Eldred's Spring Sale April 5-6, 2019 by Eldred's Auction

THE SPRING SALE FINE AR T I AMERICANA I SPOR TING AR T

A P R I L 5 - 6, 2019

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

Terms

THE SPRING SALE

A buyer’s premium will be added to all purchases. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.

AT AUCTION Friday and Saturday, April 5-6, 2019

Payment must be in the form of a check, money order or wire transfer. We accept all major credit cards for auction purchases provided the total bill is $5,000 or less and the credit card has a U.S. billing address. PayPal is not an accepted form of payment. Bidders holding a valid Massachusetts or out-of-state resale number must provide the certificate or a copy thereof when registering or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in our Mystic office or shipped to Connecticut are subject to 6.35% Connecticut sales tax.

Absentee and Telephone Bidding

Please use the bid form found at the back of this catalog or visit our website to make arrangements for absentee and telephone bidding.

beginning at 10 a.m. each day in East Dennis, Massachusetts

ON EXHIBIT All lots on exhibit at our Cape Cod Headquarters Thursday, April 4 from 10 a.m. to 5 p.m. And the sale dates beginning at 8:45 a.m.

Online Bidding

This auction will be held simultaneously online at www.invaluable.com and www.eldreds.com. The buyer’s premium is 25% for purchases bought online via Invaluable or Eldred’s Infinite Bidding. Prospective bidders must register and be approved prior to bidding.

Important notices

Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition.

ROBERT C. ELDRED CO., INC.

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. Items made with whale bone, ivory or other protected species will not be shipped internationally without a CITES permit. Obtaining CITES and any other necessary permits is the obligation of the buyer. Guns marked with an asterisk (*) will be only be delivered to holders of a Federal Firearm’s Dealer’s License. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith. see photos of all lots and view condition reports at www.eldreds.com

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 info@eldreds.com

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Eldredâ&#x20AC;&#x2122;s Staff Directory Antiques and Fine Art Specialists

Production and Administrative Staff

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

Mary Ann Giddings Eldred Appraisal and Mailing List Director maeldred@eldreds.com

John H. Schofield President Emeritus johns@eldreds.com Susan M. Schofield Treasurer The Prints of Paul Jacoulet sue@eldreds.com William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com Eric S. Mulak Assistant Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com

Deborah G. Clemence Catalog Layout and Design deb@eldreds.com Wendy A. Dunford Assistant Treasurer wendy@eldreds.com Eric Hagen Shipping ehagen@eldreds.com Devyn Henry Administrative Assistant / Condition Reports dhenry@eldreds.com Kristin Kiley Client Services Manager / Shipping kkiley@eldreds.com

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

Jessica Turbide Assisstant Head of Photography Website Administrator / Condition Reports jturbide@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Kristyn Mills Head of Photography kmills@eldreds.com

Anne G. Lajoie Head of Asian Arts Condition Reports annie@eldrgeds.com

Madison Morris Photography mmorris@eldreds.com Kathleen Morse Inventory Manager kmorse@eldreds.com

Jennifer Lacker Mystic Representative

Tanya E. Sargent Administrative Assistant tsargent@eldreds.com

Gregg Dietrich Senior Consultant and Specialist Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants

Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com Sarah Eldred Taylor Head of Human Resources sarah@eldreds.com

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

eldredsauction

Spring

is synonymous with anticipation, isn’t it? The world waits for the snow to melt, the air to warm, the bulbs to

bloom. Here at Eldred’s, we’ve been eagerly anticipating this Spring Sale, our big first auction of 2019. It’s a wonderfully eclectic group of material, from historic 18th Century documents to mid-Century art, from an important Russian sculpture to a rare bird carving. We live in a fast-paced world of instant gratification, where overnight shipping, expedited pick-up of your morning coffee run and immediate responses to emails are the norm. The auction process is the antithesis of that – it takes time to build a sale, then there’s the slow build-up of bidding before the final flurry when an item hits the block. The auction process requires a customer wait a few weeks for a chance to bid and possibly buy something, and then, given the unique nature of that item and its special shipping and handling requirements, it might not be in the customer’s hands for another few weeks. It’s a process replete with anticipation. But the anticipation makes it all the sweeter in the end, just like that first warm spring day after a cold winter. As always, we thank you for anticipating and participating in the auction process. We look forward to seeing you at the Spring Sale! Joshua Eldred President

P.S.: Talk about anticipation – we’re incredibly excited about our summer auction season, which will include an inaugural auction on Nantucket island in July, and two important Marine Art collections! See more about what’s coming up in the back of this catalog.

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

Index of artists Adams, Ansel (after)

282

Diehl, Arthur Vidal

952

Adriani, Camillo

762

Dodd, Harvey John

956

Ahrens, Richard "Wick"

Dodd, Louis

394-396

360

Drew, George

Amundsen, C. Hjalmar "Cappy"

752

Durer, Albrecht

Antral, Louis Robert

532

Edouart, Auguste

893

Arapoff, Alexis Paul

765

Edouart, Auguste (attr.)

894

Arentz, Josef

740

Eilshemius, Louis Michel

833

Asawa, Ruth

556

Enneking, Joseph Eliot

643

Bacon, Alice Marion Sutton

735

Evergood, Philip Howard

561

Basson, Angelo

524

Fitzgerald, James Edward

769

Beal, Reynolds

743

Fitzpatrick, John Kelly

831

Beneker, Gerrit A. Benson, Frank Weston Benton, Thomas Hart Bierstadt, Albert (attr.) Bingham, George Caleb (after)

953, 954 322 536, 537

Gasser, Henry Martin Gifford, Charles Henry

520 501-504

554 673A

Graham Jr., Robert McDonald

832

656

Grant, Gordon Hope

402

162-165

Graves, Abbott Fuller

654

Bonnar, James King

741

Boucart, Gaston H.

521

Greer, Mabel

764

Braley, Clarence E.

336

Griffin, Walter Parsons Shaw

841

Braun, Maurice

835

Gruppe, Charles Paul

739

Brockhurst, Gerald Leslie

535

Gruppe, Emile Albert

749

Brodzky, Horace

513-515

Greenleaf, Jacob I.

733, 737

Guy, Seymour Joseph (school of )

658

Broe, Vernon

950

Halsall, William Formby

671

Butler, Howard Russell

836

Hamilton, Mary Riter

842

Cahoon Jr., Ralph E.

947

Hare, Ray

837

Cahoon Jr., Ralph E. (attr.)

949

Harlow, George Henry (attr.)

677

Cahoon, Martha Farham

948

Hathaway, George (school of )

373

Cantave, Joseph

279

Hennings, Ernest Martin (attr.)

855A

Cardinal, Robert

938

Henry, Michel

Carter, James

931

Hilliard, William Henry

675

Chagall, Marc

540

Hoffman, Harry Leslie

771, 846

518

Cheney, Russell

755, 756

Hoover, Ellison

528

Clark, Alson Skinner

844, 845

Howes, Jerome

918-920 398, 404

Cocteau, Jean Maurice Eugene Clement

525

Huggins, William John

Colson, W.S.

428

Illem, Franz Joseph Georg

555

Cook, Howard Norton

538

Jacobsen, Antonio Nicolo Gasparo

423

Cook, Paul Rodda

855

Jensen, Max

427

Corey, Bernard

766

Jones, Hugh Bolton

645

Craig, Thomas Bigelow

673

Kaemmerer, Frederick Hendrik

678

Crimmins, John

731

Kaula, Lee Lufkin

843

Cross, Roy

400

Kelly, John

281

Cruikshank, George

175

Kent, Rockwell

Curtis, Edward Sheriff (after)

270

Kitchell, Hudson M.

664

Curtis, Roger William

732

Knaths, Karl

951

Davis, Charles Harold

770

Knowles, Joseph

283

Davis, William R.

361, 362

Ahrens, Richard "Wick" (attr.)

547-549

932-936

Kupferman, Lawrence

562, 563

De Carlo, Charles

930

Lamb, Frank Mortimer

840

Dean, Walter Lofthouse

655

Lanceray, Evgenii Aleksandrovich

512

deTirefort, Bela

730

Lawrence, David Herbert Richards

511

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

Index of artists Lewis, Edmund Darch

648

Shaoul, Smira

923

Lewis, Edward Darch

431

Shapleigh, Frank Henry

667

Lewis, Martin

534

Shaw, Charles Green

Liardo, Filippo

630

Sherwood, Walter

772

Lieste, Cornelis (attr.)

676

Signac, Paul Victor Jules

517

Linford, Charles

662

Sims, Arthur E.

850

Liszt, Maria

746

Slade, Caleb Arnold

955

Loveridge, Clinton

672

Sloan, John

529

Mathewson, Frank Convers (attr.)

839

Smith, Vernon

921

Matisse, Henri

541

Smith, Xanthus Russell

418

McCall, Virginia Armitage (attr.)

757

Spencer, Richard Ball

429

McConnell, George

669

Stademann, Adolph

629

McGurl, Joseph

937

Stevens, William Lester

750

Medearis, Roger Norman

830

Stone, Walter King

847

Miro, Joan

545

Stoops, Herbert Morton

284

Mitchell, Alfred Richard

854

Strisik, Paul

734

763

Stuart, Gilbert (after)

Mulhaupt, Frederick John Mumford, Elizabeth

915-917

Szyk, Arthur

557-560

47 167A

Nickerson, Reginald (possibly)

944

Termyn, Susan

760

O'Malley, Michael Augustin Power

527

Terrazas, Clara Ledesma

280

Oliver, Thomas Clarkson

419, 420

Thieme, Anthony

751

Packard, Anne

940-943

Thompson, George Albert

768

Patterson, Margaret Jordan (attr.)

754

Thompson, Jerome B.

661

Patridge, Roi

533

Tiffany, Louis Comfort

550, 551

Pearce, Leonard John

401

Tomakan, Yasemin Kyrena

912-914

Pearson, Marguerite Stuber

761

Trumbull, John (after)

Peterdi, Gabor

526

Tuck, Kathryn

758

Phelps, Helen Watson

650

Tudor, Tasha

859

668

Turner, Charles Henry

674

Tyler, James Gale

403

Phelps, William Preston Picasso, Pablo

543, 544

Pocock, Nicholas (after)

407

van Elten, Hendrik-Dirk Kruseman

Pootoogook, Eegyvudluk

267

van Rijn, Rembrandt

Prentice, Levi Wells

666

Villon, Jacques

546

Prior, William Matthew (attr.)

663

Vokey, Sam

939

Redelius, Frank Harrison

564

von Physter, George

531

Redoute, Pierre-Joseph (after)

516

Washington, William Dickinson

617

Reynolds, Sir Joshua (after)

628

Weber, Otis S.

421, 422

Ridgway, E.

736

Weir, J. Alden

651

Rimini, Joseph

748

Wengenroth, Stow

Ripley, Aiden Lassell

852

Westcott, Carol Whorf

Robinson, Theodore (attr.)

659

647 506-509

530 924, 925

Whistler, James Abbott McNeill

539

Rosebee 946

Whitcombe, Thomas (attr.)

397

Roux, Antoine (school of )

424

Whitehead, Michael

430

Ruben, Albert

738

Whorf, John

928

Sachs, Gertrude M.

922

Wiegand, Gustave Adolph

759

Sadeler, Aegidius (after Durer)

505

Wiggins, Guy Carleton

744

519

Winter, Andrew George

853

Woodbury, Charles Herbert

742

Salmon, Robert Sample, Paul Starrett

552, 553

Schmueckle, Richard

646

Yakovlev, Alexandre

Schroers, Erwin Lucas

929

Zephirin, Frantz Z.

510, 523 278

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

Properties From

A Private Collection, Providence Rhode Island The Estate of a New York Woman Lawyer Actively Involved in Politics A West Chester County, New York Estate The Baylies Family Papers A Collection Pertaining to the Brown and Francis Families of Rhode Island A Private Cape Cod Collection A Prominent New York Collection A Private Connecticut Collection A Private Collection, Massachusetts And numerous other estates and collections

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Session I

Session II

Friday, April 5 at 10 a.m. Lots 1-471

Saturday, April 6 at 10 a.m. Lots 501-956

Historic and Political Artifacts and Ephemera

Paintings Prints & Multiples

Indigenous and Ethnographic Art

Sculpture

Historic and Collectible Weapons

Silver

Decoys and Sporting Art

Fine Furniture

Maritime Art Chinese Export

Oriental Rugs Folk Art Americana Ceramics and more

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

Session I Friday, April 5 at 10 a.m. Lots 1-471

Historic and Political Artifacts and Ephemera Lots 1-197 Indigenous and Ethnographic Art Lots 198-280 Historic and Collectible Weapons Lots 284-305 Decoys and Sporting Art Lots 306-359 Maritime Art Lots 360-437 Chinese Export Lots 438-471

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HANDWRITTEN INDENDTURE English, 1680 “This indenture made the ffive & Twentieth Day of July ... and the Thirtieth Year of the Raign of our Soveraign Lord Charles the Second [all sic] ...”. 21” x 26” sight. Framed 31” x 34”. 200/300

TWO HANDWRITTEN DOCUMENTS 17th/18th Century 1) English indenture dated 1698. Handwritten on parchment, with William III’s coat of arms and decorative scrolling at upper left corner. Two paper seals, possibly six pence stamps, affixed near coat of arms. Eight signatures along lower margin. Additional inscriptions and notations verso. Approx. 23.75” x 30”. 2) Leather-bound pocket prayer book. Handwritten, believed to be in Latin, in black with red highlights. Some pages blank or with just rules for margins and lettering. Embossed leather cover approx. 4.25” x 3.25”. 200/300

THREE ENGLISH BROADSIDES CONCERNING THE SLAVE TRADE Circa 1707 Pertain to the Royal Africa Company’s hopes that Parliament will act to aide in the construction and maintenance of forts along the African coast. The Dutch and natives are the key adversaries. Sheet approx. 20” x 16”. 1,000/1,500

ENGRAVED CARTOON “HALF PAY OFFICERS” England, 1786 Depicts a group of officers in tricorne hats. Marked below title “Publish’d Jany. 1st, 1786 by S.W. Fores, at the Caricature Warehouse, No. 3 Piccadilly”. On paper, 6.5” x 8.5” sight. Framed. 120/180

SIX ENGLISH AND CONTINENTAL ENGRAVINGS 1-3) Three James Gillray hand-colored political cartoons: “The Pigs Possessed”, “Bruin in his Boat” and “Search Night”. Sheets approx. 13.5” x 19”. 4) “Journee du 10 Aout 1792”. Drawn by Monnet, engraved by Helman. Plate 13.75” x 18”. 5) “D’une Partie de la Ville de Dordrecht, prise de Meerdervoort. Gezicht van een gedeelte der Stad Dordrecht, van Meerdervoort te Zien”. Hand-colored. Sheet 16.5” x 12.25”. 6) Hand-colored engraving of men having items weighed on an outdoor scale. Sheet 14.25” x 10.5”. 100/200

EXTREMELY RARE VOLUME LE JARDIN DE PLAISIR BY ANDRÉ MOLLET 1651 Fully titled “Le Jardin De Plaisir, Contenant plusieurs desseins de jardinage, tant parterres en broderie, compartiments de gazon, que bosquets et autres. Avec un abbrégé de l’agriculture. Composé par André Mollet Maistre des Jardins de la Serenissime Reine de Suede.” (Stockholme: Chez Henry Kayser, 1651). Designed by André Mollet, Noel Mollet and Jacques Mollet. Engraved by Wolfgang Hartmann. Dedicated to Queen Kristina of Sweden. Includes a title page, a dedication to the Queen, a foreword to the reader, an extract of the designer’s privilege and eleven chapters of text, as well as two folded pages of illustrations. Discusses the cultivation of agriculture and gardening. The initial 26 pages of text are preserved but are not followed by the plates, except for two separate illustrations. 10” x 16”. Also includes two negatives and a silver gelatin print of a portrait of the author. 200/500

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LOUIS XV SIGNED DOCUMENT Dated 1743 A form letter used by Louis XV to authorize changes and promotions in his various regiments, this one addressed to the Count of Sparre, giving him responsibility for filling a vacancy in the King’s Royal Swedish Regiment, as Gronhagen has been promoted to first lieutenant and the Count of Fuiderfete can now take his palce. Witnessed and signed at Versailles, July 11, 1743. Framed with two portrait prints of Louis XIV. 400/600

RARE BIRD’S-EYE ENGRAVING “DISPOSITION DE LA MILICE DE PARIS ...” Circa 1660 Fully titled “Disposition de la Milice de Paris lors quelle parut deuant leurs Majes, entre le Bois de Vincennes et la d.te ville le 23.e du mois d’Aoust de l’année 1660 trois jours avant L’Entrée”. Engraved by Albert Flamen. Depicts a view of the militia upon Louis XIV’s triumphant entry to Paris in 1660. Regiments identified in key in lower margin. On paper, 11.5” x 17.75”. Framed 19.5” x 26”. 500/1,000

MAP “INDIA QUAE ORIENTALIS DICITUR ET INSULAE ADIACENTES” Dutch, 17th Century By Willem Janszoon Blaeu. A wonderfully detailed map showing early Dutch voyages through Southeast Asia into Australia. Sheet size 20” x 23.5”. 500/700

10.

RARE MAP “A CORRECT SEA CHART OF THE WHOLE WORLD ...” London, 18th Century Fully titled “A Correct Sea Chart of the Whole World, According to Wright’s, Commonly Called Mercator’s Projection This Chart is Most Humbly Inscribed to the Right Hono.ble the Lords Commissioners of the Admiralty”. Depicts Europe, Asia, Africa and “Hollandia Nova” centered on the Indian Ocean. 23.5” x 27” sight. 800/1,000

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11.

“A NEW MAP OF THE WHOLE CONTINENT OF AMERICA” 18th Century In two parts. By Jean Baptiste Bourguignon d’ Anville (16971782) and Robert Sayer (1725-1794). Unsigned. Engraved 1786. Published by Robert Sayer, London. Depicts North and South America, the West Indies, the Atlantic, the coasts of Africa and Europe and the Pacific Ocean with various islands. North America has details up to the Mississipppi River and includes Mexico and Central America. Table shows the ownership of each European state, as settled by the definitive treaty concluded at Paris, February 10, 1763. Each sheet 21.5” x 48”. 1,000/1,500

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

12.

HAND-COLORED COPPER PLATE ENGRAVED MAP “MAGNUM MARE DEL ZUR CUM INSULA CALIFORNIA” The Netherlands, Late 17th Century By Frederick de Wit. Depicts the Pacific, with California as an island. 21” x 24”. 400/600

13.

HAND-COLORED MAP “NORTH AMERICA DRAWN FROM THE LATEST AND BEST AUTHORITIES” Late 18th Century T. Kitchin (?-1784), delineator. Engraved by G. Terry. Published by John Harrison (active 1784-1792) September 29, 1787. A fine copy of this early North American map, with the relief shown pictorially and marked “Longitude West from London”. Originally included in The History of England by N. Tyndall (London, 1789). Sheet size 14.75” x 18”. 300/400

14.

MAP OF NEW ENGLAND AND NEW YORK, BELIEVED TO BE THE WESTERN HALF OF “A MAP OF THE MOST INHABITED PART OF NEW ENGLAND” Depicts the western half of New England, including parts of New Hampshire, Vermont, Massachusetts, Rhode Island and Connecticut, as well as eastern New York and Long Island. Inset map “A Plan of the Town of Boston” at upper left. Some yellow highlights, particularly along the coast of Long Island and colony borders. “A Map of the Most Inhabited Part of New England” was drawn by Braddock Meade, also known as John Green, and was published in London by Thomas Jefferys for The American Atlas …. Originally issued as four unjoined untrimmed sheets in 1755, with updates throughout the remainder of the British colonial period. It was considered the largest and most detailed map of New England, done by one of the best 18th Century cartographers. This map is comprised of two trimmed sheets laid down on a thick paper. Each sheet approx. 20” x 19.75”. Overall 40.75” x 20”. 300/500

15.

THREE 18TH CENTURY MAPS OF RHODE ISLAND 1) “The State of Rhode-Island: compiled from the Surveys and Observations of Caleb Harris by Harding Harris”. Believed to be published by Matthew Carey, Philadelphia, circa 1795. Hand-colored. 17” x 10.75”. 2) “Rhode Island”. Believed to have been published in Jos. Scott’s “United States Gazetteer”, Philadelphia, circa 1795. Marked “Lon. E. from Philada.” 8.5” x 6.75”. Matted. 3) Hand-drawn copy of a surveyor’s map. Inscribed “This Draft was copied by me this 24th of the 9th mon. 1788 from a rough Plot in the Hands of Gov. Collins ...” and signed “John Gould Surveyr.” Sections of the map marked with names “Jahleel”, “James” and “Samuel”. Other period notations on obverse and reverse. 18” x 15”. 300/400

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

16.

RARE BENJAMIN CHANDLEE SURVEYOR’S PLAIN COMPASS Nottingham, Maryland, 18th Century Brass, with silvered dial engraved with an eight-point compass rose and a fleur-de-lis indicating north. Raised degree scale engraved with 0-90 in four quadrants. One arm marked “B. Chandlee Nottingham” in serif lettering and the other marked “R. Cr.” in script lettering. Retains original brass dial cover. Length 11.5”. Bezel diameter 5”. 2,000/3,000

19.

TWO DOCUMENTS RELATED TO PEWTERSMITH THOMAS DANFORTH Norwich, Connecticut, 1751 and 1753 1) 1751 document pertaining to John Smith defaulting on his debt to Thomas Danforth and forfeiting a list of personal property, including several pieces of pewter. 2) An “I Owe You” from Isaac Avery of New London to Thomas Danforth of Norwich, dated May 28, 1753, for eight pounds and eight shillings. 200/300

20.

COLONIAL PRESENTMENT AFFIRMING THE PUBLIC INTOXICATION OF BENEDICT ARNOLD Norwich, Connecticut, June 18, 1760 Addressed to Isaac Huntington Esq., “one of his majesties justices of the peace” for the County of New London, from Joseph Reynolds, one of his “Majesties Grand jurers” for said county. Claims Arnold was “disabled in the use of his reason and understanding which did appear in his speach, jesture and behavour [all sic].” Likely describing Benedict Arnold (1683–1761), the father of the infamous traitor. Sheet 6” x 7.5”. Framed 9.5” x 11.5”. 200/400

We believe this compass to be the work of Benjamin Chandlee, Jr. (1723-1791). His father, Benjamin Chandlee, Sr., emmigrated from Ireland to Philadelphia and apprenticed under clockmaker Abel Cottey, whose daughter he married. Benjamin, Jr. worked under his father for awhile before settling in Nottingham, Maryland. His three sons, Goldsmith, Ellis and Isaac, also became well-known clock and instrument makers. Together the family was referred to as the “Six Quaker Clockmakers”.

17.

LIST OF “RATEABLE POLLS AND OF THE REAL AND PERSONAL ESTATE OF THE INHABITANTS OF ROXBURY” MASSACHUSETTS 1708 Signed by Commissioner William Denison and trustees Samuel Ruggles, Samuell Williams and Nath. Br...”. Sheet 15.25” x 12”. 100/200

18.

CHARTER GRANTED TO THE GOVERNOR OF CONNECTICUT 1750 “The Charter Granted by His Majesty King Charles II. to the Governour, & Company of the English Colony of Connecticut in New-England in America” (New-London: Timothy Green, “Printer to the Governour and Company of the abovesaid Colony”, 1750). 6 pp. 12” x 7.75”. 200/300

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27.

21.

22.

23.

EARLY AMERICAN ASTRONOMICAL IMPRINT “AN ACCOUNT OF THE OBSERVATION OF VENUS UPON THE SUN ...” BY BENJAMIN WEST 1769 Fully titled “An Account of the Observation of Venus Upon the Sun, The Third Day of June, 1769, at Providence, in New-England. With some Account of the Use of those Observations. By Benjamin West. The Course of Nature is the Art of God.” (Providence: Printed by John Carter, at Shakespear’s Head, 1769.) Discusses observations made throughout Europe, as well as the methodology and results of observations made in Providence, with a diagram on p. 17. 12 mo. See more at www.eldreds.com. 300/500

24.

RARE SONG SHEET “TWO FAVORITE SONGS MADE ON THE EVACUATION OF THE TOWN OF BOSTON ...” Fully titled “Two favorite Songs made on the evacuation of the Town of Boston by the Britons, March 17th, 1776.” Title above a woodcut illustration of naval vessels exchanging cannon fire in a harbor. Text in two columns with a double dividing rule, and a fine rule at bottom of right column. No publication information. Approx. 13.5” x 8.75”. Woodcut approx. 2.5” x 6.5”. Unframed. 500/1,000

25.

AFTER JOHN TRUMBULL American, Late 18th Century Two engravings after Revolutionary War-themed paintings by Trumbull: 1) “The Battle at Bunker’s Hill, near Boston”. Engraved by J.G. Muller. Published by A.C. de Poggi, London, 1798. 2) “The Sortie made by the Garrison of Gibraltar in the Morning of the 27 of Nov. 1781”. Engraved by W. Sharp. Published by J. Trumbull, W. Sharp and A.C. de Poggi, London, 1799. Both approx. 23.25” x 32.25” overall. Unframed. 400/600

EIGHT REVOLUTIONARY WAR STATE OF RHODE ISLAND BANKNOTES 1780 All with serial number 1228 and signers Adam Comstock and Caleb Harris. Denominations are one, two, three, four, five, seven, eight and twenty dollars. Each approx. 2.75” x 3.75”. 300/500

FIVE CONNECTICUT LINE NOTES FOR THE CONTINENTAL ARMY 1781-1782 All signed by state Treasurer I. Lawrence. Four with circular cancel punches. 100/200

26.

EIGHT INDEPENDENCE DAY ORATIONS Late 18th and Early 19th Centuries Most delivered in Massachusetts in 1799 or 1800. See a complete list at www.eldreds.com. 200/300

IMPORTANT MASSACHUSETTS PROCLAMATION OF INDEPENDENCE BROADSIDE Dated 1776 “By the Great and General Court of the Colony of Massachusetts Bay. A Proclamation. The Frailty of Human Nature, the Wants of Individuals, and the numerous Dangers which surround them, through the Course of Life, have ... impell’d them to form Societies, and establish Governments. As the Happiness of the People is the sole End of Government, so the Consent of the People is the only Foundation of it ... therefore every Act of Government, every exercise of Sovereignty, against, or without the Consent of the People, is Injustice, Usurpation and Tyranny ...”. With a list of grievances and a call for an independently elected government that doesn’t recognize the sovereignty of the crown, and boldly concluding “God Save the People” instead of “God Save the King”. Written by John Adams and others as the Massachusetts General Court absolved its allegiance to the Crown in January 1776, this was one of the first documents in which Americans championed independence and was a precursor to the Declaration of Independence, drafted with similar language in the following months. Believed to be published by Benjamin Edes, Watertown, Mass., 1776. Dated in print January 23, 1776 and signed in print by Perez Morton, William Cooper, et al. Ordered to be read at the opening of court sessions and at town meetings, and recommended to be read at church services. Though the proclamation was seemingly widely distributed at the time, very few copies are known to still exist. Approx. 17” x 13.75”. 3,000/5,000

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28.

“ARTICLES OF CONFEDERATION” 1777 Fully titled “Articles of Confederation and Perpetual Union Between the States of New-Hampshire, Massachusetts-Bay, Rhode Island and Providence Plantations, Connecticut, New York, New-Jersey, Pennsylvania, Delaware, Maryland, Virginia, North-Carolina, South-Carolina and Georgia” (Lancaster, Pennsylvania, Printed; Boston, Re-Printed: John Gill, 1777). This copy contains the thirteen articles adopted by the Continental Congress on November 15, 1777, followed by related excerpts of Congressional minutes from November 17 and 22, 1777, which outline that the Articles of Confederation would be submitted to the individual states for their ratification, and the economic proportions to be paid by states. String-bound with an address to the “Friends and Fellow Countrymen” of MassachusettsBay that answered the objections of individual towns “to be printed in hand bills, one of which to be sent to the Selectmen of each town in this State to be communicated.” With marginalia, including notes such as, “Each State to Pay thare Equel Proportion of Money to have Justice Done them in the End.” Signed on reverse by Jacob Davis, Esquire, possibly Jacob Davis of Charlton, Massachusetts, who served as a Revolutionary War Colonel and helped found Leicester Academy, the second academy incorporated in the state. 16 pp plus an additional 4pp address. 14” x 8.5”. 3,000/5,000 An important part of American history, the Articles of Confederation was the first document to serve as a Constitution for the United States, an important cornerstone in the formation of the Federal government. The document outlined that states would enter into “a firm league of friendship with each other” but maintain their own rights, resulting in a weak central government. Massachusetts would ratify the Articles in March of 1778, though the document was not fully adopted until Maryland ratified it in 1781. By 1786, the ineffectiveness necessitated the creation of a new governing document, resulting in the creation of the United States Constitution.

29.

