second Quarter of the 19th Century Cover with gilt fruit-form finial. Height 5.25”. Length 9.75”. Width 8.75”. 250/350
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103
selections from
The Kelton Collection Eldred’s is pleased to offer maritime art and artifacts from the Kelton Collection over a series of auctions this year, including the thirty-nine lots presented here. Richard Kelton was intrigued by the search for speed and trade that happened between the United Kingdom, America and China in the 19th Century. An integral part of this trade were the ships that transported the goods and people, the “Packet” and “Clipper” ships, each vying to be the fastest. Known as the “Clipper Ship Era”, this period in history began in 1843 with the demand for rapid delivery of goods from China and England, continued with the demands of the California Gold Rush, and ended with the opening of the Suez Canal in 1869. With these selections, we see an important group of Nathaniel Currier prints, depicting the most famous American ships of the period. These prints documented and captured their importance and preserved their history. The ship portraits by American, British and Chinese artists shows the different styles the artists used to portray these ships, often depicting them upon arrival in a specific port or coast. With the advent of the steam age many of these ships were sold, wrecked or broken up as they were unable to keep pace with the newer steam vessels.
350.
CHINESE SCHOOL Circa 1856 American clipper Daring at Hong Kong, flying the Bush & Comstock house flag. For the China Trade. Oil on canvas, 30.75” x 44.75”. Framed 36” x 50.5”. 6,000/8,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1995.
350
104
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The clipper ship Telegraph is seen here arriving at Whampoa for the first time, with Thomas Hunt’s floating home depicted at her stern. She was launched at the shipyard of J.O. Curtis, Medford, Massachusetts, for Phineas & S. Sprague & Co., Boston. In May 1851, under the command of Captain Kimball Harlow, she sailed from New York to San Francisco in 127 days, followed by a voyage in July 1852 from Whampoa to London. On December 1854, on a voyage from New Orleans to Europe, she collided with the ship Spark of the Ocean, just three days out. In the collision the Telegraph lost her main topgallant mast, foretop mast and jib-boom. The damages were repaired at sea and the ship arrived in San Francisco in 111 days. She was sold for $34,000 in 1856, then caught fire and was scuttled in January of 1857. Her hulk was raised and repaired and she was renamed Henry Brigham. After being sold two more times she was burned at sea in 1868.
351
The East Boston ship Agenor was built and launched in 1870 by Curtis & Smith for the Boston firm of E. Williams & Co. Her fastest passage around Cape Horn westward was 120 days from New York to San Francisco in 1876, and her fastest passage eastward from San Francisco to Antwerp was 113 days in 1882. She was laid up in San Francisco from October 1891 to July 1893 due to lack of business. She serviced the Puget Sound lumber trade but was sold to the American company Sale & Frazer in Yokohama. She was wrecked on a Kobe wheat run.
352
351.
NAM CHEONG China, fl. 1845-1875 The American clipper ship Telegraph arriving at Whampoa, circa 1852. Oil on canvas, 27.25” x 36”. Framed 33.75” x 42.5”. 4,000/6,000 Provenance: Samuel Lowe, Boston. Skinner, Inc., Bolton, Massachusetts, Americana Auction, June 1991.
352.
LEE HENG China, 19th Century China Trade portrait of the ship Agenor in Chinese waters, circa 1871. Oil on canvas, relined, 20.75” x 26”. Framed 25.75” x 31”. 2,500/3,500 Provenance: Eldred’s, Spring Americana Auction, 1995.
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105
selections from
T H E K E LT O N C O L L E C T I O N 353.
CHINESE SCHOOL 19th Century China Trade portrait of the Admiral of San Francisco under shortened sail, circa 1865. Identified by label on back of stretcher. Oil on canvas, 18” x 23.5”. Framed 24.75” x 30.5”. 1,000/1,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1998.
354.
353
ENDICOTT & CO. HAND-COLORED LITHOGRAPH “STEAMER FIRE CRACKER” Circa 1866 21” x 35.5” sight. Framed 30.75” x 44.75”. 500/700 Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts. Northeast Auctions, Portsmouth, New Hampshire, 1998.
The cover of Anglo-American Steamship Rivalry in China, 1862-1874 by Kwang-Ching Liu (Rainbow Bridge Book Co., 1962) depicts the Fire Cracker on the Yangtze River, passing the Shanghai Bund. The cover painting, by an unknown Chinese artist, is in the collection of the Peabody Essex Museum in Salem, Massachusetts. The steamer Fire Cracker was built by John English in 1862 in New York, and her engines by Neptune Iron Works. With a 60-inch cylinder and a 12foot stroke, she was 1040 gross tons. Fire Cracker was originally operated on the Yangtze River by the British firm Lindsay & Co. in 1864.
355.
REGINALD ARTHUR BORSTEL Australia, 1875-1922 Hermaphrodite schooner Hesperian. Signed and dated lower left “RA Borstal 1920”. Titled lower center. Inscribed lower right “Harris & Laidlaw 210 Sussex St., Sydney NSW”. Oil on canvas, 20” x 30.25”. Framed 25.5” x 36”. 2,000/3,000
354
Provenance: Russel Haveside Company, San Francisco. Vallejo Gallery, Newport Beach, California, 1998.
355
106
The four-masted barkentine Hesperian was built in 1918 as sister ship to Conqueror, the first two large ships built by Rolph Shipbuilding Co. During her career, she made voyages between West Coast ports and Australia, New Zealand and South Africa. Her last voyage was Wellington to San Francisco in 1924. She was then laid up in Antioch where she was broken up in 1937.
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356.
ATTRIBUTED TO CHARLES J. WALDRON United Kingdom, 1836-1891 The clipper ship Kingfisher off Liverpool, circa 1867. Oil on canvas, 24” x 36”. Framed 32.25” x 44.25”. 4,000/6,000 Provenance: Captain Harding, the captain of Kingfisher, 1866-1868. The daughter of Captain Harding. Ted Thomas, Concord, Massachusetts, acquired from the above, 1934. Skinner Inc., Bolton, Massachusetts, October 1998. 356
Kingfisher was built by Hayden & Cudworth at Thatcher Magoun’s yard in Medford, Massachusetts. She made six westward California passages out of Boston and New York between 1853 and 1864. In 1866 she returned to New York via Liverpool, which was then followed by three passages between Hong Kong and San Francisco. She was condemned at Montevideo in 1871, sold, repaired, and went under the Uruguayan flag as Jamie Cibils until broken up for scrap in 1890.
357
Built by Donald McKay (America, 1810-1880) for Enoch Train & Company’s White Diamond Line, the Staffordshire was one of the few clippers built for transatlantic packet service. On her first run in May 1851, she sailed from Boston to Liverpool in 14 days. In August of the same year, Train hired veteran clipper captain Josiah Richardson to take Staffordshire to San Francisco, which he did in a brisk 103 days. From there they sailed to Singapore in 51 days, Calcutta in 21 days, and then to Boston in the record time of 84 days, a pace that few sailing ships ever bettered. Staffordshire’s last voyage began at Liverpool on December 9, 1853, when she departed with 214 passengers, most of them Irish emigrants. On December 24 the steering gear was disabled and the bowsprit and foremast were carried away. In the course of repairs, Captain Richardson was injured, and on December 30 the ship struck Blonde Rock off Seal Island and sank quickly, bow first. A reported 170 passengers and crew were lost, including Captain Richardson.
357.
EXTREMELY RARE AND IMPORTANT HALF HULL MODEL OF THE EXTREME CLIPPER SHIP STAFFORDSHIRE Circa 1851 By Donald McKay Shipbuilders. Hull built up in 24 lifts, with applied keel, rudder and bowsprit. Mounted on its original molded-edge mahogany backboard. Later brass name plate identifies the model and provides some information about the ship. Backboard 17.75” x 90”. 3,000/5,000 Provenance: Samuel L. Lowe, Boston. Albert Goodhue, Jr., Boston. Hyland Granby Antiques, Hyannis Port, Massachusetts, 1994.
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N. CURRIER LARGE FOLIO HAND-COLORED LITHOGRAPH “CLIPPER SHIP ‘FLYING CLOUD’” 1852 After the painting by James Edward Buttersworth. Eliphant M. Brown, Jr., delineator. Peters 1202; Conningham 1970, 1145; Gale 1262. 18.5” x 24.5” sight. Framed 25.75” x 31.75”. 1,000/1,500 Provenance: The Old Print Shop, New York, 1995. The Flying Cloud was unquestionably the most famous of all the clipper ships. Built by Donald McKay in 1851, she proved herself to be one of the fastest ships afloat.
358
359.
N. CURRIER LARGE FOLIO HAND-COLORED LITHOGRAPH “CLIPPER SHIP ‘SOVEREIGN OF THE SEAS’” 1852 Marked at lower margin “E. Brown, Jr. Del. Entered according to Act of Congress in the year 1852 by N. Currier in the Clerk’s Office of the District Court of the Southern Distict of N.Y. Lith. By N. Currier” and “To Donald McKay Esq. builder of the Magnificant Clipper Ship ‘Sovereign of the Seas’. This print is respectfully dedicated by the Publisher.” Peters 1239; Conningham 1970, 1167; Gale 1285. 18.5” x 24.25” sight. Framed 27.5” x 33.25”. 1,000/1,500 Provenance: Bob Bascom Prints, Burlington, Vermont, 1996. Sovereign of the Seas had a spar plan larger than any previous American clipper, with a working suit of sail, excluding stunsails or flying kites, totaling 12,000 running yards of canvas. She was extremely sharp in her ends. After her maiden voyage to San Francisco she entered the Liverpool-Australia emigrant trade under the Black Ball Line. She was then sold to a German firm, who put her into the China trade, and was lost on Pyrmid Shoal, in the Malacca Strait, in 1859.
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359
360
360.
The clipper Great Republic was the largest wooden merchant ship built in America, more than twice the size of any clipper that preceded her.
N. CURRIER LARGE FOLIO HAND-COLORED LITHOGRAPH “CLIPPER SHIP ‘GREAT REPUBLIC’” 1853 After the original painting by Joseph B. Smith. Marked at lower margin “Drawn by J.B. Smith & Son, Brooklyn L.I. Entered according to Act of Congress, in the year 1855 by N. Currier, in the Clerk’s office of the District of the Southern District of N.Y. On Stone by C. Parsons.” and “Built By Donald McKay, Esq. ... Burnt to Waters Edge at New-York Decr. 1853 and Rebuilt 1854 -- A.A. Low & Brothers, Owners, New-York ... Published by N. Currier, 152 Nassau Street.” Peters 1208; Conningham 1970, 1147; Gale 1268. 18.25” x 24.5” sight. Framed 25.75” x 31.75”. 1,000/1,500
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N. CURRIER LARGE FOLIO HANDCOLORED LITHOGRAPH “CLIPPER SHIP ‘LIGHTNING’” 1854 Marked at lower margin “C. Parsons, Del. Entered according to Act of Congress in the year 1854 by N. Currier, in the Clerk’s Office of the Southern District of N.Y. Lith. by N. Currier” and “To James Baines & Co. this Print of the Clipper Ship ‘Lightning’. Built by Donald McKay, Boston, Mass is Respectfully dedicated by the Pubisher New York, Published by N. Currier, 182 Nassau Street.” 19.75” x 24.5” sight. Framed 28.25” x 33.5”. 1,000/1,500 Provenance: Bob Bascom Prints, Burlington, Vermont, 1996.
361
The Lightning was the first of four extreme clippers built at East Boston by Donald McKay to the order of James Baines & Company of Liverpool, for operation in their Black Ball Line of Australian passenger packets. In 1869, under the command of Captain Henry Jones, she caught fire during the night in Melbourne Harbor. She was towed out onto the shoal and sunk in 24 feet of water.
362.
N. CURRIER LARGE FOLIO HANDCOLORED LITHOGRAPH “CLIPPER SHIP ‘RED JACKET’ IN THE ICE OFF CAPE HORN, ...” 1855 After the original painting by Joseph B. Smith. Charles Parsons, delineator. Fully titled “Clipper Ship ‘Red Jacket’ in the Ice Off Cape Horn, on Her Passage from Australia, to Liverpool, August 1854. Built by Geo. Thomas Esq. at Rockland, Me 1853, for Messrs. Seacomb & Taylor, Boston, Mass.” Peters 1236; Conningham 1970, 1165; Gale 1283. 18.75” x 24.25” sight. Framed 25.75” x 31.75”. 1,000/1,500 Provenance: The Old Print Shop, New York, 1995.
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In January 1854, Red Jacket made her first voyage from New York across the north Atlantic to Liverpool, where a new British owner outfitted her for Australian immigrant and cargo transport. In May 1854, the White Star Line chartered the ship to sail to Melbourne, Australia, where it arrived after 69 days carrying about 450 passengers (16 of them traveling in first class cabins) -- the second fastest record at that time. In 1855, Nathaniel Currier published this print depicting the Red Jacket in the midst of its return journey, when it was trapped for four days in an ice field off Cape Horn.
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363.
N. CURRIER LARGE FOLIO HAND-COLORED LITHOGRAPH “CLIPPER SHIP DREADNOUGHT OFF TUSKAR LIGHT” 1856 After the original painting by Duncan McFarlane. Marked at lower margin “CH Parsons, Del. D. McFarlane pinxt ... Entered according to Act of Congress ... 1856 ... Lith. N. Currier”. Fully titled “Clipper Ship Dreadnought off Tuskar Light, 12½ days from New York on her Celebrated Passage Into Dock at Liverpool in 13 days 11 hours Decr. 1854”. Also marked “To her Commander S. Samuels, Esq. this Print is respectfully dedicated by the publisher New York Published by N. Currier 152 Nassau Street”. Peters 1200; Conningham 1970, 1144; Gale 1261. 19” x 26.25” sight. Framed 29.75” x 36.25”. 1,000/1,500 Provenance: Vallejo Gallery, Newport Beach, California, 2003. This image was taken from the circa 1854 original by Duncan McFarlane by noted marine lithographer Charles Parsons, who was responsible for the majority of the Currier & Ives maritime prints. This lithograph was copied by Mary Yorke to produce her 1897 painting of Dreadnought.
363
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364.
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The 1872 date seen here is the earliest year known for an American painting by William G. Yorke. Another painting, of the Danish ship Signe, is dated the same year and helps establish 1872 as the year William Gay Yorke came to America. The schooner Widgeon was originally built as a WILLIAM GAY YORKE yacht for owner Franklin Osgood of the New York Yacht Club New York/Canada/England, 1817-c. 1888 and was one of the fleet of defenders competing in the first New York Pilot Boat No. 10 Widgeon off Sandy Hook. defense of the America’s Cup on August 8, 1870, although Signed and dated lower left “W. York 1872”. Oil on she did not finish (see Lawson’s History of the America’s canvas, 24” x 34.25”. Framed 33” x 43”. Cup, p. 53). 7,000/10,000 Provenance: This painting shows the vessel shortly after commencement Port & Starboard Gallery, Falmouth, Maine. of her career as Pilot Boat #10 of the New York and New Hyland Granby Antiques, Hyannis Port, Massachusetts, Jersey Sandy Hook Pilots Association. A swallowtail pennant 2000. flies from the main truck and an American ensign with a canton of circular stars is worn at the main gaff peak. Widgeon is shown off Sandy Hook, New Jersey, the southern entrance to New York Harbor. The high ground behind the sand spit is the Atlantic Highlands. This was the first landfall for vessels making for New York from the Atlantic.
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365
366
365.
WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Ship Bolton off Point Lynas. Signed and dated lower right “Wm. Yorke, L’Pool 1859”. Oil on canvas, 26.5” x 36.5”. Framed 34.25” x 43.75”. 8,000/12,000
366.
WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Ship Pochahontas off the Skerries, circa 1859. Signed and dated lower right “Wm. Yorke L’Pool 1859”. Oil on canvas, 26” x 36.25”. Framed 30.5” x 40.75”. 4,000/6,000
Provenance: Captain William M. Cotter (1820-1859), thence by descent. Northeast Auctions, Portsmouth, New Hampshire. Hyland Granby Antiques, Hyannis Port, Massachusetts, 2002.
Provenance: By descent to Richard Brown Baker, Rhode Island. Northeast Auctions, Portsmouth, New Hampshire. Hyland Granby Antiques, Hyannis Port, Massachusetts, 2002.
Mounted in its original Liverpool frame, this work shows the Bolton off Point Lynas on the approach to Liverpool. The castellated light tower on the northeast promontory of Anglesey, with Parys Mountain behind, is visible under Bolton’s bowsprit. Records show that Bolton, under the command of Captain William Cotter, arrived at Liverpool from New Orleans, most likely with a cargo of cotton, on February 19, 1859. This would coincide with the date of March 1859 inscribed by the artist at lower right. Bolton was the last of 25 vessels built under the direction of Levi Houghton, founder of Houghton & Sons Shipyard. The ship was named for Houghton’s birthplace of Bolton, Massachusetts.
The downeaster Pocahontas is shown inbound to Liverpool off Skerries Reef and Lighthouse, with Carmel Head visible to the extreme left of the composition. She is flying a five-flag Marrayat Code hoist on her mizzen, reading 1st dp, 9, 6, 7, 4, the correct Marrayat signal for Pocahontas. She is listed in Fairburn’s Merchant Ships as a “well modeled, fast ship economical in operation. Although not a true clipper ship, she was so fast that she was often branded as one. She was a true downeaster though, a sturdy commodious carrier”.
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WILLIAM GAY AND MARY E. YORKE New York/Canada/England, 1817-c. 1888 and c. 1854-1893 Schooner George Bailey off Sandy Hook. Signed lower left “W.G. Yorke”. Painted circa 1890. Oil on canvas, 24.25” x 36.25”. Framed 31.25” x 43.25”. 8,000/12,000
In the days before interstate highways, coastal schooners such as George Bailey were the primary mode of transportation and commerce between cities along the American Atlantic, Pacific and Gulf coasts. Thousands of them were built, more than all other rigs combined.
Provenance: Vallejo Gallery, Newport Beach, California, 2003.
368.
WILLIAM GAY AND MARY E. YORKE New York/Canada/England, 1817-c. 1888 and c. 1854-1893 Clipper ship Dreadnought. Indistinctly signed and dated lower left “M.E. W.G. [?] Yorke, 1897”. Oil on canvas, 24” x 30”. Framed 33.75” x 40”. 5,000/7,000 Provenance: Vallejo Gallery, Newport Beach, California, 2003.
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Built at Bath, Maine, George Bailey’s home port was Manasquan, New Jersey. In this painting the ship owner and master Captain Asher Curtis’s private signal is flown at the mizzen peak. A smaller pennant with the schooner’s initials “G.B.” is at the main and name pennant is flown from the spanker topmast.
This painting is a copy of an 1853 Currier & Ives print by noted marine lithographer Charles Parsons, after Duncan McFarlane’s “Dreadnought Off Tuskar Light”. A copy of this lithograph is offered in this auction as Lot #363. The painting style is in keeping with other works attributed to William G. Yorke’s young wife and assistant, Mary. The original signature on this work is a variation of “W.G. Yorke” that can be read as “M.E. York(e)”. This signature is recognized by several experts, including Sam Davidson, and is considered the collaborative work of William G. and Mary. A number of paintings attributed to Mary Yorke in the Kelton Collection are based on printed illustrations, leading to the conclusion that after William G. Yorke was blinded by an accident in 1882, she created paintings based on known prints. Dreadnought was built for the Red Line’s Atlantic packet service and became one of the most famous ships of her age. In her nine years on this run she made 31 voyages between New York and Liverpool, and she still holds the transatlantic merchant sailing record from Sandy Hook to Queenstown. Much of Dreadnought’s fame derives from a remarkable passage in 1863 when she lost her rudder in a gale. After two jury-rigged rudders were also lost, Captain Samuels ordered his second officer to sail the clipper stern first to Fayal in the Azores, some 350 miles away. Sailing backwards, the ship covered 183 miles in two days before the seas calmed and a third jury-rigged rudder was hung successfully. In 1864 Dreadnought left the Atlantic run and made her first voyage to San Francisco. She completed three voyages in the Cape Horn trade, calling at Honolulu and Callao on the return passages. On her fourth voyage to San Francisco in 1869, she went aground at Cape Penas on the northeast coast of Terra del Fuego. Although the crew survived, Dreadnought broke up on the rocks and was lost.
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367
368
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369.
WILLIAM HOWARD YORKE Canada/United Kingdom, 1847-1921 American downeaster Florence off Skerries Light. Signed and dated lower left “W.H. Yorke 1895”. Oil on canvas, 20.5” x 30”. Framed 26.75” x 37”. 5,000/7,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1996. Florence was one of the fastest and most important of the Maine-built ships known as downeasters. She was mostly active in the California grain trade.
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370
370.
WILLIAM HOWARD YORKE Canada/United Kingdom, 1847-1921 Barkentine Lady Elibank off Dover. Signed and dated lower right “W.H. Yorke L.Pool. 1883”. Inscribed lower margin “Lady Elibank of London - Herber C. Lee, Master”. Oil on canvas, relined, 20” x 30”. Framed 25” x 35.25”. 1,500/2,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1995.
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WILLIAM P. STUBBS Maine/Massachusetts, 1842-1909 Schooner General Adelbert Ames. Signed and dated lower left “W.P.S 84”. Oil on canvas, 22” x 36”. Framed. 2,500/3,500 Provenance: Eldred’s, The Marine Sale, 1994.
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372.
BRITISH SCHOOL Circa 1885 British steam/sail vessel Nurtaran outward bound. Detailed with numerous passengers on deck. Oil on canvas, 26” x 34.5”. Framed 29.75” x 38.5”. 2,000/3,000 Provenance: Eldred’s, July 1995.
372
373.
WILLIAM A. COULTER California/Ireland, 1849-1936 Fishing boats off Land’s End, England, circa 1880. Signed lower left “W.A. Coulter”. Oil on artist board, 14” x 19.5”. Framed 17.75” x 23.25”. 1,500/2,500 Provenance: Butterfield & Butterfield, Los Angeles, 2001.
374.
373
ALBERT NEMETHY America, 1920-2000 Paddle steamer California of the U.S. Mail Line. Circa 1985. Oil on canvas, 14” x 24”. Framed 20.5” x 30.5”. 1,500/2,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1997.
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375
376
375.
BUILDER’S PLATING HALF HULL MODEL OF SHIP LISMORE 1885 Built up in 10 lifts. Bottom finished bright, the topsides painted black and the deck finished with sheets of mahogany veneer finished bright. Detailed with a rudder and stem, and the plating plan laid out on the hull. Height 9.25”. Length 67.5”. 2,500/3,500
376.
MOUNTED BUILDER’S HALF HULL MODEL OF A FOUR-MASTED BARK Circa 1890 Russell & Co., Shipbuilders, Glasgow & Greenock, Scotland. In 10 maple lifts. Bottom finished natural and the topsides painted black, with a white gunport band and faux gunports. Well-carved and delicate figurehead at the bow, and hand-painted acanthus decoration on the trailboards. Mahogany decks detailed with cat heads, capstan, deck houses, stump masts, wheel box and railings. Split backboard, the top in bird’s-eye maple and the bottom in mahogany. Backboard 15” x 82.5”. 2,500/3,500 Provenance: Hyland Granby Antiques, Hayannis Port, Massachusetts, 1993.
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PORTRAIT OF CAPTAIN GEORGE WOOLSEY ASPINWALL Circa 1840 Label affixed verso by great-grandson John Aspinwall Roosevelt (son of Franklin Delano Roosevelt) lists the dates for Captain George Woolsey Aspinwall. The Aspinwall family founded a steamship and rail route to California via Panama around 1845. Oil on canvas, relined, 30.5” x 26”. Framed 37.75” x 33.25”. 2,500/3,500 Provenance: Captain George Woolsey Aspinwall, probably commissioned by him. Mary Rebecca Aspinwall, his daughter, and thence by descent to John Aspinwall Roosevelt, son of Franklin Delano Roosevelt, until his death in 1981. Northeast Auctions, Portsmouth, New Hampshire, August 1996. 377
378.
EXHIBITION STANDARD MODEL OF THE CLIPPER SHIP CUTTY SARK BY S.J. MORRIS Great Britain, Circa 1969-70 Well-detailed 1/16’: 1’ scale model. Hull built up in plank-on-frame construction with a coppered bottom and black-painted topsides with bulwarks fitted with scuppers, framing and other details. Other details include a carved female figurehead, anchors, catheads, deck rails, companionways, cleats and bollards, belaying rails and pins, deck houses, hatches, stove pipes, deck winch, bilge pump, ship’s wheel and binnacle, and two clinker-built ship’s boats with thwarts and lifelines. Rigged with masts, spars, standing and running rigging with scale blocks and other rigging details. Displayed on a simple stand within a plexiglass case. Case height 26.75”. Length 38.5”. Width 14.5”. 1,500/2,500 Provenance: Christie’s, South Kensington, London, March 1987.
Exhibited: Model & Engineering Exhibition, London, 1970. S.J. Morris of Bexley, England was awarded first prize for this model. 378
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Built for “Old Jock” Willis as a challenge to George Thompson’s Thermopylae, Cutty Sark was named for the short chemise worn by the provocative witch in Robert Burn’s poem. Cutty Sark is the last surviving clipper ship in the world.
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379.
ATTRIBUTED TO H. SHIMIDZU Japan, 20th Century Steamship Yale entering the Golden Gate, circa 1930. Inscribed lower left “S.S. Yale”. Watercolor and gouache on paper, 13” x 17.25” sight. Framed 21.25” x 25.5”. 300/500 Provenance: James Shuttleworth Maritime Antiques and Books, Rowland Heights, California, 1998. The S.S. Yale was launched December 1, 1906 for the Cape Cod express passenger service of the Metropolitan Steamship Co. of New York. The White Sisters (Yale and Harvard), as they were known, sailed from New York on October 22, 1910 to Los Angeles, where they established a four-trips-aweek schedule between Los Angeles and San Francisco, and in 1911 their route extended to San Diego. The two speedsters set a new standard of luxury and speed for the Pacific Coast. In 1916 the Yale and Harvard were chartered to the Pacific Alaska Navigation Co., which later merged with the Pacific Coast Steamship Co. Following war service, between Southampton and Le Havre, they were taken over by the newly formed Los Angeles Steamship Co.
380.
H. SHIMIDZU Japan, 20th Century Henry B. Hyde off Cape Horn. Inscribed and signed lower left “Ship ‘Henry B. Hyde’ Off Cape Horn. By H. Shimidzu Yokohama Japan.” Watercolor and gouache on silk, 12.25” x 17.75” sight. Framed 20” x 24”. 300/500
379
380
Provenance: West Sea Company, San Diego, 2000.
381.
H. SHIMIDZU Japan, 20th Century The four-masted ship Shenandoah rounding Cape Horn. Inscribed lower center “‘Shenandoah’” and signed lower right “By. H. Shimidzu”. Watercolor and gouache on silk, 13.5” x17.5” sight. Framed 20.25” x 24.25”. 250/350 Provenance: Mike’s Antiques Oriental Art, San Francisco.
381
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382
383
384
385
384. NICOLA FONDO (FUNNO) R. ACKERMAN COLLOTYPE PRINT “S.S. EUROPE, fl. 1846-1860 PIONEER SHIP OF THE BLACK BALL LINE OF AMERICA.” 1925 “Melledgan Scilly”. The ship seen here off Naples. Signed After the original circa 1833 Samuel Walters painting. Fully lower left “Nicola Fondo pinsi” and titled lower center. Watercolor and gouache on paper, 20.5” x 30” sight. titled “S.S. Europe, Pioneer Ship of the Black Ball Line Framed 24.5” x 34”. 1,200/1,800 of America. Commanded by Captain Marshall - Sailing between New York and Liverpool. Built at New York, 1833. 618 Tons”. 19.5” x 26.5” sight. Framed 26.75” x 33.25”. Provenance: 400/600 Christie’s, London, 1985. Provenance: The Old Print Shop, New York, 1995.
383.
385.