18TH CENTURY COPY OF THE MASSACHUSETTS CONSTITUTION 1781 “The Constitution or Frame of Government for the Commonwealth of Massachusetts“ (Boston: Benjamin Edes and Sons, 1781). The then newly designed Massachusetts state seal initially engraved by Paul Revere on cover. The first Constitution successfully ratified by the Commonwealth of Massachusetts - since an earlier one was rejected -, this version is the oldest continuously used written constitution in the world. Written by John Adams and signed in print by the state’s Constitutional Convention president James Bowdoin. An extremely rare and important document. 24 pp. 14” x 8.5”. 500/800

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30.

SCARCE 1799 BOOKLET “STANDING RULES AND ORDERS OF THE HOUSE OF REPRESENTATIVES OF THE UNITED STATES” Printed by John H. Oswald, Philadelphia, 1799. Addresses duties of the Speaker of the House, decorum and debate, procedures for bills, committees of the whole House, and joint rules and orders of the “Two Houses”, the Senate and the House of Representatives. This booklet was published the year after Rep. Roger Griswold attacked Rep. Matthew Lyon with a hickory walking stick on the floor of the House. 16 mo. Believed to be original marble wraps. 500/800

31.

UNITED STATES REGISTER FOR 1794 “The United States Register, For the Year 1794; Being the 18th9th of National Sovereignty.” (Philadelphia: Printed, For the Editors, By Stewart & Cochran, and John McCulloch ... MDCCXCIV [1794]). Similar to an almanac, volume provides a fascinating trove of information about the early United States. Contains calendars, population data, lists of local and nationally elected officials, and synopses about executive, judicial and legislative branches of government, coinage, debt, exports, institutions, etc. Title page with image of a spread-wing American eagle. 32 mo. Original marbled wraps. 200/400

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32.

FOUR EARLY 19TH CENTURY ALMANACS 1) “Sword’s Pocket Almanack, And Christian’s Calendar, For the Year of Our Lord 1816, Being Bissextile, or Leap Year. ...”. 2) “The Rhode-Island Almanack, For the Year of our Lord Christ, 1816: ...”. 3) “The Massachusetts Register and United States Calendar; For the Year of Our Lord 1812, ...”. 4) “The World in a Pocket Book, or Universal Popular Statistics ...” . See more at www.eldreds.com. 100/200

33.

EARLY HARVARD ALUMNI DIRECTORY

34.

HARVARD UNIVERSITY COMMENCEMENT BROADSIDE Dated 1767 Lists graduates and an explanation of the departments. 21.25” x 16.75” sight. Framed 25” x 20”. 200/300

35.

THREE BROWN UNIVERSITY COMMENCEMENT BROADSIDES 1) Lists graduates from 1769-1789. Sheet 16.5” x 13.25”. 2) Lists graduates from 1769-1795. Sheet 22.25” x 18”. 3) Dated 1810. Sheet 23” x 18”. 300/500

18th Century “Catalogus Eorum Qui In Universitate Harvardiana, Cantabrigie, in Republica Massachusettensi, ...” (Boston: Thomae & Johannis Fleet, 1794). An early attempt at an organized directory of Harvard’s alumni, starting with the class of 1642. 100/200

36.

MEMORIAL SERMON DELIVERED FOR THE FIRST PRESIDENT OF BROWN UNIVERSITY “A Sermon, Delivered in the Baptist Meeting-House in Providence, July 31, A.D. 1791. Occasioned by the Death of The Rev. James Manning, D.D. President of RhodeIsland College. By Peres Fobes A.M. ...” (Providence: J. Carter [1791]). James Manning (1738-1791) was the first president of Rhode Island College, renamed Brown University in 1804. From the time it first opened in 1765, Manning oversaw the college’s first commencement, a move from Warren to Providence, the Revolutionary War years when the building was occupied by American and French troops, and the tenuous post-War period. His presidency ended upon his death in 1791. Peres Forbes (1742-1812) was a professor and vice-president of the college. 12 mo. Dark brown wraps, possibly original. 50/100

37.

DIPLOMAS AND UNIVERSITY-RELATED EPHEMERA FROM HARVARD, PRINCETON, YALE, BROWN, DARTMOUTH, BOWDOIN, ETC.1751-1901 See a complete list at www.eldreds.com. 200/300

38.

YALE COLLEGE-THEMED MIRROR

Late 19th Century Oval mirror surrounded by painted decoration of the Yale seal, a football, sculling oars, etc. Framed 9.25” x 11.25”. 400/600

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39.

MASSACHUSETTS BROADSIDE OF SHAYS’ REBELLION INTEREST Dated June 13, 1787 States the Massachusetts State Senate will allow the Governor to raise a small militia to combat lingering rebels causing mayhem in the Western counties. All rebels, aside from Shays and other commanders, are pardoned. Sheet 16.25” x 9”. 300/500

40.

PUBLICATION ON 18TH CENTURY ACTS PASSED BY THE MARYLAND GENERAL ASSEMBLY Pamphlet titled “Acts Passed at Different Sessions of the General Assembly of Maryland Concerning the Navigation of the River Susquehanna, and Establishment of Havrede-Grace, &c. And Naturalization Laws of Said State And of the United States, &c.” (Baltimore: W. Pechin, 1797). Chapters I-VI and IX-X cover legislation about Havre-deGrace and the Susquehanna through 1796, including tolls for various material conveyed along the river and extracts of laws passed in Congress. Chapters VII-VIII cover laws of naturalization in Maryland and the United States, including those eligible for citizenship and oaths of allegiance. O. Retains remnants of what appears to be its original light blue wrappers. 150/250

41.

PENNSYLVANIA PAMPHLET “PLAN OF ASSOCIATION OF THE NORTH AMERICAN LAND COMPANY. ESTABLISHED FEBRUARY, 1795.” Printed by R. Aitken and Son, Philadelphia, 1795. 25 pp. Last pages with reserves for “The Seal of the City of Philadelphia”, the “Great Seal of the State of Pennsylvania” and signatures of officials. O. Appears to be in original light blue wraps. 200/400

42.

TWO EARLY 19TH CENTURY PENNSYLVANIA PUBLICATIONS AND AN ASSOCIATED HANDWRITTEN DOCUMENT 1) Pamphlet “Articles of Association and Rules of the Philadelphia Chamber of Commerce” (Philadelphia: Zachariah Poulson, Junior, 1801). 8 printed pp, with an additional number of blank pages at rear. O. Believed to be original marbled wraps. 2) Document dated “Chamber of Commerce 2nd March 1801” and is addressed on obverse “For Mr. T. W. Francis”. Pertains to resolutions to be considered at the next meeting of the Chamber. 3) Volume “Memoirs of the Historical Society of Pennsylvania. Vol. IV, Part I.” (Philadelphia: M’Carty & Davis, 1840). Contains an inaugural discourse delivered by the president of the society in 1837, memoirs of William Rawle and Roberts Vaux, and a “Description of a Specimen of Engraving, by the Aboriginal Inhabitants of North America”, as well as a list of officers and members. O. Printed boards. 200/300

43.

MANUSCRIPT COPY OF A ROGER WILLIAMS LETTER Late 18th/Early 19th Century Williams’s (1603-1683) 1677 answer to William Harris concerning land interests of the Pawtuxet settlers. 200/300

44.

THIRTEEN APPOINTMENTS SIGNED BY RHODE ISLAND GOVERNORS 1790 to 1881 Together with song sheet “Parliament of England. Banks of Ohio.” printed in Providence, Rhode Island, and engraving “The Siege of Rhode Island, taken from Mr. Brindley’s House, on the 25th of August, 1778”, published in the February 1779 issue of Gentleman’s Magazine. Appointments include two Justice of the Peace appointments signed by Arthur Fenner dated 1790 and 1802, a Bank Commissioner appointment signed by John Brown Francis dated 1837, an Ensign appointment signed by James Fenner dated 1843, seven Public Notary appointments signed by Henry B. Anthony, Philip Allen, William W. Hoppin, Elisha Dyer, Thomas G. Turner, James Y. Smith and Seth Padelford, dated 1849, 1851, 1856, 1858, 1859, 1864 and 1869, a Justice of the Peace appointment signed by Charles C. Van Zandt dated 1879 and a Notary Public appointment signed by Alfred H. Littlefield dated 1881. Appointments also signed by the secretary of state and include an affixed or embossed seal. Appointments approx. 8.5” x 14”. 150/250

45.

WILLIAM ELLERY SIGNED DOCUMENT Signed as “jun. deputy” port collector for the District and Port of Newport, Rhode Island, certifying Thomas Dean as an “American seamen” and a “Citizen of the United States of America” pursuant to the “Act for the Relief and Protection of American Seamen”. Pre-printed document with handwritten notations including age, height, complexion and description of Dean. Dated November 21, 1809. 8” x 12.75”. Framed 12” x 16.75”. 250/350 William Ellery (1727-1820), a merchant, customs collector, lawyer and clerk of the Rhode Island General Assembly, signed the Declaration of Independence as a representative of Rhode Island. His distinctive signature was second in size to that of John Hancock’s.

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Washington penned this farewell address to the nation in 1796, at the end of his second term as President. He

46.

BROADSIDE OF WASHINGTON’S FAREWELL ADDRESS Circa 1800 “Address of the Late General George Washington, To the Citizens of the United States, on declining a re-election to the Office of President” (Hartford: Hudson and Goodwin, circa 1800). Printed in five columns within a decorative border. Signed in print “George Washington. United States, 17th Sept. 1796.” Approx. 22” x 18”. 800/1,200

announces his intention to decline a third term in office and reflects on the current political landscape and his eight years in office. First published in 1796 in David C. Claypoole’s American Daily Advertiser, it was reprinted immediately in newspapers and pamphlets, and then widely reprinted again after Washington’s death in 1799. Considered one of the most important documents in U.S. history, frequently reprinted and recited, the Address eventually faded from national memory. Recently, however, it regained some popular awareness when lines from the address were used in the song “One Last Time” in the hit Broadway musical “Hamilton”.

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47.

AFTER GILBERT STUART 20th Century Bust portrait of George Washington. Unsigned. Oil on board, oval 23” x 19”. Framed 32” x 28”.

400/600

48.

FOUR 19TH CENTURY HISTORIC PRINTS 1-2) Two engravings of George Washington after Gilbert Stuart’s Lansdowne portrait. One published by W.L. Ormsby, New York and one published by the Albion Office, New York, 1844. 24.25” x 16” and 30” x 23”. 3) Engraving of Ulysses S. Grant on horseback after the painting by H.B. Hall. Published by H.B. Hall & Geo. E Perine, New York, 1865. 17” x 14”. 4) Polychrome mourning print depicting a woman leaning against a memorial marked “To the Memory of Betsey F. Bowen, Who died April 5th, 1837 ...” and with verse. Memorial situated in an expansive landscape with flowering shrubs, a weeping willow and distant church. 13” x 16.75”. 200/400

49.

SIX GEORGE WASHINGTON EULOGIES Circa 1800 See a complete list at www.eldreds.com. 250/350

50.

EIGHT GEORGE WASHINGTON EULOGIES Circa 1800 See a complete list at www.eldreds.com. 300/500

51.

NINE GEORGE WASHINGTON EULOGIES AND ONE POST-MORTEM ADDRESS Circa 1800 See a complete list at www.eldreds.com. 300/500

52.

NINE GEORGE WASHINGTON EULOGIES Circa 1800 See a complete list at www.eldreds.com. 250/350

53.

SEVEN EARLY AMERICAN IMPPRINTS Late 18th and Early 19th Centuries Includes religious and political orations and an address before the Society of Cincinnati. See a complete list at www.eldreds.com. 150/250

54.

EIGHT THANKSGIVING SERMONS Late 18th/Early 19th Century See a complete list at www.eldreds.com. 250/350

55.

FOURTEEN SERMONS AND PAMPHLETS Circa 1807-1845 On a variety of topics including some on children. Includes a calf-bound volume containing approx. 15 sermons. See a complete list at www.eldreds.com. 300/500

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56.

MEMORIAL BROADSIDE Circa 1800 “An Elegy of the Death of Captain Annanias Valentine, Thomas Pinckney, Isaac Elliot, Jacamiah Cropsey, and Leonard Merrit, all respectable citizens of the town of Marlborough, who were unfortunately drowned on the Flatts [sic], in front of the town in attempting to go on shore, on Friday morning, the 12th of December, 1800, in a violent storm of wind and rain”. Probably from Marlborough, New York. Depicts five coffins. Sheet 17” x 10.5”. 100/200

57.

LARGE COLLECTION OF EPHEMERA 17th to 20th Centuries A wide range of material including photographs, game pieces, cigarette cards, miscellaneous letters and documents, book pages, assorted prints, maps, etc. Notable items include a 1788 letter in French from Charles-Louis-Victor, a French soldier and politician who would be guillotined in Paris during the Reign of Terror, an invitation to Lyndon B. Johnson’s Presidential Inauguration on January 20, 1965 with enclosures and original envelope, Chinese government loan certificates dated 1913, America’s Cup yacht racing photographs from the 1920s, and a certificate of knighthood for Sr. Lerouge from 1788. See a complete list at www.eldreds.com. 400/600

58.

TWO BROADSIDES OF MASSACHUSETTS INTEREST 1) “At a legal meeting of the inhabitants of the Town of Boston, Wednesday, December 21st, 1803”. Sheet 17.75” x 11.25”. 2) “Speech on the Internal Improvements, by Robert Dale Owen”. Addressed to the Legislature of Massachusetts. Sheet 20.75” x 15.25”. 50/100

59.

DOCUMENT SIGNED BY ELBRIDGE GERRY, GOVERNOR AND COMMANDER IN CHIEF OF THE COMMONWEALTH OF MASSACHUSETTS Dated 1812 Commissions Nathaniel Nickerson “to be Captain of Company in the Second Regiment of Infantry in the Second Brigade and Fifth Division of the Militia of this Commonwealth.” Dated April 29, 1812. Signed and sealed by Elbridge Gerry, a signer of the Declaration of Independence. Counter-signed by Benjamin Homans, secretary of the Commonwealth. Mat opening 8” x 14”. Framed 13.75” x 19.75”. 300/400

60.

RARE SONG SHEET “A BLOODY BATTLE ...” Circa 1811 “A Bloody Battle Between the United States Troops under the command of Gov. Harrison, and several tribes of Indians, near the Prophet’s town, Nov. 7th, 1811.” Two woodcut illustrations above title. One depicts three soldiers in an encampment, with tents and caissons behind them. (This ornament was first used in “Battle of Bunker Hill”.) The other is a more crudely rendered view of three standing men, one holding an arrow. Text in two columns, with decorative rule at bottom of right column. The “Bloody Battle” refers to the Battle of Tippecanoe, between U.S. forces and a confederacy of American Natives who were supported by the British. The battle further deteriorated U.S. relations with Britain and would become a precursor to the War of 1812, which began six months later. No publication information but believed to have been printed in Boston. Approx. 10” x 9.25”. 300/500

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61.

BOUND VOLUME OF OFFICIAL LETTERS, REPORTS AND STATEMENTS, SOME PERTAINING TO THE WAR OF 1812 1814-1815 Approx. 23 documents from the Secretary of the Treasury, the Secretary of War, the Secretary of the Navy, the Secretary of State, the Mint, the Postmaster General, etc., providing reports to the U.S. House of Representatives. Many reference expenditures, commerce and trade during the War of 1812. Most include fold-out tables. Notable documents include a “Statement of Contracts Made By The War Department” listing rations for the U.S. Army, issued by the Secretary of War and dated February 9, 1815, a “Report of the Commissioners of the Sinking Fund” dated February 7, 1815, and a “List of Persons Who Have Made Any New And Useful Invention” issued by the Secretary of State and dated January 30, 1815. All printed in Washington but printers vary. Narrow folio. Marbled boards with leather corners and spine. 2,500/3,500 62

62.

SOCIETY OF THE CINCINNATI MEMBERSHIP CERTIFICATE Massachusetts, 1825 Confirms the membership of Alexander Samuel Brooks in the Society. 13.5” x 19.75” sight. Framed 16.5” x 23.25”. 200/400

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63.

DOCUMENTS PERTAINING TO KINGS GEORGE II AND III, AND BRISTOL COUNTY, MASSACHUSETTS 18th Century From the family papers of Dr. William Baylies of Dighton, Massachusetts. 200/300

B AY L I E S FA M I LY PA P E R S Lots 63-87 are from the Baylies family of Dighton, Massachusetts. Dr. William Baylies (1743-1826) was one of the founders of the American Medical Association. His children included William Baylies, a member of the Continental Congress and an elected member of the thirteenth and fourteenth United States Congresses; Francis Baylies, who became the first ambassador to Buenos Aires; and adopted son Samuel White Baylies, who became the first lawyer in Taunton, Massachusetts. Dr. Baylies’s brother, Major General Hodijah Baylies, was aide-de-camp to General George Washington and later became a probate judge for the Commonwealth of Massachusetts. The Baylies family also ran a dry goods store along the banks of the Taunton River in South Dighton.

64.

“THE CONSTITUTION OF THE UNITED STATES OF AMERICA. FRAME OF GOVERNMENT.” 1787 Dated October 25, 1787. Signed in print by Samuel Adams, James Warren, John Hancock, and John Avery. 32 pp. Approx. 8” x 5”. 500/1,000

A family of merchants, the Baylies family was highly connected to the early foundation of the American Revolution and the nascent government that came as a result. The contents of this collection illustrate a transitional moment in the legal, social and cultural fabric of the United States. The Baylies family provides a micro-historical example of a multifacted patriot family in the era surrounding the American Revolution. These papers came from a 1715 home built by Reverend Nathaniel Fischer, the first minister of the Town of Dighton, which was later purchased by Dr. Baylies.

65.

“RIGHTS OF MAN” BY THOMAS PAINE, THIRD EDITION, FIRST BOSTON PRINTING 1791 Fully titled “Rights of Man: Being an Answer to Mr. Burke’s Attack on the French Revolution” (Boston: I. Thomas and E.T. Andrews, 1791). Third edition, first Boston printing. 79 pp. Approx. 8.75” x 5.5”. 200/300 “Rights of Man” defended the values of the French Revolution -liberty, equality and fraternity -- and quickly became an important document in America that was widely circulated and reprinted.

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66.

PROGRESS REPORT ON THE CONSTRUCTION OF THE WHITE HOUSE AND U.S. CAPITOL 1796 “Alexander White, one of the Commissioners appointed by the President ... respectfully states to the committee, ... That on the first day of December 1795, the wall of the President’s house, in the city of Washington, was raised ...”. Dated January 1796. 3 pp. 100/200

67.

LETTERS FROM IMPORTANT REVOLUTIONARY-ERA MEN Late 18th/Early 19th Century A 1763 letter from John Brown to Samuel White, two 1807 letters from William Barton in Rhode Island, an 1807 letter from Benjamin Bourne to Samuel Baylies, Esq., a 1791 letter from Theodore Sedgwick, an 1803 letter from Dan Leonard, 1785 and 1797 letters from George Leonard, and letters to and from brothers Francis and William Baylies, lawyers and Congressmen. 200/300

68.

TWO DOCUMENTS PERTAINING TO SURGEON JOHN WARREN 1) Letter signed by John Warren and others of the Massachusetts Medical Society. 2) Printed copy of John Warren’s eulogy for Thomas Russell, Esq., dated May 4, 1796. 150/250

69.

BAYLIES FAMILY PAPERS, PRIMARILY DISCUSSING POLITICS Includes “Review of J.Q. Adams’ Appendix”, a letter written by patriot Dan Leonard in Bermuda, papers discussing Shays’ Rebellion in terms such as “Relentless Bloodshed” and “Fire, Blood, & Carnage”, etc. 200/300

70.

PAPERS OF SAMUEL BAYLIES, ESQ. OF DIGHTON, MASSACHUSETTS Approx. 28 items including sixteen letters, two wills and a childhood grammar book. 100/200

71.

18TH AND 19TH CENTURY PAPERS PERTAINING TO BRISTOL COUNTY, MASSACHUSETTS 1755-1885 Many pertaining to prominent families of Dighton. Includes financial, real estate and personal documents, several letters by women, etc. 200/300

72.

COLLECTION OF EARLY AMERICAN FINANCIAL AND LEGAL DOCUMENTS Second Half of the 18th Century-19th Century Approx. 150 handwritten and printed documents, all relating to matters in the area of Taunton, Massachusetts, also mostly relating to Samuel White, Esq. Notable items include a document designating a woman as the head of an estate, which required grammatical adjustments to the document. See more at www.eldreds.com. 100/200

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B AY L I E S FA M I LY PA P E R S

75.

73.

19TH CENTURY LEDGER BOOKS AND FINANCIAL NOTES, MOSTLY FROM THE NEW BEDFORD/DIGHTON AREA OF MASSACHUSETTS 1800-1874 Mostly for vinegar, milk and meal. Several ledgers contain beautiful illustrations of ships. Related papers and notes also with original drawings and poetry. 200/300 76.

74.

FIFTEEN LATE 18TH/EARLY 19TH CENTURY POLITICAL ORATIONS AND PAMPHLETS 1799-1821 Cover a variety of topics of the day. Most published in New England and pertain to elected officials from New England, though an 1820 pamphlet on slavery in Missouri is also included. See a complete list at www.eldreds.com. 500/1,000

77.

THREE “MESSAGE FROM THE PRESIDENT” SPEECHES BY JAMES MADISON AND JAMES MONROE 1809-1822 1) Sammelband including “Message from the President of the United States, to both Houses of Congress, ... November 29th, 1809 ...” 2) 1821 State of the Union Address. 3) Sammelband of “Documents 78. Accompanying the Message of the President of the United States ...”. See more at www.eldreds.com. 200/300

MARITIME-RELATED BOOKS AND EPHEMERA 18th Century Includes a letter from the Talbot family aboard the frigate United States, the first commissioned American warship and named by George Washington, as well as other letters and books. See more at www.eldreds.com. 100/200

TWO DOCUMENTS PERTAINING TO THE AFRICAN-AMERICAN EXPERIENCE IN COLONIAL MASSACHUSETTS 18th Century 1) Receipt inscribed “Please send me by the Bearer, negroe man Prymose Six Hundred [?] of Barr Iron Works which will oblige thy Friend”. Dated January 25, 1776. 2) Fragment of a letter referring to “a Negro man calling himself Robert or Bob, now resident in said Berkley”. 200/300

EPHEMERA AND ARTIFACTS RELATING TO EVERYDAY LIFE IN NEW ENGLAND 18th and 19th Centuries Includes letters and other ephemera dating from 1755 to 1824, three berry baskets, two old glass bottles, one with label for a Taunton Druggist & Apothecary, and two 19th Century framed photographs of women, one holding a child. Ephemera concerns visitations, schooling, drinking, fishing, agriculture, etc., notes written by and about women, notably a piece describing “disorderly and lewd women”, and a log of weather and other daily happenings. Also includes a small photograph of a soldier in a tropical locale, possibly WWII-era. Berry basket heights approx. 3.5”. Bottle heights 5.25”. Photographs approx. 2.5” x 2.25”. 180/250

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79.

80.

MIXED EPHEMERA AND PUBLICATIONS 1758-20th Century Includes a list of “Voluptuous Reading” for purchase in British currency and various pages, a Brown commencement “Order of Exercises and Theses” from 1817, a short note about “Negroes”, a 1926 postcard souvenir book of New Brunswick scenes, a copy of “Salamagundi, or, the WhimWhams and Opinions of Launcelot Langstaff & Others” (N.Y.: David Longworth, 1807), fragments of colonial and early American paper money and bonds, a 19th Century Massachusetts atlas and a copy of “The Trial of Cain, the First Murderer, in Poetry, by Rule of Court ...” by Erastus Brown (Boston: 1827). 100/200

81.

BOUND COPIES OF THE FARMER’S WEEKLY MUSEUM: NEW HAMPSHIRE AND VERMONT JOURNAL 1797-1800 Volume approx. 19.5” x 12”. 150/250

82.

EIGHT PUBLICATIONS OF AGRICULTURAL INTEREST, INCLUDING FOUR FARMER’S ALMANACS 1796-1886 Almanacs from 1819, 1854, 1882 and 1886. Publications include: 1) “Rules and Regulations of the Massachusetts Society for Promoting Agriculture: ...” (1796). 2) “Papers on Agriculture, Consisting of Communications Made to the Massachusetts Society for Promoting Agriculture, ...” (1799). 3) “Massachusetts Agricultural Repository and Journal” (1821). 4) “The Massachusetts Register and United States Calendar; for the Year of our Lord 1819 ... for Literary, Agricultural, and Charitable Purposes” (1819). See more at www.eldreds.com. 200/500

85.

FOUR 19TH CENTURY MUSIC BOOKS Includes Hymns for the Use of the Methodist Episcopal Church (N.Y.: Carlton & Porter, 1849, revised edition), as well as a small book of psalms and “Spiritual Songs”, a book of hymns and a book of music lessons. 150/250

86.

TEN CHILDREN’S BOOKS 1863-1927 Includes Little Tots ABC, The Teddy Bear Story Book ... by W.E. Scull, Grimm’s Fairy Tales, Illustrated, several pages of Goldylocks and the Three Bears, Chatterbox, Mother Goose and Other Tales, Nursery Friends from France, Young Americans in Japan, or the Adventures of the Jewett Family and their Friend Oto Nambo by Edward Greey, The Abridged Fourth Music Reader ... and Lucy Clare. See more at www.eldreds.com. 200/500

87.

NINE BOOKS AND EPHEMERA OF EDUCATIONAL INTEREST, MOSTLY 18TH CENTURY Includes a practice book of William Baylies with narrative exercises on Locke, Constantinople, etc., as well as books on algebra, Latin, French grammar, English grammar, etc. See more at www.eldreds.com. 200/500

NINETEEN PAMPHLETS AND PAPERS OF MEDICAL INTEREST 18th and 19th Centuries See a complete list at www.eldreds.com. 200/300

83.

SEVEN EARLY 19TH CENTURY PAMPHLETS OF RELIGIOUS INTEREST 1800-1804 See a complete list at www.eldreds.com. 200/300

84.

FIVE SMALL RELIGIOUS BOOKS 18th and 19th Centuries Includes an undated Bible, a book of prayers, “The New Week’s Preparation for a Worthy Receiving of The Lord’s Supper, as Recommended and Appointed by the Church of England” (1832), “The Christian Economy” (1831), and “The Resurrection of Jesus Considered in Answer to the Tryal of the Witnesses” (1744). See more at www.eldreds.com. 150/250

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88.

FIVE MID-19TH CENTURY CHAPBOOKS All but one contain charming illustrations. Most intended for children. Includes “My Little Primer”, “Stories Worth Reading”, “The Cowslip Gatherers”, “Mary Ann Massey” and “A Saviour For You! A Word to Every One. By S.M. Haughton, ...”. See more at www.eldreds.com. 80/120

89.

THREE SCARCE 19TH CENTURY VOLUMES RELATED TO COOKING 1) What Shall We Eat? A Manual for Housekeepers. Comprising a Bill of Fare for Breakfast, Dinner, And Tea, For Every Day in the Year. With An Appendix, Containing Recipes for Pickles and Sauces (1868). 2) The Improved Housewife, or Book of Receipts; with Engravings for Marketing and Carving. By A Married Lady, ... (1848). 3) The Art of Dining; and the Art of Attaining High Health. With a Few Hints on Suppers by Thomas Walker, Esq. (1837). See more at www.eldreds.com. 150/250

90.

FIVE RARE VOLUMES OF LITERATURE 1) The Sketch Book of Geoffrey Crayon, Gent. by Washington Irving (N.Y.: C.S. Van Winkle, 1819). Believed to be the Second American Installment. Commonly referred to as “The Sketch Book”, the collection, published serially, contains 34 essays and short stories in its entirety, including “The Legend of Sleepy Hollow”. This volume contains “English Writers on America”, “Rural Life in England”, “The Broken Heart” and “The Art of Bookmaking”. O. Original brown wraps, with title “The Sketch Book” and “No. II....Price 62½ cents” on front cover and advertisement for No. III on back cover. 2) Dermot Mac Morrogh, or The Conquest of Ireland; An Historical Tale of the Twelfth Century in Four Cantos by John Quincy Adams (1832). A historical poem published by Adams after his tenure as President. 3) Letters of Abelard and Heloise. To which is prefix’d a particular Account of their Lives, Amours, and Misfortunes. By the late John Hughes ... (1775). 4) Constantine: A Tragedy. As it is Acted at the TheatreRoyal, in Covent Garden by Philip Francis (1754). 5) The Sheperd’s Wedding; A new Comic Ballet. ... (1792). See more at www.eldreds.com. 250/500

91.

VOLUME ON THE CONSTRUCTION AND DEVELOPMENT OF THE U.S. CAPITOL Documentary History of the Construction and Development of the United States Capitol Building and Grounds (Washington: Government Printing Office, 1904). 58th Congress, 2nd Session, Report No. 646. Calf spine and corners. Aem. 150/250

92.

“COMPENDIUM OF ENGLISH GRAMMAR” BROADSIDE Mid-19th Century Lacking publication information. Sheet 11” x 14.5”. 40/80

93.

EARLY STAGECOACH ADVERTISING BROADSIDE Dated 1807 “Summer Establishment for the Accomodating Stages from Boston to Portland, through Newburyport and Portsmouth.” (Newburyport: W.& J. Gilman, circa 1807). Title below a wonderful large woodcut illustration of four horses drawing a carriage, signed in image “J. Atkins”. Coach schedule within decorative rules. Dated lower left above printer’s mark “June 1, 1807.” 19.5” x 14.5” sight. Framed 22.5” x 18.25”. 200/300

94.

SIX SCHOOL GIRL CALLIGRAPHIC EXERCISES Early 19th Century Five by Abigail B. Putnam (1794-1829) and one by Nabby Putnam. One by Abigail dated 1805. Two with polychrome decoration. All on laid paper. Largest sheets 23” x 17.5”. 500/1,000

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94, detail below

95.

BROADSIDE ADVERTISING A CIRCUS ON BROADWAY 1823 Printed by J.W. Bell, 70 Bowery. Performances include dancing, singing, horsemanship, a clown and a “comic pantomime” of Don Quixote. Sheet 22.25” x 6”. 150/250

96.

TWO 19TH CENTURY GAME BOARDS 1) “The Mansion of Happiness” published by W. & S.B. Ives, Salem, Massachusetts, one of the first game boards published in the United States. Colored board with a spiral of 66 octagonal numbered spaces, alternating between polychrome figural vignettes and empty yellow spaces, with a larger octagonal end space depicting women playing instruments in a garden. The game is based on Christian morals and the vignettes are labeled with virtues and vices. Pink marbled exterior with label marked “Entered according to act of Congress in the year 1843 by W. & S.B. Ives in the clerks office of the District Court of Massachusetts” and “Thayer & Cos. Lithogy. Boston”. Similar markings in margin of game board. Board open 15” x 18.5”. 2) Hand-drawn trivia game on thick paper. Approx. 98 numbered spaces in a variety of shapes, each with handwritten question about literature, music, philosophy, etc. 10.25” x 16.5”. 200/300

97.

THREE 19TH CENTURY ADVERTISEMENTS AND A CITIZEN’S UNION PASSENGER LIST 1-2) Two ads for Hutchinson & Sampson, furniture, chair and feather warehouse, Boston. Sheet 11” x 11.5”. 3) “To Tanners and Morocco Dressers”. Printed by J. Ricketts & Co., Baltimore. Sheet 15.75” x 10.5”. 4) Citizen’s Union passenger list on the line from Boston to Keene, New Hampshire. Sheet 8.75” x 14.25”. 80/120

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Items Pertaining to the Brown and Francis Families of Rhode Island TENCH FRANCIS, JR. (1730-1800)

JOHN BROWN I (1736-1803)

JAMES BROWN (1761-1834)

JOHN FRANCIS (1763-1796)

JOHN BROWN FRANCIS (1791-1864)

Merchant, lawyer and agent for the William Penn Family. First cashier of the Bank of North America. Father of John and Thomas Francis.

Merchant, trader and Rhode Island statesman. Instrumental in founding Brown University (first known as the College of Rhode Island) with his brothers Nicholas, Joseph and Moses.

Son of John Brown.

Married John Brown’s daughter Abigail. Father of John Brown Francis.

13th Governor of Rhode Island (1833-1838). U.S. Senator from Rhode Island (1844-1845). Served in the Rhode Island Senate and House of Representatives.

98.

JOHN BROWN JACK OF SPADES CALLING CARD John Brown’s (1736-1803) letter-pressed card with “Mr. _____ Brown presents his Compliments to _____ and requests the Favour of _____ Company to _____ on _____ next.” on the obverse, and a hand-colored depiction of a one-eyed jack of spades on the reverse. Length 3.5”. 500/700

98, obverse and reverse

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99.

FOURTEEN LETTERS BETWEEN JOHN BROWN AND GEORGE CHAMPLIN Dated 1786-1802 Brown (1736-1803) and Champlin, of Newport, discuss Rhode Island government and politics. Some letters are manuscript copies. 300/500

100.

FIVE POWER OF ATTORNEY DOCUMENTS PERTAINING TO THE MERCHANT SHIP HEARTS OF OAK Two copies each of John Brown (1736-1803) giving power of attorney to Thomas W. Francis and Francis in turn giving power of attorney to James Swan (17541830). Also includes a synopsis in an unknown hand. N.B. Brown & Francis owned Hearts of Oak when she was chartered by the French firm Dallard Swan for a transatlantic passage during which she was captured. Brown & Francis gave James Swan, partner in Dallard Swan and an extremely successful American/French financier and merchant, power of attorney in a legal attempt to recoup their losses. 200/300

101.

NINE DOCUMENTS RELATING TO JAMES BROWN James Brown (1761-1834). 1-2) Two letters to James from his father, John Brown (1736-1803), dated 1779 and 1799. 3) Letter to James from Paulus Aemilius Irving, dated 1778. 4-5) Two letters to James from John Hume of Charleston, South Carolina, dated 1806 and 1809. 6-7) Two letters from James to Thomas W. Francis, dated 1797 and 1799. 8) Section of James’s diary 1815-18. 9) Receipt for books purchased at George Robinson, Son & Bros, London, in 1793. 200/300

102.

SEVEN BROWN FAMILY DOCUMENTS 1-3) Three deeds for Providence land owned by John Brown (17361803). 4-5) Two 1813 documents signed by Rufus Putnam (1738-1824), describing Ohio company land shares owned by the Brown family. 6-7) Two documents pertaining to Sarah Smith Brown (1738-1825), John Brown’s widow. 200/300

103.

BROWN FAMILY MANUSCRIPT “An Account of Chad Brown and his descendants”. Listing the family tree through Moses Brown “the writer hereof ”. A note at the bottom in John Brown Francis’s (1791-1864) handwriting reads “Acct. of the Brown family copied from Uncle Moses’s book Abby Mason for her ______ JBF”. 100/200

104.

FIFTY-THREE DOCUMENTS PERTAINING TO BROWN & FRANCIS BUSINESS Late 18th to Early 19th Century Includes letters from John Brown (1736-1803) to Thomas W. Francis, dated 1795-1803, discussing the merchant vessel George Washington, John Francis’s estate, updates on the young John Brown Francis and difficulties surrounding his purchase of 210,000 acres of land in the Adirondacks. One letter mentions retaining Alexander Hamilton as counsel in New York State. Also includes documents listing features of the George Washington, an accounting ledger, invoices, etc. See more at www.eldreds.com. 800/1,200

105.

TWO GODDARD FAMILY LETTERS RECOUNTING THE MARRIAGE OF ABIGAIL BROWN AND JOHN FRANCIS Dated 1788 Both dated December 6, 1788 and addressed to Rosella (Abigail Goddard). One from Eliza Goddard, who was a bridesmaid, the other unsigned. They describe the bride’s dress, reception festivities and John Brown’s (1736-1803) unfinished mansion as the venue, among other things. 300/500

106.

NINE LETTERS PERTAINING TO JOHN FRANCIS Dated 1785-1793 Discuss business and personal matters. Two May 1790 letters from John Brown to John Francis discuss the trade implications of Rhode Island’s ratification of the Constitution among other mercantile matters. One 1793 letter from Brown and Francis to Haesseller and Muller of Hambro requests financing for a voyage to Calcutta. Mentions the captain will be Thomas Tingey (1750-1829). See more at www.eldreds.com. 200/300

105

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113

107.

108.

TWELVE LETTERS FROM HARRISON GRAY OTIS TO JOHN FRANCIS Dated 1787 to 1793 The friendship between Otis (17651848) and Francis (1763-1796) is evident in affectionate language and discussions of family, books and plans to visit one another. The most personal letter is dated January 31, 1790, where Otis announces and reflects on his decision to give up bachelorhood and marry Sally Foster. Otis occasionally mentions shared business. 300/500 THREE LEATHER-BOUND JOURNALS BELONGING TO JOHN FRANCIS 1784-1785 All from when John Francis (17631796) was in Cape Francois, Haiti on Brown & Francis business. Includes letters to and from various investors and business associates, including John Francis’s father, Tench Francis Jr. (1730-1800). Also includes cargo invoices and expenses. See more at www.eldreds.com. 300/500

109.

ELEVEN PIECES OF JOHN BROWN FRANCIS CORRESPONDENCE PERTAINING TO THE JOHN BROWN TRACT AND OTHER LAND HOLDINGS Two letters from John Brown Herreshoff. Other land holdings in Ohio and Alegany [sic] County, Pennsylvania. 200/300

110.

LARGE COLLECTION OF CORRESPONDENCE PERTAINING TO RHODE ISLAND GOVERNOR JOHN BROWN FRANCIS Circa 1820-1860 More than 75 letters written primarily to and from John Brown Francis (1791-1864), ranging from personal letters to his children to letters commenting on political matters of the day. See more at www.eldreds.com. 500/1,000

111.

“GOV. FRANCIS GRAND MARCH AND QUICK STEP” SHEET MUSIC Circa 1833 “Composed and Arranged for the Piano Sorte By O. Shaw”. Title in flourishing typography. Two pages of music bound with threads. Each sheet 13” x 10”. 50/100

112.

APPROX. 573 PIECES OF JOHN BROWN FRANCIS CORRESPONDENCE 1836-1842 Vast majority is hand-written. Includes copies and drafts of letters written by John Brown Francis (1791-1864). Senders include Elisha Reynolds Potter, Jr., William Sprague III, Asher Robbins, John Robinson Waterman, Dutee Jerauld Pearce, Benjamin Babock Thurston, Benjamin Franklin Hallett, Henry Dilworth Gilpin, Charles Brayton, William Daniel Brayton, William Channing Gibbs, Charles Winston Greene, Christopher Allen, E. J. Mallett, James Fisher, Samuel Young, Horatio Tracy, Jonah Titus, Perry Chase, J. K. Angell, Caleb Westcott, Reverend John Brazer of Salem, N. Bullock, John R. Waterman, John H. Crop, John R. Wheaton of Warren, Jacob Frieze of Providence, Edward L. Williams of Providence, Samuel Brown of Providence, James Stevens of Newport, Thomas Wilson Dorr, Samuel Ames, George Jackson, Chris G. Champlin, Lucy Ann Lippett, B. Hazard of Newport, Louis Dwight, Amasa Eddy Jr. and Thomas Willing Francis. See more at www.eldreds.com. 4,000/6,000

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113.

SEVENTY PIECES OF JOHN BROWN FRANCIS CORRESPONDENCE PERTAINING TO THE DORR REBELLION AND RHODE ISLAND SUFFRAGE All Dated 1842 Seventeen copies or drafts of letters from John Brown Francis (1791-1864), one addressed to William Goddard, one to James Fisher and at least one addressed to Jessie Tourtellot. Twenty-five from Elisha Reynolds Potter, Jr. (1811-1882). Six from William Sprague III (1799-1856). Four from Christopher Allen of North Kingston. Four from Jessie Tourtellot of Chepachet. One from George Comstock of Seekonk. One from a Mr. Gibbs of Newport. Three from Moses Brown Ives of Providence. Two from Robert H. Ives of Providence. One from N. Bullock of Bristol. One from William Rhodes of Pawtuxet. One from George A. Brayton of Warwick. One from William D. Brayton of Apponaug. One from a Mr. Flagg of Philadelphia. One from Charles Winston Greene. One addressed to Amasa Eddy from an illegible sender. 2,500/3,500

114.

FOURTEEN PIECES OF CORRESPONDENCE BETWEEN JOHN BROWN FRANCIS AND THOMAS WILSON DORR December 1839-March 1840 Francis’s (1791-1864) letters are drafts or manuscript copies. Dorr (1805-1854) attempts to convince Francis to run for governor. 500/1,000

115.

DORR REBELLION BROADSIDE Dated 1842 “Circular.” dated March 4, 1842. Claims “The present is a momentous crisis, in the affairs of our State.” and urges adoption of the the Constitution that “was framed in a spirit of compromise.” Signed in print by 61 men including James Fenner, John Brown Francis and Elisha Dyer. 12.5” x 7.5”. 200/400

114

115

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116.

117.

118.

TWO DORR REBELLION BROADSIDES 1840s 1) “Who may vote on the adoption of the Constitution?”. Circa 1842. Sections on “Upon the Adoption of the Constitution”, “Challenges” and “Form of Oath”. 8.75” x 7.5”. 2) “To the honorable General Assembly of the State of Rhode Island, &c. At their May Session, at Newport, A.D. 1845.” Petitions the General Assembly to pass an “act of Amnesty and Pardon for all offences of a treasonable character committed against the State during the recent insurrection therein, ...”. Place for citizens to sign their name and address is blank. Two period proofreading marks in text. 13” x 7.88”. 100/200

119.

SIXTEEN RHODE ISLAND PRINTED PROXIES 18th and 19th Century Together with a Dorr Rebellionrelated leaflet with “In case the Constitution framed by the Convention assembled at Newport in September 1842, be adopted, shall the blank in the first line of Section second of Article second of said Constitution be filled by the word WHITE?” on obverse and “NO.” on reverse. Proxies include a 1799 example printed by O. Farnsworth listing John Brown Esq. for Governor, an “1833 National Republican and Farmers Prox” with large spread-wing eagle, 1832 and 1840 examples with Greek-key borders and patriotic imagery, an 1843 “Rhode-Island Ticket for Law, Order and Equal Rights” listing TEN BROADSIDES John Brown Francis for senator, PERTAINING TO and “Law and Order” tickets for THE DORR REBELLION 1843 and 1845. Largest 13” x 8.5”. AND RHODE ISLAND 400/800 CONSTITUTIONS Mid-19th Century 1) “To The Friends of Law & Order In Rhode-Island.” 2) “By His Excellency Samuel Ward King ...” presents President Tyler’s letter of April 11, 1842, committing U.S. troops to defend Rhode Island from the Dorrites. Woodcut illustration of the Rhode Island state seal. 3-5) Three copies of “Rights of Fishery.” 6) “Writings of Judge Pitman.” 7) “Citizens of Rhode-Island! Read! Mark! Learn!” 8) “Vinton’s Address, on the Reception of the Newport Artillery, By Their Townmen ...” 9) “A Sensible Conclusion. ...”. 10) “Let It Be Remembered”. Illustrated. See more at www.eldreds.com. 500/1,000 SIX PAMPHLETS ON THE DORR REBELLION AND THE RHODE ISLAND CONSTITUTION 1842-1848 See a complete list at www.eldreds.com. 150/250

119

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120.

“THE JACKSON OR FENNER PAMPHLET” BROADSIDE Circa 1831 Pertains to the Rhode Island gubernatorial campaign of 1831. 17.5” x 10.75.” 100/200

121.

TEN 19TH CENTURY RHODE ISLAND BROADSIDES 1) “In General Assembly, House of Representatives, January 1844”. 2) “Fellow-Citizens of Rhode-Island”. 3) “Electors of the Western District! Read and consider!!! ...”. 4) “To the Electors of the Western Congressional District.” 5) “Standing Rules, Of the House of Representatives ... 1843”. 6) “Corruption further Exposed! Falsehood Refuted!” 7) Double-sided, titled on one side “Thomsonism not yet dead ...”. 8-9) Two copies of “Explanation of an Old Affair.” 10) Double-sided, titled “Correspondence Between the Editor of the Providence Journal, And Rowland G. Hazard.” See more at www.eldreds.com. 400/800

122.

NINE PAMPHLETS PERTAINING TO RHODE ISLAND 1837-1911 See a complete list at www.eldreds.com. 120/180

123.

19TH CENTURY RHODE ISLAND GOVERNMENT EPHEMERA Includes printed letters addressed to the governor of Rhode Island that accompanied copies of legislative proceedings or state documents, broadsides and pamphlets. See a complete list at www.eldreds.com. 250/350

124.

COLLECTION OF 19TH CENTURY EPHEMERA, MOSTLY PERTAINING TO RHODE ISLAND Includes arrest warrants, post office bills, military appointments, event programs, certificates, small broadsides, a copy of the “American Phrenological Journal” from 1848 and assorted deeds. See a complete list at www.eldreds.com. 250/350

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120

126

125.

126.

THREE MID-19TH CENTURY MAPS OF RHODE ISLAND 1) “Chart of Narraganset Bay Surveyed in 1832 by Capt. Alex S. Wadsworth ...”. In four parts, each sheet approx. 28” x 22.5”. 2) “A Topographical Map of the State of Rhode-Island And Providence Plantations; Surveyed Trigonometrically And in Detail, By James Stevens. ...”. Published by S.B. Cushing & H.E. Walling, 1846. Colored. Compass rose at lower margin with fleur-de-lis indicating north. Seal of Rhode Island above inset census table lower right. Decorative border. 44.75” x 29”. 3) “Map of the City of Providence, Rhode Island, ... 1869”. Published by Sampson, Davenport, & Co., Boston. Colored. 29” x 25”. 400/800

ROLLED 1855 MAP OF RHODE ISLAND “Map of the State of Rhode Island, And Providence Plantations, from Surveys under the Direction of Henry F. Walling, ... 1855”. Colored. Inset with nine maps of cities and towns around perimeter. Columns of business listings on left and right margins. Canvas-backed. Affixed to wooden dowel at one end. 56” x 52.5”. 250/350

127.

LARGE COLORED MAP “MITCHELL’S NEW NATIONAL MAP” Mid-19th Century “Mitchell’s New National Map, Exhibiting The United States With The North American British Provinces, Sandwich Islands, Mexico and Central America, Together with Cuba and other West India Islands. Philadelphia, Published by S. Augustus Mitchell.” Inset with world maps, a map of the Sandwich Islands, a “Distance Table” and scenic cartouches. Decorative floral border. “Population of Each County in the United States According To The Census of 1850” table at lower margin. In four parts, two approx. 35.5” x 32.5” and two approx. 32.5” x 32.5”. 300/500

128.

SIX 19TH CENTURY MAPS OF THE UNITED STATES 1) “Map Illustrating the New England Charter Claims West of the Delaware” published in 1845. 8.5” x 21.5”. 2) “River Systems of Maine to Illustrate ‘Wells’s Water Power of Maine’”. Circa 1855. 16” x 14”. 3) “Map of the Route Pursued By the Late Expedition under the command of Col. S.W. Kearny, U.S. 1st Dragoons ...”. Dated 1845. 9.25” x 14.5”. 4) “B Sketch of the Public Surveys in Michigan”. Circa 1854. 22.5” x 23.5”. 5) “Map of the County of Herkimer by David H. Burr”. Circa 1829. 22” x 31”. 6) Book of “Maps Andrews Report”. Accompanied the report Israel D. Andrews provided to Congress in 1853 on trade and commerce. Contains two large folding maps. See more at www.eldreds.com. 200/400

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129, two

129.

TWO MAPS OF SOUTH CAROLINA Early to Mid-19th Century 1) “Carte Geographique, Statisique et Historique de la Caroline du Sud” by Jean Alexandre Buchon (17911849). Hand-engraved circa 1825. An early map from the French-produced version of the Carey & Lea’s A Complete Historical, Chronological, and Geographical American Atlas ...”. Surrounding text describes history, rivers, climate, government, etc. Sheet 20.25” x 24”. 2) U.S. Coast Survey of South Carolina “Sketch E Showing the Progress of the Survey of Section V from 1847 to 1852” by Alexander Dallas Bache (1806-1867). Lithographed circa 1852 by P.S. Duval & Co. Sheet 12” x 22.5”. 400/600

130.

TWO WORLD GEOGRAPHY BOOKLETS 1) “Supplement to the Pictorial Geography of the World, 1841 and 1842” by S.G. Goodrich (Boston: C.D. Strong, 1842). Includes the population of the United States by state, and lengthy descriptions of numerous countries from around the world, including Australia and the British expedition to the South Pole. Q. Brown pictorial wraps, rear cover missing. Elaborate border on front cover and title page depicts animals, people, landscapes and a globe. 2) Booklet containing colored maps of North and South America, Europe, the British Isles, Asia, Africa, the Roman Empire and Palestine, as well as tables and charts at rear. Some maps with markings for publisher Cummings Hilliard & Co., Boston, but no other publication information present. O. Covers wrapped in fabric. 150/250

131.

MID-19TH CENTURY MAPS OF THE UNITED STATES Mostly issued as part of reports prepared for the Senate or other governmental departments. 1) “A Map of the Peninsula of Florida Shewing [sic] the present field of Surveying the Territory”. Dated 1844. 19” x 11.75”. 2) “Map of the Straits of Florida and Gulf of Mexico”. Accompanied a Treasury Department report by Israel D. Andrews. Dated 1852. Depicts land surrounding the Gulf of Mexico and includes Cuba and Jamaica. 28.5” x 36”. 3) “Military Reconnaissance of the Arkansas Rio Del Norte and Rio Gila”. Dated 1847. Includes territory from Texas, New Mexico, Arizona and California. Approx. 32” x 72”. 4) “Map of the Hydrographical Basin of the Upper Mississippi River From Astronomical and Barometrical Observations, Surveys and Information” by J.N. Nicollet. Authorized by the War Department and published by the U.S. Senate, 1842. In six sheets; two sheets from the lower right section are missing but multiples copies of the other sheets are included, for a total of 14 sheets. Each sheet approx. 28” x 32”. 400/600

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132.

THIRTEEN 19TH CENTURY POLITICAL PAMPHLETS, MOSTLY PERTAINING TO CONGRESS 1824-1849 1) “The Junius Tracts. No. IX. Annexation of Texas.” 2) “Message From the President of the United States, Transmitting ... Certain correspondence between the Secretary of State and the charge d’affaires of Texas”. 3) “Oration on the Life and Character of Gilbert Motier De Lafayette. ...By John Quincy Adams ...”. 4) “State of New-York. ... April 2, 1849. Report Of the Select Committee on the subject of the Shakers.” 5) “Speech of Mr. Marsh, of Vermont, On The Bill For Establishing The Smithsonian Institution ...”. 6) “Speech of the Hon. Daniel Webster, ... On the President’s Veto of the Bank Bill, July 11, 1832.” 7) “Report of a Committee of Directors of the Bank of the United States.” Dated December 3, 1833. Pertains to Andrew Jackson’s “Bank War”. 8) “A Review of the Correspondence Between The Hon. John Adams, ... and ... William Cunningham, Esq. ...”. 9) “Debate Between Messrs. Clay and Calhoun, In the Senate ... March 10, 1838”. 10) “Message of Governor Lincoln, And Other Official Documents of the Commonwealth of Massachusetts, on the Subject of Lotteries”. 11) “Message From the President of the United States ...”. Martin Van Buren’s remarks to Congress. 12) “The Massachusetts Agricultural Repository and Journal ...”. 13) “Report of the Secretary of War, ...”. See more at www.eldreds.com. 400/600

133.

TWENTY-FOUR PUBLIC DOCUMENTS All in original wrappings. Includes Senate and House reports. Twelve unopened. See more at www.eldreds.com. 100/200

134.

U.S. SENATE PAMPHLETS AND MAPS PERTAINING TO THE ANNEXATION OF TEXAS Circa 1844 1) Scarce pamphlet “Speech of Mr. Woodbury, of New Hampshire, in Executive Session, On the Treaty for the Reannexation of Texas to the United States: Delivered in the Senate of the United States, June 4, 1844.” 2-3) Two copies of “Proceedings of the Senate And Documents Relative to Texas, From Which the Injunction of Secrecy Has Been Removed. In Senate of the United States. Thursday, May 16, 1844.” 28th Congress, 1st Session. 4-8) Five copies of a “Map of Texas And the Countries Adjacent: Compiled in the Bureau of the Corps of Topographical Engineers; From the Best Authorities. For the State Department, Under the direction of Colonel J.J. Abert, Chief of the Corps; by W.H. Emory, 1st Lieut. T.E. War Department 1844”. Published by order of the U.S. Senate. Colored outline of Texas. Blocks of text with additional information, statistics, etc. on left. Three include original wrappings with red wax seals. Maps approx. 24” x 35”. 200/400

135.

LAND INDENTURE FOR WESTERN TERRITORY 19th Century For “the sale of the lands of the United States, in the territory North-west of Ohio, and above the mouth of the Kentucky-River”. To be signed by Rufus Putnam, Surveyor General of the United States. Pre-printed but not completed. Sheet 13.5” x 16.25”. 100/200

132

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136.

FOUR SCANDALOUS PAMPHLETS 19th Century 1) “The Life and Adventures of John A. Murel, the Great Western Land Pirate” (Cincinnati: circa 1835). Yellow wrappers. 2) “The Lamentable History of the Beautiful and Accomplished Charlotte Temple ...” (Philadelphia: Barclay & Co., 1860). Pink wrappers. 3) “Only Full Report of the Trial of Rev. I. S. Kalloch, on the Charge of Adultery” (Boston: Federhen & Co., 1857). 4) “The Life, Trial, Confession and Execution of Albert W. Hicks, the Pirate and Murderer” (N.Y.: Robert M. de Witt). 200/300

137.

APPROX. SEVENTEEN ANTIQUE DEEDS AND LEGAL DOCUMENTS Ten from Georgia. 100/200

138.

TWO ANTI-ANDREW JACKSON PRESIDENTIAL ELECTION BROADSIDES Circa 1828 1) “Mrs. Barney’s Letter to General Jackson, on the Removal of her Husband from Office”. Printed on silk. 17.75” x 12.75”. The March 1945 Maryland Historical Magazine, published by the Maryland Historical Society, mentions a copy of “Mrs. Barney’s Letter ...” on silk in the society’s collection. The original letter is in the Library of Congress. 2) “Monumental Inscriptions”. Elegy for six soldiers ordered shot under Jackson’s command. Sheet 22” x 16.25”. 300/500

139.

THREE PRESIDENTIAL BROADSIDES 1826-1837 1) Rare circa 1836 broadside “To the Honorable the Senate and House of Representatives of the United States -- The Memorial of the Subscribers, Citizens of the United States ... (Corrected Copy.)” referencing the New York fire of 1835 and the disbursement of government surplus due to tariffs and land sales under Jackson. 21” x 16.75”. 2) Presidential message broadside titled “Message”. Signed in print “M. Van Buren” and dated “Washington 4th September, 1837.” 24.5” x 18.5”. 3) Presidential message broadside titled “President’s Message. National Intelligencer .... Extra. Tuesday, December 5, 1826.” Signed in print “John Quincy Adams.” 22” x 18”. 300/500

140.

PRO-VAN BUREN PRESIDENTIAL ELECTION BROADSIDE FROM RHODE ISLAND Circa 1836 “Herald Office, Providence, Nov. 13, 1836” addressed to the “Freemen of Rhode-Island”. Supports Democrats Martin Van Buren and Governor John Brown Francis and cautions against the “inaccuracy of the Whig statements” and that “the opposition are and have been at work secretly to carry this State for the White and Harrison Ticket”. Provides Electoral College results from five states and an analysis of the election in Virginia and Ohio. Signed in print by Dexter Randall, William Simons, et al. Old inscription on reverse. 19.25” x 6”. 200/300

136, four

140

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141.

LETTER SIGNED BY JOHN TYLER AS PRESIDENT Dated January 5, 1844 Instructs the Secretary of War to discharge Horace S. Boote from the Army. Framed together with an engraving of a seated Tyler. Letter 6.25” x 3” sight. Framed 11” x 12.5”. 400/600

142.

LAND GRANTS WITH SECRETARIAL PRESIDENTIAL SIGNATURES 1839-1852 One from 1839 signed by Martin Van Buren, one from 1841 signed by John Tyler, one from 1849 signed by Zachary Taylor and one from 1852 signed by Millard Fillmore. Each 9.5” x 16”. 100/200

141

143.

PRO-ZACHARY TAYLOR ELECTION OF 1848 BROADSIDE Circa 1848 “Presidential Election, 1848.” Published by Munroe & Francis, Boston. Lists results from the 1844 election between Clay, Polk and Birney and predicts the outcome for the 1848 election. Also with “Whole Number of Electors, 290 Necessary to a choice 146 And from White Horse to White House the General we fix. Fourteen States certain to ‘Never Surrender,’ 153 Eleven States go for the ‘Slavery Extender,’ 87 Five are in doubt, and these we throw out, 50-290 Count it up any way, ‘Old Zach.’ gains the day.” Some numbers and words have corrections affixed over them. Decorative Greek key border. 14” x 18”. 250/500

143

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145, ribbon, envelope and multiple views of program

145.

144.

FOURTEEN PIECES OF MOSTLY POLITICAL CAMPAIGN EPHEMERA Includes two 1845 Henry Clay Presidential campaign tokens, a ribbon badge, a “Republican Paster Ballot”, certificates, campaign handbooks, campaign buttons and broadsides. See a complete list at www.eldreds.com. 100/200

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HARRISON AND MORTON CAMPAIGN RIBBON AND INAUGURAL BALL SOUVENIR PROGRAM 1888-1889 Silk campaign ribbon in a flag design with 30 white stars on a light blue canton and “Harrison and Morton” in dark blue. Intentional decorative fraying along three sides; fourth side is stitched. Souvenir program contains three engravings and is accompanied by its original envelope. Printed by Bailey Banks & Biddle, Philadelphia, with their embossed mark on lower right of front cover. Front cover with gilt embossed lettering “Souvenir Inaugural Ball March 4th 1889”. Back cover with a gilt embossed eagle grasping a polychrome American flag on pole. Interior engravings include portraits of Benjamin Harrison and Levi Morton as well as a patriotic scene of Liberty crowning a farmer seated at the foot of an eagle while gazing out upon the Capitol. Harrison’s and Morton’s portraits with their facsimile signatures. Scenic engraving protected by a pink tissue guard. Program bound with a satin ribbon. Envelope’s red seal with gilt embossed Presidential seal. Ribbon approx. 4.5” x 2.5”. Program 9.5” x 7.5”. 300/500

146.