ANTONIO DE SIMONE Italy, fl. 1851-1907 “Brig ‘Ephratah’ P Madoc Griffith Jones Master”, depicted in a storm. Circa 1875. Titled lower center. Oil on canvas, 19.5” x 30”. Framed 24” x 34.5”. 2,500/3,500
MEDITERRANEAN SCHOOL Circa 1810 Provenance: “Oporto Packet S. Foden, Master”. Depicts the ship in Sotheby’s, New Bond Street, London, March 1986. a storm. Titled lower center. Watercolor and gouache on paper, 14.25” x 20” sight. Framed 19” x 24.5”. 1,000/1,500 Provenance: Sotheby’s, New Bond Street, London, Marine Sale, 1986.
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386.
JACOB PETERSON Denmark, 1774-1855 “Brig Atlantic William Hathaway Jr. Master Elsinore June 29th 1828.” Depicts the brig off Elsinore Castle, Denmark. Signed lower right “Drawn by Jacob Peterson”. Titled lower center. Watercolor and gouache on paper, 18.5” x 25” sight. Framed 21” x 27.5”. 1,500/2,500 Provenance: Thomas Schuyler Hathaway, New Bedford, Massachusetts, a ship owner, thence by descent through the family. Grogan & Co., Boston, 1994. 386
387.
JAN MOOY The Netherlands, 1776-1847 Dutch packet ship Sara Maria. Watercolor and ink on paper, 16.75” x 22” sight. Framed 26.25” x 31”. 1,500/2,500 Provenance: Sotheby’s, Marine and Nautical Works of Art Auction, May 1985. The Dictionary of Marine Artists by Dorothy Brewington cites Jan Mooy as a Dutch watercolorist, born in 1776 in Callantsoon. Active from 1796 to 1847, he was also a house painter and glazer. He died in 1847 in Den Helder. Copies of his works are in eight museums including the Peabody-Essex Museum and the Rijks Museum. 387
388.
EUROPEAN SCHOOL Circa 1802 “Ship Richmond, Captain William Hathaway”, depicted approaching a European port. Titled lower center and also inscribed “Mouffet pinxit May 1802.” Watercolor and gouache on paper, 14.75” x 19.5” sight. Framed 18.25” x 22”. 800/1,200 Provenance: Thomas Schuyler Hathaway of New Bedford, a ship owner, thence by descent through the family. Grogan & Co., Boston, 1994.
388
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390, two
389.
HUMPHREY SYDENHAM SERMON “NATURES OVERTHROW AND DEATHS TRIUMPH” London, 1636 “A Sermon Preached at the Funerall [sic] of Sir John Sydenham, Knight, at Brimpton, the 15 of December 1625”. Printed by John Haviland. 7” x 5.5”. 100/200
390.
ATTRIBUTED TO JOHN COLES, SR. AND JOHN COLES, JR. Boston, 1749-1809 and 1776-1854 Two coats of arms: “In the Name of York” and “Silver and Howard”. Watercolors on paper, the largest 13” x 9”. Framed 16” x 11.5”. 1,000/1,500
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391.
APPROX. SIXTY-FIVE MASSACHUSETTS ELECTION SERMONS 1) The Divine Original and Dignity of Government Asserted; and an Advantageous Prospect of the Rulers Mortality Recommended by Ebenezer Pemberton (Boston: B. Green, 1710). 2-65) Election day sermons preached before the Massachusetts State Legislature for 1801, 18081829 and 1831-1859. Some duplicates. 500/800
392.
APPROX. EIGHTY-FIVE MASSACHUSETTS SERMONS 1784-1884 Various authors and subjects, including funeral orations. 300/400
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393
393.
EXTREMELY RARE AND IMPORTANT POLITICAL CARTOON OF REVOLUTIONARY WAR INTEREST America, Circa 1773 or 1774 “Liberty Triumphant: Or the Downfall of Oppression.” Attributed to Philadelphia and New York printmaker Henry Dawkins but published anonymously. Depicts discourse between Britains and Colonists regarding the British Tea Tax enacted in 1773 and the protests that followed in 1774, including the Boston Tea Party on December 16, 1773, with 18 figures and allegorical images, most with speech bubbles providing their thoughts on the political climate of the time. British figures are depicted on the left and American figures on the right, and each can be further identified with a key at the lower margin. Superimposed over a map of the Northern and Middle British colonies, Boston is featured in the top right corner and New York at the top center. 2,500/3,500
394.
TWENTY-THREE INDEPENDENCE DAY SPEECHES AND SERMONS 1799-1876 Most from Massachusetts. Includes: 1-2) Two copies of “An Oration, Pronounced ... at the Request of the Inhabitants of the Town of Boston...” by John Lowell (Boston: Manning & Loring, 1799). 3) “Oration, Delivered ... at the Request of the Selectmen of Boston, on the Feelings, Manners, and Principles, that Produced American Independence” by Alexander Townsend (Boston: John Eliot, 1810). 4) “An Oration, Pronounced at Hardwick ...” by Festus Foster (Brookfield: E. Merriam & Co., 1812). 5-6) Two copies of “An Oration Delivered Before the Washington Benevolent Society in Newbury, Vermont ...” by John Wallace (Windsor: Thomas & Pomroy, 1812). 7) “A Sermon, Delivered at New Marlborough ... Preached and Published at the Request of a Branch of the Washington Benevolent Society” by Jacob Catlin (Stockbridge: H. Willard, 1813). 8-23) Other assorted. 300/400
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125
395.
396.
397.
398.
399.
400.
404.
FOURTEEN SERMONS AND PAMPHLETS DISCUSSING THE WAR OF 1812 1812-14 Three delivered before the U.S. House of Representatives and published in Boston, and eleven from Massachusetts. 200/300
300/400
405.
FIFTEEN MASSACHUSETTS SERMONS AND PAMPHLETS Earliest printing 1798. Seven pertain to Harvard University. See complete description at www.eldreds.com. 200/300
FOUR 19TH CENTURY PAMPHLETS PERTAINING TO MASSACHUSETTS - RHODE ISLAND BOUNDARY DISPUTES Printed 1837-1848. 400/600
406.
TWENTY-ONE PAMPHLETS PERTAINING TO RELIGION IN RHODE ISLAND See complete description at www.eldreds.com. 200/300
JOHN SMITH’S FUNERAL SERMON FOR MARY BOWERS See complete description at www.eldreds.com.
407.
SIXTEEN RHODE ISLAND PAMPHLETS AND SERMONS Together with “Rhode Island Imprints 1727-1800” (Providence: Rhode-Island Historical Society, 1915). Pamphlets and sermons printed 1800-1849. See complete description at www.eldreds.com. 300/400
408.
SIXTEEN DORR REBELLION PAMPHLETS AND SPEECHES Printed 1841-1848. See complete description at www.eldreds.com.
EIGHT BOUND VOLUMES OF SERMONS Printed 1793-1839. See complete description at www.eldreds.com.
200/300
SEVEN POLITICAL PAMPHLETS Printed 1796-1859. See complete description at www.eldreds.com.
100/200
SIX SERMONS AND PAMPHLETS PERTAINING TO BROWN UNIVERSITY Printed 1791-1846. See complete description at www.eldreds.com. 100/200
TWENTY-ONE MASSACHUSETTS SERMONS BY JOSEPH LATHROP AND WILLIAM ELLERY CHANNING Together with the January 30, 1828 Order of Services for the South Congregational Church listing Channing’s sermon. See complete description at www.eldreds.com. 200/300
401.
FORTY-SIX NORTHERN NEW ENGLAND SERMONS AND PAMPHLETS 19th Century See complete description at www.eldreds.com. 100/200
402.
TWENTY-FIVE CONNECTICUT SERMONS, BOOKS AND PAMPHLETS Printed 1794-1866. See complete description at www.eldreds.com. 200/300
403.
TWENTY-TWO SERMONS AND PAMPHLETS FROM MID-ATLANTIC STATES Early to Mid-19th Century From New York, New Jersey, Pennsylvania, Virginia and the District of Columbia. See complete description at www.eldreds.com. 200/300
From 413
126
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300/500
409
409.
RUNAWAY SLAVE NOTICE January 14, 1802 Printed handbill “TEN DOLLARS REWARD. Ran away on the night following the 14th inst. VIOLET, a very lust negro girl, about 27 years of age, with a scar on her arm with the moculation of the small pox; she is of a yellow complexion and has a pleasant countenance; took away with her a large quantity of cloaths, containing one white muslin gown, one dark calico do. one light do. one moreen skirt and sundry other articles. Whoever will take up said Runaway and secure her in any goal, and give information, or return her to the subscriber, shall receive the above reward and all necessary charges paid. All persons are forbid harboring said Girl on penalty of the law. NOAH SCOVELL. Saybrook, Jan. 18, 1802”. Signed in sepia. Ledger notes written on back from 1798. 6.5” x 6.5”. 1,000/2,000 Noah Scovell (1759-1819) was a merchant and shipbuilder who lived in the Potaque section of Saybrook, now Essex, Connecticut. Additional letters at the Connecticut Historical Society indicate Violet ran away in 1802 and returned, and in 1803 he considered selling her. She died in 1808.
410.
411.
TWENTY-SIX EARLY AMERICAN ALMANACS 1-8) Eight almanacs 1803-1810, string-bound together. 9-17) Nine New England Almanacs, 1811-1819, by Nathan Daboll of New London, Connecticut, string-bound together. 18-21) Four almanacs in modern hardcover bindings, 1791-1799. 22-26) Five assorted almanacs, 17901819. 200/300
412.
APPROX. FIFTY-TWO FARMER’S ALMANACS AND OLD FARMER’S ALMANACS BY ROBERT THOMAS 1804-1869. Some duplicates. 100/200
413.
THIRTY-TWO AMERICAN ALMANACS 1-10) Ten Rhode Island Almanacs, 1811-1854. 11-12) Boston and Providence almanacs, 1843 and 1848. 13-14) Two temperance almanacs, 1845 and 1891. 15-24) Ten medicine almanacs, 1850-1889. 25-32) Eight assorted almanacs, 1831-1889. 100/200
BOUND VOLUME OF ALMANACS, INCLUDING TWO ANTI-SLAVERY 1831-1838 Thirteen total. A near-complete Anti-Slavery Almanac from 1837 and a complete one from 1838, with woodcut illustrations. Half-calf binding with marbleized paper boards. 200/300
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127
414.
EXTREMELY RARE MAP OF THE UNITED STATES Vermont, 1838 “Map of the United States Compiled From The Latest Authorities”. Published by Lewis Robinson, Reading, Vermont, 1838. Engraved by J.G. Darby. 40” x 51”. 500/1,000 Provenance: A New Hampshire Collection.
415.
MEZZOTINT ENGRAVING OF DANIEL WEBSTER AFTER CHESTER HARDING New York, 1851 By J. Andrews (1806-1873) & H.W. Smith (b. 1828), after the original painting by Chester Harding (1792-1866). Fishel, Adler & Schwartz, Publishers, 373 Fifth Avenue, New York. 26” x 17”. Framed 37” x 28”. 250/350
414
416.
AFTER JOSEPH AMES America, Mid-19th Century “The Last Days of Webster at Marshfield”. 1858. Published by Smith & Parmelee, 59 Beekman St., New York. Engraved by C. Mottram. Engraving on paper, 30” x 38” sight. Framed 33” x 41”. 400/600 Provenance: A New Hampshire Collection.
417.
128
THREE DANIEL WEBSTER SPEECHES 1) “Discourse in Commemoration of the Lives and Services of John Adams and Thomas Jefferson, Delivered in Faneuil Hall, Boston, August 2, 1826” (Boston: Cummings, Hilliard and Co., 1826). 2) “Speech of Daniel Webster, in Reply to Mr. Hayne, of South Carolina: The Resolution of Mr. Foot, of Connecticut, Relative to the Public Lands, Being Under Consideration. Delivered in the Senate, January 26, 1830” (Washington, D.C.: Gales & Seaton, 1830). 3) “An Address Delivered at the Laying of the Corner Stone of the Bunker Hill Monument” (Boston: Cummings, Hilliard & Co., 1825). Fifth edition. 150/250
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416
419 418
418.
AFTER RICHARD C. WOODVILLE America, Circa 1853 “Mexican News”. Engraved by Alfred Jones. Published by American Art-Union, 1853. Engraving on paper, 25” x 21.75”. Unframed. 500/1,000
419.
ENGRAVED PORTRAIT OF EDWARD EVERETT America, 1858 Engraved by H. Wright Smith. Printed by W. M. Miller. After the portrait done by Boston Art Club founder Moses Smith. Inscribed, autographed and dated lower right “To Lord and Lady Halberton with kind regards of Edward Everett Boston USA 26 October 1859”. 20.5” x 14.5” sight. Framed 32” x 25”. 400/600 Provenance: A New Hampshire Collection.
420.
CASED GEDNEY KING SURVEYOR’S COMPASS Boston, 19th Century Brass compass, length 12.5”. Wooden case retains original paper label. Case height 3”. Width 13”. Depth 6”. 900/1,200
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420
129
421.
RARE LITHOGRAPH OF BOSTON’S MASONIC TEMPLE Boston, 1865 After Merrill G. Wheelock. Engraved by J.H Bufford. A search of Invaluable’s auction archives shows only two copies of this print ever sold, one in 1991 and the other in 2005. 21.5” x 27” sight. Framed 26” x 31”. 400/600 Provenance: A New Hampshire Collection.
421
422.
BROADSIDE BOX Mid-19th Century With glazed lid. Encloses a “Burns Lodge ... Special Meeting” announcement with gilt lettering and square and compass on a black ground. Overall 13” x 10.5”. 450/600
422
423
130
423.
THIRTY-STAR U.S. FLAG Mid-19th Century Purportedly a ship’s flag. Hand-stitched linen with applied cotton stars. Embroidered “AH” on hoist. Approx. 72” x 144”. 1,000/1,500
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424
425
424.
HAND-COLORED PRINT OF TAMMANY HALL “Interior view of Tammany Hall, decorated for the National Convention July 4th. 1868”. Printed by Rogers & Co. 12.25” x 17.5” sight. Framed 17.5” x 22.5”. 400/600
425.
RARE CHROMOLITHOGRAPH “ILLUSTRATED CHART OF OUR AMERICAN REPUBLIC” America, 1873 Printed by J. Danforth Bowen. Pertains to the Patriotism and the Temperance movements. A rare image; we can only locate three examples in public collections. 22” x 28”. Unframed. 1,000/1,500
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131
426
426.
132
FRANCIS LUIS MORA New York/Connecticut, 1874-1940 “The Health of the Child Is the Power of the Nation”. Inscriptions pertaining to “Chidren’s Year” and the U.S. Children’s Bureau in lower margin. Signed and dated lower right “F. Luis Mora 1918”. Mixed media on board, 17.5” x 24”. Framed 22” x 28”. 1,000/1,500
427.
LITHOGRAPH FEATURING PRESIDENTS OF THE UNITED STATES Chicago, 1901 Produced to commemorate McKinley’s second inauguration. Copyright by George L. Richards (1850-1915). Printed by Temple Publishing, Chicago. 18.5” x 23.5” sight. Framed 24.5” x 29.5”. 150/250 Provenance: A New Hampshire Collection.
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428
428.
HAND-SEWN THIRTY-EIGHT-STAR AMERICAN FLAG Circa 1880 46” x 77”. 1,000/1,500
429.
TWO MONUMENTAL U.S. FLAGS Late 19th/Early 20th Century A hand-stitched 37-star flag (1867-1881) and a machinestitched 45-star flag (1896-1909). Colors strong but both with patches, rips and holes. Earlier with grease spot. Approx. 14.5’ x 21’ and 23’ x 25’. 500/1,000
430.
UNUSUAL CAST IRON FLAG STAND America, 20th Century Oval base with raised decoration of an American eagle and stars. Threaded bolt adjusts to accommodate flag pole. Height (not including current pole sleeve) 4.5”. Length 15”. Width 9”. 300/500
431.
CARVED AND GILDED AMERICAN EAGLE WALL PLAQUE BY PAUL WHITE Cape Cod, Massachusetts, Contemporary Impressed “PW” on reverse. Wingspan 48”. 1,000/1,500
431
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133
432.
EXTREMELY RARE COPPER AND ZINC LADY LIBERTY WEATHER VANE 19th Century Holding an American flag in her right hand and a quiver and hatchet in her left hand. Verdigris finish. Height 39”. Length 14.5”. 20,000/30,000
433.
THREE HAND-SEWN FORTY-FIVESTAR AMERICAN FLAGS Circa 1910 65” x 103”, 65” x 104” and 84” x 52”. 300/500
434.
PICTORIAL NEEDLEWORK “GOD BLESS AMERICA” 20th Century Depicts an eagle in flight, with American flags, an olive branch and banner against a cloudy sky. Executed in blues, white, gray, brown, green and orange. Some beadwork highlights. Signed lower right “Morris Edelman”. Titled in yellow border. 16” x 16” sight. Framed 18” x 18”. 400/700
432
134
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435.
PAIR OF CAST IRON SPREAD-WING LAWN EAGLES Dated 1918 Probably commemorating the end of World War I. Show traces of green paint. Molded dates on fronts. Total heights including spikes 21”. Wingspans 30.5”. 1,000/2,000
436.
THREE AMERICAN FLAGS 20th Century A hand-sewn 42-star flag, 120” x 192”, and two machine-made 48-star flags, 28” x 57” and 45” x 66”. 250/350
435, pair
437.
WILLARD SHEPARD Connecticut, 1912-1965 Bellamy-style gilt and polychrome carved wooden eagle grasping a Liberty shield and arrows in its talons. Signed on reverse “Willard Shepard, Waterford, Conn.”. Height 10”. Length 25”. 1,000/1,500 Willard Shepard was a master carver who worked at the carving shop at Mystic Seaport.
437
438.
WROUGHT IRON AND COPPER QUILL WEATHER VANE 20th Century Silver-painted finish. Height 12”. Length 36”. 400/600
438
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135
439.
WOODEN ROOSTER WEATHER VANE Late 19th/Early 20th Century Traces of white paint. Height 17.25”. Length 13”. 300/500
440.
MANNER OF JOHN GEORGE BROWN America, Early 20th Century Shoeshine boy. Unsigned. Oil on canvas, 10” x 18”. Framed 22.5” x 14.5”. 1,000/3,000 Provenance: Private Collection, Cape Cod, Massachusetts.
441.
CAST IRON SPITTOON IN THE FORM OF A TOP HAT Pittsburgh, Late 19th Century Faintly marked “Standard Mfg. Pittsburgh, Pa”. Interior lined in porcelain. Height 7”. Width 10.5”. Depth 9.5”. 300/400
442.
ANTIQUE WOODEN SHOP SIGN “The Old Time Shop” in gold lettering on a black ground. Height 7”. Length 104”. 700/1,000
443.
DOUBLE-SIDED “OFFICE” SIGN Late 19th Century White lettering and a pointing hand on a black ground. Height 5.5”. Length 60”. 500/800
444.
TIN ADVERTISEMENT SIGN Late 19th Century “Use Dr. A.C. Daniels’ Horse and Dog Medicines for Home Treatment” in white lettering on a blue ground. Height 17.75”. Width 28”. Includes a Dr. Daniels box. 250/350
440
442
443
136
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445.
SHEET METAL LOCOMOTIVE WEATHER VANE Late 19th/Early 20th Century Painted black. Height 12”. Length 26”. 500/800
445
446.
BLACKBOARD TRADE SIGN Late 19th Century Pine tombstone-shaped board. Arched section with “Osterhout and Bedford Rentals, Collections Loans, Etc” in red lettering on a light brown ground. Remainder a blackboard. Signed “Blackstone”. Height 16.5”. Width 20”. 500/800 Provenance: Discovered on Nantucket, Massachusetts.
447. 446
DOUBLE-SIDED WOODEN TRADE SIGN “O’BRIEN FINE CUTLERY” America, Late 19th Century In the form of a double-ended jackknife. Gilt lettering on dark-finished handle. Blades painted silver. Height 12”. Length approx. 118”. 1,200/1,800
447
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137
448.
B. SHONINGER COMPANY WOOD AND COPPER AIRPLANE PROPELLER New Haven, Connecticut Serial #Shop 1356. Height 8”. Width 9”. Depth 4.25”. 400/700
449.
TWO NON-MATCHING WOODEN HEARSE DRAPES 19th Century Painted white. Heights 41” and 43”. 800/1,000
450.
THREE PIECES OF DEDHAM POTTERY Early 20th Century Two plates in an iris pattern, diameters 7.75” and 9.75”, and a mug in a rabbit and heart pattern, height 4.25”. 200/300
451.
RARE PAINTED CAST IRON TOBY DOORSTOP Early 20th Century Standing stout white-haired man with hands in his pockets, feet spread apart and wearing a tricorn hat. Height 15”. 600/800
452.
HUBLEY CAST IRON FOOTMEN DOORSTOP Lancaster, Pennsylvania, 20th Century Marked “Fish” on front of base and “272” on back. Height 9”. 400/600
451
452
Referenced in The Doorstop Book by John Cross Smith and Nancy M. Smith, p. 213, said to be one of seven doorstops designed by Anne Fish, the noted English illustrator.
453. 453
CAST IRON RABBIT WITH TOP HAT DOORSTOP 20th Century Made by National Foundry, Whitman, Massachusetts or Albany Foundry, Albany, New York. Height 10”. 400/800 Referenced in The Doorstop Book by John Cross Smith and Nancy M. Smith, p. 156.
454. 454
HUBLEY CAST IRON GOLFER DOORSTOP Lancaster, Pennsylvania, 20th Century Known as “A Difficult Lie”. Marked on back “238”. Height 10.5”. 300/400 Referenced in The Doorstop Book by John Cross Smith and Nancy M. Smith, p. 211.
455.
CAST IRON ORGAN GRINDER WITH MONKEY DOORSTOP 20th Century Height 10”. 400/600 Referenced in Figurative Cast Iron by Douglas CongdonMartin, p. 93.
455
138
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456
456.
WOODEN JOCKEY AND HORSE SILHOUETTE Wheeling, West Virginia, Circa 1920 From the Wheeling Downs racetrack. Height 43”. Width 63”. Depth 1”. 600/1,200 461
457.
ELEVEN AUSTRIAN CARVED AND PAINTED WOODEN FIGURES Circa 1930 All in the forms of medical personnel. Heights from 5” to 6”. 300/500
458.
PARCHEESI GAME BOARD 19th Century Made from a single plank of walnut, with gold and green paint on a brown-stained ground. 20” x 25”. 200/400
459.
DOUBLE-SIDED WOODEN GAME BOARD Early 20th Century One side with a checkerboard and the other side with parcheesi. 22” x 22.5”. 250/350
460.
KEYSTONE PRESSED STEEL TOY FIRE PUMPER TRUCK Traces of original label and paint. Length 31”. 300/500
461.
RARE AND TIMELY ELEPHANT-FORM CHILD’S CHAIR Mid-20th Century Chair back painted “Donald” over a red star. Back height 20.25”. Seat height 10.25”. Length 19.75”. Width 13”. 700/1,000
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139
462
462.
BARNSTABLE TIN AND IRON STREET SIGN 19th Century Raised “Barnstable 12 MS” lettering and pointing hand. Length 36.5”. 300/500
463.
AUCTIONEER’S TRADE SIGN Quincy, Massachusetts, Circa 1910 Painted wooden tombstone-shaped sign with “Henry L. Kincaide & Co. Auctioneers Telephone Connection Quincy” in black lettering on a white ground. Shows multiple old tack holes, presumably from old auction flyers. Height 30.5”. Width 15.75”. 500/800 Henry Kincaide founded Kincaide Furniture Co. on Hancock Street in Quincy in 1892. In the early years of the company, he operated an auction business out of the same building. Kincaide’s was a major retail operation in Quincy and Henry later served in Congress until his death in 1929.
463
464. 464
465.
PINE BENCH WITH PAINTED DECORATION OF DUXBURY, MASSACHUSETTS 19th Century bench with circa 1930 painted decoration of the town, looking west from Powder Point Bridge. Height 19”. Length 30”. Width 10”. 200/300
WOODEN STORE CART FROM DUXBURY, MASSACHUSETTS Circa 1870 Under faded blue-green paint. Stenciled on front panel “Sweetser & Arnold Duxbury, Mass”. Height 25”. Length 68”. Width 23”. 300/500 Sweetser & Arnold, founded in the Snug Harbor/ Washington Street section of Duxbury, became “Sweetser’s Store” circa 1900 and remains an iconic landmark as the “yellow building” in Duxbury, today housing shops, offices and cafes.
140
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465
466
466.
467.
CARVING OF A CODFISH EMULATING A TRADE SIGN England, 20th Century Mounted with chains for hanging. Height approx. 35”. Length 74”. 1,500/2,500
VINTAGE POST OFFICE SIGN FROM BREWSTER, MASSACHUSETTS Circa 1963 Five-piece original brushed and painted aluminum lettering on white-painted boards “U.S. Post Offic[e] Brewster MA. 02631”. The inclusion of the ZIP code is notable as they were first introduced nationwide in 1963. 500/800
467
468.
PLYMOUTH, MASSACHUSETTS VACATION POSTER 20th Century “Plymouth the Deluxe All Day Sail A Perfect Vacation Day”. Lithograph on paper, 20” x 13” sight. Framed 25” x 18”. 300/500
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141
469
469.
LAWRENCE SCHILLER America, b. 1936 Marilyn Monroe on the set of “Something’s Got to Give”, 1962. Numbered in pencil lower left 1/25. Signed in pencil lower right. Gelatin silver print, image 37” x 55”. Framed 52” x 63”. 7,000/10,000 Provenance: Swann Auction Galleries, Fine Photographs auction, March 24, 2011, Lot #61.
142
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470.
DEARDORFF 8X10 PLATE CAMERA Mid-20th Century Part of the View Series. Serial #3017. Oak case with brass fittings. Glass back plate. Includes an Optimo Series I lens, possibly f/6.8. Height 15”. Width 14”. Depth 12”. Depth with bellows extended 22.5”. 800/1,200
470
471.
1962 BEATLES CONCERT HANDBILL For a performance at the Plaza Ballroom, Duke Street, St. Helens, Monday, June 25, 1962. 10” x 7.5” Framed 15” x 12.5”. 800/1,200
472.
1963 NEW YORK FOLK FESTIVAL PHOTOGRAPH BY ROLAND SCHERMAN Depicts Peter, Paul and Mary, Joan Baez, Bob Dylan, the Freedom Singers and Pete Seeger. Signed in pencil on mat “Scherman”. 9.5” x 11.5” sight. Framed 16.75” x 19”. 300/500
471
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143
473.
COLLECTION OF ELEVEN UNUSED ROCK CONCERT TICKETS Dated July 4, 1967 to May 6, 1971 From concert promoter Bill Graham’s vault, includes tickets for The Doors, Led Zeppelin, The Who, The Band, Vanilla Fudge with The Steve Miller Band, Jimi Hendrix, Creedance Clearwater Revival, Cream, Crosby, Stills, Nash & Young, Jefferson Airplane with The Grateful Dead, and BB King with Mothers of Invention and Booker T. Shows to be held at the Bill Graham Civic Auditorium in San Francisco. Housed together in a common frame. Framed 20.75” x 20.25”. 1,000/1,500 Certificate of Provenance from Wolfgang’s Vault attached verso.
473
474.
RARE ROBERT CRUMB TWENTY-COLOR SERIGRAPH OF ROBERT JOHNSON Signed and dated lower right “R. Crumb ‘96”. Editioned lower left 171/220. 30” x 22”. Mounted on a backboard 30.5” x 25”. 2,000/2,500 Includes a Certificate of Authenticity, which outlines the process that went into the print and the twenty colors used.
474
144
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475
475.
STANLEY MOUSE “THE FAMILY DOG” DOLLAR BILL LITHOGRAPH Formatted like a dollar bill, with information about a Big Brother & The Holding Co. and Bo Diddley show at the Avalon Ballroom incorporated into the design, including the show dates in the corners. Signed lower left “Kelley” and lower right “S Mouse” with an adjacent remarque of a mouse. Editioned lower left 405/500. 17” x 35.5” sight. Framed 22.75” x 41.75”. 1,000/1,500
476
476.
STANLEY MOUSE “DAILY FLASH COUNTRY JOE AND THE FISH” ARTIST’S PROOF PRINT Signed and remarqued with a mouse lower right. 23” x 17” sight. Framed 29.25” x 23.5”. 1,000/1,500
477.
STANLEY MOUSE “ZIG-ZAG” ARTIST’S PROOF PRINT Signed and remarqued lower right. 24.5” x 18.5” sight. Framed 30” x 24”. 1,500/2,000
477
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145
478
478.
“VINTAGE DR. GONZO” MULTI-COLOR SILKSCREEN PRINT Signed in lower corners by Ralph Steadman and Hunter S. Thompson. Editioned 375/500. 16” x 18.5” sight. Framed 23” x 25.5”. 4,000/6,000 Featured in the novel “Fear and Loathing in Las Vegas”, published first in Rolling Stone as a two-part series in 1971, and then as a book in 1972. Includes receipt of purchase from Eliot Books in 2005. Also includes various photos and articles pertaining to the artists.
146
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479.
KURT VONNEGUT PRINT “HOMAGE TO MARCEL DUCHAMP ‘OBJET TROUVE’” Formatted as Vonnegut’s Screen Actors Guild membership card. Titled lower left and editioned 7/80. Signed lower center inside a side-profile portrait. 21” x 24” sight. Framed 27.5” x 29.75”. 1,500/2,000
479
480.
LARGE-SCALE POSTER FOR BROADWAY PLAY “AMADEUS” Circa 1980 “Amadeus by Peter Shaffer Directed by Peter Hall Broadhurst Theatre ... New York ...”. Marked lower right on the vertical “Van Nutt”. 58” x 41” sight. Framed 63.25” x 46.5”. 1,500/2,500 The Tony-award winning play is based on a fictionalized account of the lives of composers Wolfgang Amadeus Mozart and Antonio Salieri and premiered on Broadway at the Broadhurst Theatre in December 1980.
480
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147
481
482
481.
148
ROBERT CRUMB PRINT OF CHARLIE PATTON Signed and dated lower right “R. Crumb ‘08”. Editioned lower left 79/150. 19.75” x 27.5”. Mounted on a backboard 20.75” x 29.25”. 2,000/2,500
482.
ROBERT CRUMB “A SHORT HISTORY OF AMERICA” SERIGRAPH Twelve panels of the same landscape, depicting the land’s development through time. Signed lower right “R. Crumb”. Editioned lower left 000892. 2,000/2,500
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483
483.
MARY WHYTE South Carolina, b. 1953 Portrait of a woman. Signed and dated lower right “Mary Whyte 06”. Watercolor on paper, 10” x 8” sight. Framed 21” x 18”. 2,500/3,500
484.
ALLEN TUCKER New York, 1866-1939 Portrait of a seated woman wearing a red dress. Signed lower left “Allen Tucker”. Oil on canvas, 30” x 25”. Framed 34” x 29”. 500/700
485.
JOHN MICHAEL CARTER Kentucky/Illinois, b. 1950 “Yellow Lillies with Cup”. Signed lower right “John Michael Carter”. Titled verso. Oil on canvas, 30” x 24”. Framed 39.5” x 33”. 500/1,000
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484
485
149
Session II Friday, November 20 at 10 a.m. Lots 1-940 Oriental Rugs Lots 570-587, 645-662, 835-859 The Estate of Carl and Mary Breyer Lots 680-697 Clocks Lots 697, 709, 711-718, 791 A New England Collection Lots 717-727 A Private Provincetown Estate Lots 787-821 Also Fine Art, Furniture, Contemporary Art & Design, and More
150
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151
Michio Takayama New Mexico/California/Japan, 1903-1994 Lots 501-504
501.
“Cosmos”. Signed lower left “M. Takayama”. Titled and signed on stretcher. Oil on linen, 24” x 20”. Framed 33” x 29”. 3,000/5,000 Provenance: Michael McCormick Gallery, Taos, New Mexico. David Richard Gallery, New York. Private Collection, Cape Cod, Massachusetts.
502. 501
“Golden Vista”. Signed lower left “M. Takayama”. Signed and titled on stretcher. Oil on linen, 26” x 34”. Framed 27” x 35”. 5,000/7,000 Provenance: David Richard Gallery, New York. Private Collection, Cape Cod, Massachusetts.
502
150
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Michio Takayama New Mexico/California/Japan, 1903-1994 Lots 501-504
503.
“Canyon Sound (I)”. Signed lower left “M. Takayama”. Titled and signed on stretcher. Oil on canvas, 40” x 36”. Framed 42” x 45.5”. 7,000/11,000 Provenance: Milly Beavillers Fine Art Gallery. Sue O’Brien, Colorado. Stewart Galleries, Palm Springs, California. David Richard Gallery, New York. Private Collection, Cape Cod, Massachusetts.
503
504.
“Dialogue”. Signed lower left “M. Takayama”. Signed and titled verso. Oil on canvas, 30” x 20”. Framed 35.5” x 25.5”. 4,000/6,000 Provenance: Milly Beavillers Fine Art Gallery. Sue O’Brien, Colorado. Stewart Galleries, Palm Springs, California. David Richard Gallery, New York. Private Collection, Cape Cod, Massachusetts.
504
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151
Josef Albers Germany/Connecticut/North Carolina, 1888-1976 Lot 505
505, sampling above and right
505.
152
“Formulation : Articulation” proof, circa 1972. Three additional folders not present in the final version are included. They relate to Folio II/Folder 2, Folio II/Folder 8 and Folio II/Folder 33. Folio I/ Folder 10 in the final version is not present. Front bottom right corner of each folder printed “Josef Albers Formulation : Articulation”. Reverse bottom left corners printed “Portfolio Folder”. Reverse bottom right corners printed “© Copyright 1972 By Harry N. Abrams, Inc. and Ives-Sillman, Inc.” Also included with the lot are four photocopied sheets of typed printer’s notes. The numbers on this list loosely correspond to numbers written in pencil by an unknown hand on the front bottom right corner of each folder. The folders are housed in a custom period pine and masonite crate 6.25” x 22.5” x 17.5”. Silkscreens on folded wove paper covered in vellum paper, sheet size 15.75” x 42”. 15,000/20,000
Provenance: Given by Albers to a friend and employee of Sirocco Screenprints, and then by descent to the current owner. Literature: The Prints of Josef Albers: A Catalogue Raisonné 1915-1976 by Brenda Danilowitz (Manchester and New York: Hudson Hills Press, 2010), Appendix C.
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First issued in 1972 as a limited edition set of prints, Formulation : Articulation contained 127 silkscreens of the most iconic Josef Albers prints, spanning the artist’s early works at the Bauhaus School in Weimar to his years at Yale, where he was head of the Design Department. Albers himself selected the images to include and chose to arrange them based on color relationships, rather than in chronological order. The portfolio, released in a limited edition of 1,000, is in the permanent collection of several museums and institutions.
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153
506
506.
CHARLES GREEN SHAW New York, 1892-1974 “Harmony in Broken Colors”. Signed lower right “Shaw”. Titled and dated 1954 verso. Oil on canvas, 29” x 41”. Framed 30” x 42”. 5,000/10,000 Provenance: Passedoit Gallery, New York.
507.
CHARLES GREEN SHAW New York, 1892-1974 “Song for September”. Signed lower left “Shaw”. Titled and dated 1962 verso. Oil on board, 24” x 20”. Unframed. 2,000/3,000 Provenance: Bertha Schaefer Gallery, New York. Exhibited: Museum of Modern Art, New York. 507
154
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508
508.
ROBERT FRANKLIN GATES Washington, D.C./Virginia, 1906-1982 “Flying Dutchman”. Signed and dated lower left “R. Gates 61”. Marked “Jean Marc Gallery” in pen verso. Titled on a 1961 Maryland Regional Exhibition label on stretcher. Housed in a Guido frame. Oil on canvas, 40” x 60”. Framed 46” x 60”. 5,000/7,000 Provenance: Private Collection, Cape Cod, Massachusetts.
509.
ALLAN D’ARCANGELO New York, 1930-1998 “Minnesota Morning”, 1978. Numbered lower left 39/50. Signed and dated lower right. Further identified on a paper label verso for Dolly Fiterman Fine Arts, Minneapolis. A photocopy of the invoice from Dolly Fiterman Fine Arts with redacted buyer information accompanies the lot. Mixed media multiple housed in a shadow box, 19.25” x 32.75”. 4,000/6,000
509
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155
510.
WILLIAM KIENBUSCH New York, 1914-1980 “Two Chairs Summer Garden #2”. Signed and dated lower right “Kienbusch 67”. Mixed media on paper, 8” x 9.5”. Framed 15” x 16”. 1,000/2,000 Provenance: Kraushaar Galleries, New York. University of Maine Art Collection, Orono, Maine (on loan from Krausharr). Private Collection, Connecticut.
510
511.
PAUL JENKINS New York/Kansas/Missouri/France, 1923-2012 Three colorful abstracts, circa 1965. Each inscribed “Epreuve d’Artiste” and signed lower right. Serigraphs on paper, 17” x 11.5” sight. Framed 23.5” x 17”. 1,000/1,500
511, three
156
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512.
HUNT SLONEM New York, b. 1951 “Butterflies”. Signed, titled and dated 1998 verso. Also titled on a label for Marcel Sitscoske Gallery, San Francisco. Oil on board, 18.5” x 14”. Framed 23” x 18”. 5,000/7,000
512
513
513.
BILL THOMPSON Massachusetts, b. 1957 “Dorothy”. Signed, titled and dated “1/90” on interior. Numbered 90-B2. Acrylic on birch plywood, height 26”. Width 18”. Depth 18”. 3,000/5,000
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157
514.
JOHN COLEMAN Arizona/California, b. 1949 “Millennium Dawn”. Titled, signed, numbered 2/25 and dated 1999 on base. Bronze, height 31.5”. Width 15”. Depth 14”. 2,000/3,000
514
515.
BRONZE GARDEN STATUE AFTER CHARLES ROBINSON SYKES’S “SPIRIT OF ECSTASY” 20th Century Signed “Charles SWM. No. 28” on rounded base. Height 94”. Length across wings 70”. Depth 42”. 6,000/8,000 Provenance: The garden of Buddy Rich, Palm Springs, California. Private Collection, Cape Cod, Massachusetts. The “Spirit of Ecstasy” by Charles Robinson Sykes (America/United Kingdom, 18751950) is also the design of the hood ornament on Rolls-Royce automobiles.
515
158
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516
516.
ROSS EDWARD DICKINSON California, 1903-1978 “The Princess”. Signed lower right “Ross Dickinson”. Titled on William Karges label verso. Housed in a hand-carved wood frame by Bernard Vandueren Galleries, Los Angeles. Oil on canvas, 46” x 31”. Framed 55” x 40”. 8,000/12,000 Provenance: William Karges Gallery, Beverly Hills, California. Stewart Galleries, Palm Springs, California. Private Collection, Cape Cod, Massachusetts.
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159
517
517.
WALTER OTTO BECK New York/Ohio, 1864-1954 “Fauna Series 19”. Initialed lower right “WB”. Titled verso. Tempera and starch on paper, 9.25” x 14”. Framed 17.5” x 26.5”. 1,000/1,500
518.
CLARICE SMITH Virginia/Washington, D.C., b. 1933 “Triptych with Chinese Vase and Flowers 1996”. Signed and dated lower right “Clarice Smith ‘96”. Titled on frame plaque. Oil on canvas triptych, central section 29.5” x 27.75” sight and flanking sections 25.5” x 19.75” sight. Framed 27.75” x 76.5”. 8,000/12,000 Provenance: Richard York Gallery, New York. Provenance: Meredith Ward Fine Art, New York. Kennedy Galleries, New York (label verso). Private Collection, Rhode Island.
518
160
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Sean O’Sullivan Ireland/England, 1906-1964 Lot 519
519
519.
SEAN O’SULLIVAN Ireland/England, 1906-1964 Figures along the Irish coastline. Signed lower right “Sean O’Sullivan”. Oil on canvas, 20” x 24”. Framed 26” x 30”. 5,000/10,000 Provenance: Adams Gallery, Dublin. Private Collection, Cape Cod, Massachusetts.
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161
520.
JOHN H. ROCKWELL California, 1902-1974 “San Pedro Harbor”. Signed lower right “J.H. Rockwell”. Titled verso. Oil on canvas, 16” x 20”. Framed 25” x 29”. 2,000/3,000 Provenance: Stewart Galleries, Palm Springs, California. Private Collection, Cape Cod, Massachusetts.
520
521.
GREGORY STEWART HULL Arizona, b. 1950 “Sierra Summer”. Signed lower right “G. Hull”. Titled and dated 1999 on stretcher. Oil on canvas, 40” x 50”. Framed 49” x 59”. 3,000/5,000 Provenance: The Redfern Gallery, Laguna Beach, California. Private Collection, Cape Cod, Massachusetts.
521
522.
WERNER SEEHOLZER California/Switzerland, 1904-1978 “Sherwood Mountains”. Signed lower left “Werner Seeholzer”. Housed in a Guido frame. Oil on canvas, 22” x 30”. Framed 28” x 35” . 1,500/2,500 Provenance: Private Collection, Cape Cod, Massachusetts.
522
162
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524
523
523.
PETER PLAMONDON Massachusetts/California, b. 1944 “Plate of Shells”. Signed lower right “PP 77”. Titled on label verso for Alpha Gallery, Newbury Street, Boston. Watercolor on paper, 14.5” x 19.5” sight. Framed 22” x 27”. 500/700 Provenance: James Bakker Antiques, Provincetown, Massachusetts. Private Collection, Provincetown, Massachusetts. 525
524.
MARGUERITE THOMPSON ZORACH New York/Maine/California, 1887-1968 “New England, Saturday Night”. Titled in pencil lower left. Signed lower right “Marguerite Zorach”. Numbered AX 1860. Lithograph with watercolor and pencil on laid paper, 13” x 17.5”. Unframed. 500/700
525.
MARGUERITE THOMPSON ZORACH New York/Maine/California, 1887-1968 “Sunday After Noon, New England”. Titled in pencil lower left. Signed lower right “Marguerite Zorach”. Numbered AX 1858. Lithograph with watercolor and pencil on laid paper, 13” x 17.5”. Unframed. 500/700
526.
LUIGI LUCIONI New Jersey/New York/Vermont/Italy, 1900-1988 “Italian Roofs”. Unsigned. Identified on gallery labels verso. Watercolor on paper, 12” x 14” sight. Framed 20” x 22”. 1,200/1,800 Provenance: Walker Galleries, New York.
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526
163
527.
CHARLES TCHERNIAWSKY Russian Federation/America, 1900-1976 “Vue du Port de Brest”. Signed and titled lower left “C. Tcherniawsky, Brest 1926”. Watercolor on paper, 17” x 24”. Framed 22” x 29”. 2,000/4,000 Provenance: Purchased in Paris, 2001. Private Collection, Cape Cod, Massachusetts.
527
528.
JAMES MORTON Massachusetts, Contemporary “Beacon Hill”. Signed lower right “James Morton”. Titled and signed verso. Acrylic on linen, 50” x 30”. Framed 51” x 31”. 700/900
529.
JACK BARON Key West, Florida, 1926-2005 Pair of portraits. One signed and dated upper left “Baron 91”, and the other signed lower left “Baron”. Oils on canvas, 18” x 24”. Framed 28” x 22”. 1,200/1,800
528
529, pair
164
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Peter (Finkelstein) Max New York/Germany, b. 1937 Lots 530-531
530
530.
“Andy with a Mustache”. Version 6, #4. Signed upper right “Max”. Titled and numbered 70538 verso. Acrylic on canvas, 24” x 20”. Framed 35” x 31”. 7,000/9,000 Provenance: Angela King Gallery, New Orleans. Private Collection, Newport, Rhode Island.
531
531.
“United We Stand”. Signed upper right “Max”. Titled verso. Mixed media, 23” x 17” sight. Framed 37” x 31.5”. 2,000/3,000 Provenance: Private Collection, Newport, Rhode Island.
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165
532.
POTTER STUDIO ARTS & CRAFTS BRASS AND JADE HUMIDOR Cleveland, Ohio, 1915-24 Early 20th Century celadon green jade plaque openwork-carved with a stag beneath a tree. Humidor’s hinged cover with chased cut-corner design. Cedar-lined interior. Box length 6.75”. Jade length 3.5”. 1,200/1,800
532
533.
TIFFANY STUDIOS BLUE FAVRILE GLASS INKWELL New York, Early 20th Century Domed gilt brass cover with incised petal design. Squat, lobed body with flat shoulder and design of iridescent bands. Polished pontil. Clear, mold-blown glass liner insert. Glass signed and numbered “L.C.T. T4839” on underside. Cover interior and collar both stamped “D”. Height 4”. Diameter 6”. 800/1,200
533
534.
PAIR OF BRONZE UMBRELLA STANDS IN THE FORM OF BAMBOO BUNDLES 20th Century Together with a similar footed jardinière, height 10.5”. Stands with some verdigris finish. No marks noticed. Heights 24.75”. 400/600
535
534, pair jardinière not illustrated
166
535.
VAN CORT BRASS SUNDIAL 20th Century With Roman numerals and engraved star decoration. Mounted on a slate base. Sundial 11” x 11”. Total height 4.25”. 400/600
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536.
BRONZE GARDEN FOUNTAIN 20th Century In the form of three putti around the edge of an urn, on a tripod base. Height 40”. Length 48”. Width 48”. 3,000/4,000 Provenance: Private Collection, Cape Cod, Massachusetts.
536
537.
BRONZE GARDEN FOUNTAIN 20th Century In the form of three bucking horses along the perimeter of a bird bath, with a reeded columnar pedestal and a stepped base. Height 70”. Length 32”. Width 32”. 4,000/6,000 Provenance: Private Collection, Cape Cod, Massachusetts.
538.
PAIR OF LARGE PATINATED BRONZE GARDEN URNS BY EMMANUEL FREMIET France, 1824-1910 Cast at the turn of the 20th Century. In classical form, with bas relief decoration of deer in a landscape below a rosette and swag garland. Lion’s-head-form handles. Turned pedestal base. Signed. Height 41”. Length 24”. Width 20”. 6,000/8,000
537
Provenance: Private Collection, Cape Cod, Massachusetts.
538, one of pair
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Lots 515, 536-539 and 553 are located off-premises and are not being stored or exhibited at our auction facility. In-person previewing is not available. The buyer will be required to make special arrangements to remove these items from their location in Provincetown, Massachusetts. Please contact us for more information.
167
539
539.
PAIR OF FRENCH BRONZE GLADIATOR STATUES 19th Century Elaborately detailed kneeling soldiers with removable swords and shields. On separate square bases with raised lion’s-heads and battle scenes about the sides. Heights 92”. Widths 30”. Depths 33”. 20,000/25,000 Provenance: A French estate. Private Collection, Cape Cod, Massachusetts.
168
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540.
541.
PALLADIO GILT TWO-SOCLE WALL SCONCE Italy, 20th Century Phoenix and ribbon design. Height 45.75”. Width 12”. Depth 9.5”. 300/500
BRASS-BOUND LAP DESK 19th Century In a highly figured hardwood veneer. Recessed carrying handles at sides of case. Top lifts open to reveal a green feltlined writing slant, a pen tray and four compartments, two with inkwells. Height 6.5”. Width 17.25”. Depth 10.75”. 400/600
542.
ENGLISH BURLWOOD TEA CADDY 19th Century With fruitwood veneer panels and inlay. Compartmented interior. Height 5.25”. Width 8.25”. Depth 4.75”. 550/650
540
542
543.
ENGLISH TEA CADDY 19th Century Mahogany veneer with fruitwood shell and butterfly inlay. Compartmented interior. Height 5.25”. Width 10”. Depth 5”. 500/700
543
544.
CONTINENTAL BLACK LACQUER TANTALUS 19th Century Lid and front of case with inlaid foliate brass details. Top lifts and hinged sides open to reveal four glass decanters with faceted square stoppers and gilt grapevine decoration, and an ormolumounted fitted tiered tray containing 14 cordials with matching decoration. Decanter heights 8.5”. Cordial heights 2.5”. Case height 11”. Width 13”. Depth 10”. 1,000/2,000
544
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169
545.
KPM PORCELAIN PLAQUE Circa 1860 By Emil Ens (1824-1898). Depicts a young woman on a bed being undressed by a cherub. Signed lower right “Ens”. Impressed KPM stamp verso. Housed in a gilt beveled frame. Plaque 10” x 7.5”. Framed 18” x 15.5”. 4,000/6,000
546.
KPM PORCELAIN PLAQUE Circa 1860 Titled “Die Quelle, after R, Beuschlag”. Depicts a young woman in a diaphanous drape standing in a forest grotto. No signature noted. Titled, impressed KPM mark and stamped “Made in Germany” verso. 9.5” x 6.5”. Framed 14” x 11”. 3,000/5,000
547.
KPM PORCELAIN PLAQUE 19th Century Depicts a young woman picking roses in a garden. Signed illegibly lower right. Inscribed verso “... Guido Rathke von Maler Ens, Lanscha”. Numbered 25242. Impressed K lower right. 10” x 7”. Framed 14” x 11”. 3,000/5,000
545
546
170
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547
548.
549.
CONTINENTAL CABINET Late 19th Century In walnut and walnut veneer. One door encloses one interior shelf. Door and sides with urn decoration. Tapered legs. Height 36”. Width 24.75”. Depth 14.5”. 350/450
CONTINENTAL TWO-PART BOOKCASE Late 18th Century In walnut veneer. Upper case with shaped cornice, a glass door, and a small candle slide below door. Interior fitted with three velvet-lined shelves. Lower case with a fall front, a full-width drawer over two half drawers over two full-width drawers, and a shaped bracket base. Fall front encloses pigeonholes and drawers. Height 74”. Width 27”. Depth 21.5”. 600/900
549
550.
RARE CASED APOTHECARY SET
Mid-19th Century Maple case with hinged top, a single drawer below, and inset brass handles. Upper compartment’s interior with twelve compartments containing eight stopperd glass bottles. Drawer with four smaller glass stoppered bottles. Paper inset on underside of top inscribed “... Matthews ... Hill”. Height 9”. Width 9”. Depth 6.5”. 500/1,000
550
551.
MAP OF ROME Dated 1748 18” x 27” sight. Framed 26.75” x 36”. 1,000/1,500
551
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171
552.
ENGLISH SERPENTINE-FRONT BUREAU 19th Century In mahogany. Two half drawers over three graduated full-width drawers, all with cock-bead molding and brass bail handles. Shaped bracket base. Height 37”. Width 42”. Depth 23.5”. 900/1,200
552
553.
CAST BRONZE RENAISSANCE-STYLE COLUMN 20th Century Spiral and foliate-design shaft with four bands of gilt acanthus leaves. Stepped rounded base. Signed. Height 75”. Diameter 16”. 3,000/4,000 Provenance: Private Collection, Cape Cod, Massachusetts.
554.
DUTCH SCHOOL 18th Century Dutch interior scene of women drinking and eating, with a small child nearby. Unsigned. Oil on panel, 11” x 10.25” sight. Framed 14” x 13”. 800/1,200
553
554
555.
SMALL LEATHER-COVERED DOME-TOP DOCUMENT BOX First Quarter of the 19th Century Label on interior of lid for “Amos Tappan, Saddler & Upholsterer, ... Newburyport”. Interior lined with blue and white polka dot wallpaper. Height 5.5”. Width 9”. Depth 6”. Retains original key. 500/1,000
555
172
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556.
JOHAN-PETER GIRARD Switzerland, 1769-1851 Pair of Swiss landscapes. Signed lower left “J.P. Girard” and “Celebre par le dejour ... J.J. Rousseau, en 1765”. Similar to scenes by Johann Joseph Hartmann (Germany, 1753-1830). Gouache on paper with French mat, 16.5” x 22” sight. Framed 25” x 30.5”. 1,000/2,000
556, pair
557.
THEODORE ALEXANDER BURLWOOD VENEER DESK Late 20th Century Stretcher base with spade feet. Height 34”. Width 27.5”. Depth 17”. 500/700
557
558.
THEODORE ALEXANDER CASTLE BROMWICH GAMES TABLE 20th Century In walnut. Two drawers in apron. Stretcher base. Original label inside one drawer. Height 31”. Length 42”. Width 26”. 500/700
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558
173
559.
560.
BENOÎT LUCIEN HERCULE France, 1846-1913 “Intrepide”, a sailor boy. Titled on cap. Titled and inscribed “Salon des Beaux Arts” on a plaque affixed to the front of the base. Side of base incised “B.L. Hercule”. Back of base with circular foundry stamp for the “Societe de Bronzes de Paris” and stamped for retailer Tiffany & Co. Bronze, height 27”. 2,000/3,000
PAIR OF GEORGE II FOOTSTOOLS Mid-18th Century In walnut, with soft green printed upholstered seats. Cabriole legs with shell-carved knees and pad feet. Heights 18.5”. Lengths 21”. Widths 18”. 1,200/1,800
559
560, pair
561.
561, two views
174
INLAID BURLED WALNUT LAP DESK America or England, Early 19th Century Top inlaid with numerous Masonic symbols, including an eye, a square and compass, a skull and bones, etc. Serrated inlaid borders. Height 5”. Length 15.25”. Depth 10”. 800/1,000
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562
562.
563.
CONTINENTAL SCHOOL 18th Century or Earlier Portrait of a young man in a blue coat. Inscribed upper left “Henricus Dom: Hastyngs 1648 Fil: et haes: Ferdinandi Comtis: Huntingdonlae”. Oil on canvas, 30 “x 25”. Framed 35” x 29”. 1,000/2,000
AFTER SANDRO BOTTICELLI 19th Century “Madonna and Child with St. John the Baptist”, after the original in the Louvre. Unsigned. Oil on canvas, 36” x 26.25”. Framed 53” x 43”. 2,000/3,000
563
564.
ENGLISH CANTERBURY In burled walnut veneer and mahogany. One drawer with lion’s-head pull. Fitted with casters. Height 20.5”. Length 22”. Width 16”. 300/400
565.
FRENCH GILT MIRROR Early 19th Century Crest with bouquet of flowers. Height 49”. Width 20”. 400/700
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175
566.
ENGLISH BUREAU 19th Century In mahogany and mahogany veneer, with fruitwood string and shell inlay. Two half drawers over three full-width drawers, fitted with oval brass bail pulls. Shaped bracket base. Height 40”. Width 43”. Depth 21”. 600/900
566
567.
REMBRANDT VAN RIJN The Netherlands, 1606-1669 “The Angel Appearing to the Shepherds”, 1634. Signed in the matrix lower right. Stamped “ASCH” in ink verso, possibly a collector’s mark. Nowell-Usticke’s third state. Etching, engraving and drypoint on laid paper, plate 261mm x 220mm, sheet 11” x 9.25”. Unframed. 1,000/1,500
567
568.
ALBRECHT DURER Germany, 1471-1528 “Cardinal Albrecht of Brandenburg”. Signed in the matrix lower left. Reverse with circular inked stamp. Engraving on laid paper, 172mm x 123mm. Plate 198mm x 142mm. Sheet 9.75” x 7.5”. Framed 16.25” x 14.25”. 1,000/1,500
568
176
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569.
HARDWOOD LIQUOR CHEST Probably English, Late 18th/Early 19th Century Contains six quart-size bottles, six halfpint-size bottles, two tumblers, two cordials and a handled shot glass. Glassware with gilt foliate and grape decoration. Bottles retain original stoppers. Chest with delicate iron bracket handles at sides. Interior lined with marbleized paper. Chest height 11”. Width 16”. Depth 11”. 1,500/2,500
569
570.
ORIENTAL RUG: KAZAK 5’4” x 9’5” Brown field with four Lesghi stars in faded shades of red, blue and ivory. Multiple borders feature repeating stylized elements in colors to match field and stars. 2,000/3,000
571.
ORIENTAL RUG: TURKISH 7’10” x 13’0” Bright ivory, dark blue and dark red gabled medallion on an empty brick red field. Navy blue subfield contains colorful blossoms on a branch. Dark gold main border with repeating floral motif. 500/800
572.
ORIENTAL RUG: LILLIHAN 6’8” x 9’4” Midnight blue, pale pink, green and subtle dark amethyst gabled medallion is surrounded by colorful blossoms and leaves on a bright red field. Midnight blue and ivory subfield. Borders match subfield. 500/700
570
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177
573
573.