TWO COLONIAL PRESENTMENTS PERTAINING TO JONAH, A “NEGRO MANSERVANT” Norwich, Connecticut, 1744 Both addressed to Isaac Huntington, Esq., one of his Majesties justices of the peace for New London County. One affirming Jonah struck a white man, for which he was whipped and made to pay a fine. The other claiming Jonah laughed and pulled the leg of his neighbor while at church. 300/500

147.

RARE ILLUSTRATED VOLUME ON SLAVERY AN APPEAL IN FAVOR OF THAT CLASS OF AMERICANS CALLED AFRICANS 1833 By “Mrs. Child”, Lydia Maria Child (Boston: Allen and Ticknor, 1833). A radical call for not just abolition but also for full equality and citizenship for all African Americans. Frontispiece engraving of a kneeling African after H. Thomson. Illustration on p. 16 depicts instruments used by slave traders including shackles, thumbscrews and a force feeding device, as well as an image of slaves crammed below decks. Illustration on p. 190 depicts an African woman tending to a white man in Bambarra. 12 mo. Original purple cloth with paper label on spine. Includes errata slip. 300/500

148.

SIX PUBLICATIONS ON SLAVERY AND ABOLITION 19th Century 1) An Essay on Slavery and Abolitionism, With Reference to the Duty of American Females by Catharine E. Beecher (Philadelphia: Henry Perkins, 1837). Catharine E. Beecher was the sister of Harriet Beecher Stowe and wrote this prior to the publication of Uncle Tom’s Cabin. 2) The Lincoln Catechism Wherein the Eccentricities & Beauties of Despotism Are Fully Set Forth. A Guide to the Presidential Election of 1864 (N.Y.: J.F. Feeks, 1864). 3) Letters to the Hon. William Jay, Being a Reply to His ‘Inquiry into the American Colonization and American Anti-Slavery Societies’ by David M. Reese, M.D. of New York (N.Y.: Leavitt, Lord & Co., 1835). 4) Memoirs of Elleanor Eldridge (Providence: B.T. Albro, 1840). Eldridge was a free African American living in Rhode Island, whose father had been granted freedom from slavery for serving in the Revolutionary War. This memoir was published to raise funds for legal expenses she incurred over a real estate dispute. 5) The Narrative of Eleazer Sherman ... (Providence: H.H. Brown, 1832). 6) Pamphlet “Gov. Hammond’s Letters on Southern Slavery: Addressed to Thomas Clarkson, The English Abolitionist” (Charleston: Walker & Burke, circa 1845). See more at www.eldreds.com. 500/1,000

149.

COLORED ENGRAVING “ARREST OF THE SLAVE GEORGE KIRK” Published by H.R. Robinson, New York, 1846. 11.5” x 17.25”. Framed 15” x 20”.

147, two views

148, sampling

149

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300/500

150.

SIX PIECES OF ABRAHAM LINCOLN MEMORABILIA 1) Framed souvenir copy of the famed “Bixby letter” Lincoln wrote in November 1864 to Lydia Parker Bixby of Boston, who was thought to have lost five sons in the Union Army during the Civil War. On “Executive Mansion” letterhead with blue profile bust portrait of Lincoln. While the original letter was lost, the text was printed in Boston newspapers shortly after it was received and souvenir copies of the letter were widely distributed in the late 19th Century. Newer research attributes the letter’s authorship to John Hay, Lincoln’s private secretary, and indicates at least two of Bixby’s sons survived the war. 8.5” x 7”. 2) Pair of bronze bookends with bust portraits. Heights 5”. 3) Gilt metal bust silhouette. Height 6”. 4-5) Two framed black and white lithographs, one oval and one with Lincoln’s facsimile signature. 6) Framed bronze bust silhouette. 3” x 3”. 300/500 Provenance: The estate of a New York woman who practiced law from 1901 to the 1940s and was actively involved in politics.

151.

TWO PIECES OF ABRAHAM LINCOLN EPHEMERA 19th Century 1) “Memento Mori. Born,...February 12, 1809, Assassinated, April 15th, 1865. ‘Most strict in his observance of what was Right -- most rigid in his adherence to Justice”. Text surrounds a bust portrait of Lincoln. Framed 17” x 13”. 2) “Proclamation of Emancipation Abraham Lincoln”. Published by W.H. Pratt, 1865. Calligraphic portrait of Lincoln formed within the text of the Emancipation Proclamation. Framed 20” x 16”. 200/300

152.

RELIEF-CARVED BUST PORTRAIT PLAQUE OF ABRAHAM LINCOLN Late 19th/Early 20th Century 13.75” x 12.25”. 200/300

153.

CIVIL WAR BROADSIDE “PROCLAMATION” TO THE CITIZENS OF NEW ORLEANS Circa 1862 Dated “Headquarters Department of the Gulf, New Orleans, May 1, 1862” and signed in print “Major General Butler. By Command of Geo. C. Strong, A.A. Gen., Chief of Staff.” Distributed after Union forces captured New Orleans, it delineates rules for military governance of the city, including the surrender of arms, a ban on raising non-U.S. flags, a requirement for oaths of allegiance, a suspension on the right to assemble, etc. For his strict enforcement of these rules, Butler was nicknamed “The Beast”. No publication information. 22.75” x 8.5” sight. Framed 23.75” x 9.5”. 500/1,000

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153

154

154.

RARE ANTI-CONFEDERATE CIVIL WAR LITHOGRAPH CELEBRATING BARBARA FRITCHIE American, Early 20th Century Published by the National Publishing Company, Cleveland. Titled “Barbara Frietchie [sic]” over the poem about her by John Greenleaf Whittier. Image depicts a defiant Fritchie proudly waving the Union flag as Confederate troops march in. 20” x 26”. Framed. 200/300 Barbara Fritchie (1766-1862), also spelled Frietchie or Frietschie, became a folk hero for defying Confederate troops marching through Frederick, Maryland, telling them “Shoof if you must, this old gray head; But spare your country’s flag!”, an incident that was immortalized in John Greenleaf Whittier’s popular poem. The Barbara Fritchie legend became a tourist draw for the area and generations of children were required to memorize the poem in school, but the story has been mostly debunked.

155

155.

GAME BOARD WITH PORTRAITS OF WASHINGTON, LINCOLN, SEWARD AND CIVIL WAR GENERALS Mid-19th Century Playing surface composed of a grid of empty black squares and thirty-two photographs, each identified with facsimiles of the subject’s signature. Made in two parts instead of one folding board, with a print of the grid laid down on each half. One half marked “National Chess & Checker Board Patent applied for”. Other half with a mostly illegible mark, though “1862” is visible. Overall 14.63” x 14.63”. 200/400

156.

CIVIL WAR-ERA MAP OF NORTH CAROLINA “Colton’s New Topographical Map of the Eastern Portion of the State of North Carolina with part of Virginia and South Carolina”. Published by J.H. Colton, New York, 1861. Insert with map “Plan of the Sea Coast from Virginia to Florida.” Decorative floral and foliate border. 41.25” x 29.5”. 500/1,000

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157

156

157.

CIVIL WAR-ERA MAP “PANORAMA OF THE SEAT OF WAR” “Birds Eye View of Virginia, Maryland Delaware and the District of Columbia”. Published by John Bachmann, New York, 1861. Colored panoramic view of the Chesapeake Bay, with Richmond and Fredericksburg at center. Distance keys in lower margin. 24” x 33.75”. 500/1,000

158.

THREE CIVIL WAR-ERA MAPS OF SOUTHERN STATES 1860s Together with a “Map of St. Mary’s County Showing the Topography and Election Districts”. Issued by the Maryland and U.S. Geological Surveys, 1901. 40.75” x 35.5”. Civil War maps include “Lloyd’s New Military Map of the Border & Southern States”, “War Telegram Marking Map” and “Military Map of the Middle and Southern States Showing the Seat of War During the Great Rebellion in 1861.” See more at www.eldreds.com. 200/400

159.

TWENTY-TWO PIECES OF CIVIL WAR CORRESPONDENCE All relating to the Burke family of Newburyport, Massachusetts. Most letters are from James “John” Burke aboard the U.S.S. R.R. Cuyler from 1861-62, and discuss difficulties resulting from lack of pay and navy life. One letter is dated 1863 and finds James in Singapore aboard the Archer. Two letters from Joseph Burke, 59th Massachusetts Regiment, in Reedville. Several letters are post-war and concern pensions. 300/500

160.

DIARY OF UNION SOLDIER AND BRAINTREE FIRE DEPARTMENT CHIEF ENGINEER MARCUS PERKINS Marcus Perkins (1837-1892) was a Civil War veteran, avid choral singer and fearless firefighter. His diary spans January 1857 to July 1862, and includes descriptions of his time in the Army. 300/500

161.

EIGHTEEN ITEMS FROM UNION VETERAN EDWARD B. HOUGH Includes an 1863 appointment as paymaster’s clerk aboard the U.S.S. John P. Jackson, a quarterly return of provisions for the U.S.S. John P. Jackson for the quarter ending in September 1864, an 1861 Cooper Union diploma for freehand drawing signed by Peter Cooper, an 1885 invitation to the inaugural reception of Monsieur Paul Philppoteaux’s Cyclorama of the Battle of Gettysburg, and 14 photographs depicting Hough throughout adulthood. 200/300

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162 163

164

162.

AFTER GEORGE CALEB BINGHAM Missouri/Kansas, 1811-1879 “Canvassing for a Vote 1852”. Colored engraving, 15” x 18.75”. Framed 20” x 24”. 500/700

163.

AFTER GEORGE CALEB BINGHAM Missouri/Kansas, 1811-1879 “The County Election”. Engraved by John Sartain. Published by Goupil & Co., New York, 1854. Line and mezzotint engraving, image size 22” x 30”. Framed 31” x 38”. 500/1,000

165

164.

AFTER GEORGE CALEB BINGHAM Missouri/Kansas, 1811-1879 “Stump Speaking”. Engraved by Gautier. Published by Goupil & Co., New York, 1856. Line and mezzotint engraving, image size 22” x 30”. Framed 31” x 38”. 500/1,000

165.

AFTER GEORGE CALEB BINGHAM Missouri/Kansas, 1811-1879 “Martial Law”. Engraved by John Sartain. Published by George C. Bingham & Company, Columbia and Kansas City, Missouri, 1872. “Dedicated to the Friends of Civil Liberty by the Publisher”. Marked “Proof ” lower right margin. Steel engraving and mezzotint on paper, 21.5” x 30.75” sight. Framed 36” x 42”. 500/1,000

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166

166.

HAND-COLORED LITHOGRAPH “SING-SING CAMP-MEETING, 1838” “Taken from an Original Painting in the possession of Joseph Smith Esq. and respectfully inscribed to him, by the Publisher: Entered according to act of Congress in the year of 1839 by Joseph B. Smith ...”. Label verso for The Old Print Shop, New York. Housed in a bird’s-eye maple frame. 23” x 36” sight. Framed 26” x 38”. 2,000/3,000

167.

COLORED ENGRAVING “KERBSTONE STOCKBROKERS IN NEW YORK” 1864 Published by Illustrated London News. 12” x 16.5”. Framed 13” x 18”. 200/300

167A. ARTHUR SZYK Connecticut/Poland, 1894-1951 Pro-Jewish political cartoon “The Wandering Jew”. Signed in image lower right “Arthur Szyk, N.Y. 44”. Inscribed in pen along lower margin “O ye dry bones, hear the word of the Lord, Ezekiel, 37-V”. Ink and pencil on paper, 9” x 8.5”. Framed 14” x 13.5”. 3,000/5,000 This was the cover of the Bergsonite journal The Answer in November 1944, circulated in Bergsonite petition drives, and was included in Ink & Blood (1946).

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168.

COLORED LITHOGRAPH “THE HINKLEY LOCOMOTIVE WORKS, BOSTON” Boston, 1870-1880 By Dominick Drummond (Massachusetts/Ireland, 18301899). Printed by C.H. Crosby & Co., Boston. Image size 16” x 26”. Framed 24.5” x 33”. 800/1,000

169.

FOUR EARLY NEWSPAPER SUPPLEMENTS Thomas’s Massachusetts Spy from 1802, the National Intelligencers from 1819 and 1832, and the Boston Evening Gazette from 1830. See more at www.eldreds.com. 80/120

170.

1856 REPRINT OF BENJAMIN FRANKLIN’S NEW-ENGLAND COURANT See more at www.eldreds.com. 50/100

171.

172. ASSORTMENT OF 18TH AND 19TH CENTURY NEWSPAPERS 1784-1865 Two issues of the Christian Inquirer from 1851, two issues of the Boston Columbian Centinel from 1801 and 1809, the New-York American from 1822, two issues of The Farmer’s Cabinet of Amherst, New Hampshire from 1806 and 1808, the Public Ledger of Philadelphia from 1870, two issues of the New-York Observer, The Calcutta Gazette; or the Oriental Advertiser from 1784, two issues of The London Chronicle, from 1776 and 1793, the Portland Pleasure Boat of Portland, Maine, from 1853, the National Intelligencer of Washington, from 1855, The World Newspaper from 1865 and The Burlington Times from Burlington, Vermont, from 1865. 500/800

173.

COLLECTION OF 19TH CENTURY NEWSPAPERS Mostly from Rhode Island, some with interesting illustrations and advertisements. Includes some bound issues. See more at www.eldreds.com. 200/300

SILK HANDKERCHIEF COMMEMORATING THOMAS SCOTT BALDWIN’S PARACHUTE ACT Circa 1888 Depicts a stunt in which Thomas Scott Baldwin parachuted down off a balloon lifted into the air, he claimed to a height of 1,000 feet. Images taken from the Illustrated London News’s coverage of Baldwin’s jump at Alexandra Palace. Deep crimson ground. 16” x 16.5”. 150/250 Thomas Scott Baldwin (1854-1923) was an accomplished aeronaut who made significant advancements to dirigibles, airplanes and parachutes. As a young man, Baldwin worked as a circus acrobat and trapeze artist. In the 1880s he performed a variety of stunts involving hot air balloons.

168

173

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174, obverse and reverse

174.

FOLK ART TEMPERANCE BANNER New York, dated July the 5th, 1843 One side hand-painted “Norwich Total Abstance [sic] Society” in gilt block lettering. Other side with “Temperance Union” and a hand-painted figure dressed in black filling a pail at a red pump. Blue chintz ground with applied white border on left and right. 47” x 45”. 2,000/3,000

175.

GEORGE CRUIKSHANK England, Mid-20th Century “The Bottle”. A series of eight Temperance-themed illustrations inspired by William Hogarth’s The Rake’s Progress. Thematically presented starting with a husband and wife’s introduction to alcohol, through its ruinous effects on their family, and culminating in the death of the wife, the incarceration of the father and orphaned children. Drawn on stone by D.W. Moody. Printed and published by F.W. Michelin, New York. Lithographs on paper, sheet size 13” x 17”. Unframed. 300/500

176.

TWO LOYAL TEMPERANCE LEGION RIBBONS Late 19th/Early 20th Century Both with “Tremble, King Alcohol, we shall grow up” below an image of a child holding a flag over a cross. “LTL U.S.A.” above images. Both are red, white and blue ribbons, though the width of the stripes varies. Both approx. 5” x 1”. 100/200 Provenance: The estate of a New York woman who practiced law from 1901 to the 1940s and was actively involved in politics. The Loyal Temperance Legion, formed in Cleveland in 1874, was a children’s organization sponsored by the Women’s Christian Temperance Union.

176

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182.

APPROX. SIXTY-THREE PHOTOGRAPHS, MOSTLY OF PROVIDENCE, RHODE ISLAND Mid-19th to Early 20th Century Includes view of Fort Independence, Providence Police Force, horse-drawn fire engine and ambulance, tintype of two soldiers in fancy dress, numerous mercantile establishments and India Point. Also includes firefighters in Baltimore and a colonial home in North Scituate, Rhode Island. 300/500

183.

SIXTEEN EARLY 20TH CENTURY ROAD MAPS Includes a circa 1907 “New England Commercial and Route Survey” folding map in original black boards, an “Official Automobile Blue Book” of New England and eastern Canada, an “International Pacific Highway System” booklet published in 1934, an “Official Maps of New England” booklet in burgundy boards, and twelve folding or rolled maps of Pennsylvania, mostly from the 1920s. 120/180

184.

FOUR MAPS OF EUROPE 18th, 19th and 20th Centuries 1) World War I map “Map of the Seat of War ...” 2) “Schedler’s Map of Turkey and Greece.” 3) “Britanniae Antiquae Tabula Geographica Ex Aevi Romani Monumentis ...”. 4) “A Plan of the Rivers Irwell and Mersey ...1761 By Hugh Oldham”. See more at www.eldreds.com. 150/250

179

177.

178.

179.

ATLAS FOR PROVIDENCE, RHODE ISLAND AND SURROUNDING AREA Atlas of the Providence Metropolitan District Volume 2 Containing Pawtucket - Central Falls - Cranston - Johnston - East Providence - North Providence - Warwick (East Shore) R.I. ... From Oﬃcial Records, Private Plans and Actual Surveys. (Springfield, Mass.: Richards Map Co., 1917). 80/120

FIVE ATLASES 19th and Early 20th Centuries Includes Atlas, Designed to Illustrate the Geography of the Heavens by Elijah Burritt, two Mitchell’s Atlases (incomplete), a Worcester’s Atlas and The History of Julius Caesar Atlas. 300/500

RHODE ISLAND ATLAS Atlas of the State of Rhode Island and Providence Plantations. From actual Surveys and Oﬃcial Records (Philadelphia: D.G. Beers & Co., 1870). 300/500

180.

181.

THREE PANORAMIC MAPS OF NARRAGANSETT BAY Late 19th/Early 20th Century 1) “Balloon View of Narragansett Bay” published by C.A. Pabodie & Son, Providence, circa 1890. 2) “Bird’s-Eye View of Narragansett Bay” published by the Rhode Island News Co. 3) Very long rolled scenic map of the entirety of Narragansett Bay, including Newport, Old Maids Cove at Sassafras Point, the U.S. Signal Station Light House, etc. See more at www.eldreds.com. 150/250

LARGE COLLECTION OF RHODE ISLAND MAPS AND GUIDEBOOKS 19th and 20th Centuries Includes atlas pages, road maps dating from 1928, souvenir maps, geological surveys, reproductions of earlier maps, etc. See more at www.eldreds.com. 200/300

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Buttons and lapel pins from Lot 196

185.

186.

187.

188.

PRESIDENTIAL CAMPAIGN PIN-BACKS Early to Mid-20th Century A total of eighteen items. Includes Harding and Coolidge, Harding portrait, Landon and Knox, a Landon sunflower, a Dewey Warren, a Roosevelt, a portrait Lindberg and a portrait Eisenhower, as well as an “Out! Stealing Third!” pin-back, a Taft ribbon, “Ike” brooches, etc. See more at www.eldreds.com. 200/300

189.

FORTY-EIGHT BUTTONS, RIBBONS AND MEDALS Eleven pertain to Lynn, Massachusetts. Includes commemorative medals, a George C. Wallace Alabama’s Fighting Governor medal, an MIT alumni medal awarded to Emil Schwab, etc. See more at www.eldreds.com. 50/100

190.

THREE HERBERT HOOVER CAMPAIGN BUTTONS 1928-1932 A circa 1928 New York State silk ribbon suspending a 2” gray-tone portrait celluloid, and two circa 1932 Medallic Art Co. brass portrait pins. See more at www.eldreds.com. 150/250

191.

1936 REPUBLICAN NATIONAL CONVENTION ALTERNATE BADGE Circa 1936 See more at www.eldreds.com. 200/300

TWELVE COOLIDGE AND DAWES CAMPAIGN THIMBLES 1920s Silver-tone thimbles, probably aluminum, with “Coolidge and Dawes” on a blue band at base. Heights approx. .75”. 200/300

CALVIN COOLIDGE SIGNED CHECK 1916 Dated “Northampton, Massachusetts May 30, 1916” and made out to B & M Railroad for $22.50. Reverse with “Paid” stamp dated June 1, 1916 and marks for the Boston and Maine Railroad. Perforated with “PAID” and date “6 1 16”. Printed “Calvin Coolidge Lawyer” vertically on left margin. 3.5” x 8.5”. 100/200

COLLECTION OF WWI-ERA BUTTONS, BADGES, ETC. First Half of the 20th Century Fifteen total items. Includes two “Do Right and Fear No Man” medals, a “2nd Red Cross War Fund May 20-27, 1918” and two smaller Red Cross buttons, “Welcome Home” buttons, a “Madison Home Defence League” button, a National Security League “Congress of Constructive Patriotism” delegate ribbon, a “Surgical Dressings Committee” and an Allied Nations button. Also includes a circa 1935 roll of “NRA Member We Do Our Part” stickers, a WWII-era “V for Victory” brooch, an enameled “N.J.S.F. Unity” pin and an enameled “M.R.W. 1940” eagle-shaped pin. Diameters from .5” to 2”. See more at www.eldreds.com. 200/300

192.

TEN REPUBLICAN DELEGATE AND CLUB BADGES AND RIBBONS First Half of the 19th Century See more at www.eldreds.com. 150/250

193.

TWENTY WENDELL WILLKIE CAMPAIGN PINS Circa 1940 See more at www.eldreds.com. 250/500

194.

SEVENTEEN AMERICAN POLITICAL BUTTONS 20th Century Together with eleven miscellaneous objects. Buttons include a portrait Bryan and Kern, an “I’m For Free Silver”, a “Votes for Women”, a “War in Europe Peace in America God Bless Wilson”, four differing FDR, two “One IssueOne Platform Recovery Vote Republican”, an “I Like Ike”, a “Go With Goldwater and Miller in ‘64”, two differing JFK, a “Humphrey for President” and two differing Nixon. See more at www.eldreds.com. 150/250

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195.

SEVENTY-THREE PINBACKS, MOSTLY POLITICAL Mid-to Late 20th Century Centered by a hanging medallion impressed “United We Stand Divided We Fall In Union There Is Strength For All”. Housed in a simple shadow box frame. Framed 18.25” x 38.5”. 250/350

196.

LOT OF POLITICAL CAMPAIGN BUTTONS, LAPEL TABS, ETC. All 20th Century. Includes a Taft, a “Goldwater-Miller A Choice Not an Echo”, two General Douglas MacArthur, two Willkie, a Dewey Warren, a McKinley portrait, a Bryan portrait, and FDR, Eisenhower, Kennedy, Stevenson and Nixon examples. See more at www.eldreds.com. 80/100

197.

20TH CENTURY EPHEMERA, MOSTLY PERTAINING TO POLITICS 20th Century Total of twelve items. Includes signed letters by Supreme Court Justices Felix Frankfurter and Earl Warren, two invitations to Bill Clinton’s inauguration, a signed letter by Archibald MacLeish, a Bill Clinton signed letter (possibly autopen), a view of the Massachusetts State House, a letter pertaining to “United States v. Joseph Russo, et al”, a Harvard Diploma, a certificate from the National College of Criminal Defense Lawyers, a Supreme Court order, and a Carnegie Hall broadside. 300/500

Lots 185, 186, 188 and 190-193 are from the estate of a New York woman who practiced law from 1901 to the 1940s and was actively involved in politics.

191

198

198.

ACOMA POTTERY JAR 20th Century In ovoid form with interlocking flower design. Diameter 9”. 400/600

199.

SANTA CLARA PUEBLO POTTERY BOWL BY JODY FOLWELL In ovoid form in rust red. Diameter 10.5”. 300/500

200.

SANTA CLARA PUEBLO POTTERY JAR BY JODY FOLWELL In ovoid form in rust red and black. Diameter 4.75”. 200/300

201.

ACOMA POTTERY JAR BY JESSIE GARCIA In ovoid form with a black and white lightning design. Diameter 8.5”. 300/400

202.

SEVEN AMERICAN NATIVE BASKETS 19th and Early 20th Century Six Eskimo and one Pomo. In varied forms and weaves. Two with lids. Heights from 2.25” to 6.25”. Diameter of largest 19.25”. 1,000/1,500

203.

POMO MINIATURE BASKET Early 20th Century In boat form with triangle design. Length 2.75”. 200/300

202, seven

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206

204.

MAKAH WOVEN LIDDED BASKET Late 19th/Early 20th Century Tightly woven with colored bird design about exterior. Height 2.5”. Diameter 3.5”. 250/350

205.

AMERICAN NATIVE BANNERSTONE Marked on piece of tape affixed to the underside “La Peere Co Mich 800-400 B.C.” Height 1.75”. Length 4.25”. 300/500

206.

FOURTEEN AMERICAN NATIVE STONE ITEMS Includes hatchet heads, a pestle, celts, a gouge, a discoidal, etc. Lengths from 3” to 6.25”. 500/600

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207

207.

WASEKASEKA FIJIAN CHIEFTAIN’S NECKLACE 19th Century or Earlier Composed of 21 segments carved from sperm whale teeth, suspended from old twine. A rare piece; similar examples are typically only found in museums. Teeth lengths from 2.5” to 4”. 5,000/8,000

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208.

ZUNI AMULET 20th Century In the form of a bear, with bead, arrowhead and feather embellishments. Length of bear 3.25”. Overall length 5.5”. 500/1,000

209.

SOUTHWEST SILVER AND TURQUOISE BOLO SLIDE Circa 1940 Two irregular pieces of turquoise in a sunburst setting. Unmarked. Length 2.25”. 800/1,200

210.

FOUR ETHNOGRAPHIC ITEMS A birch bark-covered basket or box, a raffia-covered basket, a petrified shell from St. Croix and a petrified bone, length 6.5”. 300/500

211.

PLAINS INDIAN SCRAPER 19th Century Made from antler, with hide wrap at one end. Length 13.75”. 300/400

212.

AMERICAN NATIVE SHELLWORK HEADDRESS SASH Early 20th Century Length 26.5”. 250/350

213.

SOUTH AMERICAN POTTERY JARLET 20th Century In ovoid form with banded design in white on black. Marked on underside “Boyinquen Resort & Spa Liberig Guanacastle”. Height 2.25”. 100/200

214.

BRAZILIAN POTTERY FIGURE OF A STANDING FEMALE With red, black and gray geometric design. Marked “Karaja Araguaya River Ilha Bananal Goiaz Brazil”. Height 6.5”. 300/500

208

209

212, partial view

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215

216

217

215.

GRENFELL CARVED AND POLYCHROME WOODEN SCULPTURE OF A DOG SLED Early 20th Century Five dogs pull a figure on a sled. Height 6”. Length 30”. Width 3.5”. 1,500/2,500

216.

CARVED WHALEBONE AMULET, PROBABLY TLINGIT Early 20th Century In the form of conjoined seabird heads. Length 8”. 600/900

217.

HAIDA CARVED WALRUS IVORY AMULET Late 19th/Early 20th Century With sea monster and totem design. 1,200/1,800

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222

218

220

218.

NORTHWEST COASTAL CARVED WOODEN SPOON Late 19th/Early 20th Century Relief-carved totem-style handle. Length 10.75”. 400/600

219.

TWO NORTHWEST COASTAL CARVED WOODEN SPOONS Late 19th/Early 20th Century Both with relief-carved totem-style handles. Lengths 10.5” and 11.75”. 300/500

220.

NORTHWEST COASTAL CARVED HORN SPOON First Half of the 20th Century Horn from a mountain goat or sheep. Totem-style handle with three relief-carved figures. Length 14”. 500/700

221

221.

NORTHWEST COASTAL CARVED HORN SPOON First Half of the 20th Century Horn from a mountain goat or sheep. Totem-style handle with relief figural carvings. Length 13.5”. 300/500

222.

NORTHWEST COASTAL CARVED HORN SPOON First Half of the 20th Century Horn from a mountain goat or sheep. Totem-style handle with relief figural carvings. Length 8.75”. 300/500

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223.

NORTHWEST COASTAL SPRUCE MASK Early 20th Century Probably Haida or Tlingit. Depicts a man with red and black details. Length 9.75”. 600/800

224.

NORTHWEST COASTAL BASKETRY-COVERED BOTTLE Circa 1900 Together with a second basketry-covered bottle, height 8.25”. Northwest Coastal example in a chevron design. Height 10.5”. 400/600

225.

ESKIMO MOTHER-OF-PEARL CARVED WINGED FIGURE Early 20th Century Height 3”. Width 2.5”. 400/600 Provenance: J.J. Klejman, 1969.

223

226.

ESKIMO WALRUS IVORY MINIATURE MALLET 19th Century With rectangular head. Length 5”. 300/400

227.

TWO ESKIMO CARVED WALRUS IVORY ITEMS 19th Century A fish weight, length 3.5”, and a net sinker, length 5.5”. 300/500

228.