ORIENTAL RUG: KAZAK 6’8” x 9’0” Three bold red and blue medallions contain, and are surrounded by, a variety of large and small stylized and latch hook elements in traditional colors, as well as salmon pink and olive green. Serrated leaf and wine cup motif throughout blue main border. 1,000/1,500
574.
ORIENTAL RUG: BIDJAR DESIGN 2’7” x 16’3” Five gray and ivory lozenge-shaped medallions cross a dark red field with a black, green and gold Herati pattern throughout. Bright ivory main border with turtle motif. 500/800
575.
ORIENTAL RUG: TURKOMAN ENGSI 4’0” x 4’7” Traditional stylized elements and paneled design surrounded by broad borders and panels with traditional motifs. 150/250
178
576.
ORIENTAL RUG: TURKISH 3’4” x 3’5” Navy blue field with a navy blue central medallion outlined in bright ivory and containing red stylized elements. Red stars surround medallion. Blue serpentine vines throughout red guard borders. Bright ivory main border. 180/250
577.
ORIENTAL RUG: KURD BIDJAR 4’0” x 7’0” Highly stylized red, blue, ivory, brown and yellow elements form a column on a navy blue field. Yellow and light blue guard borders. Brown, yellow and blue turtles throughout red main border. 300/500
578.
ORIENTAL RUG: KAZAK 4’5” x 8’0” Narrow red and green panels on an abrashed blue field with neat rows of repeating stylized elements throughout. Ivory guard border also includes a colorful repeating element. 300/500
579.
ORIENTAL RUG: KAZAK DESIGN RUNNER 2’7” x 10’0” Colorful medallions and a variety of stylized elements, rendered in shades of blue, olive green, light green and ivory, run the length of a light blue field. Olive green and dark ivory guard borders. Red main border. 250/350
580.
ORIENTAL RUG: SULTANABAD DESIGN 8’0” x 10’4” Green-gray field with meandering gray and celadon green vines bearing bold blossoms and palmettes in dark red, rust red, ivory, gray, olive green and subtle pale gold. Olive green and pale yellow guard borders. Smoke gray main border. 400/600
581.
ORIENTAL RUG: SOUMAC 4’0” x 8’5” Three geometric medallions in shades of red and blue occupy the center of a bright ivory field filled with a variety of animals, including horses, camels, peacocks and cats. 300/500
582.
ORIENTAL RUG: CAUCASIAN RUNNER 3’5” x 10’3” Colorful geometric medallions contain, and are surrounded by, a variety of stylized elements on a navy blue field, which includes date of origin. Colorful crab motif throughout ivory main border. 100/200
583.
ORIENTAL RUG: SERAB 3’3” x 6’7” Faded red field with several rows of a blue, green, brown, ivory and faded gold stylized motif. Light brown and bright ivory borders. 100/200
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584
584.
ORIENTAL RUG: SULTANABAD DESIGN 8’1” x 10’1” Light gray palmettes and blossoms on a delicate vine are arranged in neat columns on a variegated gray-brown field. Light gray border with stylized elements. 600/900
585.
ORIENTAL RUG: BIDJAR 5’6” x 9’2” Red medallion and pendants occupy a navy blue field suspended above a red subfield. Bold Herati pattern extends throughout. Dark amethyst and faded yellow guard borders. Ivory main border with serpentine serrated leaves and blossoms. 450/750
586.
ORIENTAL RUG: SULTANABAD DESIGN 8’3” x 9’9” Bright ivory field with bold blossoms stemming from a delicate vine, all rendered in blue, pale green, pale gold, salmon pink and shades of red. Pale yellow guard borders. Bright red main border. 800/1,200
587.
ORIENTAL RUG: CAUCASIAN 3’6” x 4’6” Ivory and red bold geometric medallion is flanked by ivory bands on a worn brown field. Stylized light blue, dark blue, red, pink and ivory blossoms and branches throughout. 80/120
585
586
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179
Victor De Grailly New York/France, 1804-1889 Lots 588-589
588
589
588. “Kosciuszko’s Monument”, West Point, New York. Unsigned. After George Bartlett’s engraving of the same name, published in “American Scenery: Or, Land, Lake and River Illustrations of Transatlantic Nature.” Oil on canvas, 23.5” x 29”. Framed 28” x 33”. 3,000/5,000
589.
“View Near Anthony’s Nose”, Hudson River, New York. Unsigned. After George Bartlett’s engraving of the same name, published in “American Scenery: Or, Land, Lake and River Illustrations of Transatlantic Nature”. Oil on canvas, 23.5” x 29”. Framed 28.5” x 34”. 2,500/3,500
Provenance: Provenance: Private Collection, Cape Cod, Massachusetts. Private Collection, Cape Cod, Massachusetts. The monument seen here was constructed as a tribute to Polish General Tadeusz Kosciuszko, whose military defense plans where instrumental in defending West Point during the Revolutionary War. It remained as a pedestal for almost a century before the statue that currently sits atop it was erected in 1913.
180
Anthony’s Nose, together with Dunderberg Mountain, comprises the South Gate of the Hudson Highlands. Legend has it that it is named after Captain Anthony Hoga, who had an impressive and rather prominent nose.
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590
591
590.
JOHN CARLETON WIGGINS 591. HENRY WARD RANGER New York/Connecticut/France, 1848-1932 Connecticut/New York, 1858-1915 Sheep in a meadow. Signed lower left “Carleton Wiggins”. Landscape with farmyard. Signed lower left with the artist’s Oil on cradled board, 20” x 33”. Framed 31.5” x 43”. triangular signature. Housed in a Newcomb-Macklin frame. 5,000/7,000 Oil on canvas, 18” x 25.75”. Framed 25” x 32.5”. 2,500/3,500 Provenance: Joan Whalen Fine Art, New York. Private Collection, Cape Cod, Massachusetts.
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181
592
592.
J. CARLETON WIGGINS New York/Connecticut/France, 1848-1932 Shoreside sheeep pasture. Signed lower left “Carleton Wiggins”. Oil on cradled board, 13” x 18”. Framed 14” x 19”. 1,000/1,500
593.
FRANK VINCENT DUMOND New York/California, 1865-1951 Nude under moonlight. Signed lower left “Frank Vincent DuMond”. Housed in a hand-carved period Arts & Crafts frame. Oil on canvas, 16” x 22”. Framed 22” x 29”. 800/1,200 Highly influenced by the French Barbizon painters, Frank Vincent Dumond worked and studied in France under Gustave Boulanger, Benjamin Constant and Jules-Joseph Lefebvre.
593
594.
595.
ROBERT WARD VAN BOSKERCK New York/New Jersey/Europe, 1855-1932 “Fall Landscape”. Signed lower right “R.W. Van Boskerck”. Titled verso. Housed in a Newcomb-Macklin frame. Oil on canvas, 18” x 24”. Framed 24” x 30”. 1,000/1,500
594
ROBERT WARD VAN BOSKERCK New York/New Jersey/Europe, 1855-1932 Path by the river. Signed lower left “R.W. Van Boskerck”. Oil on canvas, 26.5” x 36”. Framed 36.5” x 47”. 1,500/2,500 Provenance: Grogan & Co., Boston, Sale 169, Lot #120.
595
182
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596
597
596.
SCHOOL OF ASHER BROWN DURAND 597. LOUIS ASTON KNIGHT New York/New Jersey, 1796-1886 New York/California/France, 1873-1948 Cattle and sheep in the fields, and mountains in the distance. “Biddeford Pool, Maine 1916”. Signed lower left “Aston Mountain at center possibly Mount Chocorua. Unsigned. Oil Knight Paris”. Titled and dated verso. Oil on canvas, on canvas, 32.5” x 44.25”. Framed 41” x 52.75”. 35.5” x 46”. Framed 44.5” x 55.5”. 8,000/12,000 8,000/12,000 Provenance: Provenance: Heritage Auctions, September 12, 2014. Private Collection, Westchester County, New York.
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183
598.
ATTRIBUTED TO JOHN JOSEPH ENNEKING Massachusetts/New York/Maine/Ohio, 1841-1916 “Twilight through the Trees”. Unsigned. Titled verso. Oil on canvas, 24” x 30”. Framed 32” x 38”. 3,000/5,000
598
599.
JOSEPH LYMAN Ohio/Connecticut, 1843-1913 Rocky coast, possibly Newport, Rhode Island. Signed lower left “Jos. Lyman”. Oil on canvas, 14” x 21”. Framed 17” x 25”. 1,500/2,500
599
600.
HENRY PEMBER SMITH New York/Connecticut/New Jersey, 1854-1907 A house on a pond. Signed lower left “Henry P. Smith”. Oil on canvas, 20” x 30”. Framed 26” x 36”. 2,000/3,000
600
184
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601.
MANNER OF GEORGE INNESS America, 19th Century Sunset over a meadow. Signed lower right “G. Inness”. Oil on board, 18” x 24”. Framed 27” x 33.5”. 2,500/3,500
601
602.
MANNER OF GEORGE INNESS America, 19th Century Farmyard under moonlight. Unsigned. Oil on canvas, 20” x 24”. Framed 28” x 32”. 1,500/2,500
602
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185
603.
FRANK HENRY SHAPLEIGH New Hampshire, 1842-1906 “Indian Summer at Jackson, N.H.”. Signed and dated lower right “F.H. Shapleigh 1869”. Titled, signed and dated October 19, 1869 verso. Oil on canvas, 16” x 10”. Framed 24” x 18”. 2,000/3,000
604.
JACOB VAN DER KERCKHOVEN Belgium/Italy, 1636/7-1712 Old master painting of wild game. Excellent use of light to highlight details. Label verso for E. and A. Silberman Galleries, New York. Oil on canvas, 38.5” x 29”. Framed 49” x 38.5”. 4,000/6,000 Provenance: Sotheby’s, New York, February 5, 2019, Lot #1035. A Flemish painter, Jacob van der Kerckhoven is regarded as one of the most prominent still life and animal specialists active during the turn of the 18th Century. After training in Antwerp, Belgium, he became active in the Veneto region of Italy, where he also became known as Giacomo da Castello.
605. 603
LAURA COOMBS HILL Massachusetts, 1859-1952 Pink roses on a trellis. Signed lower right “Laura Hill”. Pastel, 25” x 21”. Framed 27” x 23”. 6,000/8,000 Provenance: Directly from the artist, through family descent. Private Collection, Cape Cod, Massachusetts.
605 604
186
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606.
WILLIAM KEITH California/Scotland, 1838-1911 Cattle at a woodland pond. Signed lower left “W. Keith”. Housed in a Whistlerstyle frame. Oil on canvas, 20” x 30”. Framed 27” x 37”. 3,000/5,000
606
607.
WILLIAM HART New York/United Kingdom, 1823-1894 Two riverscapes. Both signed lower right “Wm Hart”. Oils on artist panel, 5” x 8.5”. Framed 10” x 13.5”. 4,000/6,000
607, two
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187
609
608
610
608.
609.
188
AMERICAN SCHOOL 19th Century Still life of flowers overflowing from an urn. Signed lower right “Nisbet”. Oil on canvas, 32” x 20”. Framed 44” x 32”. 1,200/1,800
GEORGE LOFTUS NOYES Massachusetts/New Hampshire, 1864-1954 Still life of flowers and a Chinese porcelain figurine. Signed lower right “G.L. Noyes”. Oil on board, 17.5” x 21”. Framed 23” x 26”. 1,500/2,500
611
610.
FREDERICK DICKINSON WILLIAMS Massachusetts/New Hampshire/France, 1829-1915 “Massachusetts Landscape”. Signed and dated lower left “F.D. Williams 1899”. Titled on frame plaque. Watercolor on paper, 13” x 19” sight. Framed 21” x 28”. 500/1,000 Provenance: A New Hampshire Collection of Paintings.
611.
SANDOR BERNATH New York/Maine, 1892-1984 Yacht under sail. Signed lower right “Sandor Bernath”. Watercolor on paper, 16.5” x 18.5” sight. Framed 21” x 24”. 400/600
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612.
JOHN APPLETON BROWN Massachusetts, 1844-1902 Field of blossoming apple trees. Signed lower right “Appleton Brown”. Housed in a period Walfred Thulin frame inscribed verso “1924 Thulin 1308”. Oil on canvas, 22” x 30”. Framed 30” x 37”. 2,000/3,000
612
John Appleton Brown’s early career was highly influenced by the Barbizon style through his close friends J. Foxcroft Cole and William Morris Hunt. In his later years, he became more influenced by the French Impressionists. He spent many summers at the home of Celia Thaxter on Appledore Island off the coast of Maine, where he socialized with luminaries such as Childe Hassam and Hunt. Walfred Thulin was one of the finest frame carvers of the Early 20th Century. Immigrating from Sweden, he started working at Boston’s famed Carrig-Rohane shop, along with Hermann Dudley Murphy, before setting up his own shop in 1912. Over the years, he created frames for many of the area’s most accomplished artists, including John Singer Sargent.
613.
D. JEROME ELWELL Massachusetts/Italy, 1847-1912 “Sunset, Venice”. Signed and dated lower right “D. Jerome Elwell 1889”. Titled verso. Oil on canvas, 30” x 50”. Framed 36” x 56”. 1,500/2,500
613
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189
614
615
614.
190
ARTHUR CLIFTON GOODWIN Massachusetts/New York/New Hampshire, 1864-1929 Boston Harbor scene. Signed lower left “AC. Goodwin”. Oil on canvas, 38” x 40”. Framed 45.5” x 49”. 4,000/6,000
615.
ALBERT BABB INSLEY New York/New Jersey, 1842-1937 Fall landscape. Signed lower right “Albert Insley”. Gill’s Art Gallery label verso. Oil on canvas, 12” x 18”. Framed 20.75” x 26.75”. 1,000/1,500
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616
616.
AMERICAN SCHOOL 19th Century Portrait of an artist. Unsigned. Oil on board, 30” x 24.5”. Framed 35” x 30”. 2,500/3,500 Provenance: Kennedy Galleries, New York. A New Hampshire Collection of Paintings.
617
617.
ATTRIBUTED TO THOMAS SULLY Pennsylvania/England, 1783-1872 Portrait of Dr. Samuel Johnston Cramer (1779-1840), great-grandfather of Elizabeth M. Lobingier. Attribution determined by W.G. Constable, Curator of Paintings, Boston Museum of Fine Arts. Portrait and frame restored at the Robert Vose Galleries, Boston, May 10, 1941. Oil on panel, 28” x 24”. Framed. 1,000/1,500
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191
618.
JOHN FRANCIS MURPHY New York/Illinois, 1853-1921 En grisaille landscape with apple blossoms. Signed lower right “J.F. Murphy”. Remnants of Babcock Galleries label verso. Oil on canvas, 20” x 12”. Framed 27” x 19”. 3,000/5,000
619.
FRANCIS SETH FROST Massachusetts, 1825-1902 “Lake George”. Signed faintly lower right. Oil on canvas, 12” x 18”. Framed 18.5” x 24.5”. 1,500/2,500 Provenance: A New Hampshire Collection of Paintings.
620. 618
ERNEST ALBERT LAND Virginia/Canada, b. 1918 Trompe l’oeil of a pistol and a stamp. Signed and dated on the pinned note “Ernest Albert Land 1952”. Oil on masonite, 16” x 20”. Framed 24” x 28”. 2,000/3,000
619
620
192
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John Ross Key Maryland/Washington, D.C./California, 1837-1920 Lot 621
621
621.
Coastal landscape, possibly California. Signed and dated lower left “John R. Key 78”. Oil on canvas, 11.25” x 20”. Framed 23” x 31.5”. 8,000/12,000 Provenance: Private Collection, Colorado. Shannon’s Fine Art Auctions, Milford, Connecticut. Private Collection, Cape Cod, Massachusetts.
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193
Charles DeWolf Brownell Connecticut/New York/Rhode Island, 1822-1909 Lots 622-626
622, two
622.
Two watercolors: 1) “Autumn Leaves Against the Sky”. Inscribed center right “Maple”. Inscribed and dated lower right “Papaw-E.H.Oct.19.62”. Titled on Babcock Galleries label verso. Michael Borghi Fine Art LLC label verso. 5.25” x 8” sight. Matted 9.25” x 12.25”. 2) “Chicharron”. Dated and inscribed lower right “Colon- Ap.5.1860.”. Titled lower right. 5.25” x 8.25”. Framed 13.75” x 17”. 2,000/3,000
623.
Two watercolors: 1) “Hibiscus”. Dated and inscribed lower right “Majagua = Hibiscus Tiliareus: Yngo. Magnolia Dec. 3. 59”. Inscribed upper left “N”. Labels verso for Babcock Galleries, Michael Borghi Fine Art LLC, Hirschl & Adler and Arkansas Art Center. 5” x 8”. Framed 13.75” x 16.75”. 2) “Fungus on a Tree Trunk”. Inscribed upper left “N”. Labels verso for Babcock Galleries, Hirschl & Alder and Michael Borghi Fine Art LLC. 5.25” x 8.25”. Framed 13.75” x 17”. 2,000/3,000
624.
Two watercolors: 1) “Landscape with Houses”. Inscribed upper left “N.R.”. Labels verso for Babcock Galleries, Michael Borghi Fine Art LLC and Hirschl & Adler Modern. 5.25” x 8.25”. Framed 12.75” x 16”. 2) “La Loma de Las Animas”. Inscribed upper left “N”. Labels verso for Babcock Galleries and Hirschl & Adler. 5.25” x 8.25”. Framed 12.75” x 15.75”. 2,000/3,000
623, two
194
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624, two
Charles DeWolf Brownell Connecticut/New York/Rhode Island, 1822-1909 Lots 622-626
625.
Two watercolors: 1) “Pumpkin, Lyme, Connecticut”. Dated and inscribed lower right “Lyme-Oct. 8 -63-”. Inscribed upper left “N”. Labels verso for Babcock Galleries and Michael Borghi Fine Art LLC. 5” x 7.75” sight. Matted 9” x 11.75”. 2) “Plants, Bristol, Rhode Island”. Dated and inscribed lower right “Bristol-June 19-63”. Inscribed upper left “N”. Labels verso for Babcock Galleries and Hirschl & Adler. 8.25” x 5.25”. Framed 17” x 13.75”. 2,000/3,000
625, two
626.
Two watercolors: 1) Rock study. Inscribed and dated lower right “Bristol-62”. Inscribed upper left “N”. Labels verso for Babcock Galleries, Hirschl & Adler and Michael Borghi Fine Art LLC. 5.25” x 8.25”. Framed 12.75” x 15.75”. 2) “Three-Thorned Acacia, East Hartford, Connecticut”. Inscribed and dated lower left “E.H. Oct. 30-62”. Labels verso for Babcock Galleries, Michael Borghi Fine Art LLC and Hirschl & Adler. 8.5” x 5.25”. Framed 17” x 13.75”. 2,000/3,000
626, two
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195
627.
ERWIN NEUSCH New York, 1892-1993 “Hutson [sic] River, NY”. Signed lower right “Erwin Neusch”. Titled on stretcher bar. Oil on canvas, 18” x 24”. Framed 20.5” x 27”. 300/500
627
628.
VICTORIAN COMMODE Late 19th Century In pine. Top painted to resemble marble, and remainder painted green. Single drawer with decoration of fruit and swags, and each door panel with hanging fruit. Height 27.5”. Width 30”. Depth 15.5”. 800/1,200
628
629.
HEPPLEWHITE BOWFRONT BUREAU New Hampshire, Circa 1790 In mahogany and mahogany veneer. Banded inlay along edge of top. Four graduated full-width drawers with cock-bead molding and string inlay. Bold French splayed bracket feet. Retains period oval brass hardware with molded spread-wing eagles. Height 35.5”. Width 41.25”. Depth 23”. 2,000/3,000 629
196
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630.
HEPPLEWHITE BOWFRONT CHEST Springfield, Massachusetts Area, Circa 1790 In cherry. Four graduated full-width drawers with cock-bead molding. Nicely shaped skirt. French splayed bracket feet. Retains original hardware. Height 37.25”. Width 43”. Depth 22.5”. 1,000/1,500
630
631.
EVERETT SHINN New York/Pennsylvania, 1876-1953 “Study for Ballet Backstage Dreams”. Signed and dated lower right “E. Shinn 1916”. Titled and dated verso. Oil on panel, 12” x 15”. Framed 15.5” x 18”. 1,500/2,500 Provenance: Sue Shinn, Rheinbeck, New York, granddaughter of the artist.
631
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197
632.
TAVERN TABLE Deerfield, Massachusetts Area, 18th Century In cherry; top washed and base with deep brown finish. Single drawer with turned wooden knob. Delicate turned legs joined with box stretcher. Height 26.75”. Length 39.25”. Width 25.25”. 800/1,200
632
633. FEDERAL BOWFRONT BUREAU Portsmouth, New Hampshire, Circa 1800 In mahogany and select mahogany veneer. Banded inlay along edge of top. Four full-width drawers with cock-bead molding and hardwood veneer panels surrounded by banded inlay -- a rectangular panel at the center of each drawer and oval panels centering the hardware. Skirt with rectangular drop panel, typical of Portsmouth. French splayed bracket feet. Height 37.75”. Width 40”. Depth 20.75”. 3,500/5,000 A similar example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 116 and colorplate 2. The hardwood veneer panels in the illustrated example are the reverse of this bureau, with oval panels at the center of each drawer and rectangular panels centering the hardware, but the banded inlay and cock-bead molding are nearly matching. Interestingly, the hardware is also very similar.
634.
634
198
633
SHERATON TWO-DRAWER WRITING STAND Portsmouth, New Hampshire, Circa 1815 In mahogany. Porringer top. Drawers with original turned wooden pulls. Case with three-quarter spool-turned columns at each corner, terminating in spool-turned legs. Height 29”. Width 19.5”. Depth 17.5”. 600/800 A similar example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 284.
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635.
FEDERAL BOWFRONT DRESSER SECRETARY Portsmouth, New Hampshire, Circa 1800 In cherry and mahogany veneer. Upper case with curly maple veneer paneled doors enclosing four interior drawers and pigeonholes. Lower case with writing slide over four full-width drawers with tiger maple veneer fronts and cock-bead molding. Skirt with rectangular drop panel. Raised flat bracket feet. Height 59.25”. Width 42”. Depth 20.75”. 2,000/2,500
635
636.
SHERATON LOCKER Vermont/New Hampshire Border Area, First Quarter of the 19th Century In cherry and cherry veneer. Top surmounted by a backsplash and two narrow full-depth drawers. Case with two full-width cock bead-molded drawers over two bottle drawers flanking two cupboard doors. All four sides of case with three-quarter reeded columns terminating in bulbous reeded legs. Retains original hardware. Height 45.5”. Width 44”. Depth 20.75”. 1,000/1,500
636
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199
637
637.
200
QUEEN ANNE HIGHBOY Circa 1760 In maple. Upper case with five graduated full-width drawers. Lower case with two half drawers over a full-width drawer simulating three, a shaped skirt, and cabriole legs ending in pad feet. Height 72”. Width 37.5”. Depth 20”. 1,000/1,500
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638.
UNUSUAL COMB-BACK CORNER CHAIR 18th Century In walnut. High comb back above solid vasiform splats. Scrolled arms. Slip seat. Block cornermolded legs joined with a box stretcher. Back height 42.75”. Seat height 18”. 1,800/2,500
639.
638
LATE SHERATON DROP-LEAF TABLE America, Mid-19th Century In bold bird’s-eye maple. Turned legs. Height 29”. Length 17.25” plus two 12.5” drop leaves. Width 42”. 800/1,200
639
640.
QUEEN ANNE TILT-TOP TEA TABLE New England, 18th Century In maple and tiger maple, with circular top, turned pedestal and cabriole legs ending in snake feet. Height 28.25”. Diameter 33.25”. 700/900
640
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201
641.
FIVE-DRAWER CHEST Western Vermont, Circa 1830 Hardwood with grain-painted decoration in a vibrant 19th Century-style, likely done within the last 50 years. Full-width drawers of varied sizes. Nicely scrolled skirt and bracket feet. Signed on backboard “L Cary Crandall”. Height 44”. Width 37.75”. Depth 19.75”. 1,000/1,500
641
642.
QUEEN ANNE CHEST OF DRAWERS 18th Century In maple, with pine and chestnut secondary woods. Retains traces of original red paint. Five graduated full-width drawers. Shaped bracket base. Height 43.5”. Width 38.25”. Depth 18.25”. 500/1,000
642
643.
ASSEMBLED SET OF FOUR QUEEN ANNE CHAIRS New England, Second Quarter of the 18th Century One armchair and three side chairs. In maple. Backs with carved crest rails and vasiform splats. Rush seats. Block and turned front legs end in Spanish feet. Turned stretchers. Armchair back height 41.75”. Side chair back heights 40.25”. Seat heights approx. 17”. 800/1,200
643, four
202
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644
644.
WILLIAM & MARY HIGHBOY America, Early 18th Century In walnut. Upper case with a hidden drawer in cornice over three side-by-side drawers over three graduated full-width drawers. Lower case with two tiers of three side-by-side drawers of varied sizes. Turned trumpet-form legs joined with a scalloped stretcher and end in bun feet. Retains original snipe brasses. Height 68.5”. Width 45.25”. Depth 22.5”. 3,000/4,000
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203
645
645.
646.
204
ORIENTAL RUG: SERAPI DESIGN 9’8” x 12’7” Abrashed green and navy blue medallion on a brick red field above a navy blue subfield. Delicate ivory vine and green and blue blossoms throughout main field, and boteh and medallions throughout subfield. Broad main border with red and blue scrolling motifs. 1,200/1,800
ORIENTAL RUG: HERIZ 9’6” x 12’10” Red field with a gabled medallion and anchor pendants in traditional blue, red, pink, ivory and faded gold. Traditional meandering vines, blossoms and leaves throughout. Bright ivory subfield, and red, pink, blue and abrashed aqua spandrels. Yellow guard borders and navy blue main border. 700/1,000
646
647.
ORIENTAL RUG: SARABAND 5’2” x 9’8” Multiple staggered rows of tiny light blue, dark blue and ivory boteh on a red field. Traditional red meandering vine throughout ivory spandrels and ivory main border. 300/500
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648
648.
ORIENTAL RUG: SOUMAC 3’6” x 8’6” Brown field with a variety of small colorful figures throughout and linked red and ivory medallions flanked by stylized red, blue and ivory vines. Tan, red and ivory borders. 400/600
649.
ORIENTAL RUG: QASH QAI 4’5” x 6’10” Light blue geometric medallion is surrounded by stylized blue, dark amethyst, coral and green cypress trees on a navy blue field with dark red spandrels. Stylized blossoms, branches and birds throughout. Dark red, ivory, coral and green borders. 600/900
650.
ORIENTAL RUG: NORTHWEST PERSIAN 4’8” x 10’10” Bold geometric medallion and pendants in shades of midnight and dark slate blue on a dark red field. Numerous colorful figures of birds and rudimentary flower branches throughout. Dark blue and bengal orange guard borders. Dark red main border. 450/650
651.
ORIENTAL RUG: CAUCASIAN 4’3” x 6’1” Bold blue geometric medallions contain and are surrounded by a variety of traditional stylized elements in red, green, ivory, pale yellow, subtle green, brown and orange on a red field. Abrashed brown guard borders. Ivory main border. 300/500
652.
ORIENTAL RUG: MESHKABAD 4’4” x 10’7” Abrashed red field with a pale green, brown, dark blue, ivory and dark amethyst Herati pattern. Bronze guard borders. Navy blue main border features serpentine ivory leaves. 500/700
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205
653.
ORIENTAL RUG: CAUCASIAN PRAYER 3’6” x 5’7” Dark red field with light blue, ivory, orange and dark amethyst geometric elements and a geometric mihrab composed of an ivory ribbon. Multiple narrow borders primarily in red and blue, as well as some ivory and dark yellow. 400/600
654.
ORIENTAL RUG: KAZAK 4’4” x 5’9” Two columns of geometric medallions rendered in red, ivory, dark blue, green, brown and faded pink. Multiple colorful borders. 100/200
653
655.
ORIENTAL RUG: SHIRVAN DESIGN 5’1” x 6’8” Numerous rows of traditional animal and bird figures in reds, blues and salmon pink cross the width of an antique ivory-colored field. Colorful geometric guard borders enclose an empty bright red main border. 450/650
656.