PAIR OF ESKIMO CHILD’S MITTENS First Half of the 20th Century Made from hide and fur. Lengths 11”. 300/500

224

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229

229.

ESKIMO WHALEBONE FISH CLUB Alaska, Circa 1900 Relief-carved on both sides. Obverse depicts a whale, fish and narwhal. Reverse with a full-length human figure. Length 14.5”. 500/1,000 Provenance: J.J. Klejman.

230.

ESKIMO WHALE’S TOOTH CARVING Alaska, Late 19th Century Carved in the form of a canoe and engraved with a concentric circle design. Length 4.5”. 500/700

231.

TWO ESKIMO BONE ODDMENTS 19th Century A rectangular pendant, length 4.25”, and a two-part painted bone pendant, length 1.5”. 500/600

232.

ALASKAN ANIMAL FETISH BEADS Includes rabbit, bear, raven and snake figures. Lengths approx. 1.2”. 300/500

233.

ALASKAN BONE FETISH OR DOLL 18th/19th Century In the form of a human figure. Length 2.8”. 300/500

234.

ESKIMO CARVED PETRIFIED WALRUS IVORY MASK 19th Century Height 1.5”. Width 1.25”. 500/700

235.

ESKIMO CARVED PETRIFIED WALRUS IVORY AMULET 19th Century or Earlier In an elongated form with two rings at ends and two faces carved into top. Length 3.75”. 500/700

233

234

235

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236, obverse and reverse

236.

ESKIMO WALRUS TUSK SEAL SPEAR WITH ENGRAVED DECORATION Late 19th/Early 20th Century Carved and pierced with a hole at one end to receive other components. Engraved down the length with seals, whales, birds, turtles, mythological dragon-like creatures, geometric designs, and figures in kayaks, on shore and in a village. Some elements colored red. Tip engraved with a toothed snake-like creature. Geometric designs surround three small inset metal disks, possibly nails used to stabilize the tusk. Length 23”. 4,000/6,000

237

238

237.

INUIT WOODEN BOX WITH WALRUS IVORY ADORNMENTS East Greenland, First Quarter of the 20th Century Applied walrus ivory figures of walrus, seals and human torsos on lid. Both lid and box with applied walrus ivory edges. Interesting carved walrus ivory latch. Carved angled walrus ivory feet. Height 3”. Width 7”. Depth 4”. 500/800

238.

INUIT DOLL CARVED FROM ANTLER Greenland, Early 20th Century With nice facial details and reliefcarved arms and hands. Dressed in hide pants. Height 6”. 400/600

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239.

ESKIMO CARVED WALRUS IVORY FISHING BOAT First Half of the 20th Century From the Bering Sea area. Inset baleen portholes. Height 6.75”. Length 10.25”. 1,200/1,500

239

240.

RARE ESKIMO CARVED WHALEBONE MASK First Half of the 20th Century Signed on reverse “Mecmau”. Tag affixed to mask indicates the piece was acquired in Alaska in the 1940s. Height 6.75”. Width 5”. 350/500

240

241

241.

ESKIMO PETRIFIED WALRUS IVORY BOWHEAD WHALE-FORM CLUB From the Bering Sea area and believed to be prehistoric. Whale with inset eyes. Length 11”. 800/1,200

242.

ESKIMO CARVED WALRUS IVORY CRIBBAGE BOARD Second Quarter of the 20th Century Applied bone or ivory seals flank game board engraved with geometric borders and central walrus, fish and foliate design. Engravings of a walrus and two seals on underside. Marked on underside “Nome Alaska”. Nice patina. Length 23.75”. 600/800

242

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243.

RARE ALASKAN ESKIMO SEALING HARPOON SHAFT 19th Century Hardwood shaft with a carved walrus ivory ice pick lashed to one end and two carved whalebone fish-form “rudders” affixed to opposite end. Made to be thrown with an atalatyl (throwing stick). Length 73”. 800/1,400

244.

RARE INUIT SEALING HARPOON POLE Greenland, 19th Century Hardwood shaft with a carved walrus ivory ice pick at one end and a whalebone nose piece at other end with hole to receive a harpoon head. Length 74.5”. 500/700

245.

FOUR ANCIENT ESKIMO ITEMS A fat scraper and three other implements, made from petrified walrus ivory and other bone. Lengths from 3.5” to 9”. 300/400

244

243

246.

THREE PETRIFIED WALRUS IVORY IMPLEMENTS Probably ancient Eskimo pieces. Lengths from 2.75” to 5.25”. 300/400

247.

SEVEN ESKIMO CARVED WALRUS IVORY STUNNER POINTS Six are petrified. Lengths from 1” to 1.5”.

248.

200/300

EIGHT PUNUK WALRUS IVORY POINTS Mostly ancient petrified harpoon heads. Some with carved designs. Lengths from 1.5” to 5”. 500/1,000

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249

250

253

251 252

249.

PETRIFIED WALRUS IVORY TOY KAYAK Probably ancient Okvik culture. Length 5.5”. 1,500/2,000

250.

PUNUK CULTURE OVAL BROOCH Believed to be 600-1,500 A.D. Shows traces of original ochre decoration. Pierced rectangles around circumference for attaching brooch to a garment. 2” x 1.5”. 2,000/3,000

251.

RARE ANCIENT ESKIMO AMULET/CHARM Possibly 2,000 years old. Probably walrus ivory, with inset areas of pyrite, formed as a bowhead whale. Nicely carved details, particularly at the mouth. Single hole drilled through the tail. Length 1.75”. 2,000/3,000

252.

CARVED WALRUS IVORY FINE-TOOTHED COMB From the Point Hope area of Alaska, circa 100-600 A.D. One end of comb with 23 remarkably fine carved teeth (six teeth broken off) and an engraved checkerboard border, possibly a unique design. Wonderful dark patina. Length 2.25”. Width 1.25”. 600/1,000 This form is similar to contemporary lice combs and could have been used for that purpose.

253.

BERING STRAITS OKVIK FAT SCRAPER Believed to be over 2,000 years old. Made for scraping fat from seal and walrus intestines. Carved from walrus ivory and engraved with curving and short lines. Very dark patina from being buried in the permafrost for millennia. Length 3.75”. Width 1.25”. 2,000/3,000 Similar examples are illustrated in Ancient Eskimo Ivories of the Bering Strait by Allen Wardwell (1986), pp. 50-51.

254.

TWO ESKIMO HARPOON POINTS 19th Century One walrus ivory and one whalebone, both with twine. Walrus ivory point with steel tip. Lengths 5.25” and 6.5”. 250/350

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255 256

255.

PETRIFIED WALRUS IVORY HARPOON HEAD Ancient Eskimo or Inuit. Made to hold a slate blade. Length 6.5”. 600/800

256.

RARE PETRIFIED WALRUS IVORY SEALING TOGGLE HARPOON HEAD Possibly 200-300 A.D. Incised carving to head. Retains some remnants of flint blades. Length 3.5”. 1,200/1,500

257.

PETRIFIED WALRUS IVORY TOY KAYAK Probably ancient Eskimo. Length 5.5”.

600/1,000

257

259.

PETRIFIED BONE SEALING NET SINKER Probably ancient Eskimo or Inuit. Length 5.5”.

260.

PETRIFIED CARVED WALRUS IVORY LINE RETRIEVER Prehistoric Eskimo or Inuit, with a dark patina from immersion in the permafrost. Length 9”. 300/500

250/350

In use the walrus ivory tip is lashed to a wooden pole and used to

258.

PREHISTORIC ESKIMO ARTIFACT Likely a portion of the handle of a throwing stick (atalatyl) from the Bering Strait region. Length 6.25”. 200/250

snag harpoon lines or the lines to net floats. It is also used to push or retrieve gear, provisions and captured game under the fore and aft decks of a hunter’s kayak.

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261, fifteen

261.

FIFTEEN WOOD AND PETRIFIED WALRUS IVORY ARROW POINTS Probably ancient Eskimo. Some with carved designs. Lengths from 2.5” to 8”. 700/1,000

262.

ESKIMO CARVED WALRUS IVORY FIGURE OF A CARIBOU Late 19th/Early 20th Century Height 1.5”. Length 2.75”. 500/800

263.

OBS III CULTURE FISH HEAD-FORM AMULET Believed to be 1,800 years old. Similar to ancient Eskimo “fox heads”, but this piece resembles a sculpin, a small inshore fish that were a common food supply for Eskimos. Engraved with delicate lines and with pierced sets of eyes. Length 1.75”. 1,000/1,500

264.

FIVE ESKIMO ITEMS A sled, a handle, two float handles and a harpoon shaft finger rest, made from wood, bone and/or walrus ivory. Ages vary. Lengths from 1.5” to 7.25”. 250/350

265.

SEVEN ASSORTED ESKIMO SEWING IMPLEMENTS Made from walrus ivory, wood and/or stone. Ages vary. Lengths from 2.25” to 6.5”. 300/400

266.

262

263

TWO PETRIFIED WALRUS IVORY HIDE SCRAPERS Probably ancient Okvik culture. Both made with inserts for blades. Lengths 4” and 4.75”. 400/600

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267.

EEGYVUDLUK POOTOOGOOK Inuit, 1931-2000 “Water Baby and Sea Dog”. Titled in pencil lower left. Signed lower right. Numbered 45/50. Dated 1961. Also inscribed in pencil “Cape Dorset. N.W.T.”. Stamped upper right. Stone cut on paper, sheet size 11.5” x 19.5”. Framed 16” x 20.5”. 300/500

268.

SEVEN ESKIMO AND INUIT CARVED BONE ITEMS 19th Century Includes seal floats and other portions of implements. Lengths from 1.25” to 3.75”. 300/500

269.

THREE ESKIMO OR INUIT WALRUS IVORY AND WHALEBONE ITEMS 19th Century or Earlier A teardrop-shaped kayak deck mount, a pendant and a runner for a miniature sled. Lengths from 3.5” to 4.5”. 300/400

267

270.

AFTER EDWARD SHERIFF CURTIS Washington/California, 1868-1952 “Launching the Boat - Diomede Island”. Portfolio sepia print from a 1928 photograph by Curtis. Plate 704. Framed 20” x 24”. 300/500

271.

ESKIMO CARVED WHALEBONE KNIFE Late 19th Century Grip with leather and cloth wrap. Length 20.75”. 500/800

272.

WALRUS IVORY MALLET, PROBABLY ESKIMO Late 19th/Early 20th Century Length 6.75”. 300/400

271

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273

273.

INUIT HIDE-COVERED MODEL OF A BERING SEA KAYAK 19th Century Rare three-hole design. Hide stretched over wooden ribbed frame. Length 36.5”. Width 5”. 2,000/3,000

274.

TWO INUIT ROOT PICKS MADE OF ANTLER 19th/Early 20th Century Lengths 6.5” and 8”. 250/350

275.

ESKIMO EARRING First Quarter of the 20th Century Carved walrus ivory disc suspends strings of multicolored beads. Single earring; not a pair. Length 4”. 300/500 Similar to pieces worn by 18th Century Aleuts and Eskimos from the Norton Sound region, as seen in “A Woman of Prince William’s Sound”, plate 47 from Captain Cook’s Voyages, 1784.

276.

BLACK SOAPSTONE CARVING OF A WALRUS BY PETER SOLA 20th Century With ivory tusks. Length 10.25”. 250/350

277.

ESKIMO SOAPSTONE AND IVORY CARVING By Louise Anqogstsig of Republic Bay. In the form of a family hunting through the ice. Length 3”. 150/250

276

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278

278.

FRANTZ Z. ZEPHIRIN Haiti, b. 1968 “Phenomene Mystique du Rara en Haiti”. Continuously painted onto frame. Signed lower center and numbered 06823556. Titled and signed verso. Oil on canavs, 24” x 20”. Framed 29” x 24.5”. 1,000/2,000

279.

JOSEPH CANTAVE Haiti, Contemporary Bathers. Signed upper left. Oil on canvas, 24” x 30”. Framed 30” x 36”. 500/1,000

279

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280

280.

CLARA LEDESMA TERRAZAS Dominican Republic, 1924-1999 Two women with fish and boat. Signed and dated lower right “Clara Ledesma 1985”. Inscribed verso “An original by Clara Ledesma”. Stamped verso lower right. Oil on canvas, 20” x 16”. Framed 23” x 18”. 800/1,000

281

281.

JOHN KELLY Hawaii, 20th Century “Banana Girl - Hawaii”. Signed in pencil lower right “John Kelly”. Titled in pencil lower left. Aquatint on paper, 16.75” x 13” sight. Framed 28” x 25”. 2,000/3,000

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282.

AFTER ANSEL ADAMS California, 1902-1984 “Moonrise, Hernandez, New Mexico”. Reproduced in the Last Half of the 20th Century from a gelatin silver print originally dated 1941. Photolithograph print, image size 15” x 19”. Sheet size 15.25” x 19.25”. Matted. 500/1,000

283.

JOSEPH KNOWLES Massachusetts/Washington, 1869-1942 The Chase - Cowboy. Oil on canvas, 22” x 16”. Framed 26.5” x 20.5”. 3,000/4,000

282

283

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284

284.

HERBERT MORTON STOOPS Connecticut/New York/California/Idaho, 1888-1948 World War II illustration depicting a wonderfuly active scene of a coordinated land, sea and air attack. Signed lower right “Herbert Morton Stoops”. Oil on canvas, 29” x 34”. Unframed. 3,000/5,000

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285.

RARE WILL & FINCK BOOT KNIFE WITH SHEATH San Francisco, 19th Century Double-edged spearpoint blade with exotic wood handle. Ricasso marked “Will & Finck S F Cal”. Overall length 6.75”. 1,000/2,000

286.

EUROPEAN IRON BREASTPLATE 16th/17th Century For siege and bullet protection. Height 18”. Width 21”. Depth 9”. 1,500/2,000

285

287.

FOUR LONG ARMS 19th Century 1) Springfield Model 1873 Trapdoor Rifle. .70 cal, Serial #262062. Length of barrel 32”. Overall length 52”. 2-3) Two Fowler rifles. Length of barrels 37” and 38.5”. Overall lengths 52” and 54”. 4) Youth Fowler rifle. Length of barrel 30”. Overall length 45”. 500/800

288.

CASED REMINGTON MARK III FLARE GUN Serial #373. Minor wear. Broken barrel latch. Length of barrel 9”. Overall length 12.5”. 300/500 Provenance: A Prominent New York Collection.

286

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IMPORTANT NOTICE Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith. All guns shipped have a 5-day inspection period that begins upon arrival at the FFL dealer.

290

291

292

289.

* W.W. GREENER SINGLE-SHOT SHOTGUN 12-ga., Serial #73630. Blued finish. Light rust and moderate wear. Length of barrel 32”. 400/600 Provenance: A Prominent New York Collection.

291.

* STEVENS MODEL 311 SIDE-BY-SIDE SHOTGUN .410, Serial #121. Blue-black finish. Receiver with bright case colors. Length of barrel 26”. Length of pull 14.25”. Overall length 42.25”. 300/500

290.

* SPANISH EIBAR SIDE-BY-SIDE SHOTGUN 20-ga., Serial #35-03-145-09. Choked at improved cylinder and cylinder. Blued finish. Receiver with case colors. Length of barrel 28”. Length of pull 14.75”. Overall length 45.25”. 700/1,000

292.

* JOHN HARPER SIDE-BY-SIDE SHOTGUN 12-ga., Serial #1465. Choked at full and mod. Boxlock action. Blued finish with strong case colors. Minor wear. Length of barrel 30”. Length of pull 14.25”. Overall length 46.25”. 1,400/1,800

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293

293.

* NEW ENGLAND ARMS ITALIAN SIDE-BY-SIDE SHOTGUN 20-ga., Serial #B7329. Screw-in chokes. Boxlock action. Blued finish with strong case colors. Very minor wear. Length of barrel 28”. Length of pull 14.5”. Overall length 44.75”. 1,400/1,800

294.

* WINCHESTER MODEL 23HD SIDE-BY-SIDE SHOTGUN 12-ga., Serial #HD81-E. Choked at full and full. Capped pistol grip stock. Beavertail forend. Blued finish. Length of barrel 30”. Length of pull 14.25”. Overall length 46.5”. 2,000/2,500

294

295

295.

* WINCHESTER MODEL 21 SIDE-BY-SIDE SHOTGUN 12-ga., Serial #13669. Choked at IC and skeet. Pistol grip stock. Beavertail forend. Receiver stamped “skeet”. Blued finish. Length of barrel 26”. Length of pull 14.5”. Overall length 43”. 2,500/3,500

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296

296.

* PARKER REPRODUCTIONS DHE SIDE-BY-SIDE SHOTGUN 20-ga., Serial #00201. Choked at full and mod. Single trigger. Capped pistol grip stock. Skeleton butt plate. Length of barrel 28”. Overall length 45”. Includes canvas-covered case. 3,000/4,000

297

297.

* PARKER REPRODUCTION DHE SIDE-BY-SIDE SHOTGUN 28-ga., Serial #01784. Choked at improved cylinder. Single trigger. Capped pistol grip stock. Skeleton butt plate. Length of barrel 28”. Overall length 45”. 4,000/6,000

298

298.

* WINCHESTER MODEL 42 SLIDE-ACTION SHOTGUN .410, Serial #120171. Choked at full. Blued finish. Length of barrel 28”. Length of pull 12.75”. Overall length 45.75”. 2,000/2,500

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299

300

301

299.

* BROWNING SUPERPOSED LIGHTNING OVER-UNDER SHOTGUN 12-ga., Serial #7042S3. Choked at full and full. Vent ribbed barrel. Blued finish; wear to receiver. Replaced butt pad. Length of barrel 30”. Length of pull 14.25”. Overall length 46.75”. 600/900

300.

* ZOLI DAKOTA SPORT #3 OVER-UNDER SHOTGUN 12-ga., Serial #233937. Screw-in choke. Vent ribbed barrel. Silver receiver engraved with quail in flight. Length of barrel 29.5”. Length of pull 14.75”. Overall length 47”. 3,000/5,000

301.

* BERETTA 686 ONYX OVER-UNDER SHOTGUN 20-ga., Serial #19158B. Screw-in chokes. Vent ribbed barrel. Surface scratches and minor rust. Length of barrel 26.5”. Length of pull 14.75”. Overall length 44”. 700/1,000

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302

303

304

305

302.

* PERAZZI MIRAGE S OVER-UNDER SHOTGUN 12-ga., Serial #124270. Imported vent ribbed barrel. Length of barrel 32”. Length of pull 14.75”. Overall length 49”. Includes set of Briley choke tubes. 3,000/4,000

304.

* PERAZZI MX8 SHOTGUN 12-ga., Serial #42198. Vent ribbed barrel. Blued finish. Length of barrel 32”. Length of pull 14.75”. Overall length 49.5”. 2,000/3,000

303.

* CASED PERAZZI MX8 OVER-UNDER SHOTGUN 12-ga., Serial #36387. Choked at full and improved mod. Vent ribbed barrel. Length of barrel 30”. Length of pull 14.5”. Overall length 47”. Includes extra stock and forestock. 3,000/4,000

305.

* PERAZZI MX8 SPECIAL TRAP SHOTGUN 12-ga., Serial #84812. Choked at full. Imported vent ribbed barrel. Blued finish with minor wear. Length of barrel 34”. Length of pull 14.5”. Overall length 51”. 2,000/3,000

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306.

LIFE-SIZE CARVING OF A GREAT BLUE HERON Third Quarter of the 20th Century Maker unknown. Glass eyes. Original paint with weathered finish. Numerous age cracks. Cast metal legs; left foot missing toes. Mounted on a large wooden base. Height 36”. 400/700

307.

LIFE-SIZE SWAN DECOY Late 20th Century Maker unknown. Hollow-carved. Glass eyes. Comb feather painting. Height 27.5”. Length 31”. 300/500

308.

RUBOLINO MINIATURE BOB WHITE Brockton, Massachusetts, 20th Century In flying form. Glass eyes. Mounted on a driftwood base. Height 5.5”. 250/350

309.

DANIEL BRUFFEE RUDDY TURNSTONE DECOY Middleborough, Massachusetts, 20th Century In the style of Lothrop Holmes. Glass eyes. Carved “Dan Bruffee” under tail. Length 11”. Includes cast iron stand. 250/350

310.

GEORGE STRUNK MINIATURE RUFFED GROUSE Glendora, New Jersey, 20th Century Painted eyes. Carved wing and feather detail. Mounted on an oval chip-carved base. Signed on base “G Strunk”. Height 3.5”. Length 5”. 350/450

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306

311, pair

311.

PAIR OF MIKE BORRETT WOOD DUCKS IN FLYING FORM Madison, Wisconsin, b. 1960 Glass eyes. Carved feather detail. Carved on wing “Borrett ‘04”. Lengths 19.5”. Wingspans 21”. 1,000/1,500

312

312.

313.

RAND GLEASON DECORATIVE CARVING OF A WOOD DUCK DRAKE Massachusetts, 20th Century Glass eyes. Head turned left. Carved feather detail. Signed on underside “Rand Gleason”. Length 14.5”. Includes a decorative wooden base carved with oak leaves. 600/900

BRIAN MITCHELL DECORATIVE LIFE-SIZE CARVING OF A HANGING WOOD DUCK DRAKE Middleborough, Massachusetts, 20th Century Mounted on an oval chip-carved backboard. Backboard length 18”. 500/700

313

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314.

PETER PELTZ LIFE-SIZE GREATER YELLOWLEGS East Sandwich, Massachusetts, 1915-2001 Positioned with right wing raised. Hairline crack to right foot. Mounted on an oval cedar base. Signed on base “Peter Peltz”. Height 11.75”. 600/800

315.

WILLIAM GIBIAN DECORATIVE CARVING OF A YELLOWLEGS Onancock, Virginia, 20th Century In the style of A. Elmer Crowell. Glass eyes. Mounted on an oval base. Gibian’s business card affixed to underside of base. Height 9.5”. Length 12”. 800/1,000

316.

STEVE WEAVER DECORATIVE CARVING OF A WOODCOCK Cape Cod, Massachusetts, 21st Century Glass eyes. Mounted on an oval chip-carved wooden base. Inscribed and signed on underside of base “Inspired by and my tribute to A.E. Crowell 1862-1952 Cape Cod Steve A Weaver Cape Cod 2012”. Height 5.5”. Length 7.5”. 800/1,000

317.

MARTY COLLINS WILLET DECOY East Wareham, Massachusetts, 20th Century Tack eyes. Removable head. Carved wing detail. Length 15”. 500/700

318.

REGGIE BIRCH RED-BREASTED MERGANSER DRAKE DECOY Chincoteague Island, Virginia, 20th Century Hollow-carved. In preening position. Glass eyes. Carved wing detail. Carved “R Birch” and rectangular stamp on underside. Length 17.5”. 600/800

319.

MARTY COLLINS MONHEGAN-STYLE EIDER PLAQUE East Wareham, Massachusetts, 20th Century Antiqued finish. Mounted on an oval chip-carved backboard. Stamped verso “Buzzards Bay Supremes M.D. Collins Maker”. Length of eider 8”. Backboard length 14”. 150/250

320.

MARTY COLLINS BLACK DUCK DECOY East Wareham, Massachusetts, 20th Century Hollow-carved. In swimming position. Glass eyes. Minor surface scuff to right side. Chip-carved tail. Maker’s brass plaque on underside. Length 19.75”. 500/700

321.

MARTY COLLINS OVERSIZE REDBREASTED MERGANSER DRAKE DECOY East Wareham, Massachusetts, 20th Century In swimming position. Carved eyes. Leather crest. Carved wings. Hairline crack to underside. Branded on underside “M.D. Collins”. Length 27”. 600/800

314

315 316

317

318

321 320

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322.

FRANK WESTON BENSON Massachusetts, 1862-1951 “Redheads No. 2”. Signed lower left “Frank W. Benson”. Titled lower left (obscured by mat). Paff #226, 1923, state of 150. Drypoint on paper, 8” x 10”. Framed 17” x 21”. 400/600

323.

THREE MINIATURE BIRD CARVINGS Connecticut, Circa 1950 A black-backed gull with chick, a pelican, and an osprey. All on decorative bases simulating nesting. Heights from 2” to 6.5”. 250/350

324.

FRANK ADAMS MINIATURE RED-BREASTED MERGANSER DRAKE West Tisbury, Massachusetts, Early 20th Century Old neck repair. Minor paint loss. Length 6”. 400/700

325.

STAN SPARRE MINIATURE ESKIMO CURLEW East Falmouth, Massachusetts, 1923-2011 Positioned standing with left wing extended. Mounted on a driftwood base. Signed “Stan Sparre Cape Cod” on underside of base. Height 7.5”. 200/300

322

323

326.

TWO STAN SPARRE WILDFOWL DIORAMAS East Falmouth, Massachusetts, 1923-2011 1) A pair of buﬄeheads in a marsh setting. Signed lower left “Stan Sparre”. 9” x 11”. 2) A pair of green-winged teals in a marsh setting. Signed verso “Stan Sparre Cape Cod”. 13” x 15”. 400/700

327.

STAN SPARRE DEEP SEA DIORAMA East Falmouth, Massachusetts, 1923-2011 Five deep sea fish amidst plants. Electrified for use with a blacklight. Signed lower right “Stan Sparre”. Height 15.75”. Width 27.75”. Depth 4.5”. 500/800 This was the prototype for the Deep Sea diorama displays at the New England Aquarium and the Toronto Aquarium. Lot includes a folder of Sparre’s notes and sketches for each display.

324

325

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328

329

330

328.

CARVED WOODEN BLUE FIN TUNA Connecticut, Circa 1930 Mounted on seascape painted backboard. Tuna with glass eye. Maker unknown; species identified on brass plaque affixed to frame. Tuna length 12”. Framed 13” x 19”. 150/250

330.

CARVED WOODEN BROADBILL SWORDFISH Connecticut, Circa 1930 Mounted on seascape painted backboard. Swordfish with glass eye. Maker unknown; species identified on brass plaque affixed to frame. Swordfish length 15”. Framed 13” x 19”. 150/250

329.

CARVED WOODEN LEAPING TARPON Connecticut, Circa 1930 Mounted on seascape painted backboard. Tarpon with painted eye. Maker unknown; species identified on brass plaque affixed to frame. Tuna length 8.5”. Framed 13” x 19”. 150/250

331.

ELEVEN CARVED WOODEN FISH Connecticut, Circa 1950 A blowfish, a bonefish, a perch, a mangrove snapper, a sunfish, a fluke and a flounder, all mounted on driftwood and sand bases, and four loose fish. Also includes assorted seascape decoration. Lengths from 1” to 3.5”. 200/400

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332.

TWO CARVED WOODEN SALTWATER FISH Connecticut, Circa 1930 A codfish and a pollock, both mounted on seascape painted backboards. Codfish with glass eye and pollock with painted eye. Maker unknown; species identified on brass plaques affixed to frames. Fish lengths 6”. Framed 6.5” x 9.5”. 250/350

333.

TWO CARVED WOODEN SALTWATER FISH Connecticut, Circa 1930 A bluefish and a striped bass, both mounted on seascape painted backboards. Maker unknown; species identified on brass plaque affixed to frame. Bluefish length 4”. Striped bass length 6”. Framed 6.5” x 9.5”. 250/350

334.

FOUR CARVED WOODEN FRESHWATER FISH Connecticut, Circa 1930 A largemouth bass, a smallmouth bass, a pickerel and a northern pike, all mounted on seascape painted backboards. Maker unknown; species identified on brass plaque affixed to frame. Fish lengths from 2.5” to 4.75”. Framed 6.5” x 9.5”. 300/500

335.

MIKE BORRETT CARVED WOODEN RAINBOW TROUT Madison, Wisconsin, b. 1960 Glass eyes. Original paint. Carved on back “Borrett ‘02”. Length 17.5”. 500/700

332, two

333, two

334, four

335

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336.

CLARENCE E. BRALEY Massachusetts, 1854-1927 Portrait of a setter on point. Signed lower right “C. Braley”. Oil on canvas, 22” x 28”. Framed 30.5” x 36.5”. 300/500

337.

WILLET DECOY Barnstable, Massachusetts, Circa 1900 Maker unknown. Tack eyes. Original paint. Right side hit by shot. Some paint drips to underside. Length 15”. 1,000/1,500

338.

MORTON RIG MASSACHUSETTS GOLDEN PLOVER DECOY Circa 1890 Painted eyes. Paint taken down to original. Illegible brand on underside. Length 10”. 500/700

336

338

337

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340

339.

PAIR OF RUDDY TURNSTONES Late 19th/Early 20th Century Maker and area unknown. Believed to be working decoys that were virtually unused. Both bills replaced; one is chipped. Tack eyes. Lengths approx. 7.25”. 300/500

340.

BOXED SET OF TWELVE FOLDING TIN YELLOWLEGS DECOYS 19th Century Wooden box stenciled “1 Doz. Yellow Legs”. Decoys in wonderful original paint showing minor flaking and wear. Set retains 11 original sticks. Box height 3.5”. Width 12”. Depth 8.5”. 800/1,200

341.

WILDFOWLER RED-BREASTED MERGANSER DRAKE DECOY Point Pleasant, New Jersey, 20th Century Glass eyes. Bill has been reworked. Branded “Wildfowler Decoys” on underside. Length 19”. 300/500

342.

THREE SILHOUETTE CANADA GOOSE DECOYS Cape Cod, Massachusetts, Circa 1940 Minor repaint. Wear to some white areas. Tail chips. Lengths from 25” to 31”. 300/500

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343

344

346

345

348 347

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343.

MAINE MERGANSER HEN DECOY Early 20th Century Maker unknown. Old in-use gunning repaint. Age crack in back. Length 19”. 300/400

347.

WEST COAST OVERSIZE PINTAIL DRAKE DECOY Early 20th Century Hollow-carved. Painted eyes. Original paint with traces of overpaint. Length 18”. 400/600

344.

MAINE OVERSIZE SCOTER DECOY 19th Century Maker unknown. Carved eyes, bill and tail feather detail. Original paint with gunning wear. Length 18”. 3,000/5,000

348.

JOE LINCOLN SCOTER DECOY Accord, Massachusetts, 1859-1938 Circa 1920. Canvas-covered. Tack eyes. Under black paint with old gunning repaint. Numerous old tears to body. Branded on underside “H.C. Hunt”. Length 17”. 500/800

345.

LONG ISLAND RED-BREASTED MERGANSER DECOY 19th Century Painted eyes. Carved wing feather detail. Original paint with gunning wear. Tail chip. Hairline crack on underside. Length 15”. 3,500/5,500

349.

GEORGE BOYD CANADA GOOSE DECOY Seabrook, New Hampshire, 1873-1941 Early 20th Century. Head turned right. Tack eyes. Canvascovered body. Original paint. Some seam separation to chest. Minor tail rubbing. Length 25”. 5,000/8,000

346.

SOUTHEASTERN MASSACHUSETTS MERGANSER HEN DECOY Early 20th Century Carved eyes. Unusually carved serrated bill. Original paint with gunning wear. Length 15”. 400/600

349

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 350-359

350

350.

RARE WIDGEON DRAKE DECOY Circa 1920 Glass eyes. Carved wing and tail feather details. Chest with hairline crack. Traces of original paint with gunning wear. Hit with shot. Branded twice on underside “CW. Whitter”. Length 16”. 14,000/18,000

351

351.

BLACK DUCK DECOY Circa 1925 In a rare low head position. Glass eyes. Carved tail feathers. Original paint with minor surface scuffs and wear. Oval brand on underside. Length 18”. 5,000/7,000

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 350-359

352.

MALLARD DRAKE DECOY Circa 1930 Head turned right. Glass eyes. Old repair to neck. Head repainted; possible Crowell repaint to body. Hit by shot. Rectangular stamp on underside. Length 17.5”. 1,500/2,500 Provenance: Mackey Collection. Christie’s, Sale of the Russell B. Aitken Collection, Lot #1070. 352

353.

GOLDENEYE DRAKE DECOY Circa 1890 Hollow-carved. Head turned right. Glass eyes. Carved cross wings. Minor old in-use gunning repaint. Lightly hit with shot. Applied bottom board stamped “J” for John Ware Willard. Length 13”. 4,500/5,500

353

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 350-359

354.

MINIATURE RUFFED GROUSE Circa 1935 Tip of bill rubbed. Mounted on driftwood base. Rectangular stamp on underside of base. Height 5”. 900/1,200

355.

RARE CARVED WOODEN RUNNING YELLOWLEGS WEATHER VANE Circa 1920 Faintly carved wing detail. Extremely weathered; shows minute traces of original paint. Length 15.75”. 3,000/4,000

354

355

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 350-359

357

356

356.

HANGING LESSER YELLOWLEGS Circa 1925 Mounted on an oval painted backboard. “A.E. Crowell and Son” paper label on reverse of backboard. Yellowlegs length 11.5”. Backboard height 15”. 10,000/15,000

357.

GREATER YELLOWLEGS Circa 1930 In running form. Glass eyes. Minor wear, with minor heat crazing on left side. Mounted on an oval painted base. Rectangular stamp on underside of base. Overall height 9”. Length 13”. 8,000/12,000

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 350-359

358.

LIFE-SIZE GREEN-WINGED TEAL IN FLYING FORM Circa 1930 Glass eyes. Carved tail feathers. Minor heat crazing. Minor paint loss down center of back. White paint drip on underside of top wing. Rectangular stamp on underside. Length 14.5”. Wing span 19.5”. 10,000/15,000 Purchased directly from A. Elmer Crowell by the consignor’s father.

358

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A. Elmer Crowell East Harwich, Massachusetts, 1862-1952 Lots 350-359

359.

EXTREMELY RARE AND IMPORTANT SNOWY EGRET Circa 1930 Nearly life-size. Head turned left. Glass eyes. Carved wing and feather detail. Minor paint loss to bill and base. Body cracked on one side. One leg with cracks. Mounted on a painted wooden base. Rectangular stamp on underside of base. Height 18.5”. Length 15”. 50,000/75,000 Purchased directly from A. Elmer Crowell by the consignor’s father.

359

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360

361

360.

ATTRIBUTED TO RICHARD VANWICKLEN “WICK” AHRENS Vermont, 1994-2016 Carved and painted white sperm whale plaque. Unsigned. Length 41.5”. 800/1,200

361.

RICHARD VANWICKLEN “WICK” AHRENS Vermont, 1994-2016 Carved and painted wooden bottlenose dolphin plaque. Signed and dated on tail “Wick Ahrens 01”. Length 31”. 800/1,200

362.

RICHARD VANWICKLEN “WICK” AHRENS Vermont, 1944-2016 Carved and painted wooden harbor seal plaque. From the artist’s “Plaque Series”. Signed and dated on tail “Wick Ahrens 86”. Height 18”. 400/600

363.

CARVED WOODEN CODFISH WEATHER VANE Has traces of original paint. Considerable rot. Signed on bottom “Kent Newcomb 1976”. Length 25”. 400/700 Removed from a house in Orleans, Massachusetts.

362

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365

364.

COPPER SUBMARINE WEATHER VANE Mid-20th Century Painted black with verdigris finish. Movable propeller. Front half weighted. Height 26”. Length 45”. 400/700 Discovered in Connecticut.

365.

ROUND NANTUCKET LIGHTSHIP BASKET 19th Century Wooden swing handle. Unlabeled. Height 7.25”. Diameter 12”. 2,000/3,000

366.

ROUND NANTUCKET BASKET Circa 1900 Wooden handle. Double-wrap rim. Engraved on underside “Heald”. Height inclusive of handle 11”. Diameter 9.5”. 800/1,200

367.

ROUND NANTUCKET BASKET Circa 1880 Possibly a berry basket. Shaped handle. Double-wrap rim. Base plate with concentric lines. Rich dark patina. Height inclusive of handle 9”. Diameter 7”. 800/1,200

368.

ROUND NANTUCKET BASKET Dated 1998 By Jo Ann Lynch. Wooden swing handle. Carved ivory clamshell mounted to interior top of base plate. Signed on underside “J Lynch 1998”. Height not including handle 10.5”. Diameter 10”. 700/1,000

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366

367

369

369.

NEST OF SEVEN NANTUCKET BASKETS Circa 1980 All with wooden handles. Height of largest inclusive of handle 9.5”. Diameter of largest 7”. 800/1,200

370.

NEST OF THREE OVAL NANTUCKET BASKETS Dated 1990 Together with a contemporary oval Nantucket basket branded “MM” on underside. Height 4.25”. Length 8.5”. Nest of baskets by Larry Brewster (Nantucket, Contemporary). All with swing handles. All signed and dated on underside “Larry Brewster 1990”. Height of largest 5.25”. Length of largest 10.5”. 500/1,000

370

371.

EXCEPTIONALLY LARGE SAILOR’S VALENTINE 19th Century Composed of multicolored shells, with central heart and rose design. Circular walnut frame. Diameter 19.5”. 2,500/3,500

371

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372

372.

WONDERFUL EARLY GROUP OF MAGIC LANTERN SLIDES, MOSTLY RELATING TO LIFESAVING AND LIGHTHOUSES American, Late 19th/Early 20th Century Made by J.W. Black & Co., Boston. Approx. 48 slides with views of lifeboats and their crews, some from Chatham and Eastham, Massachusetts, and views of Thacher’s Island Twin Lights, Minots Light, Spectacle Reef Light at Lake Huron, the Coast Guard Station at Nauset Beach, Chatham Light and Highland Light. Also includes views of maps and drawings of equipment. Each slide 4” x 3.25” overall. 300/500

373.

SCHOOL OF GEORGE HATHAWAY United States, Late 19th Century/Early 20th Century Bristol Ferry Lighthouse. Unsigned. Oil on board, 6” x 12.25”. Framed. 300/500

374.

FOUR 19TH CENTURY SHIPPING-RELATED RECEIPTS Dated 1823-1832 Pertain to goods purchased in Westport and Little Compton by captains for use on the sloop Westport and other unidentified ships. Housed in two frames. Framed 14” x 12” and 15” x 12”. 100/200

375.

SHIP CAPTAIN’S CHEST 19th Century Brass-bound cedar chest with brass adornments and bail side handles. Brass nameplate with “Captain” in very faint lettering. Height 24.25”. Width 47.5”. Depth 23.5”. 1,000/1,500 Discovered in Maine.

375

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378

379

376

100

376.

E.C. SPOONER “STORM KING” BAROMETER Boston, Late 19th Century Oak case with applied decoration of black leaves. Height 41”. 600/900

377.

TIMBY’S STICK BAROMETER 19th Century Mahogany case. Marked on face “Timby’s Patent Nov 3rd 1857”. Height 38.25”. 300/500

378.

THREE-RING BRASS “HUSUN” SEXTANT BY HENRY HUGHES & SON, LTD. London, Circa 1925 No. 46980. Blackened brass frame with 6” radius arc and inlaid steel scale. Complete with additional lenses and filters. Signed on arc. Includes original wooden box with original paper label on interior and Husun certificate. Box height 6”. Width 10.5”. Depth 11”. 300/500 From an Important Private Collection, Greenwich, Connecticut.

379.

VERNIER “HEART PATTERN” SEXTANT BY HEATH & CO., LTD. London, Circa 1912 Black oxidized brass heart-shaped frame with brass arc. Fitted with automatic clamp, telescope support, two mirrors, seven shades and wooden handle. Signed on arc. Vernier with “Hezzanith” trade label. Includes original mahogany box fitted with complete set of accessories. Box height 5.25”. Width 10.5”. Depth 9.5”. 300/500 From an Important Private Collection, Greenwich, Connecticut.

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380

380.

SHADOW BOX MARITIME DIORAMA 19th Century Depicts a three-masted ship and a man in a rowboat. Painted land and seascape background includes a lighthouse flying an American flag. Shadow box height 21”. Width 28.5”. Depth 6”. 800/1,200

382.

381

381.

SHADOW BOX MODEL OF A THREE-MASTED SHIP Late 19th Century Painted seascape background. Shadow box height 21.5”. Width 30”. Depth 5.5”. 500/800

SHADOW BOX DIORAMA OF A TROPICAL SEASCAPE American, Early 20th Century Depicts numerous vessels off a tropical island lighthouse. Possibly pertains to the Great White Fleet. Shadow box height 13”. Width 37”. Depth 16”. 500/1,000

382

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101

383

384

385

383.

MOUNTED HALF HULL MODEL 19th Century Model painted green and white. Length 15”. Oak backboard 8” x 18.5”. 500/700

384.

MOUNTED BUILDER’S HALF HULL MODEL Late 19th/Early 20th Century Model length 33”. Painted hardwood backboard 12” x 41.5”. 400/700

385.

MOUNTED HALF HULL MODEL American, 20th Century Model with eight lifts of alternating colors. Glossy varnish. Backboard 8.75” x 37”. 400/600

386.

HALF HULL MODEL BUILDER’S CHEST Late 19th/Early 20th Century Includes numerous templates for building half hulls as well as two partially completed hulls. Chest height 11”. Width 31”. Depth 12.5”. 700/1,000

386

102

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387

387.

ENGLISH WOOLWORK PICTURE OF A BRITISH THREE-MASTED STEAM-SAILER Late 19th Century Two British flags and a long red pennant fly from the masts. Lighthouse off her stern. 9.75” x 14.5” sight. Framed 14.25” x 19.25”. 500/800

388.

PAIR OF FRENCH NAVAL ENGRAVINGS 19th Century “Combats Navals” and “Representation De Toute Sorte De Batimens De Guerre”. On paper, 23” x 28.5” sight. Framed 28” x 33.5”. 600/800 From an Important Private Collection, Greenwich, Connecticut.

389.

MODEL OF THE H.M.S. SOVEREIGN OF THE SEAS OF 1637 First Half of the 20th Century From an Italian kit, possibly Mamoli. Height 36”. Length 40”. 500/700

388, pair

389

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103

390.

CASED MODEL OF THE SHIP STAR OF INDIA 19th Century Hull painted yellow, black and red. Case height 17.5”. Width 27”. Depth 10”. 700/1,000

390

391.

CASED BONE MODEL OF A THREE-MASTED SHIP Mid-19th Century Exhibits a primitive charm. Elaborately carved trailboards and other details. Case height 9”. Length 10.75”. Width 5”. 1,000/1,500

391

392.

CASED MODEL OF THE FOUR-MASTED BARK QUEEN MARGARET Set into a painted sea. Case height 12.75”. Length 18”. Width 6.5”. 400/600

392

393.

SAILOR-MADE MODEL OF THE CLIPPER SHIP FLYING CLOUD Case height 18”. Length 32”. Width 10”. 500/700 Provenance: Part of the Harwood Collection of the Savings Bank of New London.

393

104

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394.

LOUIS DODD United Kingdom, 1943-2006 “U.S.S. Erie 1824”. Signed lower right “Louis Dodd”. Titled lower center. Oil on panel, 13.75” x 18”. Unframed. 3,000/5,000

394

395.

LOUIS DODD United Kingdom, 1943-2006 The morning gun, Marines arriving for departure. Signed lower right “Louis Dodd”. Oil on board, 14” x 18”. Framed 19” x 23”. 2,000/3,000

395

396.

LOUIS DODD United Kingdom, 1943-2006 A view of the Royal dockyard at Chatham. Signed lower right “Louis Dodd”. Oil on board, 16” x 20”. Framed 21.5” x 24.5”. 2,500/3,500

396

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105

397

397.

ATTRIBUTED TO THOMAS WHITCOMBE United Kingdom, 19th Century “British 44 Gun Frigate off Dover”. Unsigned. Attributed and titled on tag affixed verso. Oil on canvas, 34” x 40”. Framed 39.5” x 45”. 1,500/2,500

398.

WILLIAM JOHN HUGGINS United Kingdom, 1781-1845 “The Indefatigable and Le Droits de l’Homme”. Signed and dated lower left “W.J. Huggins Sept. 1815”. Titled on frame plaque. Oil on canvas, 23.5” x 36”. Framed 29” x 41”. 1,000/2,000

398

399.

ENGLISH SCHOOL 19th Century Pair of English naval battle scenes. Unsigned. Housed in fine wooden frames. Oils on canvas, 18” x 24”. Framed 24.5” x 31”. 1,500/2,500

399, pair

106

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400.

ROY CROSS United Kingdom, b. 1924 “The Virginia Built Bermuda Sloop Mediator, c. 1745”. Signed and dated lower left “Roy Cross 1976”. Titled on gallery label verso. Watercolor and gouache, 20” x 29” sight. Framed 29” x 37”. 3,000/5,000 Provenance: Private Collection, Connecticut.

401.

LEONARD JOHN PEARCE United Kingdom, b. 1932 “Old Derby Wharf, Salem”. Signed lower right “L.J. Pearce”. Titled on gallery label verso. Also inscribed verso “‘Salem Days’ Copyright L.J. Pearce 1990”. Oil on board, 20.25” x 23.5”. Framed 27.25” x 30”. 2,500/3,500

400

401

402.

GORDON HOPE GRANT New York/California/United Kingdom, 1875-1962 Schooners at the dock, Gloucester, Massachusetts. Signed lower right “Gordon Grant”. Watercolor on paper, 13.5” x 21” sight. Framed 22” x 29”. 1,000/1,500

403.

JAMES GALE TYLER Connecticut/New York, 1855-1931 A good breeze. Signed lower left “J.G. Tyler”. Oil on canvas, 28” x 40”. Unframed. 1,500/2,500

402

403

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107

404.

WILLIAM JOHN HUGGINS United Kingdom, 1781-1845 “The Frigate H.M.S. Curagos Under the Command of Captain Tower off Toulon, 1812 in a Squall”. Signed lower right “Wm Huggins”. Handwritten label affixed to stretcher describes the scene. Oil on canvas, 45.75” x 69”. Framed 56” x 78.5”. 6,000/8,000 From an Important Private Collection, Greenwich, Connecticut.

405.

ENGLISH SCHOOL 19th Century A naval battle. Unsigned. Oil on canvas, 17” x 24.5”. Framed 25” x 31”. 700/1,000

406.

AMERICAN SCHOOL 19th Century Numerous vessels on a choppy sea. Unsigned. Oil on canvas, 18” x 26”. Framed 23” x 31”. 500/800

407.

AFTER NICHOLAS POCOCK 19th Century “Dedicated by Permission to the Right Honourable the Lords Commissioners of the Admiralty”. Depicts the Constitution and Java. Engraved by R. & D. Havell. This is the third plate from a set of four chronicling the battles of the Constitution in the War of 1812. Handcolored aquatint and engraving, 16.5” x 19” sight. Framed 25” x 28”. 300/500

404

405

406

108

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408.

MIXED MEDIA DRAWING “H.M.S. EMERALD. 51-GUN’S” “In a gale of wind in the North Atlantic Oct 1867”. Signed lower right “Drawn by J Tucker H.M.S. Emerald”. Housed in fine inlaid frame with foliate design. On paper, 16” x 20” sight. Framed 19” x 23”. 500/1,000 The H.M.S. Emerald launched in 1856 and was decommissioned on November 7, 1863. The ship’s muster provides record of a John Tucker serving aboard the ship as a seaman from the spring of 1861 until it was decommissioned. The ship notably encountered a severe gale off Newfoundland in October 1861, and this drawing is perhaps Tucker’s recollection of the event on its six-year anniversary.

408

409.

PAIR OF DECORATIVELY PAINTED DOORS FROM AN ENGLISH WARSHIP One marked “No 7” depicts a man looking across rolling hills to two warships at anchor. The other depicts a man playing a lute to a seated woman. Both scenes are surrounded by trompe l’oeil frames. Remainder of doors painted black. Heights 64.5”. Widths 24.81”. 300/500

410. 409

BRASS-BOUND LIFT-TOP CAMPHORWOOD TRUNK 19th Century Brass bail handles at sides. Height 19”. Width 40.5”. Depth 20”. 200/400

410

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109

411.

SIX-VOLUME SET ON THE NAVAL HISTORY OF GREAT BRITAIN The Naval History of Great Britain, From the Declaration of War by France in 1793 to the Accession of George IV by William James (London: Richard Bentley, 1859). A handsome set. See more at www.eldreds.com. 200/300

412.

TWO-PART MAHOGANY CAMPAIGN CHEST 19th Century Cases with brass banding, ebony trim and brass bail carrying handles mounted on sides. Upper case with a shallow drawer over a fold-out secretary drawer over a full-width drawer. Secretary drawer encloses a writing surface, small drawers and pigeonholes. Lower case with two full-width drawers and ball feet. Height 48”. Width 42”. Depth 18.5”. 2,000/2,500

413.

TWO-PART ROSEWOOD CAMPAIGN CHEST 19th Century Upper case with two half drawers over a full-width drawer. Lower case with two full-width drawers. Drawers fitted with turned wooden knobs. Rope-turned moldings along top and bottom edges. Ribbed urn-form feet. Brass handles at sides. Height 48”. Width 46”. Depth 21.5”. 1,400/1,800

414.

TWO-PART BRASS-BOUND CAMPAIGN CHEST 19th Century Both cases with two full-width drawers. The top drawer of the upper case folds down to serve as a writing surface and conceals a fitted interior. Ball feet. Iron bail carrying handles at sides. Height 47.5”. Width 42”. Depth 21.5”. 1,400/1,800

412

413

414

110

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415.

CASED MODEL OF THE DOWNEASTER BENJAMIN F. PACKARD 20th Century Case height 39”. Length 49”. Width 19”. 1,000/1,500

416.

CASED RIGGED MODEL OF THE BRITISH SHIP POLARIS 20th Century Custom case with overhead lighting and painted background. Case height 36”. Length 43”. Width 19.5”. 800/1,200

417.

CASED MODEL OF THE CLIPPER SHIP LIGHTNING 20th Century Hull built up from the solid. Painted green bottom, gold waterline, black topsides, and white and natural deck. Marked on underside of case “Case 1968 Wm D. Knott Barnstable Mass”. Case height 26.5”. Length 38.75”. Width 12”. 700/1,000

415

417

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111

418.

XANTHUS RUSSELL SMITH Pennsylvania/Maine, 1839-1929 Wrecked on the coast. Signed lower left “Xanthus Smith”. Oil on canvas, 16.5” x 24.5”. Framed 22.5” x 30.5”. 1,500/2,500

419.

THOMAS CLARKSON OLIVER Massachusetts, 1827-1893 Seascape. Signed and dated lower left “T. Clark Oliver 1876”. Oil on canvas, 12” x 18.25”. Framed 15” x 21.5”. 1,000/1,500

420.

THOMAS CLARKSON OLIVER Massachusetts, 1827-1893 Stormy seas. Unsigned. Oil on canvas, 16” x 14”. Framed 20.5” x 18.5”. 800/1,200

418

419

420

112

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421.

OTIS S. WEBER New York/Massachusetts, 1847Numerous catboats racing around a buoy under sunset skies. Lighthouse in background. Signed and dated lower right “O.S. Weber ‘76”. Oil on canvas, 14” x 24”. Framed 17.5” x 27.5”. 2,000/3,000

422.

OTIS S. WEBER New York/Massachusetts, 1847Harbor scene with lighthouse, sailing vessels and figures on shore. Signed lower right “O.S. Weber”. Housed in its original gilt frame. Watercolor, 10” x 29” sight. Framed 20.5” x 40.5”. 800/1,200

423.

421

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 The four-masted schooner Goldfield. Signed and dated lower right “Antonio Jacobsen 1911”. Oil on board, 22” x 36”. Framed 27” x 40”. 8,000/10,000

422

423

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113

424

426

424.

425.

114

425

427

SCHOOL OF ANTOINE ROUX 426. ENGLISH SCHOOL Late 19th Century 19th Century “Nancy Glover Broughton master leaving Marseilles for Fishing vessel in choppy seas. Unsigned. Oil on canvas, Marblehead”. Unsigned. Titled lower center. Watercolor and 14” x 20”. Framed 18” x 24”. 400/600 gouache, 13.25” x 18” sight. Framed 19.5” x 24.5”. 700/1,000 Provenance: Garth’s Auctioneers & Appraisers, Columbus, Ohio, 427. MAX JENSEN May 15, 2015, Lot #327. Germany, 1860Two-masted vessel off the coast in stormy seas. Signed lower left “M. Jensen”. Oil on canvas, 17” x 33”. Framed 22” x 37”. ITALIAN SCHOOL 500/1,000 19th Century A British ram bow paddlewheeler off the coast of Naples. Unsigned. Oil on canvas, 9.5” x 13”. Framed 12” x 15.25”. 600/800 From an Important Private Collection, Greenwich, Connecticut.

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428.

W.S. COLSON Early 20th Century “Ship S.F. Hersey Built Oct 1865 ...”. Signed lower right “W.S. Colson”. Titled lower center. Oil on canvas, 27” x 33”. Framed 31” x 38”. 1,000/1,500

428

429.

RICHARD BALL SPENCER England, 1812-1897 The 100-gun H.M.S. Conqueror of the Great White Fleet outward bound. Signed lower left “R.B. Spencer”. Oil on canvas, 24” x 30”. Framed 27” x 32”. 2,000/3,000

429

430.

MICHAEL WHITEHEAD United Kingdom, b. 1941 “Shamrock, Westward, Britannia off the Needles”. Signed and dated lower left “M. Whitehead 94”. Titled lower left. Oil on canvas, 38” x 59”. Framed 48” x 69”. 3,000/5,000 From an Important Private Collection, Greenwich, Connecticut.

430

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115

431

432

431.

432.

EDMUND DARCH LEWIS Pennsylvania, 1835-1910 A rocky coast and distant sailboat. Signed and dated lower right “Edmund D. Lewis ‘92”. Watercolor and gouache on brown paper, 7.625” x 20.375” sight. Framed 17.5” x 31.25”. 1,000/1,500

AMERICAN SCHOOL Early 19th Century Shipping along the coast. Oil on panel, 7.125” x 13.75”. Framed 15.5” x 18”. 700/900

433.

CONTINENTAL SCHOOL Late 19th Century Ships beached off a coast. Signed illegibly lower left. Oil on board, 7.5” x 9”. Unframed. 300/500

434.

SET OF THREE NESTING CAMPHORWOOD CAMPAIGN BOXES Early 20th Century Brass-bound lift-top boxes with bail handles at sides. Smallest box height 9”. Width 17”. Depth 9”. Largest box height 12.5”. Width 23”. Depth 13.25”. 900/1,200

434, set of three

116

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435

435.

RARE COLORED ENGRAVING “NEW BEDFORD FROM FAIR HAVEN 1853” After J.W. Hill. Engraved on steel by W. Wellstood. Published by Smith Brothers & Co., New York. Mat opening 27.5” x 37.5”. Framed. 1,000/1,500

436.

CHINESE SCHOOL Circa 1875 Ship portrait. Unsigned. Possibly contained within its original wooden box. Oil on silk canvas, 12.25” x 17.5”. Framed 12.5” x 18”. 700/1,000

437.

LARGE BRASS-BOUND CAMPHORWOOD TRUNK 19th Century With brass bail handles. Height 20”. Width 41”. Depth 20”. 500/700

437

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117

439, tureen and undertray

438

438.

CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE Late 19th Century In rouleau form with slightly shaped rim. Two foo dog handles on neck and four raised gilt kylins about the shoulder. Height 18”. 1,200/1,800

441.

CHINESE EXPORT ROSE MANDARIN PORCELAIN OVAL PLATTER Late 19th Century Finely detailed figural court decoration at center, and enameled birds and butterflies about the rim. Length 17”. 500/700

439.

CHINESE EXPORT ROSE MEDALLION PORCELAIN COVERED TUREEN AND UNDERTRAY Mid-19th Century Tureen with finely enameled decoration of birds, flowers and figures on a gilt butterfly and green vine ground. Salmon red entwined handles at sides. Conforming cover with gilt mushroom-form finial. Matching oval undertray. Tureen height to finial 12”. Undertray length 16”. 600/800

442.

CHINESE EXPORT MANDARIN PORCELAIN BOWL 19th Century With polychrome figural and floral decoration. Height 6”. Diameter 11.25”. 600/800

443.

CHINESE EXPORT PORCELAIN BOWL Circa 1800 With polychrome floral and swag decoration. Height 4.5”. Diameter 10.25”. 350/400

440.

CHINESE EXPORT ROSE MEDALLION PORCELAIN CUT-CORNER BOWL Second Half of the 20th Century Exterior with alternating figural and floral panels; interior with butterflies around a central flower basket. Height 4.5”. Diameter 10”. 400/600

442

440 441

118

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445

444

446

444.

CHINESE EXPORT ROSE MEDALLION PORCELAIN OVAL PLATTER Late 19th Century Alternating panels of figural and floral decoration. Length 16”. 250/350

447.

CHINESE EXPORT ROSE MEDALLION PORCELAIN SHRIMP DISH Last Half of the 19th Century Kidney-shaped. Length 10.75”. 300/400

445.

CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE Late 19th Century In baluster form with linen-fold rim and gilt animalistic handles. Height 14.5”. 700/900

448.

CHINESE EXPORT ROSE MEDALLION PORCELAIN LEAF-FORM SPOON TRAY Last Half of the 19th Century Length 8.5”. 200/300

446.

CHINESE EXPORT ROSE MEDALLION PORCELAIN OVAL PLATTER Last Half of the 19th Century Decorated with alternating harbor landscape, bird and floral cartouches. Length 13”. 250/350

449.

PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN COVERED TEMPLE JARS Second Half of the 19th Century Decorated with alternating figural and bird and flower panels. Domed covers with polychrome foo dogs on brocade balls. Heights 16”. 800/1,200

449, pair

447

448

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119

450, pair

450.

451.

452.

453.

454.