ORIENTAL RUG: SOUMAC FRAGMENT 3’8” x 4’9” Broad and colorful bands of red, blue and bengal orange feature stylized blossoms and a repeating animal figure. Broad flatweave ends feature stripes in colors to complement the field. 200/300
655
206
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657.
ORIENTAL RUG: LARISTAN 15’0” x 25’10” Central medallion and double pendants in abrashed blue and faded shades of copper, yellow, moss green and brown. Abrashed blue field features a forest setting habitated by a variety of animals in colors to match the medallion. Broad copper border with blue floral cartouches. 3,000/5,000
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207
658
658.
659.
208
ORIENTAL RUG: FERAGHAN SAROUK 4’2” x 6’5” Blue, ivory and faded gold floral medallion rests at the center of a larger midnight blue medallion hovering over an ivory field and red subfield adorned with dark red, pink, blue and faded gold flowering branches. Midnight blue main border. 1,000/2,000 ORIENTAL RUG: TURKISH 5’0” x 5’9” Three diamond-shaped blue, salmon pink, pale gold and green medallions on an ivory field. Bisected geometric medallions about the perimeter echo the others. Numerous borders in a variety of floral and geometric motifs. 250/350
660.
ORIENTAL RUG: KAZAK PRAYER 4’0” x 4’2” Ivory and red geometric medallion on a blue-green field that includes an arched mihrab above a red subfield. Blue and ivory borders. 300/500
661.
ORIENTAL RUG: TURKISH 3’8” x 4’10” Overlapping red and greenish-gold medallions on an open red field with gray spandrels featuring stylized branches. Ivory border with repeated stylized elements in colors to match medallions and field. 150/200
662.
ORIENTAL RUG: BIDJAR DESIGN 7’6” x 11’8” Finely rendered uninterrupted Herati pattern throughout an ivory central medallion. Red field with navy blue subfield, red and light green guard borders, and an ivory main border. 700/1,000
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Robert Spear Dunning Massachusetts/New Hampshire, 1829-1905 Lots 663-664
663.
Still life of fruit. Signed and dated “R.S. Dunning 1885”. Signed and dated verso “R.S. Dunning Painter. 1885”. Oil on canvas, 12” x 16”. Framed 23” x 27”. 20,000/30,000 Provenance: Private Connecticut Collection. Shannon’s Fine Art Auctioneers, Milford, Connecticut, April 28, 2016, Lot #100.
663
664.
Still life of pears, peaches and cherries. Signed and dated verso “R.S. Dunning 1880”. Oil on canvas, 7” x 11”. Framed 13.5” x 16.5”. 5,000/7,000
664
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209
665
666
667
665.
GEORGE WILLIAM WHITAKER Rhode Island/New York/Massachusetts, 1841-1916 Still life of pears and grapes. Signed and dated lower left “G.W. Whitaker 95”. Oil on board, 6.5” x 9”. Framed 12” x 14.5”. 800/1,200
668
667.
FALL RIVER SCHOOL 19th Century Still life of strawberries spilling out from an overturned basket. Signed illegibly lower right. Oil on canvas, 9” x 15”. Framed 13” x 19”. 500/700
Provenance: Roger King Fine Art, Newport, Rhode Island. 668. FALL RIVER SCHOOL 19th Century Often referred to as “The Dean of Rhode Island Artists”, Still life of peaches. Unsigned. Work associated with Charles George William Whitaker was a highly influential figure in the G. Calder, who operated a prominent artist supply store at Providence artistic community. This work is backed by a partial 263 Westminster Street, Providence, Rhode Island, and was menu from the A.E. Club (Ann Eliza Club), a social club made up a member of the Providence Art Club. Oil on canvas, primarily of artists. 6” x 9”. Framed 11” x 13”. 500/700 666.
210
FALL RIVER SCHOOL 19th Century Still life of peaches, pears and grapes. Unsigned. Work associated with Charles G. Calder, who operated a prominent artist supply store at 263 Westminster Street, Providence, Rhode Island and was a member of the Providence Art Club. Oil on canvas, 7 x 10”. Framed 12” x 15”. 500/700
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669.
BRYANT CHAPIN Massachusetts, 1859-1927 Still life of apples, peaches, pears, an orange and honeycomb. Signed and dated lower left “Bryant Chapin 1904”. Housed in a fine period frame. Oil on canvas, 18” x 24”. Framed 27” x 32.5”. 6,000/9,000 Bryant Chapin was a student of Robert Dunning and was a leading figure in the Fall River artistic community.
670.
CHARLES GORDON HARRIS Rhode Island, 1891-1963 Figures under a blossoming apple tree. Signed lower left “C. Gordon Harris”. Oil on canvas board, 11.5” x 9.25”. Framed 17.5” x 15.5”. 700/1,000 Provenance: James D. Julia Auctions, Fairfield, Maine, February 4, 2012, Lot #1068. 669
671.
HARLEY BARTLETT Rhode Island, Contemporary Scene of Providence, Rhode Island. Signed lower left “Bartlett”. Oil on canvas, 10” x 8”. Framed 16” x 14”. 1,500/2,500
670
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671
211
Maxwell Mays Rhode Island, 1918-2009 Lots 672-673
672.
“Newport Soiree”. Signed lower right “Maxwell Mays”. Titled on frame plaque. Oil on board, 32” x 21”. Framed 42 “x 32”. 2,000/4,000
673.
Three scenes of a European town, originally the backdrop for a train set. Two signed and dated lower right “Maxwell Mays 19881989”. One signed and dated lower left “Maxwell Mays 1988-1989”. Oils on plywood, 30” x 96”, 30.25” x 71” and 30” x 68.5”. 2,000/3,000
Provenance: Commissioned by a prominent Rhode Island doctor, Mendell Robinson, for the backdrop of his train collection. Includes a photo of the original display with the train set and of Dr. Robinson.
672
673, three
212
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Edward Chalmers Leavitt Rhode Island, 1842-1904 Lots 674-675
674.
Still life of strawberries and plums.
Signed and dated lower left “E.C. Leavitt 1875”. Housed in a period frame. Oil on canvas laid down on board, 12” x 16”. Framed 23.5” x 28.5”. 4,000/6,000 Provenance: Marymercer Thompson Ord Spencer, Los Angeles. (Marymercer Spencer was a granddaughter of U.S. Army Major General E.O.C. Ord, who prepared a survey of the City of Los Angeles before serving in the Civil War.) Trust of James T. Spencer, Los Angeles. By descent in the family. Current consignor. 674
675.
“Dolphin Urn and Roses”, a tabletop still life of roses and a Royal Worcester urn. Signed and dated lower right “E.C. Leavitt 1892”. Titled on frame plaque. Oil on board, 24” x 12”. Framed 31.25” x 19.25”. 1,500/2,500 Provenance: Roger King Fine Art, Newport, Rhode Island.
675
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213
676.
ROBERT DUMONT-SMITH United Kingdom, 1908-1994 Still life of a violin, artist palette and books. Signed lower left “Dumont-Smith”. Oil on board, 6.25” x 5.25”. Framed 9” x 8”. 1,000/1,500
677.
SYDNEY RICHMOND BURLEIGH Rhode Island, 1853-1931 A house across a meadow. Signed lower right “S.R. Burleigh”. Watercolor on paper, 10.25” x 14.5”. Framed 17.5” x 22”. 600/900 Born in Little Compton, Rhode Island, Sydney Richmond Burleigh was a highly important figure in the Rhode Island art community. He was a founder of the Providence Art Club (1880-1929) and served as the first president of the Providence Watercolor Club. He also built the “Fleur de Lys” artist studio building in Providence.
676
677
678.
OSCAR MILLER Rhode Island, 1867-1921 Interior scene of a woman knitting and a child. Signed lower right “Oscar Miller”. Oil on canvas laid down on board, 14” x 11”. Framed 21” x 17”. 300/500
679.
W. SPENCER CROOKS Rhode Island/Ireland, 1917-2004 “The Brass Door”. Signed lower left “Spencer Crooks”. Titled on Providence Art Club label verso. Watercolor on paper, 14” x 20.75”. Framed 21” x 28.5”. 700/1,000
678
679
214
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items from the estate of
Carl and Mary Breyer Carl Breyer (1939-2015) and Mary Breyer (1944-2020) were avid collectors of 18th and 19th Century American furniture and oil paintings, accumulating their collection primarily during the 1970s and 1980s. Most of the pieces in the collection were purchased from Richard and Susan Raymond of Brimfield Antiques and from Dana Tillou Fine Arts. Other pieces were purchased from dealers at the annual Hartford Antiques show and at auctions. Carl Breyer's passion for American furniture and fine arts extended beyond collecting for personal enjoyment; he was also interested in preserving Americana for the benefit of the public. To help achieve this goal, he served as a Trustee of Old Sturbridge Village for many years.
680.
SHERATON ONE-DRAWER STAND North Shore of Massachusetts, Circa 1805 In cherry, with bird’s-eye maple facings to drawer front and three sides. Serpentine top. Retains original brass drawer pull. Skirt with alternating banded wood inlay. Delicate reeded legs. Height 27.25”. Width 18.75”. Depth 15.5”. 1,200/1,800
680
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215
681.
PAIR OF ENGLISH QUEEN ANNE BRASS CANDLESTICKS 18th Century Heights 8.25”. 500/700 Provenance: Brimfield Antiques, Brimfield, Massachusetts. Includes original 1980 sales receipt.
681
682.
AMERICAN SCHOOL 19th Century A harbor scene with the sun setting through the haze. Signed lower right “Van”. Oil on canvas, 14” x 18”. Framed 22” x 27”. 800/1,200
682
683.
683
216
CHIPPENDALE DROP-LEAF TABLE Boston, Circa 1780 In mahogany. Drawer at each end of apron. Cabriole legs end in nicely carved claw & ball feet. Height 29.75”. Length 19.75” plus 17.75” drop leaves. Width 47.5”. 2,000/3,000 Accompanied by an advertisement for H.L. Chafant Antiques, West Chester, Pennsylvania, published in the September 1999 issue of Maine Antiques Digest, illustrating a similar table.
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Items from the Breyer Estate
684
684.
685
685. DUBOIS FENELON HASBROUCK DUBOIS FENELON HASBROUCK New York, 1860-1934 New York, 1860-1934 “A Bit of Ulster County, New York”. Signed and dated lower “Evening in Winter”. Signed and dated lower right “D.F. Hasbrouck ‘86”. Titled verso. Partial label on reverse for right “D.F. Hasbrouck ‘86”. Titled verso. Buffalo Fine Arts the Buffalo Fine Arts Academy, which lists the owner as Academy label on reverse lists the owner as Charles M. Kurtz. Kurtz, a noted critic and promoter of contemporary Charles M. Kurtz. Kurtz, a noted critic and promoter of contemporary American art, was the first director of the American art, was the first director of the Albright Museum, now the Albright-Knox Art Gallery, at the Buffalo Fine Albright Museum, now the Albright-Knox Art Gallery, at the Buffalo Fine Arts Academy. Founded in 1862, the Academy Arts Academy. Founded in 1862, the Academy is one of the is one of the oldest public arts institutions in the United oldest public arts institutions in the United States. Oil on board, 12.25” x 8.5”. Framed 22” x 18.5”. 700/1,000 States. Oil on board, 12.25” x 8.5”. Framed 21” x 17.25”. 1,000/1,500 Provenance: Includes a copy of a 1983 appraisal by Black Walnut Farm, Provenance: Includes a copy of a 1983 appraisal by Black Walnut Farm, Somers, Connecticut, also indicating it was in the Kurtz Somers, Connecticut, also indicating it was in the Kurtz Collection. Collection.
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217
686, four
686.
According to accompanying research by Susan and Richard Raymond of Brimfield Antiques, Elizabeth Parrott Stephenson was the widow of Captain Reuben Stephenson, who died in 1759. Elizabeth was appointed executrix of his sizable estate, and an inventory of his property, signed by Elizabeth, exists in the Suffolk County Probate Records. Her signature is also on a document awarding her legal custody of the couple’s son. A handwriting expert believes the signature on the two documents matches that on these chairs.
SET OF FOUR TRANSITIONAL QUEEN ANNE SIDE CHAIRS Massachusetts, Mid-18th Century In walnut. Crest rails with rabbit ears. Solid fiddle splats. Slip seats with gold print upholstery. Cabriole front legs end in pad feet. Turned and blocked H-stretchers. Several signed “E Stephenson” on frames and undersides of seats, believed to be the signature of owner Elizabeth Parrott Stephenson of Boston. Back heights 37”. Seat heights 16.5”. 2,500/3,500 Provenance: Brimfield Antiques, Brimfield, Massachusetts. Accompanied by the original sales receipt dated 1978.
Many pieces from the Stephenson estate, including most of the chairs, were destroyed in the Great Fire of Boston in 1760, and were so noted on the inventory, as was the money received from the fire relief fund. It is therefore surmised Elizabeth purchased this set of chairs, circa 1760, while furnishing a home for her and her son. Accompanied by research notes, letters and photographs.
218
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Items from the Breyer Estate
687.
CHIPPENDALE MIRROR
Late 18th Century Walnut and walnut veneer frame. Crest with gilt phoenix and incised vines. Nicely carved ears and lower panel. Height 41”. Width 21.5”. 800/1,200
687
688.
688
689.
HEPPLEWHITE DEMILUNE CARD TABLE Massachusetts, Circa 1800 In mahogany and mahogany veneer. Edge of top with alternating wood string inlay. Tapered legs with string and bellflower inlay, and banded cuff inlay at ankles. Height 30”. Width 35.5”. Depth 17.75”. 1,200/1,800
QUEEN ANNE TILT-TOP CANDLESTAND Massachusetts, Last Half of the 18th Century In mahogany, with molded-edge dish top, vasiform pedestal and cabriole legs ending in snake feet. Height 28”. Diameter of top 20”. 600/900 689
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219
690.
ATTRIBUTED TO JOHN WHITE ALLEN SCOTT Massachusetts, 1815-1907 “Josephine Fall, Watson Valley, Shokan” (New York). Unsigned. Artist’s studio label affixed to upper stretcher. Titled verso. Oil on canvas, 12” x 20”. Framed 16” x 24”. 1,000/2,000
690
691.
691
220
CHIPPENDALE OXBOW BUREAU Massachusetts, Circa 1780 In mahogany. Top with molded edge and nice overhang at front and sides. Four graduated fullwidth drawers with bold original Chippendale brasses. Finely carved claw & ball feet. Height 32”. Width 38.75”. Depth 20.25”. 4,000/6,000 Provenance: Brimfield Antiques, Brimfield, Massachusetts. Includes original 1979 sales receipt. Also includes copies of newspaper clippings pertaining to the sale of similar chests.
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Items from the Breyer Estate
692.
CHIPPENDALE MIRROR Late 18th Century Mahogany frame. Unusual gilt crest with central phoenix. Gilt liner and foliate swags. Height 40.5”. Width 21.25”. 1,000/1,500
692
693.
CHIPPENDALE SLANT-LID DESK New England, Circa 1780 In birch. Stepped interior with drawers, pigeonholes and central compartment; some elements with shell carvings and block moldings. Case with four graduated full-width molded-edge drawers and bracket feet. Original brass bail hardware. Height 43.5”. Width 37.5”. Depth 21.25”. 1,800/2,500 Includes several newspaper clippings, most pertaining to the sale of similar desks attributed to Goddard-Townsend of Newport, Rhode Island. One clipping illustrates the Tobey house in Acushnet, Massachusetts, with a handwritten notation “Our old desk came from this home. Given to Grandpa Paige by cousin Elizabeth Tobey”. A handwritten note inscribed “Old Desk” provides further lineage through the Tobey family. 693
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221
694.
LOUIS ROBBE Belgium, 1806-1887 Barn interior with sheep, birds and a goat. Signed lower right “Robbe”. Oil on wood panel, 19.25” x 26.25”. Framed 23.25” x 30.25”. 1,000/1,500 Provenance: Includes a copy of a 1983 appraisal by Black Walnut Farm, Somers, Connecticut, indicating the provenance includes Dana Tillou of Buffalo, New York.
694
695
695.
G. RICARDI Italy, Late 19th Century Venetian scene. Signed lower left “G. Ricardi”. Oil on canvas, 19.5” x 22.25”. Framed 24.25” x 37.75”. 800/1,200
696.
SET OF SIX CHIPPENDALE SIDE CHAIRS Massachusetts, Circa 1780 In mahogany. Yoke crest rails with rabbit ears. Pierced splats. Slip seats with powder blue printed upholstery. Linenfold front legs joined with H-stretchers. Back heights 37.5”. Seat heights 19”. 1,500/2,500
696, six
222
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Items from the Breyer Estate
697.
SIMON WILLARD TALL-CASE CLOCK Boston, Circa 1800 Mahogany and mahogany veneer Roxbury case. Bonnet with pierced fretwork joining three plinths supporting three brass ball and steeple finials. Arched glazed dial door flanked by full turned fluted columns with brass stop fluting. Paneled pendulum door with string inlay and fan inlay at corners. Sides of trunk with brass-capped quarter columns with brass stop fluting. Base panel with repetitive string and fan inlay and ogee bracket feet. Brass face with burnished steel Roman numeral dial with applied brass corner moldings, second sweep and inset calendar dial. Moon phase with ship decoration and engraved half globes. Face engraved “Simon Willard”. Height 94.75”. Width 21”. Depth 10.5”. Includes pendulum and weights. 12,000/18,000 Accompanied by the booklet New England Clocks at Old Sturbridge Village, which illustrates several Simon Willard clocks, and a copy of a newspaper article about a record sale of a Willard clock.
697
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223
698.
224
AN AMERICAN MASTERPIECE CHIPPENDALE BONNET-TOP HIGHBOY North Coastal Connecticut, Circa 1770 In cherry with an old mellow finish. Bonnet top with extensive dentil molding along edge, three fluted plinths supporting wooden finials, and two gracefully shaped solid raised panels, very similar to the Goddard-Townsend School of Newport, Rhode Island. Central finial with artichoke top on a squat melon-ribbed urn, with dentil molding at top and bead molding at base. Side finials with oblong spiral-carved tops on foliate-carved urns. Upper case with central spiral-carved deep drawer flanked by stacks of two drawers, all over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with double fan carving. Beautifully executed shaped skirt with cock-bead molding along edge and an applied shell carving at center. Cabriole legs with scrolled carved returns, shell-carved knees, delicate ankles, and bold claw & ball feet. Height 86.5”. Width 37.75”. Depth 19.5”. 40,000/60,000
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698
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225
699.
CHIPPENDALE BONNET-TOP SECRETARY North Coastal Connecticut, Circa 1780 In cherry. Bonnet with three plinths supporting spiral-turned finials and arched solid raised panels, indicative of Newport, Rhode Island cabinetmakers. Upper case with fluted quarter columns at sides and two paneled doors enclosing a divided interior fitted with two shelves. Lower case with a slant lid over four graduated moldededge drawers, fluted quarter columns at sides, and ogee bracket feet. Slant lid encloses pigeonholes, drawers and a central cupboard with fan-carved door. Height 89.5”. Width 39.5”. Depth 22.5”. 3,000/5,000
699
226
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700.
CHIPPENDALE SERPENTINE-FRONT CHEST WITH BLOCKED ENDS Providence, Rhode Island Area, Circa 1780 In mahogany, with four graduated full-width drawers and ogee bracket feet. Height 39.5”. Width 40”. Depth 21.75”. 3,000/5,000
700
701.
CHIPPENDALE SERPENTINE-FRONT CHEST Salem, Massachusetts, Circa 1780 In mahogany, with four graduated full-width drawers and ogee bracket feet. Deep rich finish. Height 33.5”. Width 43.5”. Depth 22”. 2,000/3,000
701
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227
702.
702
703.
CHIPPENDALE SLANT-LID DESK FROM THE SCHOOL OF WILLIAM KING Circa 1780 In mahogany. Slant lid encloses a block and fan interior fitted with pigeonholes, drawers, and a central compartment that opens to reveal a pencil drawer above two drawers. Serpentinefront case with four graduated full-width drawers, a beautifully carved fan drop at skirt, and four bold claw & ball feet. Height 43.5”. Width 40.75”. Depth 22.5”. 8,000/10,000
PAIR OF CHIPPENDALE SIDE CHAIRS Newport, Rhode Island, Circa 1770 In mahogany and pine. Pierced backs with carved ears. Slip seats with striped floral upholstery. Square molded front legs and raked rear legs joined by stretchers. Back heights 37”. Seat heights 18”. 1,000/2,000 Provenance: Albert James Adams, Newport, Rhode Island. A nearly identical chair to this pair is in the collection of Colonial Williamsburg and is illustrated in Barry A. Greenlaw’s New England Furniture at Williamsburg, p. 67, fig. 57. 703, pair
228
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704
A similar example is illustrated in Portsmouth Furniture Masterworks from the New Hampshire Seacoast edited by Brock Jobe (Hanover, N.H.: Society for the Preservation of New England Antiquities/University Press of New England, 1993), p. 143. While now more commonly referred to as servers, this style piece probably served as a dressing table in the 19th Century, a place to store personal items like combs and handkerchiefs. According to the book, cabinetmakers Jonathan Judkins and William Senter, who established operation in 1808 in Portsmouth, were notable competitors of the leading craftsman Langley Boardman, who trained in Salem, Massachusetts before moving to Portsmouth in 1798.
704.
RARE AND IMPORTANT DIMINUTIVE FEDERAL SERVER ATTRIBUTED TO JUDKINS AND SENTER Portsmouth, New Hampshire, Circa 1810 In mahogany with exceptional flame satinwood veneer drawer fronts. Slightly bowed top with thin banded inlay along edge. Conforming case with a full-width drawer over a stack of two drawers flanked by bottle drawers. Delicate double-tapered legs with string, and bellflower and dot inlay. Retains original hardware. Height 39.25”. Width 42.75”. Depth 21.75”. 10,000/20,000 Provenance: Skinner, Inc., Boston, Auction 2337, November 4, 2006, Lot #522. The Important New Hampshire Collection of Lawrence and Dorothy Perkins.
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229
705.
705
HEPPLEWHITE CARD TABLE New England, Early 19th Century In maple. Shaped top. Full-width drawer with mahogany veneer facing and original hardware. Simple tapered legs. Height 29”. Width 34.75”. Depth 18”. 1,000/1,500 Provenance: The Important New Hampshire Collection of Lawrence and Dorothy Perkins.
706.
FEDERAL SERPENTINE-FRONT CHEST Late 18th/Early 19th Century In mahogany and mahogany veneer. Four graduated full-width drawers with brass bail pulls. Shaped bracket base with French splayed feet. Height 40.75”. Width 44.5”. Depth 23.5”. 1,000/1,500
706
707.
707
230
QUEEN ANNE DRESSING TABLE Late 18th Century In maple, with oak secondary woods. Overhanging top with molded edge. Single full-width drawer above three side-by-side drawers. Shaped apron. Cyma-curved legs end in Dutch feet. Height 29.5”. Width 35”. Depth 23”. 500/1,000
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708
708.
CHIPPENDALE CHEST-ON-CHEST Connecticut, Circa 1780 In cherry. Bonnet top’s broken arch pediment with three carved finials on plinths, dentil-molded edges and rosettes at end of scrolls. Upper case with three varied side-byside drawers, the central with oval fan carving, over four graduated full-width drawers. Lower case with three graduated full-width drawers, the lower with a fan carving with a pinpoint chain design at the upper edge. Drawers with molded edges. Ogee bracket feet. Height 86.5”. Width 46”. Depth 20.5”. 3,000/5,000
709
709.
FEDERAL TALL-CASE CLOCK New York, Circa 1800 Mahogany veneer case with fruitwood string inlay. Bonnet with broken arch pediment and brass finials. Glazed arched dial door flanked by turned columns. Trunk with fluted quarter columns at sides. Shaped base panel on bracket feet. Dial with moon phase. Height 96”. Width 18”. Depth 9.5”. Includes weights and pendulum. 2,000/4,000
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231
710
711
710.
HEPPLEWHITE BOWFRONT BUREAU Rhode Island, Circa 1790 In cherry, with tiger maple drawer fronts. Four graduated full-width drawers with turned wooden pulls. High French splayed bracket feet. Height 38.5”. Width 41.25”. Depth 21.25”. 500/1,000
711.
ELMER STENNES PILLAR AND SCROLL SHELF CLOCK Weymouth, Massachusetts, Last Half of the 20th Century Mahogany and mahogany veneer case with original finish. Reverse-painted lower door panel depicts a house in a landscape. Painted Arabic numeral dial with floral decoration. Eight-day, time and strike, and spring brass movement. Height 29”. Width 16”. Depth 5”. 300/500
232
712.
ELI TERRY EMPIRE SHELF CLOCK Connecticut, Second Quarter of the 19th Century Mahogany and mahogany veneer case with stenciled crest, carved half columns at sides and carved paw feet. Mirrored lower door glass. Gilt and painted Arabic numeral dial. Eli Terry label inside case. Height 33.5”. Width 17.25”. Includes pendulum bob and weights. 300/500
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713, left and detail at right
713.
BLUNT & NICHOLS ASTRONOMICAL REGULATOR CLOCK, BELIEVED TO BE FROM PENN STATION, PHILADELPHIA New York, Circa 1868 Signed “Blunt & Nichols, New-York”. Original walnut or mahogany case. Bonnet with a beautifully carved crest in a scroll and foliate design. Locking hinged dial door with silvered bezel. Trunk with recessed paneled sides and a glass pendulum door with brass locks and dust-free fittings. Molded base panel. Burnished steel face in the standard astronomical format with a perimeter Arabic numeral minutes dial, and subsidiary Arabic numeral seconds and Roman numeral hours dials. Original blue steel hands. Intricate brass works made to the highest standards, including full dust covers, five massive pillars, sapphire pallets, jeweled escape arbor, end shake adjustment, a friction-reducing roller on the crutch where it enters the pendulum rod, all hubs swagged to their arbors, counterbalanced minute hand, etc. Retains its original pendulum with a contained steel canister with mercury. Sliding circular tray on the pendulum rod holds lead shot for finite adjustments. Also retains its original, beautifully machined brass pulley and brass weight and the engraved and silvered beat scale. Believed to have been used in Penn Station, Philadelphia as a master clock. Label on saddleboard for William Gibbons, Clock Maker, Philadelphia, indicates the clock was repaired in 1942 for the “Penna. Railroad”. The extra wheel on the escape arbor indicates it served as a master clock, and a small box mounted to the top of the bonnet contains additional elements for the master clock system. Case height 77.5”. Width 18”. Depth 12.25”. Dial diameter 11.75”. 12,000/15,000 The firm Blunt & Nichols was established about 1867, following the famous firm of E. & G.W. Blunt. Blunt & Nichols later became Blunt & Co., then eventually sold out to John Bliss & Co. in 1871.
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233
714.
AARON WILLARD, JR. SHELF CLOCK WITH REVERSE-PAINTED GLASS PANELS Boston, Circa 1800 Mahogany veneer case. Replacement reversepainted upper and lower tablets by Linda Abrams of Watertown, Massachusetts; the upper table with lyre and scrolled vine above Willard’s signature and the lower depicting “Escape of the Constitution”. Brass weight-driven striking movement. Height 30.25”. Width 12.5”. Depth 6.5”. 1,000/1,500
714
715.
WILLARD BANJO CLOCK First Quarter of the 19th Century Mahogany and mahogany veneer case with brass sidearms and gilded throat and door glass surround moldings. Reverse-painted throat and door glass; throat glass with a foliate design and door glass with scene of Neptune on a horse-drawn chariot. Roman numeral dial with faint “Willard Boston” signature. Height 29.75”. Width 9.75”. Depth 4”. 1,500/2,000
715
234
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716.