120

PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN BOUGH POTS Late 19th Century Decorated with figural panels on a gilt and predominantly green ground. Pierced covers with butterfly and flower decoration and gilt leaf-form handles. Heights 9”. Tops 7” x 7”. 1,000/1,200

RARE PAIR OF CHINESE EXPORT ROSE MANDARIN PORCELAIN PILGRIM-FORM VASES Mid-19th Century Gilt dragons mounted to sides of neck. Decorated with interior figural cartouches on fronts and landscape cartouches of flowers, birds, butterflies, etc. on reverse. Gilt Rose Mandarin ground includes bat design. Heights 12”. 1,200/1,800

PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN VASES Mid-19th Century Decorated with alternating Mandarin and bird panels. Heights 14.25”. 700/1,000

LARGE CHINESE EXPORT FAMILLE ROSE PORCELAIN PUNCH BOWL Mid-19th Century Exterior with blue and gilt floral, bird and insect cartouches with Greek key-style borders. Interior with blue and gilt floral sprigs. Famille Rose border at interior and exterior rim. Height 7”. Diameter 15.75”. 800/1,200

PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN VASES 19th Century With Mandarin panels. Heights 10”. 300/500

451, pair

455.

CHINESE EXPORT PORCELAIN VASE Early 19th Century Decorated with four floral panels. Height 10.5”. 700/900

456.

CHINESE EXPORT PORCELAIN CHARGER Mid-19th Century Central figural landscape surrounded by four figural landscape cartouches interspersed with flower, fruit, scroll, insect, and other decoration. Diameter 11.5”. 300/500

457.

CHINESE EXPORT PORCELAIN COVERED BOWL Mid-19th Century Figural landscape decoration on lid and body. Lid with gilt fruit finial. Bowl with applied twist handles at sides. Overall height 5”. Overall diameter 7.25”. 350/500

458.

CHINESE EXPORT FAMILLE ROSE PORCELAIN CUT-CORNER BOWL Mid-19th Century Decorated with four landscape cartouches and bird, insect and floral designs. Height 4.5”. 9.75” x 9.75”. Includes wooden stand. 500/700

459.

TWO CHINESE EXPORT PORCELAIN SERVING ITEMS Mid-19th Century A footed sauceboat and a hexagonal covered bowl, both with figural landscape decoration. Bowl with foo dog finial and side handles. Sauceboat height 3.25”. Length 9.25”. Bowl height 5.5”. Length 8.75”. 600/800

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453 452, pair

456 455

457

454, pair

459, two

458

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121

460

461

460.

461.

122

CHINESE EXPORT BLUE AND WHITE FITZHUGH PORCELAIN MAZARIN Late 19th Century Fitted into a black lacquer painted stand with four bambooform gilt-banded legs joined with an X stretcher. Height 20”. 400/600

CHINESE EXPORT CAMPHORWOOD TRUNK ON STAND 19th Century Brass-bound leather-covered trunk. Black painted wood and brass stand. Height including stand 34”. Width 31”. Depth 16”. 800/1,200

462.

PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN VASES 19th Century Decorated with a bird and butterfly design. Mock-ring handles at sides. Heights 8”. 300/400

463.

CHINESE EXPORT ROSE MEDALLION PORCELAIN DISH Late 19th Century In shaped oval form. Central court decoration surrounded by a bird and flower border. Length 10.5”. 250/350

464.

COLLECTION OF EIGHT CHINESE EXPORT PORCELAIN HANDLED MUGS 19th Century Heights from 4” to 5.5”. 300/500

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465

465.

466

CHINESE EXPORT ROSE MEDALLION PORCELAIN TEMPLE JAR Late 19th Century In baluster form with shaped rim and gilt nose-to-nose kylin handles. Decorated with alternating floral and figural cartouches on a gilt and green ground with butterflies and peonies. Height 25”. 500/700

466.

CHINESE EXPORT ROSE MEDALLION PORCELAIN PALACE VASE Last Half of the 19th Century In baluster form with four mock mask ring handles. Finely detailed figural and floral cartouches on a fine gilt and green ground punctuated with flowers and butterflies. Height 26”. 1,200/1,800

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467

467.

LARGE CHINESE EXPORT ROSE MEDALLION PORCELAIN VASE First Half of the 19th Century In baluster form with ribbed cylindrical neck and gilt dragons about the shoulder. Finely enameled figural and floral cartouches on a gilt and green scrolled ground, highlighted by butterfly and floral decoration at rim and footring. Height 25”. Includes wood stand. 1,000/2,000

123

471, pair

468.

CHINESE EXPORT BLUE AND WHITE CANTON PORCELAIN RETICULATED DISH Late 19th/Early 20th Century Diameter 10.75”. 200/300

469.

CHINESE EXPORT ROSE MEDALLION PORCELAIN CHARGER Late 19th/Early 20th Century With six alternating flower and figural panels. Diameter 13.5”. 300/400

470.

CHINESE EXPORT ROSE MEDALLION PORCELAIN COVERED RAZOR BOX Late 19th Century Cover with alternating bird and figural cartouches. Box with bird cartouches. Height 2.5”. Length 7.5”. Width 3.5”. 300/400

471.

PAIR OF CHINESE EXPORT ROSE MEDALLION PORCELAIN VASES Circa 1850 In baluster form with applied gilt dragon handles at neck. Decorated with alternating figural, flora, and bird panels. Height 23.5”. 2,500/3,000

End of Session I

124

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Session II Saturday, April 6 at 10 a.m. Lots 501-956

Oriental Rugs Lots 565-582, 710-729, 782-799 Silver Lots 583-605 Clocks Lots 682-693 Also Paintings, Prints & Multiples, Sculpture, Fine Furniture, Folk Art, Americana, Decorative Art, Ceramics and More

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123

502 501

501.

124

ALBRECHT DURER Germany, 1471-1528 “The Sojourn of The Holy Family in Egypt”. Bartsch 90; Meder 202. Margins trimmed to the border lines. Woodcut on laid paper (indistinct watermark), image size 300mm x 213mm. Unframed. 600/800

502.

ALBRECHT DURER Germany, 1471-1528 “The Holy Family with the Butterfly”. Bartsch 44; Meder 42. Margins cut to the plate mark. Pencil inscriptions on mat recto “abcdefghik (?) apres les lignes paralleles & le cue? B.44 page 62. from the Scott Collection Augsburger Wappen”. Pencil inscriptions on paper verso “63279 1860 [with a line through it] Scott B.44”. Engraving on laid paper with grape cluster watermark, sheet size 240mm x 185mm. Unframed. 1,500/2,500

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503.

ALBRECHT DURER German, 1471-1528 “Saint Eustace”. Bartsch 57; Meder 60. Margins trimmed to plate mark. Collector’s stamp, black “JC” in a circle, verso. Verso also with pencil inscriptions, some too faint to read. Mat marked “Meder 60”. Engraving on laid paper with the anchor in a circle watermark, sheet size 360mm x 258mm. Unframed. 6,000/8,000

503

504.

ALBRECHT DURER Germany, 1471-1528 “The Holy Family with Three Hares”, circa 1498. Bartsch 102; Meder 212i. Narrow margins. Breaks in the border lines and scattered other breaks. Worm-eaten block. Woodcut on laid paper (no visible watermark), image size 395mm x 280mm. Unframed. 1,000/1,500

505.

AEGIDIUS SADELER (AFTER DURER) “The Virgin and Child on a Grassy Bank”. Engraving on paper, sheet size 320mm x 240mm. Framed 16” x 13”. 300/500

504

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125

506

507

508 509

126

506.

REMBRANDT VAN RIJN Holland, 1606-1669 “Beggars Receiving Alms at the Door of a House, 1648”. Signed in plate “Rembrandt 1648”. Etching and drypoint, 6.25” x 4.25”. Framed 9.5” x 9.5”. 300/400

508.

REMBRANDT VAN RIJN Holland, 1606-1669 “Man Drawing from a Cast”. Bartsch 130. Etching on laid paper, plate 95mm x 65mm. Sheet size 110mm x 78mm. Framed 11” x 9”. 600/800

507.

REMBRANDT VAN RIJN Holland, 1606-1669 “The Card Player”. Bartsch 136. Etching on laid paper, plate 94mm x 83mm. Sheet size 110mm x 100mm. Framed 14.5” x 13.25”. 600/800

509.

REMBRANDT VAN RIJN Holland, 1606-1669 “Abraham Caressing Isaac”. Bartsch 33. Etching on laid paper, plate 113mm x 87mm. Sheet size 4.5” x 3.5”. Unframed. 300/500

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511

511. 510

510.

ALEXANDRE YAKOVLEV (ALEXANDRE IACOVLEFF) Russian Federation/United States, 1887-1938 Portrait of a Mongolian man. Unsigned work, circa 1918. Purchased directly from the artist in Paris, 1978. Mixed media on paper, 61.25” x 24.4”. Framed 63” x 23.5”. 4,000/6,000

DAVID HERBERT RICHARDS LAWRENCE United Kingdom, 1885-1930 “Accident in a Mine”. Signed lower right “DHL”. Titled and signed in pen “DHL” verso. Remnants of Warren Gallery label also on reverse. Typed letter affixed to reverse “On the principle set forth above, I protest against the destruction of D.H. Lawrence’s pictures.” is signed “James Joyce”. Oil on canvas board, 16” x 13”. Framed 21” x 18”. 3,000/5,000 Provenance: Private Collection, Providence, Rhode Island. D.H. Lawrence, the son of a miner, was a novelist, poet, playwright, essayist, literary critic, and, later in life, a painter. His works were briefly on display at the Warren Gallery in London’s Mayfair, though they were deemed extremely controversial. Police seized 13 of the 25 paintings after a gallery visitor filed a complaint. The works were returned to the artist, on the condition he never show them again in England. Many of his literary contemporaries, including James Joyce, defended Lawrence’s works, hence the note from James Joyce seen here.

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127

512, additional views right and below

512.

EVGENII ALEKSANDROVICH LANCERAY France/Russia, 1848-1886 Pleasure ride in a winter troika. Dramatically modeled with three speeding horses and a standing driver in front of a cozy couple. Oval naturalistic ground. Mold-incised with Cyrillic signature and dated 1881. Also with Chopin foundry mark. Cast bronze with deep brown patina, length 39â&#x20AC;?. 80,000/120,000 See Illiustrirovannyi katalog skulpturnoi vystavki E.A. Lansere i A.A. Obera v Imperatorskom Obshchestve pooshchreniia khudozhestv, N.P. Sobko, ed. (St. Petersburg: 1886), unpaginated (listed as Katane na troike) and Evgueni Alexandrovitch Lanceray, 18481886 by G.W. Sudbury (Lausanne: 2006), p. 150.

128

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129

514

513

130

515

513.

HORACE BRODZKY New York/Australia, 1885-1969 “Study for a Painting”. Depicts a mother holding a child on her lap. Titled upper left. Signed and dated lower left “H. Brodzky ‘25”. Also signed and dated verso. Oil on canvas laid on board, 9” x 6.5”. Framed 14” x 11”. 400/600

515.

HORACE BRODZKY New York/Australia, 1885-1969 Three female figures on the beach. Signed and dated upper left “H. Brodzky - 63”. Oil on panel, 9.5” x 7”. Framed 11.5” x 8.5”. 500/700

514.

HORACE BRODZKY New York/Australia, 1885-1969 Figures in a village. Signed and dated lower left “H. Brodzky 63”. Oil on panel, 5.5” x 8.5”. Framed 12” x 15”. 500/700

516.

AFTER PIERRE-JOSEPH REDOUTÉ France, 1859-1840 Two lithographs: “Iris” and “Galardia”. 12.5” x 9.5” sight. Framed 20.25” x 17.25”. 700/1,000

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517

517.

PAUL VICTOR JULES SIGNAC France, 1863-1935 Boats in Lake Annecy. Signed lower left “P Signac Annecy”. Watercolor on Arches paper, 14” x 22.25”. Framed 22” x 28”. 8,000/12,000 Provenance: Christie’s, London

518.

MICHEL HENRY France, 1928-2016 “Fleurs Rouges”. Signed lower right “Michel Henry”. Titled on frame plaque. Oil on board, 8.5” x 10” sight. Framed 15” x 16”. 600/900

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518

131

Robert Salmon England/Massachusetts, 1775- c. 1851 Lot 519

519.

Il Molo, Venice, from the Bacino di San Marco. Possibly a commissioned work after a painting by Canaletto. Oil on canvas, 19.75” x 32.75”. Framed 26” x 38.75”. 10,000/15,000

People familiar with Robert Salmon’s paintings know

As with the two works cited above, “Il Molo, Venice, from

his coastal views of England and Scotland, and his ship

the Bacino di San Marco” is also signed with the initials “R.S.”

portraits and views of Boston. For a long time, it was

and dated 1845. Undoubtedly, Salmon was aware of the

believed Salmon died shortly after leaving Boston in

works by Giovanni Antonio Canal, called Canaletto (Venice,

1842 (the actual date of his death remains unclear but is

1697-1768), who painted several versions of Il Molo, at least

now generally agreed to be in 1851). We now know he

one of which was collected by a British nobleman and was

returned to Europe and went to Italy, where he painted

likely known to Salmon.

a number of canvases. In Wilmerding’s book on Salmon, he discusses a pair of paintings that were sold through

This canvas of Il Molo is from the Bacino, showing the

Ira Spanierman Galleries, New York, that are now in the

religious and secular monuments of Venice. Canaletto

collection of the Thyssen-Bornemisza National Museum

painted several versions of this view of Il Molo, from

in Madrid. These include a “View of Venice” and “A View of

opposite the Campanile, which is seen frontally, and shows

Palermo”, both signed with the initials “R.S.” and dated 1845.

the key buildings at the heart of Venice.

They are considered some of his last works. As described by art historian Elizabeth Garrity Ellis (excerpted from a description of Salmon’s works on the Thyssen-Bornemisza Museum website):

See: Robert Salmon - Painter of Ship & Shore by John

“Painted more thinly and in a higher key than his Scottish

Wilmerding (Co-published by the Peabody Museum

or Boston scenes, ‘View of Palermo’ and ‘View of Venice’ are

of Salem and The Boston Public Library, 1971), p. 38 for

some of Salmon’s last known works. Their bright palette,

illustrations of “A View of Venice” and “A View of Palermo”;

deep orthogonals and crisp draftsmanship also reveal, of

p. 47 for an illustration of “View of the Thames Looking

course, the long influence of Venetian veduta tradition on

Towards St. Paul’s” by Giovanni Antonio Canal (Canaletto);

Salmon’s art. Clearly initialed and dated ‘R.S. 1845’, the pair

and p. 55 for a discussion of the two Italian views painted

suggest that Salmon occasionally continued to paint on a

by Salmon and the Italian influence on his works.

large scale after failing eyesight curtailed his work in 1840. He returned to Europe -- probably to England -- two years

Nineteenth-Century American Paintings: The Thyssen-

later, and managed to execute only one or two paintings a

Bornemisza Collection by Elizabeth Garrity Ellis et al. (N.Y.:

year. Several of these late works are imaginary scenes based

Vendome Press, 1986).

on engravings, photographs or the work of J.M.W. Turner.

132

View of Venice, although containing a precisely-charted

Thyssen-Bornemisza Museum website for a description

configuration of boats typical of Salmon’s Boston Harbour

and insights on the two Italian scenes in the collection

scenes, particularly recalls the heightened colour of Turner’s

painted by Robert Salmon: https://www.museothyssen.org/

painting of the Adriatic city.”

en/collection/artists/salmon-robert/

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519

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133

520

520.

GEORGE DREW New York, 1875-1968 Off Venice. Signed lower right “George Drew”. Oil on canvas laid down, 7.75” x 9.75”. Framed 9.5” x 11.5”. 700/900

521.

GASTON H. BOUCART France, 1878-1962 Venice. Signed lower right “G. Boucart”. Oil on canvas, 25” x 32”. Framed 35” x 41”. 1,500/2,500

521

522.

523.

SPANISH SCHOOL 20th Century “Costa Candamo”. Unsigned. Titled upper right. Oil on canvas, 19.75” x 23.5”. Framed 26” x 29”. 500/700

522

ALEXANDRE YAKOVLEV (ALEXANDRE IACOVLEFF) Russian Federation/United States, 1887-1938 “Old Women, Mexico”, 1938. Signed and dated lower right. Titled and “Presented to Mr. Philpott” on label verso for Robert C. Vose Gallery, Boston. A separate tag also affixed to reverse with “45. Old Women - Mexico”. Watercolor and gouache on paper, 16” x 22”. Framed 20” x 26”. 1,500/2,500

523

134

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524.

ANGELO BASSO Italy, b. 1943 “Odine”. Signed on base “A. Basso”. Numbered 53/185. Art Renaissance, 1996. Bronze, height 31”. Depth 10”. 1,000/1,500

524

525.

JEAN MAURICE EUGENE CLEMENT COCTEAU France/Belgium, 1889-1963 Two figural sketches: 1) “Hommage a Emile Verhaeren ...”. Signed and dated lower right “Jean Cocteau 1955”. Pencil on paper, 10” x 8”. Framed 19” x 17”. 2) A head-shaped handled vessel. Signed lower right “Jean Cocteau”. Italian inscription verso dated 28/7/58. Crayon on paper, 11” x 9”. Framed 16” x 14”. 2,000/3,000

525, two

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135

526

528

136

526.

GABOR PETERDI Hungary/Connecticut/New York, 1915-2001 Suite of six works released with the publication of Gabor Peterdi: Graphics 1934 - 1969 by Una Johnson. Includes Hawaii, Maui, The Reef, Red Eclipse II, Mauna Loa II and Blue Surf. All signed and dated in pencil lower right “Peterdi 69” and numbered in pencil lower left “26-200”. Lithographs on paper, image sizes 7.25” x 10”. Sheet sizes 9.25” x 12”. Unframed. 500/700

527.

MICHAEL AUGUSTIN POWER O’MALLEY Ireland/New York/California, c. 1875-1946 “Her Place in the Sun” and “Spring Day”. Both signed in pencil lower right “Power O’Malley”. Titled in pencil lower left. Etchings on paper, sheet size 16.5” x 12.5”. Unframed. 200/300

528.

ELLISON HOOVER Ohio/New York, 1888-1955 The Arc de Triomphe in snow. Signed in pencil lower right “Ellison Hoover”. Lithograph printed in blue, sheet size 16” x 12”. Unframed. 500/700

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529.

JOHN SLOAN New York/New Mexico/New Hampshire, 1871-1951 “Seven Toed Pete”. Signed in pencil lower right “John Sloan”. Titled in pencil lower center. Also signed and dated 1929 in matrix. Not numbered but likely from an edition of 75. Deckled left and right edges. Etching on paper, sheet size 12.5” x 9.5”. Unframed. 600/900

530.

STOW WENGENROTH New York/Massachusetts, 1906-1978 Two unframed lithographs on paper: 1) “Kindred McLean Print (Rockport, Massachusets)”. Stuckey 91. Sheet size 11.5” x 16”. 2) “Cottage Window (Greenport, New York)”. Stuckey 334. Sheet size 19” x 14.5”. 800/1,200

529

530

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137

531.

GEORGE VON PHYSTER Illinois, 1909-1986 Two unframed lithographs on paper: “The Student” and “Jam Session”. Both signed in pencil lower right “George Von Physter”. Titled and numbered 55/1000 and 751/1000 lower left. 14” x 16.5” sight. 300/500

532.

LOUIS ROBERT ANTRAL French, 1895-1940 Three etchings depicting the interior of a brothel. All signed in pencil lower right “R. Antral” and numbered 23/50. On paper, 9.75” x 7.75” sight. Unframed. 300/500

533.

ROI PARTRIDGE California/Washington, 1888-1984 “Avalanche Land”. Signed in plate and in pencil lower center “Roi Partridge”. Etching on paper, 11” x 14”. Framed 18.5” x 22.5”. 400/600

531, two

532, three 533

138

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534.

MARTIN LEWIS New York/Connecticut/ Maine/Australia, 1881-1962 “Arch Midnight”. Signed in pencil lower right “Martin Lewis”. From an edition of 99. Drypoint on laid paper, 8” x 11.5” to the plate line. Framed 15” x 18”. 4,000/6,000 Provenance: Private Collection, Massachusetts.

534

535.

GERALD LESLIE BROCKHURST New Jersey/England, 1890-1978 “Adolescence”. Signed in pencil lower right “G.E. Brockhurst”. From an edition of 91. Etching on simili -japon paper, 14.25” x 10.25” to the plate line. Paper size 17.4” x 13.5”. 8,000/12,000 Provenance: Private Collection, Massachusetts. Illustrated in British Etchers 18501940 by Kenneth M. Guichard and Fine Prints of the Year 1933 and Six Centuries of Fine Prints by Carl Zigrosser.

535

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139

536.

THOMAS HART BENTON Missouri/Massachusetts/Kansas, 1889-1975 “Down The River” 1939. Signed in pencil lower right “Benton”. Edition of 250. Published in 1940 by Associated American Artists, New York. Fath 33. Lithograph on rives paper, image size 12.5” x 9.75”. Sheet size 16” x 11.75”. Framed 18” x 15”. 2,000/3,000

537.

THOMAS HART BENTON Missouri/Massachusetts/Kansas, 1889-1975 “Spring Tryout”, 1943. Signed lower right “Benton”. Lithograph on paper, 9.25” x 13.50” sight. Framed 19.5” x 23.5”. 2,000/3,000 Provenance: Private Collection, Massachusetts.

536

537

140

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538

538.

HOWARD NORTON COOK New Mexico/California, 1901-1980 “Bremen #1”. Signed in pencil and dated 1931 lower right. Titled lower left. Wood engraving on paper, 11” x 9”. Framed 17.5” x 12.25”. 2,000/3,000 Provenance: Private Collection, Massachusetts.

539

539.

JAMES ABBOTT MCNEILL WHISTLER Massachusetts/England/France, 1834-1903 The Thames, 1896. Signed with butterfly monogram in the stone. Lithograph on paper, 10.25” x 7.5”. Framed 18” x 15”. 800/1,200 Provenance: Private Collection, Massachusetts.

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141

540

540.

142

MARC CHAGALL Russia/France/New York, 1887-1985 “Le Jeu des Arlequins”. Signed in pencil lower right “Marc Chagall”. Numbered 9/50. Certificate of Authenticity signed by Trois Agnes LTD and dated 1970 attached verso. Certificate states this was sold to the Prestige Gallery, copy number 9/50, an original lithograph pulled on the presses of Mourlot Freres in Paris, and is catalog number MC 553 in volume 3 of the catalogue raisonné of lithographs. Color lithograph on paper, 22” x 15.5”. Framed 30” x 25.5”. 12,000/15,000 Provenance: Private Collection, Cape Cod, Massachusetts.

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541.

HENRI MATTISE France, 1869-1954 Two serigraphs on paper: 1) “Vegetaux 1952”. Signed in pencil lower left “H. Mattise” and numbered 26/75 lower right. 2) “Nuit de Noel”. Signed in pencil lower left “H. Mattise” and numbered 12/75 lower right. Both 14” x 10”. Framed 23” x 14.5”. 800/1,000

542.

THIRTEEN ART EXHIBIT POSTERS 20th Century Advertise shows for Matisse, Picasso, Lautrec, Miro, Chagall, Calder, Klee, Musee Suisse, Central Galleries, Macon Gallery, de la Ceramique D’dart, Macon Gallery and Central Galleries. All 20” x 16”. Unframed. 800/1,000

541, two

542, sampling

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143

543.

PABLO PICASSO Spain/France, 1881-1973 “La Danse des Faunes”. Black “Picasso” stamp signature lower right margin. From an edition of 100, created for the French newspaper La Patriot published in Cannes, France, 1957. “Arches” watermark and “Made in France” on reverse, lower right and left margin. Lithograph on Arches paper, image size 16” x 20.5”. Paper size 19” x 25.5”. Framed 24” x 33”. 800/1,000

543

544.

PABLO PICASSO Spain/France, 1881-1973 Ballet dancer at the barre. Signed in pencil lower right “Picasso”. Numbered 14/75. From “14 Dessins Originaux graves sur cuivre”, published by Louis Grosclaude, Lausanne, 1940. Created during Picasso’s visit to Monte Carlo to see the Russian Ballet with his wife, dancer Olga Kokhollva. BFK watermark lower right. Copperplate engraving on BFK Rives vellum paper, 10.5” x 7.25” to the plate line. Unframed. 500/700

544

545. JOAN MIRO Spain/France, 1893-1983 “Preparatifs d’Oiseaux III”. Signed in pencil lower right “Miro”. Numbered 10/75. Aquatint on paper, 18.5” x 23”. Framed 20” x 24”. 1,000/1,500

545

144

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546.

JACQUES VILLON France, 1875-1963 “Composition”. Circa 1920. Signed lower right “Jacques Villon”. Numbered 158/200 lower left. Aquatint etching, 19” x 13” to the plate line. Framed 28” x 21”. 400/600

546

547.

ROCKWELL KENT New York, 1882-1971 A stag running through a landscape; the landscape is also an outline of a reclining nude. Signed lower right “Rockwell Kent”. Pen and ink on card stock, 5.5” x 8”. Matted 14” x 16”. 800/1,000

548.

ROCKWELL KENT New York, 1882-1971 Sketch of an Arctic landscape. Signed lower right “Rockwell Kent”. Pen and ink wash on paper, 11.5” x 15.5”. Unframed. 2,000/3,000

549.

ROCKWELL KENT New York, 1882-1971 “Deer in Forest.” Stamped “Rockwell Kent” upper right corner. Titled verso. Illustrated in Adventure Magazine, 1927. Pen and ink on paper, 3” x 3.75”. Framed 11” x 11”. 700/900

547

548

Rockwell Kent spent many years exploring, painting and photographing polar environments, first in Alaska in 1919 and then in Greenland in the 1930s.

549

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145

Louis Comfort Tiffany New York, 1848-1933 Lots 550-551

550

551

550.

Coastal view of a North African town with three minarets. Signed lower right “L.C.T.”. Watercolor, 4.5” x 13.5” sight. Framed 11” x 19.5”. 2,500/3,500

Louis Comfort Tiffany made two trips to North Africa and the Middle East. In 1870-71, when he traveled with the artist Robert Swain Gifford (1840-1905), he derived inspiration for “Snake Charmer at Tangier”, completed in 1872 and exhibited at the 1876 Centennial Exposition in Philadelphia. He returned to Egypt on his honeymoon with Mary

551.

146

View of a North African walled city. Signed lower left “L.C.T.”. Watercolor, 5.75” x 12.5” sight. Framed 12.5” x 18.5”. 2,500/3,500

Woodbridge Goddard (c. 1850-1884) in 1872. These trips inspired his designs for stained glass.

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552.

PAUL STARRETT SAMPLE New Hampshire/California/Vermont, 1896-1974 “Winter Near Brownington” (Vermont). Signed lower right “Paul Sample”. Titled on label verso. Watercolor on paper, 10” x 14” sight. Framed 19” x 23”. 1,200/1,800 Provenance: Private Collection, Massachusetts.

553.

PAUL STARRETT SAMPLE New Hampshire/California/Vermont, 1896-1974 “Lime Hydrater”. Signed lower right “Paul Sample”. Titled on label verso. Watercolor on paper, 11.25” x 18.75” sight. Framed 21.25” x 28.5”. 1,200/1,800 Provenance: Private Collection, Massachusetts.

554.

HENRY MARTIN GASSER New Jersey, 1901-1981 “Street in Paris”. Signed lower left “H. Gasser”. Titled verso in a later hand. Watercolor, 19” x 14.5” sight. Framed 26” x 21”. 800/1,200

555.

FRANZ JOSEF GEORG ILLEM Germany, 1865Figure amongst the apple blossoms. Signed lower right “F.J.G. Illem”. Oil on canvas, 31” x 23”. Framed 39” x 30”. 600/900

554

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552

553

555

147

Ephemera accompanying the lot, showing the basket on display at Sillman and McNair Associates in the enlarged photograph.

Ruth Asawa began creating sinuous woven wire sculptures in the 1940s, while a student at Black Mountain College in North Carolina. The New York Times quotes her, “I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out. It's still transparent.”

556.

RUTH ASAWA California/North Carolina, 1926-2013 Untitled (freestanding basket), late 1940s. Exhibited by Sillman and McNair Associates, New Haven, Connecticut in the fall of 1953. Afterward owned by Sewell Sillman and James McNair. Four photographs and two floor plans documenting the show, along with a 2009 email from McNair with additional images, accompany the lot. Woven enameled copper wire, height 6”. Width 14.5”. 20,000/30,000

Asawa was born in Norwalk, California, the child of Japanese

Sewell Sillman (1924-1992) attended Black Mountain College with Asawa and the two remained friends. When Josef Albers left Black Mountain College, Sillman followed his teacher and mentor to Yale University, earning a B.F.A. in 1951, an M.F.A. in 1953 and remaining on the faculty until 1966. The Ruth Asawa Papers at Green Library, Stanford University also reference the Sillman and McNair Associates show.

designer Clara Porset, who in turn introduced her to Josef

immigrants. During World War II she and her family were interred under Executive Order 9066. She was encouraged to pursue her interest in art throughout her childhood. Following graduation from the internment center’s high school, she attended Milwaukee State Teachers College with the intent of becoming an art teacher. While studying in Mexico before her final year of college, Asawa met Albers, who was teaching at Black Mountain College. Asawa studied under Albers from 1946 to 1949. The wire sculptures that she began creating in the 1940s attained prominence in the 1950s, and her work appeared several times at the Whitney Museum. In the next decades her work became increasingly geometric and abstract. Asawa was also a passionate advocate for art education. She served on the National Endowment for the Arts and was the driving force behind the creation of the San Francisco School of the Arts, later renamed in her honor.