AARON WILLARD TALL-CASE CLOCK Boston, Circa 1800 Fine Roxbury mahogany and mahogany veneer case. Bonnet with pierced fretwork joining three plinths supporting brass ball and steeple finials. Arched glazed dial door flanked by fluted full columns with brass stop fluting. Paneled molded pendulum door in select grain mahogany veneer. Sides of trunk with fluted quarter columns with brass caps and brass stop fluting. Pendulum door and base panel with string inlay. Ogee bracket feet. Painted metal Arabic numeral dial with floral decoration at corners. Moon phase with ship decoration. Signed on face “Aaron Willard”. Includes weights and pendulum. Height 83.5”. Width approx. 19.5”. Depth 9.5”. 10,000/15,000
Owners of independent workshops, the Willard brothers -- Benjamin, Simon, Ephraim and Aaron -- were some of the most renowned clockmakers in the early United States. The brothers were born between 1743 and 1755 to Benjamin Sr. and Sarah Brooks, and they lived on a farm in Grafton, in Central Massachusetts. It’s believed Benjamin Sr. apprenticed in horology and opened a shop, working out of the family home. Benjamin Jr., the eldest son, began making clocks around 1765, and his three younger brothers soon learned the trade. Simon and Aaron eventually moved to Boston and achieved professional and financial success, becoming the most well known of the four brothers. Simon patented the banjo clock in 1802, and his clocks can be found in the U.S. Capitol building. Three successive Willard generations also worked as clockmakers.
716
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235
items from a
New England Collection
717.
SIMON WILLARD PATENT BANJO CLOCK Early 19th Century Mahogany case with replacement brass eagle finial and brass sidearms. Retains original reverse-painted and gilt throat and door glass; both with white, salmon and gilt decoration. Door glass marked “S. Willard’s Patent”. Roman numeral dial. Height 34”. Width 10”. 1,000/1,400
717
236
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718.
RARE DAVID WOOD MASSACHUSETTS SHELF CLOCK Newbury Port, Massachusetts, Circa 1810 Beautifully veneered mahogany, birch and satinwood case. Bonnet with three molded-front plinths supporting brass urnform side finials and a brass spread-wing eagle central finial. Solid fret with central rectangular satinwood panel flanked by multi-wood dot inlay and with an ebonized sawtooth border along the arch of the glazed dial door. Lower portion of case with interesting rectangular birch veneer panels, inlaid swirl designs and edge burning. Door panel with banded veneer. Bonnet and case with additional narrow multi-wood geometric bandings. Brass bail carrying handles at sides. French splayed bracket feet. Painted metal dial with Roman numerals and gilt decoration at arch and corners. Signed faintly “David Wood Newbury Port”. Height 36”. Width 12.5”. Depth 6”. 8,000/12,000
718
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237
A New England Collection
719
720
721
719.
238
CARVED WOODEN CODFISH 19th Century Old, possibly original gilt finish. Beautiful carved and detailed fins and scales. Fitted with two eye hooks at top. Believed to have once been a weather vane; plugged hole at bottom was possibly a hole for a weather vane mount. Known to the consignor’s family as the “Sacred Cod”. Height 10”. Length 32”. 3,000/5,000
720.
CARVED AND PAINTED EAGLE WALL PLAQUE First Quarter of the 20th Century “Dont Give Up the Ship” banner above eagle’s head. Height 10”. Length 27”. 500/700
721.
BELLAMY-STYLE CARVED AND PAINTED EAGLE WALL PLAQUE Early 20th Century Gilt eagle with a red, white and blue shield at its breast. Height 5”. Length 26”. 900/1,200
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722
722.
CHINESE EXPORT BLUE AND WHITE NANKING PORCELAIN PLATTER Second Quarter of the 19th Century With pierced mazarin. 13.25” x 15.75”. 700/1,000
723.
CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN COVERED VEGETABLE DISH Second Quarter of the 19th Century Cover with fruit-form finial. Dish with twisted foliate handles. Height 6”. Length 12.5”. 500/700
724.
CHINESE SCHOOL Mid-19th Century Pair of seascapes depicting Chinese junks and distant mountains. Unsigned. Oils on panel, oval, 10” x 11.75”. Framed 11.75” x 14.75”. 500/800
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723
724, pair
239
A New England Collection
725
725.
CHINESE SCHOOL First Half of the 19th Century Rare view of Bocca Tigris, with Chinese junks and other vessels, several flying the British flag. Unsigned. Artist’s label verso marked “Wah Cheong”. Housed in its original Chinese Chippendale frame. Oil on canvas, 18.25” x 24.25”. Framed 23.5” x 28”. 3,000/5,000 726.
TWO NEAR-MATCHING CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN PLATTERS Second Quarter of the 19th Century 14.5” x 17.25” and 14.5” x 18.25”. 1,000/1,500
726, near-pair
240
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727
727.
RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 Wedding Dance. Chinese-influenced scene of three sailors, four Chinese women and two mermaids dancing near a shoreside teahouse. Numerous ships and junks anchored offshore. Distant islands with several buildings featuring pagoda-style roofs. Two mermaids are flying kites, one in the form of an eagle and the other in the form of a bat. Signed lower right “R. Cahoon”. Oil on masonite, 25.5” x 38”. Framed 30” x 43”. 30,000/50,000 Provenance: Purchased by the consignor’s family at a show in the mid1960s; the show was believed to have been at Vose Galleries, Boston. Descended in the family since time of purchase.
conclusion of the collec tion see photos of all lots and view condition reports at www.eldreds.com
241
Ralph and Martha Cahoon Cape Cod, 1910-1982 and 1905-1999 Lots 727-732
728.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 Floral still life. Signed lower right “Martha Cahoon”. Oil on masonite, 21” x 25”. Framed 24” x 28”. 3,000/5,000
728
729.
RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 Lift-top commode with painted decoration. Top depicts a sailor waving his hat, surrounded by a lighthouse, three ships, mermaids and a tavern. Paneled door with shell decoration. Shaped base. Unsigned, but a fine early work by Cahoon. Height 29.5”. Width 28.5”. Depth 17.5”. 3,000/5,000 729
242
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Ralph and Martha Cahoon Cape Cod, 1910-1982 and 1905-1999 Lots 727-732
730.
MARTHA FARHAM CAHOON Cape Cod, 1905-1999 A child on a rearing horse. Signed and dated lower right “Martha Cahoon 78”. Oil on masonite, 9” x 10”. Framed 10.5” x 11.5”. 800/1,200
730
731.
RALPH AND MARTHA CAHOON Cape Cod, 1910-1982 and 1905-1999 Pine firkin with painted decoration, circa 1945. Top depicts a heart and flowers. Body depicts a shepherd, a sheep and flowers. Height 14”. Diameter 14.5”. 600/900
731
732. RALPH AND MARTHA CAHOON Cape Cod, 1910-1982 and 1905-1999 Pine six-board chest with painted decoration. Top with heart and “Joy” banner. Front with a flower and heart flanked by tombstoneshaped panels containg roses. Bootjack ends. Height 24.5”. Width 46”. Depth 20.5”. 1,000/1,500 732
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243
733
733.
VERNON B. SMITH Orleans, Massachusetts, 1894-1969 Carved wooden plaque depicting songbirds in a tree. Signed verso “V Smith”. Height 16.5”. 500/700
734.
ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Dune scene, likely Provincetown, Massachusetts. Signed lower right “A.V. Diehl”. Oil on board, 7.75” x 10”. Framed 10” x 12”. 800/1,200
735.
ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Dawes & Company Brewery, Canada. Signed lower right “Arthur Diehl”. Oil on canvas, 16” x 24”. Framed 25” x 31”. 2,000/4,000 Provenance: Private Collection, Canada. Eldred’s, April 4, 2009, Lot #975. Private Collection, Cape Cod, Massachusetts. According to the original owner, the painting depicts his greatuncle, who was a personal friend of the artist. The painting was based on a photograph provided by the sitter. The building in the back is supposedly the Dawes & Company Brewery in Montreal, Quebec.
734
735
244
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736.
ELIZABETH MUMFORD Massachusetts, d. 2020 “The Steam That Toots a Whistle Will Never Turn a Wheel”. Depicts the steamship Samuel B. Wilson at dock, Nantucket, Massachusetts. Signed and dated lower right “Elizabeth Mumford 1990”. Oil on board, 20” x 30”. Framed 23” x 32”. 2,000/3,000
736
737.
JEROME HOWES New York/Massachusetts/Vermont, b. 1955 “Steam Yacht Julia”. Signed lower right “Jerome Howes”. Titled verso. Oil on masonite, 24” x 36”. Framed 29.5” x 41.5”. 1,000/1,500
737
738.
JOSEPH MCGURL Massachusetts, b. 1958 “Plein Air, View from Vineyard Haven”. Signed lower left “J. McGurl”. Titled and dated 2014 verso. Oil on board, 5” x 7”. Framed 12” x 14”. 1,500/2,500
738
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245
William R. Davis Massachusetts, b. 1955 Lots 739-742
740 739
741
742
739.
“Inland Waterway Traveler FL”. Signed lower left “W. Davis”. Titled, signed and dated 2014 verso. Oil on masonite, 12” x 9”. Framed 18.25” x 15.25”. 1,200/1,800
741.
“Night Fishermen”. Signed lower left “W. Davis”. Titled and signed verso. Oil on masonite, 9” x 12”. Framed 14.75” x 17.75”. 2,000/3,000
740.
“Whistle House”. Signed lower right “William R. Davis”. Titled and signed verso. Oil on masonite, 8” x 12”. Framed 13.75” x 15.75”. 800/1,200
742.
“Morning Marsh View”. Signed lower left “William R. Davis”. Titled, signed and dated 2018 verso. Oil on masonite, 9” x 12”. Framed 13” x 16”. 800/1,200
246
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743.
THOMAS R. DUNLAY Massachusetts, b. 1951 “A Summer Serenade”. Signed, titled and dated “Hyannis Port, MA, 6-2000” verso. Housed in a Paul Carter Goodnow frame. Oil on canvas, 24” x 20”. Framed 35” x 31”. 2,500/3,500
743
744.
PETER COES Massachusetts, born 1946 Two related works: 1) “She Waved Until His Ship Was Out of Sight”, a hand-painted casting on wooden stand. Titled on base. Casting height 4”. Stand height 13.5”. 2) “She Waved as His Ship Left the Harbor”, an acrylic on panel. A similar figure to the above sculpture appears in the lower left quadrant of the painting. Signed lower right “P. Coes”. Titled and dated 2000 verso. 15” x 12”. Framed 19” x 17”. 800/1,000
744, two casting sans wooden stand
745.
ALICE MONGEAU Massachusetts, Contemporary Path on the inlet. Signed lower right “Alice Mongeau”. Oil on canvas, 20” x 24”. Framed 28” x 32”. 800/1,000
745
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247
746.
THOMAS BLAGDON HIGHAM Massachusetts, b. 1953 Lilacs in front of a Cape Cod barn. Signed lower left “Thomas B. Higham”. Tempera on board, 20” x 29”. Framed 29” x 38”. 500/1,000
747.
ALFRED BIRDSEY Bermuda, 1912-1996 Bermuda street scene with a distant harbor. Probably an early work with a heavy palette. Signed lower right “Birdsey”. Oil on plywood panel, 22.5” x 16”. Framed 26.25” x 19.75”. 200/300
748.
ALLEN WHITING Massachusetts, b. 1946 Dunes, most likely Martha’s Vineyard, Massachusetts. Signed and dated lower left “Allen Whiting 1998”. Oil on board, 8” x 12”. Framed 9” x 13”. 1,500/2,500
746
748
747
248
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749.
YASEMIN KYRENA TOMAKAN Connecticut/Massachusetts/Turkey, b. 1958 “Sunrise Marsh”. Signed lower right “Tomakan”. Titled on tag verso. Oil on canvas, 24” x 36”. Framed 25.75” x 37.75”. 1,200/1,800
750.
YASEMIN KYRENA TOMAKAN Connecticut/Massachusetts/Turkey, b. 1958 “Marsh, Nantucket”. Signed lower right “Tomakan”. Titled on tag verso. Oil on canvas, 24” x 36”. Framed 27” x 39”. 1,200/1,800
749
750
751.
752.
DONALD W. DEMERS Maine/Massachusetts, b. 1956 Coastal landscape. Signed lower right “Demers”. Watercolor on paper, 6.5” x 9.5”. Framed 16” x 19.5”. 1,000/1,500
751
DON DEMERS Maine/Massachusetts, b. 1956 “Incoming Fog”. Signed lower left “Demers”. Titled verso. Oil on board, 8” x 12”. Framed 14” x 18”. 2,000/3,000
752
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249
753.
LORETTA FEENEY Massachusetts, b. 1961 Victoria Station. Signed lower left “Feeney”. Dated 1988 verso. Oil on canvas, 16” x 20”. Framed 21” x 25”. 500/700
753
754.
MARK MEUNIER Massachusetts, 1949-2017 Triptych “Undine”, 1993. Signed lower right “Mark Meunier”. Titled verso. Tempera on board, central panel 12” x 6”, side panels 12” x 3.5”. Framed 20” x 23”. 500/1,000
754
755.
CHRISTOPHER G. WILLETT Pennsylvania, b. 1959 “Afternoon Good Harbor Beach”. Signed lower left “Christopher Willett”. Titled verso. Oil on board, 12” x 16”. Framed 15” x 19”. 700/1,000
755
250
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Christine Herman Merrill Maryland, Contemporary Lots 756-757
756
757
756.
“Nick and Jazzy at Brookvale”. Signed and dated lower right “Christine Maxwell 2001”. Titled on frame plaque. Oil on canvas, 28” x 40”. Framed 33.5” x 45.5”. 4,000/6,000
757.
“Jazzy, Joy and Biz at Glencoe, Scotland”. Signed and dated lower left “Christine Merrill 2003”. Titled on frame plaque. Oil on canvas, 30” x 40”. Framed 35” x 45”. 6,000/9,000
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251
758
758.
MICHAEL WHELAN Connecticut/New York/California, b. 1950 Seated nude holding a heart pendant. Monogrammed in a circle lower left “MW”. Oil on panel, 12” x 9”. Framed 18” x 15”. 1,500/2,500
759.
JAMES HARRINGTON New York, b. 1929 “Polo Match”. Signed mid-left “Harrington”. Titled on label verso for Tree’s Place Gallery, Orleans, Massachusetts. Oil on canvas, 16” x 20”. Framed 25” x 28.5”. 2,000/3,000
759
760
760.
PATRICK KITSON Pennsylvania/New Jersey, b. 1970 Sunset over rolling hills, Chester County, Pennsylvania. Signed and dated lower right “Patrick E. Kitson ‘01”. Oil on panel, 8” x 12”. Framed 13” x 17”. 600/800
761.
KATHLEEN DUNPHY California, b. 1963 “Americana”. Signed lower left “K. Dunphy”. Titled, signed and dated 2015 verso. Oil on board, 12” x 16”. Framed 18” x 22”. 800/1,000
761
252
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Russell W. Gordon New York, b. 1968 Lots 762-764
762
762.
Red-bellied woodpecker. Signed lower right “Russell W. Gordon”. Oil on canvas, 14” x 12”. Framed 19” x 16”. 1,500/2,500
763
763. “Telegraph”. Signed lower right “Russell W. Gordon”. Titled on label verso for Collins Galleries, Orleans, Massachusetts. Oil on panel, 11” x 10”. Framed 16” x 15”. 1,200/1,600
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764
764.
Purple pansy. Signed lower left “Russell W. Gordon”. Oil on board, 6” x 8”. Framed 11” x 9.5”. 1,000/2,000
253
765.
SAM BARBER Massachusetts/Italy, b. 1943 “Cape Cod Light” (Highland Light, Truro, Massachusetts). Signed lower left “S. Barber”. Signed, titled and dated 2020 on stretcher. Oil on canvas, 16” x 20”. Framed 23” x 26”. 1,000/1,500
766.
GARRY GILMARTIN America, 1949-2010 Winter homestead, Truro, Massachusetts. Signed lower right “Gilmartin”. Egg tempera on board, 10” x 17”. Framed 13” x 20.5”. 800/1,200
767.
SUSAN O’BRIEN MCLEAN Cape Cod, Contemporary “Sandy Neck”. Signed lower right “Susan O’Brien McLean”. Titled verso. Oil on canvas, 12” x 20”. Framed 19” x 26”. 500/700
765
766
767
254
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John Dowd Massachusetts, b. 1960 Lots 768-769
768
769
768.
Late afternoon light. Signed lower left “J. Dowd”. Label verso for William-Scott Gallery, Provincetown, Massachusetts. Oil on canvas, 24” x 36”. Framed 31” x 42”. 4,000/6,000
769.
Truro house under the stars. Signed lower left “J. Dowd”. Label verso for William-Scott Gallery, Provincetown, Massachusetts. Oil on canvas, 12” x 16”. Framed 18” x 22”. 2,500/3,500
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255
771
770
772
256
770.
LOIS GRIFFEL Massachusetts/New York, b. 1947 “Festival Flags”. Signed lower right “Griffel”. Titled and signed verso. Oil on board, 12” x 10”. Framed 16” x 14.5”. 600/800
771.
LOIS GRIFFEL Massachusetts/New York, b. 1947 “Cottage with Lilies”. Signed lower left “Griffel”. Titled and signed verso. Oil on board, 10.75” x 11.25”. Framed 15.25” x 16”. 300/500
772.
PROVINCETOWN SCHOOL 20th Century A figure in the doorway of a fishing shack. Unsigned. Watercolor on paper, 16” x 23”. Unframed. 300/500
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Robert Cardinal Massachusetts/New York/Canada, b. 1936 Lots 773-775
773.
Vermont barns. Signed lower right “Cardinal”. Housed in a Summit frame. Oil on canvas, 12” x 16”. Framed 20” x 23”. 2,200/2,600
774.
“Pleasant Bay”. Signed lower right “Cardinal”. Titled and dated 2019 on stretcher. Oil on canvas, 7” x 5”. Framed 13” x 11”. 900/1,200
775.
“Route 7, Vermont”. Signed lower right “Cardinal”. Titled verso. Oil on canvas, 11” x 14”. Framed 16” x 19”. 1,500/2,500
774
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773
775
257
Anne Packard Massachusetts/New Jersey, b. 1933 Lots 776-778
776.
Red dory at dock. Signed and dated lower right “A. Packard 02”. Oil on canvas, 60” x 36”. Framed 66” x 41.5”. 10,000/15,000
777.
Red dory. Signed lower right “A. Packard”. Housed in a Guido frame. Oil on canvas, 48” x 72”. Framed 54” x 78”. 20,000/30,000
778.
Sailboat on the bay. Signed lower left “A. Packard”. Housed in a Guido frame. Oil on board, 6.25” x 12”. Framed 8.5” x 15”. 2,500/3,500 Provenance: Packard Gallery, Provincetown, Massachusetts. Private Collection, Provincetown, Massachusetts.
776
258
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Anne Packard Massachusetts/New Jersey, b. 1933 Lots 776-778
777
778
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259
779.
WILLIAM ANTON JOSEPH CLAUS Maine/Massachusetts/Germany, 1862-1926 Provincetown dock, low tide. Signed lower left “W.A.J. Claus”. Oil on artist board, 10” x 12”. Framed 12” x 14”. 400/600
779
780.
ATTRIBUTED TO CHARLES WEBSTER HAWTHORNE Massachusetts/New York, 1872-1930 Portrait of a woman. Unsigned. Oil on canvas, 30” x 26”. Framed 39” x 43”. 4,000/6,000 Provenance: The Estate of Marguerite Riordan, Stonington, Connecticut.
780
781.
DODGE MACKNIGHT Massachusetts/Connecticut/Rhode Island, 1860-1950 Autumnal scene. Signed upper right “Dodge Macknight”. Watercolor on paper, 14.5” x 20.5” sight. Framed 22” x 28”. 1,000/1,500
781
260
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782
782.
BYRON BROWNE New York, 1907-1961 “Evening, Provincetown”. Signed lower left “Byron Browne”. Titled and dated 1957 verso. Oil on canvas, 18” x 30”. Framed 23” x 37”. 4,000/6,000
783.
ATTRIBUTED TO KARL KNATHS Wisconsin/Massachusetts/New York, 1891-1971 Abstract in browns, greens, orange and yellow. Signed and dated verso “K.K. 1965”. Oil on canvas, 24” x 12”. Framed 25” x 13”. 400/600
784.
783
KARL KNATHS Wisconsin/Massachusetts/New York, 1891-1971 “Johnny Appleseed” or “Johnnie Appleseed” 1941. Signed lower right “Karl Knaths”. Stretcher with four paper labels, including one for Paul Rosenberg & Co. at 20 E. 79th Street and one for a Museum of Modern Art loan. Oil on canvas, 42” x 24”. Framed 42.25” x 24.5”. 2,500/3,500 784
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261
E. Ambrose Webster Massachusetts, 1869-1935 Lots 785-786
785
Provenance: Berta Walker Gallery, Provincetown, Massachusetts. Private Collection, Massachusetts. Private Collection, New York, 1999. Driscoll Babcock Galleries, New York. 785.
262
“Provincetown Garden, 1916”. Signed lower left “E. A. Webster”. Titled on gallery label verso. Oil on canvas, 20” x 24”. Framed 28.5” x 33”. 12,000/15,000
Exhibited: Cape Cod Museum of Art: “A Century of Impressionism on Cape Cod”, July 11-19, 1999, No. 17. ACME Fine Art and Design, Boston: “Provincetown Views”, May-July 2021. Driscoll Babcock Galleries, New York: “E. Ambrose Webster: The Primacy of Color”, January 7-March 5, 2016. Berta Walker Gallery, Provincetown, Massachusetts: “Bound East for Provincetown, Centennial Celebration of ‘The Great Summer of Provincetown’”, July 22-August 14, 2016.
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E. Ambrose Webster Massachusetts, 1869-1935 Lots 785-786
786
When Eldred’s originally sold this painting November 20, 2009, the painting was unsigned and in what was likely its original frame. Affixed to the back of the frame was a label that read “Cabbage Patch, Bermuda E. Ambrose Webster”. The frame has since been replaced and, unfortunately, the label is no longer present. After the 2009 sale the painting ended up in the care of Dr. John Driscoll of Driscoll Babcock Galleries in New York. Dr. Driscoll was a noted scholar and maintained a relationship with the Webster estate. The gallery handled part of the artist’s estate and exhibited this painting along with others from the estate in the 2016 exhibition, “E. Ambrose Webster: The Primacy of Color”, January 7-March 5, 2016. The painting now bears an estate-signed and authorized stamped signature to the lower right. As part of Dr. Driscoll’s extensive research, he thought that rather than Bermuda, as the original label suggested, it is possible this is a lost work depicting Jamaica that was originally exhibited at the 1913 Armory Show in New York.
786.
“The Cabbage Patch, Bermuda”. Estate signed lower right “Webster”. Oil on canvas, 34” x 24.5”. Framed 41” x 31.5”. 15,000/20,000 Provenance: The artist to a private collector, Cape Cod, Massachusetts. A Cape Cod Estate. Eldred’s, November, 21 2009, Lot #1039. Driscoll Babcock Galleries, New York.
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263
items from a
PR OVINC ET O WN EST A T E
787
787.
PAINTED WOODEN TABLE, POSSIBLY PERTAINING TO MAXFIELD PARRISH America, Early 20th Century Top painted green. Boldly turned base painted blue, brown and red. According to the book Cape Cod Gardens and Houses, Maxfield Parrish made this table for his own home in Cornish, New Hampshire. Height 29”. Width 40”. Depth 40”. 1,000/2,000 Literature: Cape Cod Gardens and Houses by Catherine Fallin and Taylor Lewis (Simon & Schuster, 1994), p. 235.
788.
SHAKER CANDLESTAND 19th Century Under contemporary red paint. Circular top on a turned pedestal with a tri-legged spider base. Height 25.5”. Diameter of top 18”. 400/600 Literature: Cape Cod Gardens and Houses by Catherine Fallin and Taylor Lewis (Simon & Schuster, 1994), p. 229.
264
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788
790
789.
PILGRIM-ERA ONE-DRAWER STAND 17th Century In oak, with yellow pine secondary woods. Carved drawer front. Spool-turned legs. Height 24”. Width 32.5”. Depth 18.5”. 200/300
790.
QUEEN ANNE TAVERN TABLE New England, Mid-18th Century Pine top and maple base. Diminutive splayed tapered legs with modified pad feet. Height 25.25”. Top 39.25” x 21.25”. 500/1,000
791.
BIRD’S-EYE MAPLE TALL-CASE CLOCK America, 18th Century Square cove-molded bonnet. Tombstone-shaped glazed dial door. Wooden works. Height 84”. Width 18”. Depth 12”. 800/1,200 According to family history, this clock was owned by the Ball family of Boston, founders of Ballstown, Indiana.
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791
265
A PRO VIN CET O W N E S T A T E
792.
PAIR OF JADE GREEN GLASS DOLPHIN CANDLESTICKS Czechoslovakia, Circa 1924 With petal sockets and double-stepped bases. Heights 10.75”. 400/600
792, pair
793.
FOUR PIECES OF MERCER MORAVIAN POTTERY Doylestown, Pennsylvania, 20th Century A square vessel with assorted lettering in blue glaze, height 4”, and three candle sconces. One sconce with sailing ships in green glaze, height 11”, one with a dove in an olive tree in olive green glaze, height 10.75”, and one with an antlered creature riding a five-legged creature in green glaze, height 11”. 300/400
794
794.
WEDGWOOD EARTHENWARE SWEETMEAT SET Early 19th Century Transfer-printed in underglaze blue with flowers and floral borders on a painted red scale-pattern ground. Consists of a central dish, diameter 7.5”, surrounded by four wedge-shaped dishes. Fitted in a mahogany handled tray, diameter 21.5”. 600/800 Written provenance indicates this is a rare pattern and other similar pieces are at the Victoria & Albert Museum, London.
266
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795
795.
SMALL HAND-PAINTED PADDLE American, dated 1909 Blade depicts a lake scene with figure, rowboats and buildings. Housed in a shadow box frame. Framed 3” x 23.25”. 150/250 Literature: Cape Cod Gardens and Houses by Catherine Fallin and Taylor Lewis (Simon & Schuster, 1994), p. 232. Book claims the decoration depicts the Thousand Islands.
796.
CANADIAN CARVED WOODEN FIGURE OF A WINGED ANGEL 19th Century Holding a cluster of grapes in her outstretched hand. Purportedly taken from a side panel of a hearse. Height 9”. Length 29”. 150/250
797
797.
MARCHING DRUM America, 19th Century Label inside for Abner Stevens, Pittsfield, Massachusetts. Height 16”. Diameter 16.75”. Includes one drum stick. 400/600
798.
SIGNED FIRST EDITION OF THE ART OF MAURICE SENDAK By Selma G. Lanes (N.Y.: Harry N. Abrams, 1980). Oblong quarto. Pictorial cloth. Original printed acetate dust jacket. Signed by Lanes and Sendak and dated October 1980 on title page. Inscribed on front endpaper “For Clive - with pleasure with love so giving! Maurice Sendak Oct. 80” with an illustration of Mikey from “In the Night Kitchen”. 400/600
798
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267
A PRO VIN CET O W N E S T A T E
799.
799, multiple views
268
MAURICE SENDAK’S PERSONAL COPY OF WHERE THE WILD THINGS ARE Together with letters and other ephemera pertaining to Sendak winning the Caldecott Medal. First edition copy of the book (N.Y.: Harper & Row, 1963). Oblong quarto. Half gray cloth and pictorial boards. Original first edition dust jacket. Pictorial endpapers. Inscribed on half title page “Jan. 29, ‘64, Ursula called at 11:00 - I won the Caldecott Medal - Champagne on the fourth floor - Sue made a laurel wreath for me -”. Lot also includes the American Library Association’s January 30, 1964 award letter from Helen R. Sattley, chairman of the NewburyCaldecott awards committee, and congratulatory letters from Ruth Gagliardo, the ALA’s Children’s Services Division president, Daniel Melcher of R.R. Bowker Company, the MacMillan Company and the Scribner Book Store. Also includes personal letters of congratulations via Western Union telegrams and domestic and air mail, as well as an original American Library Association press release, news clippings and other announcements. 5,000/10,000
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800.
801.
SIGNED FIRST EDITION OF WHERE THE WILD THINGS ARE By Maurice Sendak (N.Y.: Harper & Row, 1963). Title page reads “Copyright 1963 by Maurice Sendak. Printed in the United States of America. All rights reserved. Library of Congress catalog number: 63-21253”. Oblong quarto. Half gray cloth and pictorial boards. Second edition dust jacket with the Caldecott medal emblem. Inner DJ flap with codes “40-80” and “1163” lower left. Pictorial endpapers. Inscribed on half title page “For Richard, Maurice Sendak, March ‘68” with an ink drawing of monster Bernard with a speech bubble,”Hi there - grr.r.”. 3,000/5,000
800
SIGNED FIRST EDITION OF IN THE NIGHT KITCHEN By Maurice Sendak (N.Y.: Harper & Row, 1970). Tall thin quarto. White cloth with mounted cover illustration. Original dust jacket without the Caldecott medal emblem. Inscribed on front endpaper “Dear Clive”, with an illustration of Mickey in a milk jug, with speech bubble, “I’m in the milk and the milk’s in me”. Signed in the jug and dated December 1970. 500/1,000
801
802.
SIGNED FIRST EDITION OF IN THE NIGHT KITCHEN By Maurice Sendak (N.Y.: Harper & Row, 1970). Tall thin quarto. White cloth with mounted cover illustration. Original dust jacket without the Caldecott medal emblem. Inscribed on front endpaper “For Clive & Richard Affectionately Maurice Sendak Nov. ‘70” with an illustration of Mickey similar to that seen in the cover illustration and on the last page. 500/1,000
802
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269
A P RO VIN CET O W N E S T A T E
803.
SIGNED FIRST EDITION OF E.T.A. HOFFMAN NUTCRACKER Illustrated by Maurice Sendak, translated by Ralph Manheim (Crown Publishers, 1984). Oblong quarto. Original cloth. Inscribed on half title page “For Clive and David - thank you! and Happy Nutcracker! Love Maurice Sendak, Dec. ‘84” with an illustration of his “Wild Thing” monster Bernard dressed as the nutcracker. 500/1,000
803
270
804.
SIGNED FIRST EDITION OF OUTSIDE OVER THERE By Maurice Sendak (N.Y.: Harper & Row, 1981). Oblong quarto. Red cloth. Original dust jacket. Inscribed on endpaper “For Clive - with the same, old good friendship - and love Maurice Sendak, April ‘81”. 400/600
805.
LOT OF BOOKS ILLUSTRATED AND/OR WRITTEN BY MAURICE SENDAK 1) Boxed set of The Juniper Tree and Other Tales from Grimm selected by Lore Segal and Maurice Sendak. Signed on the title page and numbered 21. 2) The Golden Key by George MacDonald, illustrated by Maurice Sendak. Personally inscribed on endpaper “For Clive Driver & Richard Talbot - with pleasure! Maurce Sendak” and dated November 1967. 300/400
804
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806.
LOT OF MAURICE SENDAK-RELATED EPHEMERA Second Half of the 20th Century 1-2) Two “Nutcracker” cards written by Sendak. 3) “Poems from ‘William Blake’s Songs of Innocence’”, drawn by Sendak, Boadley Head, London, with personal inscription. Contained in a hand-addressed envelope from Sendak, postmarked December 13, 1984. 4) Threepage handwritten list on Sendak letterhead itemizing missing Winslow Homers from his collection. 5) Notice of Membership to the Grolier Club, New York. 6) Small handwritten and illustrated “Happy 10th” card, inscribed and signed by Sendak. 7) Two letters pertaining to the Sendak exhibit at the Seattle Art Museum, circa 1984. 8) Pencil sketch by Sendak in the manner of Claud LouatFraser, dated 1968. 9) “Maurice, Collection of Books, Posters and Original Drawings”, with compliments from Justin G. Schiller, accompanied by a book bag. 10) “A Christmas Mystery” graphic print. 11) Ten “Where the Wild Things Are” gift records. 12) Collection of black and white photographs of set designs, story boards and Sendak with Mickey Mouse. 13) Folder of press clippings. 14) Signed limited edition print, numbered 17/300, of the “Wild Thing Birthday Party”. 15.5” x 17” sight. Framed 23” x 25”. 300/400
807.
THIRTEEN BOOKS WRITTEN OR ILLUSTRATED BY MAURICE SENDAK Last Half of the 20th Century 1) The Love for Three Oranges. Stage and costume designs by Maurice Sendak. 2) Softcover program for the Glyndebourne Festival Opera, 1982. Designed by Maurice Sendak. 3) Softcover In the Night Kitchen Coloring Book by Maurice Sendak. 4) The Sign on Rosie’s Door, story and pictures by Maurice Sendak. 5) A Hole is to Dig, by Ruth Krauss, illustrated by Maurice Sendak. 6) Nutshell Library boxed set of four miniature books by Maurice Sendak: Chicken Soup With Rice, One was Johnny, Pierre and Alligators all Around. 7-8) Two boxed sets of the twovolume The Juniper Tree and Other Tales from Grimm, selected by Lore Segal and Maurice Sendak. 9) The BatPoet by Randall Jarrell, illustrated by Maurice Sendak. 10) Softcover Maurice Sendak’s Really Rosie, starring the Nutshell Kids. Music by Carole King. 11) Outside Over There by Maurice Sendak. 12-13) Two copies of the softcover Fantasy Sketches by Maurice Sendak. 200/300
808.
FIVE SKETCHES PERSONALLY INSCRIBED AND SIGNED BY MAURICE SENDAK Circa 1970 Each framed, largest 12” x 16”. Includes: 1) Christmas greeting with a watercolor and ink scarecrow, inscribed “Hark Hark, the dogs do bark...”. Dated 1970 and signed lower right. 2.5” x 8” sight. 2) Birthday greeting with an ink sketch of a boy and a girl with Moishe the Monster from “Where the Wild Things Are”. Signed lower right. 5.5” x 8.5”. 3) Easter greeting with an ink sketch of two children dressed for Easter with eggs. Signed lower right. 3.5” x 2.5”. 4) Birthday greeting with an ink sketch of children playing in trees. Dated 1967 and signed lower right. 5.5” x 4.25”. 5) Pencil sketch “Sheep hut, Cuttalossa & Pewna, Dec. 11, ‘71, 3:00”. Signed lower right. 2,000/3,000
808
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271
A P RO V IN CET O W N E S T A T E
809
809.
OLIVER NEWBERRY CHAFFEE Massachusetts/Michigan, 1881-1944 “Moon Light (Sheepshead) Provincetown 1941”. Signed in plate lower right “Chaffee”. Titled verso. Woodcut on paper, 7.75” x 13.25” sight. Framed 14.25” x 20.25”. 3,000/5,000
810.
NANCY WHORF Massachusetts/Florida, 1930-2009 Hand-painted step stool. Top depicts Windy Willows and a yellow labrador retriever. Signed lower left “Whorf ”. Titled and dated upper left “Windy Willows 1982”. Height 8”. Width 14”. Depth 9.25”. 250/350
811.
WILLIAM F. BOOGAR, JR. Massachusetts/New Jersey, 1893-1958 Two gulls in flight. Both signed “Boogar” on obverse. Bronze, heights 3”. Lengths across wings 4”. 200/300
811, two
272
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812.
VOLLIAN BURR RANN Massachusetts/North Carolina, 1897-1956 Provincetown in winter. Signed and dated lower right “Vollian B. Rann 1936”. Oil on canvas, 30” x 36”. Framed 32.5” x 38.5”. 2,000/3,000 Literature: Cape Cod Gardens and Houses by Catherine Fallin and Taylor Lewis (Simon & Schuster, 1994), p. 232.
812
813.
VOLLIAN BURR RANN Massachusetts/North Carolina, 1897-1956 “Pamet River” (Truro, Massachusetts). Signed and dated lower right “V.B. Rann 35”. Titled verso. Oil on canvas, 25” x 30”. Framed 29” x 34”. 2,000/3,000 Literature: Cape Cod Gardens and Houses by Catherine Fallin and Taylor Lewis (Simon & Schuster, 1994), p. 231.
813
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273
A P RO VIN CET O W N E S T A T E
814.
ANNE MACADAM Massachusetts, Contemporary “Seabird II (The Fisherman)”. Signed and dated lower right “MacAdam 90”. Titled verso. Oil on canvas, 22” x 34”. Framed 26.5” x 38.5”. 800/1,200
815.
PAUL WESCOTT Pennsylvania/Maine/Delaware/Wisconsin, 1904-1970 “Late Spring Bowmanville” (New Hope, Pennsylvania). Signed and titled verso. Housed in a frame handmade by Bernard Badura. Oil on canvas, 30” x 36”. Framed 34.5” x 40.5”. 1,500/2,500
814
Literature: Cape Cod Gardens and Houses by Catherine Fallin and Taylor Lewis (Simon & Schuster, 1994), p. 234.
815
816.
HANS HOFMANN New York/Massachusetts/California/Germany, 1880-1966 “Wellfleet”. Signed lower left “Hans Hoffman”. Titled lower right. Ink on paper, 4” x 6”. Framed 14” x 16”. 2,000/3,000
816
274
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817
817.
ROSS E. MOFFETT Massachusetts/California/Iowa, 1888-1971 “After Church, Provincetown”. Signed lower left “Ross E. Moffett”. Oil on canvas, 39.5” x 49.5”. Framed 47” x 57”. 15,000/20,000 Literature: Cape Cod Gardens and Houses by Catherine Fallin and Taylor Lewis (Simon & Schuster, 1994), p. 234.
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275
A P RO VIN CET O W N E S T A T E
818
818.
WILLIAM FORMBY HALSALL Massachusetts, 1841-1919 Stormclouds and moonlight over a lighthouse. Signed lower right “Halsall”. Oil on canvas, 16” x 20”. Framed 20” x 24”. 1,200/1,800
819.
CAPE COD SCHOOL Early 20th Century House in the hills, Truro, Massachusetts. Signed illegibly lower left. Oil on board, 8.5” x 11”. Framed 11” x 13”. 500/1,000 819
276
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820.
EDNA BOIES HOPKINS Ohio/New York/France, 1872-1937 Houses on a street. Signed in pencil lower left “Edna Boies Hopkins”. Watercolor on paper, 9” x 8”. Framed 19.5” x 17.5”. 700/900
821.
GUSTAVE BAUMANN New Mexico/California, 1881-1971 “Idle Fleet”. Signed in pencil lower right “Gustave Baumann 1918”. Titled in pencil lower left. Color woodcut on cream laid paper, 10.75” x 11.75”. Framed 20” x 21.25”. 3,000/5,000
820
821
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277
822.
HEPPLEWHITE PEMBROKE TABLE New York, Circa 1790 In mahogany. Single drawer at one end of apron. Tapered legs with bookend inlay at tops, teardrop inlay at center and banded cuff inlay at ankles. Height 28.75”. Width 19.5” plus two 10” drop leaves. Depth 31.75”. 5,000/7,000
823.
CHIPPENDALE ARMCHAIR Circa 1785 In mahogany, with blue floral damask upholstery. Nicely carved arm supports. Linenfold front legs joined with H-stretcher. Back height 38.5”. Seat height 16.5”. 800/1,200
824.
CHIPPENDALE LOLLING CHAIR Circa 1785 In mahogany, with blue floral damask upholstery. Nicely molded arm supports. Linenfold front legs joined with H-stretcher. Back height 42.5”. Seat height 16”. 800/1,200
822
823
278
824
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825.
RARE LADY’S WRITING DESK ATTRIBUTED TO DUNCAN PHYFE New York, Early 19th Century In mahogany and mahogany veneer. Surmounted by a canted arrangement of three shelves with pierced molded galleries. Desk top with brass edge. Single full-width drawer with fitted interior including an adjustable writing slant. Delicate front legs with vertical moldings at fronts and hairy paw feet. Delicate turned and slightly tapering back legs. Height 54”. Width 32.75”. Depth 18”. 1,500/2,500 825
826.
ELEVEN TRANSITIONAL SIDE CHAIRS Possibly Mid-Atlantic, Circa 1770 Branded maker’s mark “TR” or “IR” on back of seat frames. In mahogany, with vasiform splats, trapezoidal slip seats, and block legs joined with box stretchers. Back heights 37.5”. Seat heights 18”. 3,500/5,000
826, eleven
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279
827 828
829
827.
SHERATON TILT-TOP 828. HEPPLEWHITE PEMBROKE CANDLESTAND ATTRIBUTED TABLE New York, Circa 1790 TO THE WORKSHOP OF In Cuban mahogany. Single drawer at DUNCAN PHYFE one end of apron and a faux drawer New York, Circa 1800 at opposite end. String inlay at top, In mahogany. Shaped top set on a drawer and legs. Height 28.5”. turned pedestal raised on reeded Width 20” plus two 10” drop leaves. tapered legs ending in turned ball Depth 31”. 1,000/1,500 feet. Height 29”. Top 26” x 18”. 800/1,200
829.
QUEEN ANNE TILT-TOP TEA KETTLE STAND Virginia, Mid-18th Century In mahogany. Top with burled walnut veneer. Birdcage mount. Vasiform pedestal raised on cabriole legs ending in snake feet. Height 25.25”. Diameter of top 14.5”. 600/800
A similar example is featured in Charles Montgomery’s Federal Furniture at the Henry DuPont Winterthur Museum, #387.
280
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830.
PAIR OF FEDERAL-STYLE OVAL MIRRORS Possibly Centennial, Last Quarter of the 19th Century Spread-wing eagle and foliate crests. White-painted surround with 13 applied gesso stars representing the 13 original states. Heights 43”. Widths 27.5”. 2,000/3,000
830, pair
831.
FEDERAL CUPBOARD SECRETARY Massachusetts, Circa 1800 In mahogany and mahogany veneer. Upper case with lift top and three cupboard doors enclosing interior pigeonholes and drawers. Lower case with a fold-out writing surface above four graduated full-width drawers with cock-bead molding. Shaped skirt. French splayed bracket feet. Height 53.5”. Width 41.25”. Depth 20”. 2,000/3,000
831
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281
832
832.
282
FEDERAL SWELL-FRONT SIDEBOARD Mid-Atlantic, Circa 1790 In beautifully grained mahogany and mahogany veneer with satinwood inlay. Serpentine top on conforming case fitted with cupboards flanking a drawer over over a two-door cupboard. Tapered legs with bellflower inlay at tops and banded inlay at ankles. Height 40”. Width 72”. Depth 25.75”. 2,000/3,000
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834
833
833.
TILT-TOP CANDLESTAND Coastal North Carolina, Late 18th Century Walnut dish top and Cuban mahogany base. Turned pedestal raised on cabriole legs ending in snake feet. Height 28.25”. Diameter of top with grain 22” and across grain 21.625”. 1,200/1,800
834.
HEPPLEWHITE PEMBROKE TABLE Norfolk, Virginia Area, Circa 1790 In select mahogany. Top with string inlay along edge. Working drawer at one end of apron and a faux drawer at opposite end, both with string inlay. Tapered legs with string inlay down the lengths. Height 28.5”. Width 20.5” plus two 10” drop leaves. Depth 31.75”. 800/1,200
835.
ORIENTAL RUG: BIDJAR 3’9” x 5’6” Pink, blue, brown, tan and subtle ivory Herati pattern throughout a navy blue field. Rich pink main border features traditional turtle motifs. 500/700
836.
ORIENTAL RUG: AZERBAIJANI CAUCASIAN 4’10” x 10’0” Navy blue field with three geometric medallions flanked by smaller stylized elements rendered in shades of red, pale gold, ivory, orange and green. Green, orange, ivory and red borders. 500/700
835
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283
837.
ORIENTAL RUG: KURD BIDJAR RUNNER 3’6” x 15’6” Staggered rows of boteh in light blue, dark blue, red and pink cross a red field. Abrashed green and pink floral borders. 400/700
838.
ORIENTAL RUG: SOUTH PERSIAN BAGFACE 1’5” x 2’8” Two rows of red, blue, yellow, green and ivory stylized leaves and blossoms on a dark blue field. Ivory and red borders. 120/180
839.
ORIENTAL RUG: KAZAK 3’10” x 6’0” Two columns of geometric medallions in faded shades of red, blue, green and brown on a navy blue field. Colorful traditional motif repeats throughout ivory main border. 200/300
840.
ORIENTAL RUG: SOUTH PERSIAN 5’7” x 6’0” Navy blue field with several diagonal rows of small boteh in a variety of colors. Same motif throughout the broad ivory main border. 200/300
841.
ORIENTAL RUG: HERIZ RUNNER 3’1” x 12’0” Dark red field with five red, ivory and dark charcoal geometric medallions containing and surrounded by blossoms and branches in red, blue, pink and greenish gold. Subtle ivory spandrels. Gold and charcoal borders. 400/600
842.
ORIENTAL RUG: AZERBAIJANI SEICHOUR 3’10” x 10’2” Dark blue field with a single column of a traditional X-pattern in faded shades of ivory, red, pink and green. Broad pale gold main border features blossoms on meandering vines. 400/600
843.
ORIENTAL RUG: SERAB 5’0” x 9’10” Red gabled medallion contains a variety of small stylized elements and bird figures about a blue central floral motif. Brown field with a blue and ivory lattice pattern. Red and dark charcoal borders. 400/600
844.
ORIENTAL RUG: KARAJA 3’1” x 10’9” Red, blue, brown, ivory, orange and pale green traditional geometric medallions are flanked by blue and ivory leaves on a bright red field. Brown and ivory borders. 350/550
845.
ORIENTAL RUG: TURKISH KILIM 5’2” x 8’3” Traditional contiguous diamonds contain repeated stylized elements rendered in celadon green, moss green, light blue, dark red, salmon pink and ivory. Borders feature zigzags, latch hooks and a serpentine design on navy blue. 250/450
837
284
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846.
ORIENTAL RUG: KESHAN 9’4” x 13’2” Blue and olive green vines suspend colorful traditional blossoms and palmettes throughout the rich red field and the navy blue, light blue and ivory medallion and spandrels. Borders echo colors and themes of field and medallion. 700/1,000
846
847.
ORIENTAL RUG: MESHED 10’0” x 13’4” Cranberry red field with a delicate scrolling vine, blossoms, palmettes and serrated leaves in shades of blue, amethyst, yellow, ivory, brown, gold and tan. Tan and midnight blue borders. Signed in the guard border. 1,500/2,000
847
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285
Lot 848
286
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855 854
848.
ORIENTAL RUG: HERIZ 9’2” x 15’0” Light blue, navy blue and red gabled medallion rests at the center of a dark red field over an ivory subfield. Traditional rectilinear flowering vines in shades of red, blue, pink, brassy gold and subtle light green. Gold guard borders and navy blue main border. 1,200/1,800
852.
ORIENTAL RUG: SERAPI DESIGN RUNNER 2’8” x 11’8” Three traditional brick red medallions containing pale gold, navy blue and ivory floral elements are surrounded by cascading flowering vines in matching colors down the length of an ivory field. Salmon pink subfield and brick red border. 400/600
849.
ORIENTAL RUG: AFSHAR 4’1” x 5’1” A pair of ivory medallions are centered on overlapping navy blue, bright red and marine blue fields with serpentine edges and colorful traditional embellishments throughout. Ivory main border features a repeating stylized branch. 300/400
853.
ORIENTAL RUG: MESHED 3’9” x 12’2” Traditional linear array of delicate ivory vines bearing ivory, blue, green, pink and gold palmettes and blossoms on a bright red field. Light blue, ivory and red borders. 500/800
850.
ORIENTAL RUG: HERIZ 6’8” x 9’7” Red, black, blue, pink and bright ivory gabled medallion on a dark red field outlined in dark gold. Bright ivory subfield. Red and blue spandrels. Gold and midnight blue borders. 400/700
854.
ORIENTAL RUG: KESHAN 10’7” x 14’4” Blossoms and palmettes in shades of blue, green, gold, brown and subtle red are suspended on a dark blue vine against a celadon green field. Ivory and light green borders. 1,000/1,500
851.
ORIENTAL RUG: KARABAUGH 4’10” x 7’0” Dark red field with a cluster of pastel flowers at the center and similar bouquets at the corners of the blue-gray subfield. Olive green guard borders. Flower motif throughout black main border. 300/500
855.
ORIENTAL RUG: BAKHTIARI GARDEN DESIGN 10’0” x 12’8” Grid pattern with each rectangle depicting one of a variety of traditional floral and foliate motifs. 600/900
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287
857
858
859
288
856.
ORIENTAL RUG: HERIZ 6’10” x 9’5” Red, ivory and blue traditional gabled medallion and pendants on a red field above an ivory subfield. Colorful traditional elements throughout. Dark gold guard borders. Navy blue main border with turtle motifs. 600/800
857.
ORIENTAL RUG: HERIZ 8’4” x 11’0” Blue gabled medallion on a tomato red field with an ivory subfield and red and green spandrels. Pale green, pink and ivory traditional elements throughout. Pale green and tomato red guard borders. Abrashed blue main border. 800/1,200
858.
ORIENTAL RUG: SERAPI DESIGN 9’0” x 12’0” Dark rust red gabled medallion with ivory center and light blue outline and pendants contains and is surrounded by traditional flowering branches in light shades of tan, gold, brown and subtle green. Ivory subfield and guard borders. Red spandrels and main border. 700/1,000
859.
ORIENTAL RUG: AHAR HERIZ 7’9” x 11’0” Rose red field with an ivory, pink and navy blue central medallion outlined in faded yellow. Yellow and marine blue vines above a bright ivory subfield. Yellow guard borders. Navy blue main border. 800/1,200
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860.
SHERATON CARD TABLE Circa 1810 In mahogany and mahogany veneer. Fruitwood inlay at front of apron. Tapered reeded legs. Height 29.5”. Width 35.5”. Depth 17.75”. 400/700
861.
860
FEDERAL LOLLING CHAIR ATTRIBUTED TO JOSEPH SHORT Newburyport, Massachusetts, Circa 1800 In mahogany, with light mauve printed upholstery. Scrolled arms with curved supports. Slightly tapered block front legs joined with an H-stretcher. Legs fitted with brass casters. Back height 46.5”. Seat height 16.5”. 1,200/1,500
862
861
862.
SHERATON CARD TABLE ATTRIBUTED TO THOMAS SEYMOUR Boston, Circa 1800 In select mahogany and mahogany veneer. Semi-elliptical top with string inlay along edge. Conforming skirt with flame satin oval panel at center. Tapered reeded legs with ring turnings at tops. Height 29.75”. Width 37.25”. Depth 19”. 1,500/2,000
863
863.
HEPPLEWHITE CARD TABLE America, Circa 1800 In maple and tiger maple. Front of apron with rectangular inlaid birch panels with alternating banded inlay along perimeters. Height 29.5”. Width 34.5”. Depth 17.25”. 500/800
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289
864.
QUEEN ANNE DROP-LEAF DINING TABLE ATTRIBUTED TO GEORGE BRIGHT Boston, Circa 1740 In Cuban mahogany. Slightly cabriole legs end in pad feet. Height 28.25”. Length 16.75” plus two 15.5” drop leaves. Width 48”. 2,500/3,500
864
865.
HEPPLEWHITE BOWFRONT BUREAU Boston, Circa 1800 In mahogany and mahogany veneer, with banded inlay at edge of top and at apron. Four graduated full-width drawers with period brass hardware. French splayed bracket feet. Height 35.5”. Width 41.25”. Depth 22.25”. 400/600
865
866.
SHERATON CARD TABLE North Shore of Massachusetts, Circa 1805 In mahogany with flame birch veneer at skirt. Delicate tapered reeded legs end in a Portsmouthstyle foot. Height 29.5”. Width 36”. Depth 17.5”. 1,000/1,500 Provenance: A Stonington, Connecticut Estate.
290
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866
867
867.
HEPPLEWHITE SIDEBOARD ATTRIBUTED TO THOMAS SEYMOUR Boston, Circa 1800 In select mahogany and flame mahogany veneer. Shaped one-board top. Conforming case with central butler’s secretary drawer with fold-out writing surface and interior pigeonholes. Single drawer below. Both sides of case with a drawer above a cupboard. Double tapered legs fitted with brass casters. Retains original brass hardware. Height 41.25”. Width 71.5”. Depth 26”. 4,000/6,000
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291
868. 868
869.
HEPPLEWHITE CARD TABLE Massachusetts, Circa 1800 In mahogany, with string inlay to edge of top, at skirt, and down the length of the slightly tapered legs. Height 28.75”. Width 36”. Depth 17.75”. 800/1,200
HEPPLEWHITE TAMBOUR SECRETARY ATTRIBUTED TO THOMAS SEYMOUR Boston, Circa 1800 In mahogany and mahogany veneer. Upper case’s tambour slides open to reveal interior drawers, pigeonholes and a central compartment with paneled door enclosing a cubbyhole and drawer. Lower case with a fold-out writing surface over four graduated full-width drawers and French splayed bracket feet. Height 46.5”. Width 42”. Depth 20”. 2,500/3,500
869
870
870.
292
QUEEN ANNE TRAY-TOP TEA TABLE Boston, Circa 1760 In mahogany, with a scrolled skirt and cabriole legs ending in pad feet. Height 27”. Width 32”. Depth 17”. 5,000/7,000
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871.
871
QUEEN ANNE LOWBOY ATTRIBUTED TO NATHANIEL GOULD Salem, Massachusetts, Second Half of the 18th Century In mahogany. Original one-board molded-edge top with nice overhang. Full-width drawer over three side-byside drawers, the central with fan carving. Incised lines at edges of drawers characteristic of the cabinetmaker. Skirt with acorn drops. Cabriole legs end in pad feet. Retains original hardware. Height 30.25”. Width 35.5”. Depth 20”. 20,000/25,000
872
872.
HEPPLEWHITE CARD TABLE Coastal Massachusetts, Circa 1790 In mahogany and mahogany veneer. String inlay along edge of top, at skirt and along the length of the tapered legs. Height 29.5”. Width 36”. Depth 17.75”. 800/1,200
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293
873
873.
FEDERAL SIDEBOARD America, Late 18th/Early 19th Century In mahogany veneer. Serpentine top with inlay along the edge. Conforming case fitted with three drawers over cabinets and bottle drawers. Drawer and door fronts with cock-bead molding and string inlay. Square tapered legs with husk inlay. Height 39”. Width 71.5”. Depth 23.5”. 600/900
874.
SHERATON SOFA North Shore of Massachusetts, Circa 1810 In mahogany, with light blue satin upholstery. Turned, tapered and reeded legs. Back height 36.75”. Seat height 17”. Length approx. 89”. 1,500/2,500
874
294
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875.
CHIPPENDALE TALL CHEST Circa 1790 In mahogany. Six graduated full-width drawers with brass bail handles. Shaped flat bracket base with central fan-carved drop and fan carvings on legs. Height 54.5”. Width 40”. Depth 19”. 500/700
876.
FEDERAL LOLLING CHAIR Massachusetts, Circa 1800 In mahogany, with striped upholstery. Molded arms and arm supports. Linenfold legs joined with H-stretcher. Back height 43”. Seat height 17”. 1,000/1,500
877.
FEDERAL LOLLING CHAIR Circa 1800 In mahogany, with multicolor striped upholstery. Slip seat conceals a pot chair insert. Tapered front legs joined with H-stretcher. Back height 42.5”. Seat height 18”. 500/800
876
875
877
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295
878
878.
296
EARLY QUEEN ANNE HIGHBOY New England, Mid-18th Century In mahogany and mahogany veneer. Upper case with hidden drawer in the cornice molding and four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving, and cabriole legs ending in modified button feet. Height 69.5”. Width 36.5”. Depth 19”. 3,000/4,000
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879.
ANTHONY THIEME Massachusetts/California, 1888-1954 “Sisters” (Motif #1, Rockport Harbor). Signed lower left “A. Thieme”. Titled verso. Oil on canvas, 25” x 30”. Framed 33” x 38”. 4,000/7,000
879
880.
EMILE ALBERT GRUPPE Massachusetts, 1896-1978 “Surf and Rocks”. Signed lower left “Emile A. Gruppe”. Titled on frame plaque. Oil on canvas, 20” x 24”. Framed 29” x 33”. 2,500/3,500 Provenance: Skinner, Inc., Boston, September 11, 2011, Lot #485.
880
881.
EMILE ALBERT GRUPPE Massachusetts, 1896-1978 “Tree Screen”, depicting birch trees along a river. Signed and titled on stretcher verso. Oil on canvas, 25” x 30”. Framed 30” x 35”. 2,500/3,500 Provenance: Private Collection, Cape Cod, Massachusetts. Eldred’s, August 5, 2011, Lot #1010.
881
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297
882
882.
KEN GORE Massachusetts/Illinois, 1911-1990 “Approaching Squall”. Signed lower right “Ken Gore”. Titled verso. Oil on canvas board, 24” x 30”. Framed 30.25” x 36”. 400/600
883.
TRUMAN EDMUND FASSETT New York/Florida/Massachusetts, 1885-1970 River landscape, possibly the Charles River, Boston. Initialed lower right “T.F.”. Partial label verso with artist’s name. Oil on canvas, 16” x 20”. Framed 24” x 28”. 1,000/1,500
883
884.
ANTHONY WATKINS Virgina, Contemporary “West of Deerfield”. Signed lower left “Anthony Watkins”. Titled verso. Oil on canvas, 22” x 28”. Framed 31” x 37”. 3,000/4,000
884
Provenance: Tree’s Place Gallery, Orleans, Massachusetts.
885.
CAROLE RAFFERTY California, Contemporary Path to the sea. Signed lower left “C. Rafferty”. Oil on canvas, 30” x 36”. Framed 37” x 43”. 1,000/1,500 Provenance: J. Todd Galleries, Wellesley, Massachusetts.
885
298
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886.
PETER BELA MAYER New York/Hungary, 1887-1993 Birds soaring over snowy mountains. Signed lower left “Bela Mayer”. Oil on canvas, 26.5” x 39”. Framed 29.5” x 41”. 2,000/3,000
886
887.
ROBERT EMMETT OWEN New York/Connecticut/Massachusetts, 1878-1957 “Cloud Shadows”. Signed lower right “R. Emmett Owen”. Titled verso. Oil on canvas, 16” x 20”. Framed 21.5” x 25.5”. 1,000/1,500
887
888.
WILLIAM E. BALDWIN America, 20th Century Bridge in a snowy landscape. Signed lower right “W.E. Baldwin”. Date partially covered by frame. Oil on canvas, 23.5” x 31.5”. Framed 26.25” x 34.5”. 700/1,000
888
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299
Jonas Lie New York/Norway, 1880-1940 Lot 889
889
889.
Winterscape. Signed lower left “Jonas Lie”. Oil on canvas, 37.5” x 31.5”. Framed 46” x 40”. 6,000/8,000 Provenance: An Arizona Estate. Shannon’s Fine Art Auctioneers, Milford, Connecticut, April 26, 2018, Lot #13.
300
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Peter Bela Mayer New York/Hungary, 1887-1993 Lot 890
890
890.
View of Eastport, Maine. Signed lower right “Bela Mayer”. Oil on canvas, 36” x 40”. Framed 45” x 48.75”. 4,000/6,000 Provenance: Shannon’s Fine Art Auctioneers, Milford, Connecticut, 2016.
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301
891
892
893
894
891.
JAMES FRANCIS WILLIAMS Scotland, 1785-1846 “Moorland Landscape”. Signed lower left “J.F Williams”. Titled on label on stretcher. Oil on canvas, 14” x 21”. Framed 18” x 25”. 1,000/1,500
892.
DENNIS SHEEHAN New Hampshire/Massachusetts, b. 1950 Moonrise over the marsh. Signed lower left “Sheehan”. Oil on canvas, 16” x 23”. Framed 23” x 29”. 800/1,000
302
893.
CHARLES J. MOVALLI Massachusetts/Maine, 1945-2016 Stream in winter. Signed lower left “C. Movalli”. Oil on canvas, 24” x 30”. Framed 32” x 36”. 1,500/2,500
894.
FRANK VINING SMITH Massachusetts, 1879-1967 Fishing dock scene with a lobster boat. Signed lower left and right “Frank Vining Smith”. Watercolor, 17” x 21” sight. Framed 24” x 30”. 500/800
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895
896
897
895.
KENNETH J. KNOWLES Massachusetts, b. 1968 “‘View from Banner Hill’ Gloucester”. Signed lower left “Ken Knowles”. Titled verso. Oil on board, 16” x 20”. Framed 24” x 28”. 1,800/2,200
896.
KENNETH J. KNOWLES Massachusetts, b. 1968 “Late Afternoon Autumn in Lanesville”. Signed lower left “Ken Knowles”. Titled verso. Oil on canvas, 30” x 30”. Framed 36” x 36”. 1,800/2,400
898
897.
KENNETH J. KNOWLES Massachusetts, b. 1968 “‘Fresh Snow on Thawing Harbor’ The Motif #1”, Rockport, Massachusetts. Signed lower left “Ken Knowles”. Titled verso. Oil on canvas, 20” x 24”. Framed 27” x 31”. 2,000/3,000
898.
KENNETH J. KNOWLES Massachusetts, b. 1968 “High Street, Rockport”. Signed lower right “K. Knowles”. Titled verso. Oil on canvas, 16” x 20”. Framed 23” x 27”. 900/1,200
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303
899.
CHARLES HENRY EBERT Connecticut/Wisconsin, 1873-1959 “Monhegan Harbor”. Signed verso “Ebert”. Titled on frame plaque. Typed note on Lyman Allyn Museum letterhead affixed to the reverse states the painting was part of a bequest to the museum by Ebert’s daughter in November of 1977. Letter is signed by the museum director, Edgar deN. Mayhew, and is dated October 1980. Oil on academy board, 11.5” x 15.5”. Framed 19.5” x 23.5”. 1,500/2,500
899
900.
JAMES KING BONNAR Massachusetts, 1883/85-1961 Fishermen tending their boats at Gloucester Harbor. Signed lower right “James King Bonnar”. Oil on canvas, 21.5” x 27”. Framed 26.75” x 32.75”. 500/700
900
901.
BELA DE TIREFORT New York/Florida/Austria, 1894-1993 A New York City park. Signed and dated lower left “De Tirefort ‘53”. Oil on board, 9” x 12”. Framed 16” x 19”. 800/1,200 Bela De Tirefort is known for his New York City scenes including views of the Flat Iron Building, Washington Square and the harbor. He would often sell his paintings in Washington Square.
901
304
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902.
MAX KUEHNE New York/Germany, 1880-1968 Two beached dories. Signed lower right “Kuehne”. Oil on artist panel, 18” x 24”. Framed 26.5” x 32”. 3,000/5,000 Provenance: Private Collection, Providence, Rhode Island.
902
903.
GEORGE CLAUSEN Illinois/United Kingdom, 1852-1944 Still life of lilies. Signed lower right edge “Clausen”. Oil on canvas, 32.75” x 32.75”. Framed 42” x 42”. 4,000/6,000 Provenance: A Florida Collection.
903
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305
904.
THERESA FERBER BERNSTEIN New York/Massachusetts, 1891/95-2002 “Launching the Giant Moth Kite”. Signed and dated lower right “T. Bernstein 15”. Oil on canvas, 25” x 35”. Framed 33.5” x 43.5”. 4,000/6,000
905.
CHAUNCEY FOSTER RYDER N.A. New York/New Hampshire, 1868-1949 Rocky coastal seascape. Signed lower right “Chauncey F. Ryder”. Oil on canvas, 32.5” x 40.25”. Framed 39.75” x 47.5”. 6,000/8,000
904
Provenance: A Rhode Island Collection.
905
306
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906.
CARL WUERMER New York/California/Germany, 1900-1981 Autumn brook by the mountains. Signed lower right “Carl Wuermer”. Oil on canvas, 30” x 36”. Framed 34.5” x 41”. 3,000/5,000
906
907.
PAUL STARRETT SAMPLE New Hampshire/California/ Vermont, 1896-1974 “Holiday”. Signed lower right “Paul Sample”. Titled verso “Holiday ...[?]”.Oil on board, 6” x 10.5”. Framed 9” x 13.25”. 2,000/3,000 A Dartmouth College graduate, Paul Starrett Sample’s first career choice was athletics, but a bout with tuberculosis refocused him to artistic endeavors. He studied under Jonas Lie at the Otis Art Institute in California. He quickly rose to fame as one of the leading Regionalist painters in the Mid-20th Century.
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907
307
908.
KENNETH J. KNOWLES Massachusetts, b. 1968 “Horse and Carriage Rides Boston, Ma”. Signed lower “Ken Knowles”. Titled verso. Noted verso that the painting won the 2009 North Shore Art’s Rosamond Smith Bouve Award. Oil on canvas, 30” x 30”. Framed 36” x 36”. 1,500/2,500
909.
KENNETH J. KNOWLES Massachusetts, b. 1968 “’Essex Farmland’ in Winter”. Signed lower right “Ken Knowles”. Titled verso. Oil on board, 16” x 20”. Framed 22” x 26”. 800/1,200
908
909
910.
KENNETH J. KNOWLES Massachusetts, b. 1968 “Annisquam Snow”. Signed lower left “Ken Knowles”. Titled verso. Oil on board, 16” x 20”. Framed 22” x 26”. 1,500/2,500
911.
KENNETH J. KNOWLES Massachusetts, b. 1968 “Sugaring in Vermont”. Signed lower left “Ken Knowles”. Titled verso. Oil on canvas, 24” x 30”. Framed 31” x 37”. 1,200/1,800
910
911
308
see photos of all lots and view condition reports at www.eldreds.com
912
913
912.
ELDRED WHEELER QUEEN ANNE-STYLE HIGHBOY Massachusetts, 20th Century In cherry. Upper case with three side-by-side drawers, the central with fan carving, over four graduated full-width drawers. Lower case with a full-width drawer over three sideby-side drawers, the central with fan carving, and cabriole legs ending in pad feet. Original Eldred Wheeler paper label inside drawer. Height 71”. Width 36”. Depth 19”. 1,000/1,500
913.
SPECTACULAR ELDRED WHEELER CHIPPENDALE TALL CHEST Massachusetts, 20th Century In strongly figured tiger maple. Shaped top. Central fancarved top drawer flanked by stacks of two drawers, all over five graduated full-width drawers. Brass hardware. Ogee bracket base. Retains original Eldred Wheeler paper label inside central drawer. Height 55.75”. Width 36.75”. Depth 19.5”. 3,500/4,500
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309
914, pair
914.
PAIR OF ELDRED WHEELER ONE-DRAWER STANDS Massachusetts, 20th Century In tiger maple. Drawers with circular brass pulls. Original Eldred Wheeler paper label inside drawer. Heights 27.5”. Tops 17.5” x 19”. 1,000/1,500
915.
ELDRED WHEELER QUEEN-SIZE PENCIL POST BED Massachusetts, 20th Century In tiger maple. Original Eldred Wheeler paper label and brand on back of headboard. Width of headboard 61”. Includes rails, bolts, finials and canopy mounts. 1,500/2,000
916.
ELDRED WHEELER CHIPPENDALE-STYLE BUREAU Massachusetts, 20th Century In strongly figured tiger maple, with four graduated full-width drawers and a shaped bracket base. Original Eldred Wheeler paper label inside top drawer. Height 33.5”. Width 35”. Depth 18.75”. 600/900
917.
ELDRED WHEELER SERPENTINE-FRONT CHEST OF DRAWERS Massachusetts, 20th Century In tiger maple. Four graduated drawers with brass Chippendale-style pulls and escutcheons. Ogee bracket base. Original Eldred Wheeler label inside top drawer. Height 33”. Width 37.5”. Depth 21”. 1,500/2,500
310
916
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918
918.
ELDRED WHEELER SIDEBOARD Massachusetts, 20th Century In strongly figured tiger maple, with two serving slides, six drawers with circular brass pulls, and square tapered legs. Original Eldred Wheeler paper label inside drawer. Height 39”. Width 63.75”. Depth 21.5”. 1,400/1,800
919
919.
ELDRED WHEELER DINING TABLE Massachusetts, 20th Century In tiger maple. Top with breadboard ends. Base with bulbous turned legs. Retains original Eldred Wheeler paper label on underside of top. Height 30”. Length 73” plus two 14” leaves. Width 39.75”. 1,500/2,000
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311
920, eight
920.
SET OF EIGHT ELDRED WHEELER CHIPPENDALE-STYLE CHAIRS Massachusetts, 20th Century Two armchairs and six side chairs. In cherry. Shell-carved and pierced backs. Upholstered slip seats. Back heights 38.5”. Seat heights 18”. 1,000/1,500
921
921.
312
ELDRED WHEELER QUEEN ANNE-STYLE TWO-PART DINING TABLE Massachusetts, 20th Century In cherry. Oval top. Turned pedestals raised on cabriole legs ending in pad feet. Unmarked. Height 30”. Length 84” plus one 20.25” leaf. Width 48”. Includes slides and hinges. 600/900
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922.
922
923.
924.
ELDRED WHEELER COFFEE TABLE Massachusetts, 20th Century Tiger maple top with breadboard ends. Blackpainted stretcher base with turned legs. Retains original Eldred Wheeler paper label and brand on underside of top. Height 19.5”. Length 48”. Width 23.5”. 500/700
ELDRED WHEELER CABINET Massachusetts, 20th Century In tiger maple. Shaped cornice over two paneled doors over a full-width drawer and an ogee bracket base. Doors enclose two interior shelves. Eldred Wheeler paper label inside drawer. Height 67”. Width 42”. Depth 25”. 1,000/1,500
ELDRED WHEELER QUEEN ANNE-STYLE COFFEE TABLE Massachusetts, 20th Century Tiger maple top with cut corners. Green-painted base with tapered legs ending in pad feet. Retains original Eldred Wheeler paper label and brand on underside of top. Height 20”. Length 46.5”. Width 23”. 500/700
923
925. 924
ELDRED WHEELER QUEEN ANNE-STYLE ARMCHAIR Massachusetts, 20th Century In maple. Slip seat. Stamped “Eldred Wheeler”. Back height 42”. Seat height 18”. 250/350
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313
926
926.
BENCH-MADE JACOBEAN-STYLE ONE-DRAWER TABLE 20th Century In maple under a red wash. Top with breadboard ends. Drawer with brass drop pulls. Shaped apron. Bulbous turned legs and stretchers. Ball feet. Height 26”. Width 28.75”. Depth 21.5”. 300/500
927.
BENCH-MADE HUTCH TABLE 20th Century In tiger maple. Shaped top. Base fitted with a single drawer with turned wooden knob. Cross-stretcher base. Half-round feet. Height 25.75”. Width 29”. Depth 24”. 300/500
927
928.
FOUR NEAR-MATCHING BENCH-MADE QUEEN ANNE-STYLE ARMCHAIRS 20th Century Each in maple, with rush seats and Spanish feet. One with ornately carved crest rail and arms. Back heights from 40” to 43”. Seat heights from 16” to 18”. 400/600
928, four
314
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929, six
929.
SET OF SIX WARREN CHAIR WORKS HANDMADE REPRODUCTION WINDSOR BOWBACK CHAIRS Warren, Rhode Island, 20th Century Two armchairs and four side chairs. Painted black. Branded on underside of seats. Back heights 38”. Seat heights 17”. 700/1,000
930.
CHIPPENDALE-STYLE LOWBOY 19th Century In tiger maple. Shell-carved full-width drawer over three side-by-side drawers, the central with coordinating shell carving. Legs with shell-carved knees and claw & ball feet. Height 30”. Width 36.5”. Depth 20.5”. 1,200/1,400
931.
LEONARD’S QUEEN-SIZE CANOPY BED 20th Century In tiger maple. Posts with urn-form finials. Height 89”. Width between bolt holes 62.75”. 1,500/2,000
932.
930
LEONARD’S FULL-SIZE CANNONBALL BED In maple. Turned posts. Height 57”. Width between bolt holes 55”. 1,400/1,800
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315
933.
RARE OLD TOWN CANOE SALESMAN’S SAMPLE Old Town, Maine, Circa 1915 Green-painted canvas over wood frame. Both sides with “Old Town Canoe” in yellow lettering with red and white highlights. Original labels on both sides. Length 48”. 10,000/15,000
933
316
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934.
BRONZE SCULPTURE OF A YOUNG COWBOY AND GIRL 20th Century The girl picking up an apple from a barrel, the boy with his hands on his knees. On an oval base. Signed. Height 30”. Length 24”. Width 20”. 3,000/5,000 Provenance: Private Collection, Cape Cod, Massachusetts.
934
935.
TWO BRONZE WOLF GARDEN SCULPTURES 20th Century One standing and one baying. Heights 24” and 28”. Lengths 34” and 48”. Widths 10”. 2,000/2,500 Provenance: Private Collection, Cape Cod, Massachusetts.
935, two
Lots 934-940 are located off-premises and are not being stored or exhibited at our auction facility. In-person previewing is not available. The buyer will be required to make special arrangements to remove these items from their location in Provincetown, Massachusetts. Please contact us for more information.
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317
936.
PATINATED BRONZE GARDEN SCULPTURE OF A RECUMBENT LION 20th Century On a rectangular base. Height 30”. Length 50”. Width 24”. 2,000/4,000 Provenance: Private Collection, Cape Cod, Massachusetts.
937. 936
THREE BRONZE ZEBRA GARDEN STATUES 20th Century Two heights 52”. Lengths 80”. Widths 18”. Other height 36”. Length 50”. Width 18”. 12,000/18,000 Provenance: Private Collection, Hollywood, California. Private Collection, Cape Cod, Massachusetts.
937, three
318
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938.
TWO BRONZE GIRAFFE GARDEN STATUES 20th Century Heights 78” and 92”. Lengths 40”. Widths 22”. 10,000/12,000 Provenance: Private Collection, Hollywood, California. Private Collection, Cape Cod, Massachusetts.
939.
BRONZE GARDEN SCULPTURE OF AN ELEPHANT 20th Century Height 52”. Length 42”. Width 25”. 2,500/3,500 Provenance: Private Collection, Cape Cod, Massachusetts.
938, two
939
940.
BRONZE GARDEN SCULPTURE/FOUNTAIN 20th Century A pod of five leaping dolphins on a rounded waveform base. Height 70”. Length 32”. Width 32”. 4,000/6,000 Provenance: Private Collection, Cape Cod, Massachusetts.
940
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319
BIDDER INFORMATION
ADVICE TO BIDDERS 1. Carefully read the Conditions of Sale. 2. Pre-sale estimates are provided by the auctioneers for the convenience of our customers. They are not meant to be taken as a guide to the value of an item, but as a guide to its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision. 3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form, or complete and submit it on our website, www.eldreds.com. 5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 25% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. 6. Online bidding is available through Eldred’s Live! at www.eldreds.com, powered by Invaluable.com with a 25% buyer’s premium. Prospective bidders must register and be approved prior to placing bids or bidding live online. 7. Eldred’s reserves the right to refuse to issue, or to revoke, bidding credentials, or to reject any bid, if deemed necessary and proper in its sole discretion, for the conduct of the auction process, and to insure fairness to consignors and other bidders.
THE PROPERTY LISTED IN THIS CATALOG WILL BE OFFERED AND SOLD SUBJECT TO THE TERMS AND CONDITIONS LISTED IN THIS CATALOG.
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SHIPPING INFORMATION We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale. If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready. We provide shipping services directly from our gallery for select merchandise including small items, small paintings and rugs. We do not ship glass items or items framed under glass. Our staff can assist with determining if your items qualify for in-house shipping. Shipments from our gallery may take four to six weeks from receipt of payment. You will be charged for the shipping or carrier fees, packing and handling fees, and required insurance. There is a minimum handling charge of $15.00 for all shipments. Depending on the carrier, insurance limits may exist (i.e., Federal Express will only insure up to $500). If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent. We require seven to ten business days for your payment to clear our banking system before releasing purchases to your chosen shipping agent. Shipping estimates can be provided only AFTER we receive payment for your invoice.
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ABSENTEE/TELEPHONE BID FORM 1. Clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow our standard bidding increments. 2. Carefully review your bid form for accuracy of lot numbers, phone numbers, shipping information, etc. Although we attempt to confirm descriptions against lot number, bids are posted by lot number. 3. Please submit your bids in a timely manner, to avoid the chance of posting error. We request all bids be received by 3 p.m. the day before the auction. In the event of identical Absentee bids, the earliest received takes precedence. 4. A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount will be returned promptly to you. 5. A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 25% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.
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6. At the conclusion of the sale you will be notified if you were the successful bidder. All invoices must be paid in full within ten (10) days of the close of the auction. We accept checks, cash, money orders, wire transfers and major credit cards for payment. There is a 2% buyer’s premium discount for payment made in full via cash, check, money order or wire transfer within ten (10) days of the invoice date. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. Mixed payment methods are not eligible for the buyer’s premium discount. We reserve the right to hold goods until payment has cleared. 7. All purchases are subject to state and local sales tax unless you possess a Massachusetts or out-of-state sales tax exemption or resale number and register that number with us. The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.
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CONDITIONS OF SALE 1. CORRECTNESS OF DESCRIPTION: Robert C. Eldred Co., Inc. (hereinafter referred to as Eldred’s) has exercised reasonable care to catalog and describe correctly the property to be sold, but neither Eldred’s nor its consignors warrant the correctness of description, attribution, authenticity, or condition of said property. No statements shall be deemed such a warranty or representation or an assumption of liability with respect thereto, but are to be construed as opinions only. Bidders are encouraged to personally examine all property to be sold prior to the beginning of the auction. 2. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered. 3. Eldred’s reserves the right to withdraw any property before the sale. 4. DETERMINATION OF HIGHEST BIDDER: The highest bidder accepted by the auctioneer shall be the buyer. In the event of any dispute between bidders, the auctioneer may determine who is the successful bidder or the auctioneer may re-offer the article in dispute and his decision shall be final. 5. REJECTION OF BIDS: The auctioneer reserves the right to reject any nominal raise or any bid or raise which, in his opinion, is not commensurate with the value of the article being offered. At his discretion, he may also reject any nominal raise or any bid that he may determine as having a detrimental effect on the item in question or the sale as a whole. Eldred’s may refuse to issue bidding privileges to any person not in good credit standing with Eldred’s, or to any person who is deemed by Eldred’s in its sole discretion, to be disruptive of or harmful to established auction practices, either before or after the acceptance of bids or the fall of the hammer. 6. TITLE: Except as herein otherwise provided, title will pass to the highest bidder as determined by the auctioneer, and the property is thereafter at the purchaser’s sole risk and responsibility. 7. PAYMENT: On title passing to the highest bidder acknowledged by the auctioneer, and subject to all the conditions set forth herein, such bidder will thereupon pay the full purchase price. Payment in full is due at the time of sale. Any bills not paid in full within 25 days of the date of the sale will accrue interest at a rate of 1.5% per month. In addition, the purchaser may be subject to one or more of the following actions: a) Any and all legal remedies available to Eldred’s and its consignors by law including without limitation the right to hold the purchaser liable for the total purchase price; b) Immediate cancellation of the sale, with Eldred’s retaining as liquidated damages all payments made by the purchaser; c) Resale of the property at public auction, wherein the original purchaser shall be liable for any deficiency, costs, and Eldred’s commission on both sales. At Eldred’s option, payment will not be deemed to have been made in full until Eldred’s has collected funds represented by checks, or in the case of bank or cashier’s checks, their authenticity has been confirmed. A buyer’s premium will be added to the hammer price to be paid by the buyer as part of the purchase price. 8. ORDER BIDS: Subject to these Conditions of Sale and to such terms and conditions as it may prescribe, but at no charge to the customer, Eldred’s will undertake to execute all order bids submitted to it by a customer who has established credit with said company. Requests for such bidding must be given in writing with such clearness as to leave no room for misunderstanding as to the amount to be bid and must state the catalog number and the name or title of the article to be bid on. Telephone bids must be confirmed in writing or by cable. All bids are kept in strict confidence. In the event of identical bids, the earliest received by Eldred’s will take precedence. Eldred’s shall not be held responsible for errors or failure to execute bids. A deposit of 10% of the total amount bid is required. TELEPHONE BIDS: While the sale is in progress, bidding by telephone may be allowed by the auctioneer at his discretion. A deposit of 10% of the anticipated top bid is required. Eldred’s shall not be held responsible for any failure to properly execute
such a bid whether it be due to equipment failure, loss of connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder. ONLINE BIDS: Eldred’s shall not be held responsible for any failure to properly execute bids placed online. All online bidding is solely at the risk of the bidder. 9. CONDITION: If for any cause whatsoever any article sold cannot be delivered, or cannot be delivered in as good condition as the same may have been at the time of sale, due to a failure or damage on the company’s part, the sale will be cancelled, and any amount that may have been paid on account of the sale will be returned to the purchaser. EXCEPTION: Eldred’s will not be held responsible for damage to picture frames or lampshades. 10. SALES TAX: All purchases are subject to the Massachusetts sales tax (currently 6.25%) unless the purchaser: A) possesses a Massachusetts sales tax exemption or resale number and registers that number with the company, B) is an out-of-state vendor who meets all the requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89-10 and registers with the company prior to each purchase, or C) has purchases shipped out of state (with the exception of Connecticut and New York) directly from Eldred’s by a bona fide shipping agent. Connecticut residents picking items up in our Mystic branch or having purchases shipped to their Connecticut address are responsible for CT state sales tax (currently 6.35%). New York residents having purchases shipped to their New York address are responsible for NY state sales tax (currently 4.0%). Due to the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair, residents of other states may be required to pay their state sales tax on purchases as we meet each state’s nexus requirements. Dealers, museums, etc. can apply for a Massachusetts number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, MA 02204. 11. RESERVES: Unless advertised as an “Unreserved Auction”, all sales may have items subject to reserve (an agreed upon price between the auctioneer and the consignor, below which the article will not be sold). 12. COLLECTION OF PURCHASES: Delivery or shipping arrangements must be made within seven (7) days from the close of the auction for all purchases. All items must be removed from Eldred’s facilities within fourteen (14) days of the end of the auction. All items remaining after fourteen days may be subject to a $5/per item/perday storage fee. No items will be released unless storage fees are paid in full. Items remaining over thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees. 13. PACKING: Purchasers are advised that packing and/or handling by Eldred’s employees is undertaken solely as a courtesy for the convenience of customers. In the case of fragile articles, it will be undertaken at the sole discretion of the company. Handling and packing by Eldred’s is at the risk of the purchaser. SHIPPING: When requested, Eldred’s may arrange shipment of paid purchases. Eldred’s will not be responsible for damage or loss once the item has been received by the shipper. In the case of fragile articles, shipping will be undertaken at the sole discretion of the shipper. Please refer to our Advice to Bidders for details. 14. These Conditions of Sale cannot be altered except in writing by Eldred’s or by public announcement by the auctioneer at the time of the sale. 15. Bidding on any article(s) indicates acceptance of the terms set forth above. 16. These Conditions of Sale and any suits arising thereunder shall be construed and governed by the laws of Massachusetts.
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PRIVATE SALES
Rare Late 17th Century Cross-Staff by Abraham Tade The only known cross-staff by this maker. Signed and dated “A Tade 1699”. Ebony shaft, 32.5” in length, and pearwood vanes. Listed in The Cross-Staff, History and Development of a Navigational Instrument by W.F.J. Mozer Bruyns, p. 53, number 15.
ENQUIRIES: 508-385-3116 info@eldreds.com
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Important Early 17th Century Brass Astrolabe from the Nuestra Senora De Atocha Recovered in 1985 from “the pilot’s chest” off the wreck of the Nuestra Senora De Atocha, which sank in a storm off the coast of Florida in 1622. Impressed with the year 1616. Modified and converted in the 17th Century to a suspended quadrant, making it unique. Assigned number 61 in the “Census of Mariner’s Astrolabes”.
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COMING UP
NOW ACCEPTING CONSIGNMENTS FOR 2021AUCTIONS COMPETITIVE RATES PERSONALIZED SERVICE EXCEPTIONAL PRICES REALIZED 508-385-3116 I consign@eldreds.com
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THE HOLIDAY SALE
NOVEMBER 2020 ONLINE-ONLY
PAINTINGS SALE
WINTER/SPRING 2021
THE MARINE SALE WINTER 2021 SUMMER 2021
ASIAN ART
SPRING 2021
THE SPRING SALE
SPRING 2021
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Illustrations Cover Lot 663 Back Cover Lots 871, 817, 184, 366 Page 3 Lot 97 Page 5 Lot 432 Pages 6-7 Lot 818 Session I Index Lot 150 Session II Index Lot 768 This Page Lot 904
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