148

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Ruth Asawa California/North Carolina, 1926-2013 Lot 556

556

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149

Charles Green Shaw New York, 1892-1974 Lots 557-560

557.

“Plastic Panes 1952”. Signed lower right “Shaw”. Signed and titled verso. Oil on board, 30” x 36”. Framed 37” x 42”. 4,000/6,000

557

558.

“Root Symbol 1959”. Signed lower right “Shaw”. Signed and titled verso. Oil on canvas, 48” x 32”. Framed 50” x 34”. 4,000/6,000

558

150

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Charles Green Shaw New York, 1892-1974 Lots 557-560

559.

“Paleolithic Flux 1955”. Signed lower right “Shaw”. Signed and titled verso. Mixed media with burlap on board, 30” x 36”. Framed 32” x 38”. 3,000/5,000

559

560.

“Magic Moment 1956”. Signed lower right “Shaw”. Signed and titled verso. Oil on canvas, 36” x 24”. Unframed. 2,500/3,500

560

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151

561

561.

152

PHILIP HOWARD EVERGOOD New York/Connecticut, 1901-1973 A skeleton nursing an ailing man. Signed lower left “Philip Evergood”. Oil on canvas, 25” x 20”. Framed 32” x 26”. 2,000/3,000

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562

562.

LAWRENCE KUPFERMAN Massachusetts, 1909-1982 Untitled abstract. Signed lower right “Kupferman”. Advertisement verso for “Kuperfman A Retrospective” at the Massachusetts College of Art. Watercolor on paper, 39” x 26” sight. Framed 46” x 31”. 700/1,000

563.

LAWRENCE KUPFERMAN Massachusetts, 1909-1982 “Substance of Matter”. Signed lower right “Kupferman”. Titled on label verso for the Institute of Contemporary Art, Boston. Advertisement also on reverse for “Kuperfman A Retrospective” at the Massachusetts College of Art. Watercolor on paper, 39.5” x 25”. Framed 40.75” x 26.25”. 700/1,000

564.

FRANK HARRISON REDELIUS Maryland/New York/France, 1925-2011 “Cockatoo”. Signed lower right “F.H. Redelius”. Oil on canvas, 32” x 22”. Framed 38” x 28”. 400/600

563

564

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153

565

566

565.

154

ORIENTAL RUG: OUSHAK 6’5” x 6’8” Salmon pink field contains stylized gold and olive green branches bearing a variety of stylized green, gold, pink and maroon blossoms. Ivory, gold and green borders. 2,500/3,500

566.

ORIENTAL RUG: QASHQAI /MALAYER 3’8” x 5’11” Ivory and red linked medallions contain elaborate arrays of stylized motifs in red, blue, ivory, bronze and pale yellow. Medallions are surrounded by various stylized elements and elaborate peacocks on a midnight blue field with a pale yellow subfield and red and ivory borders. 3,500/5,500

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567

568

567.

ORIENTAL RUG: MESHED DESIGN 9’8” x 13’0” Light walnut-colored field with a dark blue and pale salmon central medallion and pendants surrounded by delicate scrolling vines and flower blossoms. Guard borders in colors to match field. Dark blue spandrels and main border. Signed in guard border. 900/1,200

568.

ORIENTAL RUG: MAHAL DESIGN 10’0” x 14’0” Rust red field with five columns of traditional stylized blossoms surrounded by leaves and vines, all rendered in navy blue, slate blue, ivory, khaki and moss green. Beige guard borders. Dark blue main border. 700/1,000

569.

ORIENTAL RUG: MAMLUK DESIGN 9’1” x 11’10” Central gabled medallion is orbited by several smaller moss green, periwinkle blue and rust red geometric medallions. Broad panels at each end of the rust red field contain a variety of stylized elements. Blue main border with floral medallions and cartouches. 1,200/1,800

570.

ORIENTAL RUG: QASHQAI 4’0” x 6’10” Overlapping red and blue fields contain three ivory linked geometric medallions. Colorful stylized vines, blossoms and multiple small bird and animal figures throughout. Ivory and dark blue barber pole design at corners of field. 200/300 569

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155

574.

ORIENTAL RUG: OUSHAK DESIGN 6’1” x 8’10” Slate gray field with several white and khaki bold garrus vines that contain and are surrounded by a variety of stylized branches and vines in warm gray, light brown, dark violet and subtle green. Khaki and white borders. 350/550

575.

ORIENTAL RUG: KAZAK 4’0” x 8’7” Dark blue field with five red, blue and ivory Lesghi stars. Red, blue and brown guard borders. Ivory main border with crab motif. 200/300

576.

ORIENTAL RUG: KURD BIDJAR 4’5” x 6’3” Bold pink, dark blue and ivory rose blossoms are encircled by an elaborate light brown scrolling acanthus vine on a blue and green field. Abrashed ivory, blue and green borders. 500/1,000

577.

ORIENTAL RUG: HAMADAN 4’2” x 6’9” Small red and ivory gabled medallion contains stylized motifs and is surrounded by a blue, pink, ivory, green, brown and subtle peach Herati pattern. Red field with quartered spandrels that echo the medallion. Ivory and midnight blue borders. 200/300

578.

ORIENTAL RUG: KAZAK DESIGN 4’5” x 6’7” Four dark red and dark blue geometric medallions with ivory latch hook perimeters contain and are surrounded by neatly arranged stylized blossoms and diamonds rendered in blues, pale green, aqua, ivory and subtle gold. Dark blue interior border. Abrashed gold main border. 350/550

579.

ORIENTAL RUG: PERSIAN DESIGN RUNNER 4’0” x 13’2” Light blue field with a variety of stylized branches surrounding three circular medallions rendered in light ivory, bright red, light blue, dark blue and green. Bisected geometric medallions about perimeter of field. Light green, dark blue and ivory borders. 500/800

580.

ORIENTAL RUG: MAHAL DESIGN 8’0” x 10’0” Rust red field with five columns of stylized blossoms, branches and leaves in olive green, light aqua, beige, tan, black and bright ivory. Khaki guard borders. Black main border features a bold turtle motif. 450/650

571

156

571.

ORIENTAL RUG: SOUMAC SADDLEBAG 1’2” x 2’0” Dark blue field with geometric medallions and stylized branches in red, gold, brown, ivory and subtle peach. Narrow borders with barber pole and geometric motifs. Decorative tufts and tassels about edges. 150/250

572.

ORIENTAL RUG: BORCHELU 3’11” x 11’5” Dark red field with three columns of Herati pattern rendered in vibrant aqua, dark amethyst, dark gold, ivory, orange, subtle pink and gray. Red and bright orange spandrels. Brown and ivory borders. 400/600

573.

ORIENTAL RUG: NORTHWEST PERSIAN 3’9” x 6’6” Brown field with a row of four red, blue, green, yellow and ivory linked diamond-shaped medallions, each with a central cross motif. Field further embellished with bisected medallions about perimeter and random stylized elements and figures throughout. Gold and red borders. 400/800

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581.

ORIENTAL RUG: SPANISH 7’0’ x 11’3” Gold field crossed by rows of bold blue, green and ivory bold stylized elements. Broad gold main border with meandering blue vines with stylized leaves in colors matching field elements. 5,000/7,000

581

582.

ORIENTAL RUG: BIDJAR 8’0” x 12’7” Ivory central medallion and anchor pendants on a red field covered in a Herati design. Abrashed light blue subfield traversed by yellow garrus vine. Red and ivory floral guard borders. Dark blue main border with turtle motif. Ivory exterior border with floral and geometric panels. 5,000/6,000

582

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157

583.

584.

585.

THREE-PIECE JOHN C. MOORE FOR JOHN H. MULFORD COIN SILVER TEA SERVICE New York, Circa 1845 Consists of a teapot, a covered sugar bowl and a creamer, all in squat form with elaborate cast rims, handles and feet. Lids with tulip-form finials. Each piece with two sets of monograms. Teapot height 7”. Approx. 79.9 troy oz. 500/700

586.

TIFFANY & CO. MEDALLION PATTERN STERLING SILVER CENTER BOWL New York, Circa 1869 With die-cast borders and double handles secured by female masks. Monogrammed. Mark for J.C. Moore and Union Square. Height 6.25”. Approx. 20.0 troy oz. 500/700

587.

GORHAM STERLING SILVER COVERED SOUP TUREEN Providence, Rhode Island, 1874 Elaborate die-cast border of putti, hippocampi and foliage. Aesthetic handles, die-cast foot and monogram. Length handle-over-handle 15.25”. Approx. 78.5 troy oz. 700/900

TIFFANY & CO. STERLING SILVER HOT MILK JUG New York, Mid-19th Century In bottle form with matte finish and die-cast registers. Mark for J.C. Moore and 550 Broadway. Not monogrammed. Height 7.75”. Approx. 16.1 troy oz. 300/500

BALL, BLACK & CO. STERLING SILVER SAUCEBOAT New York, Circa 1860 Probably by John Wendt. With two exotic female masks and a bifurcated handle. Length 9.25”. 400/600

587

158

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588.

WOOD & HUGHES AESTHETIC MOVEMENT STERLING SILVER DISH New York, 1870s In oyster shell form with a monogrammed Japanesque handle. Length 6.75”. Approx. 3.1 troy oz. 300/500

589.

WOOD & HUGHES AESTHETIC MOVEMENT STERLING SILVER DISH New York, 1870s In shell form with monogrammed Japanesque placard and three ball feet. Length 6”. Approx. 3.9 troy oz. 300/500

590.

BIGELOW, KENNARD & CO. AESTHETIC MOVEMENT JAPANESQUE STERLING SILVER DISH Boston, 1870s-1880s Square, with cut corners and circular foot. Hammered surface chased with a beetle, fruiting vines and cloud work. Length 7.25”. Approx. 8.0 troy oz. 300/500

591.

S. KIRK & SON 11OZ SILVER ASKOS-FORM CLARET JUG Baltimore, Second Half of the 19th Century Body chased overall with dense flowers and foliage against a matte ground. Leaf-clad handle with cherub join at base and flanked by two goats on either side of rim. Cover attached by a chain. Height 8”. Approx. 42.4 troy oz. 3,500/4,500

591

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159

592

592.

THREE-PIECE S. KIRK & SON CO. STERLING SILVER TEA SERVICE Baltimore, Late 19th/Early 20th Century Consists of a bottle-form teapot, height 9.5”, a squat creamer and a covered sugar bowl, all with allover repoussé decoration of various flowers. Approx. 67.9 troy oz. 1,000/2,000

593.

GORHAM MIDDLE EASTERN-STYLE MIXED METAL EWER Providence, Rhode Island, Early 20th Century Patinated copper ewer with silver mount at rim and stylized die-cast floral register at shoulder. Impressed factory marks and “E40 0”. Height 13”. 400/600

594.

LALIQUE FAUCON CLEAR AND FROSTED GLASS HOOD ORNAMENT France, Circa 1925 A falcon perched on a domed base. Slight amethyst tint. Molded “R. Lalique” and wheel engraved “France”. Height 6”. 1,000/1,500

594

160

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595

595.

SEVEN-PIECE GORHAM MARTELÉ .950 SILVER TEA AND COFFEE SERVICE Providence, Rhode Island, Early 20th Century Hand-chased with a delicate floral design. Set consists of a kettle on stand with burner, a coffeepot, a teapot, a covered sugar bowl, a creamer and a waste bowl, and a handled tray with a similar design of flowering vines. All but tray coded “WMP”. Burner coded “HZE”. Tray coded “PTT”. Not monogrammed. Tray length 31.75”. Approx. 358.8 troy oz. 20,000/30,000 Provenance: Offered as Lot 85 in Sotheby’s January 20, 2006 Americana Auction in New York as property from a Connecticut collection.

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161

596.

FIVE-PIECE PETER L. KRIDER & CO. STERLING SILVER TEA AND COFFEE SERVICE Philadelphia, Circa 1900 Georgian style, with fancy bright-cut register of flowers. Set consists of a coffeepot, height 6.75”, a teapot, a covered sugar bowl, a creamer and a waste bowl. Monogrammed. Engraved date on undersides. Approx. 60.2 troy oz. 600/800

597.

TIFFANY & CO. STERLING SILVER TAZZA New York, 1907-47 Acid-etched with neoclassical design. Spreading foot. Not monogrammed. Height 2”. Diameter 8.75”. Approx. 13.5 troy oz. 300/500

598.

EXTREMELY RARE OVERSIZE SILVER PLATED BOSTON LIGHTHOUSE COCKTAIL SHAKER 1927-1929 Probably the rarest of the International cocktail shakers. Marked on base “Meriden S. P. Co. International S. Co. Patented Jan. 1927. 340”. Replaced top. Height 20.5”. 1,200/1,800 See The Cocktail Shaker by Simon Khachadourian, p. 35.

598

162

599.

GEORGE III STERLING SILVER DISH CROSS London, 1763 John Langford II & John Sebille, maker. Pierced shell-form dish rests and feet. Armorial bird engraved on top of burner. Length 12.5”. Approx. 26.2 troy oz. 700/1,000

600.

GEORGE III STERLING SILVER TANKARD London, 1772 John King, maker. With domed cover, pierced thumbpiece, applied waist and spreading molded foot. Handle with period monogram. Height 8”. Approx. 27.4 troy oz. 1,200/1,800

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600

601

601.

QUEEN ANNE BRITANNIA STANDARD SILVER TANKARD London, 1713 William Pearson, maker. Typical form. Domed cover with serrated lip. S-form handle with scrolled thumbpiece. Tapered cylindrical body with applied waist and molded foot. Period monogram on handle. Height 7.5”. Approx. 27.4 troy oz. 3,500/4,500

602.

VICTORIAN STERLING SILVER COVERED ENTREE DISH WITH FIGURAL FINIAL London, 1839 Maker’s mark “IH”. Finial formed as a male servant holding a chalice. Cover and dish with scrolled rim featuring handchased shells. Heraldic engraving with the motto “Deo, Patria, Rege”. Length 11.5”. Approx. 70.1 troy oz. 1,200/1,800

603.

FIVE PIECES OF BOIN-TABURET LOUIS XV-STYLE .950 SILVER TABLEWARE Paris, France, Circa 1880 Two square bowls, length 7.25”, a charger, diameter 11.5”, and a sauce boat with undertray, all with cast laurel and acanthus leaf rims. Monogrammed. Approx. 86.8 troy oz. 1,800/2,200

604.

FRENCH .950 SILVER COFFEEPOT Late 19th/Early 20th Century Retailed by Theodore B. Starr, New York. In pear form and decorated with acanthus leaves. Monogrammed. Height 9”. Approx. 22.2 troy oz. 300/500

605.

PAIR OF GEORG JENSEN STERLING SILVER 17A COMPOTES AND JAM SPOONS Denmark, 1925-1932 Compotes: 1925-32. Openwork stems with leaves and berries. Small monogram on bowl exteriors. Heights 4”. Spoons: Both probably 1910-25, but with different “GI” marks. Similar berry design on looped terminals. Numbered 21. Different monograms on underside of handles. Length 5.25”. Approx. 13.5 total troy oz. 1,000/1,500

602

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605, pair

163

607

608

164

606.

PAIR OF ATELIER CAMILLE LE TALLEC PORCELAIN FRUIT COOLERS AND COVERS Paris, 1982 Hand-painted tropical birds against a cobalt blue ground with gilt accents. Painter’s initials “ALT”. Heights 10”. 700/1,000

607.

ENGLISH PEARLWARE TEA SERVICE First Quarter of the 19th Century Includes a teapot, height 5.5”, a waste bowl, diameter 6”, a sugar bowl, a creamer, ten cups and twelve saucers, all with polychrome floral and foliate decoration and seafoam green borders. 400/600 Provenance: Descended in the family of William Huntoon Story of Hillsborough, New Hampshire.

608.

EXCEPTIONAL CALLIGRAPHIC DRAWING DEPICTING NAPOLEON Probably French, Second Quarter of the 19th Century Napoleon on horseback surrounded by a foliate wreath. From the painting of Napoleon by Jacques Louis David. Inscribed “Executed with the pen by Charles F. Harriman” at lower center. Napoleon executed in sepia, vivid blues and black, and horse executed in sepia tones. 19” x 16.5” sight. Framed 24.75” x 21.5”. 550/650 Provenance: Robert C. Eldred Co., Inc., Summer Americana Auction, August 2013, Lot #1480.

609.

ENGLISH DRESSER BOX 19th Century In mahogany with fruitwood shell inlay to top. Lift top encloses a fitted interior. Single drawer at front with circular brass knob. Ball feet. Height 8”. Width 14.75”. Depth 7”. 250/350

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611, pair

610.

PAIR OF CARVED WALNUT FIGURAL SHELF SUPPORTS Lengths 15.75”.

Continental, 19th Century 400/700

611.

PAIR OF GILT METAL SHELL-FORM THREE-LIGHT WALL SCONCES First Half of the 20th Century Three arms with applied foliate decoration and attached giltwood candle cups on ball mounts. Heights 24”. Widths across arms 19”. 600/900

612.

SMALL BRASS-BOUND OAK BOX ON STAND 19th Century Height on stand 22.5”. Width 12.5”. Depth 10”. 300/500 Provenance: A Prominent New York Collection.

613.

BRASS-BOUND MAHOGANY WRITING BOX First Half of the 19th Century Complete with original key and writing ledge that attaches to lid. Drawer at one side of box. Fitted interior includes original ink bottles with Sheffield covers. Height 7”. Width 20”. Depth 10.75”. 400/600

614.

CARVED AND TURNED WOODEN PEDESTAL Continental, Late 19th Century Under brown-black paint. Height 7.5”. Diameter 20.25”. 150/250

615.

THREE STACKS OF DECORATIVE FAUX BOOKS 20th Century Spines of leather-bound classic literary works mounted to plywood backboards on metal stands. Intended for use on a bookshelf. Heights from 6.5” to 8”. Length from 5.5” to 27”. 250/350

612

613

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165

616.

TWO-DOOR CABINET SIMULATING A BOOKSHELF Continental, Late 19th Century Case with grain-painted finish simulating figured wood. Paneled cabinet doors faced with book bindings, giving the appearance the doors enclose shelves filled with books. Further adorned with ormolu mounts, brass accents and lion’s-paw feet. Height 35.75”. Width 33.25”. Depth 13.25”. 1,000/1,500

616

617.

WILLIAM DICKINSON WASHINGTON Virginia, 1833-1870 Genre scene with two boys looking for street cleaning jobs. Signed lower left “W.D. Washington”. Oil on canvas laid down on masonite, 13” x 11.5”. Framed. 500/1,000

617

618, pair

618.

166

PAIR OF BROWN LEATHER CLUB CHAIRS 20th Century With oak legs. Back heights 24”. Seat heights 16”. Widths 38”. 1,000/1,500

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620 619

621

622

619.

INLAID DRESSER BOX 19th Century In mahogany with mother-of-pearl and fruitwood inlay in star, heart and other geometric designs. Lift top with mirror affixed to interior. Fitted interior. Height 4”. Width 10.5”. Depth 7.75”. 500/800

620.

INLAID TEA CADDY England, 19th Century In mahogany and tiger maple with oval contrasting wood inlay. Height 5”. Width 5”. Depth 3.75”. 250/350

623.

621.

INLAID TEA CADDY England, 19th Century In mahogany and fruitwood with geometric inlay. Brass ring handles at sides. Fitted interior. Brass ball feet. Height 5”. Width 9.5”. Depth 5”. 250/350

622.

INLAID TEA CADDY England, 19th Century In mahogany with fruitwood and bird’s-eye maple inlay. Interior with two compartments. Height 4.75”. Width 7”. Depth 4”. 300/400

RARE GEORGIAN FOOTSTOOL England, Circa 1750 In walnut with cabriole legs ending in pad feet. Slip seat with needlework floral upholstery. Height 16.5”. Top 17.5” x 17.5”. 1,500/2,000

623

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167

624.

AMERICAN SCHOOL 19th Century A child reading. Unsigned. Oil on canvas laid down on board, 16” x 21.25”. Framed 21.5” x 26.5”. 400/800

625.

ANGLO-INDIAN ROSEWOOD CHEST 19th Century Two half drawers over four graduated full-width drawers, all with brass bail handles. Ribbed melon-form feet. Height 47.5”. Width 49.75”. Depth 22.75”. 1,800/2,200

626.

BRASS-BOUND MAHOGANY LAP DESK ON STAND 19th Century Fitted interior. Height on stand 18”. Width 18”. Depth 10.25”. 250/350

627.

BRASS-BOUND CAMPHORWOOD TRUNK 19th Century Brass bail handles at sides. Height 11.75”. Width 27.5”. Depth 13.75”. 400/500

628.

AFTER SIR JOSHUA REYNOLDS United Kingdom, 19th Century Portrait of Mrs. Peters. Typed note verso “Mrs. Peters - Painted by Rev. Wm. Peters after a portrait of Madame Schindlerin by Sir Joshua Reynolds. (The muff is omitted)”. Oil on canvas, 14.5” x 10.25”. Framed 20” x 15”. 300/500

624

625

628

168

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629

629.

ADOLF STADEMANN Germany, 1824-1895 Figures in a winter landscape. Signed lower right “A. Stademann”. Oil on board, 12” x 18.5”. Framed 20” x 26”. 1,500/2,500

630

630.

631.

FILIPPO LIARDO Italy, 1840-1917 Interior scene with a couple enjoying a drink. Signed in red lower right “F. Liardo”. Oil on canvas, 17” x 12.5”. Unframed. 800/1,200

DUNCAN PHYFE-STYLE THREE-PART DINING TABLE England, 20th Century In mahogany. Three turned pedestals on brass-capped lion’spaw feet fitted with brass casters. Height 29.5”. Length 95.5” plus two 17.5” leaves. Width 48.5”. 1,000/1,500

631

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169

632.

SECRETAIRE ABATTANT 19th Century In select mahogany veneer with white marble top. Case with a full-width drawer over a fall front over three full-width drawers, all flanked by full-length flat columns with ormolu mounts at tops. Upper drawer with wreath and lion-form ormolu mounts and escutcheon. Fall front opens to reveal drawers and an arched full-width cupboard. Block legs. Height 56”. Width 37.5”. Depth 15.75”. 1,500/2,500

633.

CHIPPENDALE PEMBROKE TABLE Late 18th Century In mahogany. Single drawer in apron with circular brass pull. Height 27.5”. Length 29.5”. Width 18.75” plus two 9.5” drop leaves. 200/300

634.

WING CHAIR 19th Century With white upholstery. Walnut stretcher base with spool turnings and capped feet. Back height 45”. Seat height 20”. 300/500

635.

FEDERAL MIRROR American, Early 19th Century Mahogany veneer frame with inlaid oval shell cartouche. Gilt broken arch crest with floral rosettes and central floral urn. Gilt liner and side mounts. Height 47.5”. Width 19.25”. 500/800

632

170

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636

636.

CHIPPENDALE LINEN PRESS New York, Circa 1775 In mahogany. Removable cornice. Upper case with two closed-faced cupboard doors that open to reveal four linen shelves above three garment drawers. Lower case with three graduated full-width drawers and bold claw & ball feet. Height 84”. Width 49.75”. Depth 23.25”. 8,000/10,000

637.

SHERATON FOUR-POST DOUBLE BED Possibly New York, Circa 1805 Painted and gilt floral decoration throughout. Posts with fluting and stop fluting and Marlborough feet. Fitted canopy frame. Post heights 92.5”. Length of rails 74”. Includes bed bolts and side rails. 600/800

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171

638. 638

639.

HEPPLEWHITE DROP-LEAF TABLE New York, Circa 1800 In cherry and birch. Single drawer at one end of apron. Tapered legs. Top and legs with painted floral and fruit decoration. Height 28.25”. Length 32.75”. Width 19.5” plus two 9.25” drop leaves. 500/1,000

CHIPPENDALE SERPENTINE-FRONT CHEST Circa 1780 In mahogany. Molded-edge top over four graduated full-width drawers. Ogee bracket feet. Height 32”. Width 39.75”. Depth 23.25”. 2,500/3,500

639

640

640.

172

CHIPPENDALE CARD TABLE 19th Century In maple. One full-width drawer in apron fitted with brass bail handles. Chamfered legs end in Marlborough feet. Height 29”. Width 34”. Depth 16.75”. 400/700

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641 642

641.

QUEEN ANNE BONNET-TOP HIGHBOY Circa 1770 In maple and walnut. Bonnet top with broken arch molded pediment and central turned finial. Upper case with three side-by-side-drawers, the central with pinwheel carving, over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Skirt with acorn drops. Cabriole legs end in pad feet. Height 85.25”. Width 37.25”. Depth 19.75”. 1,500/2,500

642.

QUEEN ANNE HIGHBOY Pennsylvania, Circa 1760 In walnut. Upper case with four graduated drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Cabriole legs end in pad feet. Retains period hardware. Height 67.25”. Width 38.25”. Depth 20”. 1,800/2,500

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173

643.

JOSEPH ELIOT ENNEKING Massachusetts, 1881-1942 North Shore harbor. Signed and dated lower left “J. Eliot Enneking ‘07”. Oil on canvas, 10” x 14”. Framed 15” x 20”. 2,000/3,000

644.

No Lot.

645.

HUGH BOLTON JONES New York, 1848-1927 A view of Venice. Signed lower left “H.B. Jones Brooklyn”. Oil on canvas, 12” x 36”. Framed 14” x 38”. 600/900

646.

RICHARD SCHMUECKLE Pennsylvania, 20th Century “Bucks County Farm”. Signed lower left “R.A. Schmueckle”. Titled on frame plaque. Oil on canvas board, 12” x 16”. Framed 18” x 22”. 500/1,000

643

645

646

174

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647

648

647.

HENDRIK-DIRK KRUSEMAN VAN ELTEN New York, 1829-1904 “A Picnic in Westchester County”. Signed lower right “Kruseman Van Elten”. Titled on gallery label verso. Oil on canvas, 26.75” x 41.75”. Framed 35” x 50”. 8,000/12,000 Provenance: Kenneth Lux Gallery, New York. Christie’s, Rockefeller Center, New York, May 22, 1991, Lot #49.

648.

EDMUND DARCH LEWIS Pennsylvania, 1835-1910 Sunlight through the clouds over a rocky coast. Signed and dated lower left “Edmund D. Lewis 1874”. Oil on canvas, 24.5” x 42.5”. Framed 39” x 55”. 2,000/3,000

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175

649, pair

649.

AMERICAN SCHOOL Mid-19th Century Pair of portraits. Both signed verso “Wm Prior”. One inscribed on reverse “Portrait of Mr. Wm. Prior”; the other inscribed “1827 Retouch 1848”. Oils on canvas, 22” x 18”. Framed 28” x 23.5”. 500/1,000

650.

HELEN WATSON PHELPS New York/Rhode Island, 1859-1944 Portrait of a young boy wearing a black hat. Signed lower right “H.W. Phelps”. Artist’s label verso dated 1880. Oil on canvas, 18” x 14”. Framed 28” x 23”. 2,000/3,000 Provenance: Private Collection, Cape Cod, Massachusetts.

650

176

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651

651.

J. ALDEN WEIR New York/Connecticut, 1852-1919 “Artist Sketching 2 Children”. Artist and title identified on Brigham Young University label verso. Oil on canvas, 20” x 24”. Framed 28” x 32”. 4,000/6,000

652.

FOLK ART PORTRAIT OF A STANDING BOY 19th Century A young boy wearing a blue top and gray pants holds a bouquet of flowers while standing in a garden by an urn. Inscribed verso “C.B. 1847”. Oil on canvas, 36” x 29”. Framed 42” x 35”. 1,000/1,500 Provenance: Bruce La Conte, Cape Cod, Massachusetts, 1970. Private Collection, Cape Cod, Massachusetts.

652

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177

653.

AMERICAN SCHOOL 19th Century Portrait of a woman in a white gown seated on a red chair. Unsigned. Housed in a period frame. Oil on canvas, 30.5” x 25”. Framed 40” x 35”. 1,500/2,500

654.

ABBOTT FULLER GRAVES Massachusetts/Maine, 1859-1936 Before the King. Signed lower right “Abbott Graves”. Oil on canvas, 13” x 16.25”. Framed 21.25” x 24.25”. 1,500/2,500

655.

WALTER LOFTHOUSE DEAN Massachusetts, 1854-1912 Houses in a snowy landscape. Signed lower left “Walter L. Dean”. Oil on canvas, 14” x 18”. Framed 19” x 23”. 800/1,200

653

654

655

178

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656, pair

656.

ATTRIBUTED TO ALBERT BIERSTADT United States/Germany, 1830-1902 Pair of portraits of young girls. Each signed “AB”. Watercolors on paper, oval 9.25” x 6.5” sight. Framed 21” x 18”. 2,000/3,000

657.

LONG ISLAND SCHOOL Late 19th Century Two views of Shelter Island. Both signed and titled verso, one “Oaks on Shelter Island W.H. 1897” and the other “Shelter Island W.H. 1897”. Oils on board, the largest 9.25” x 12.25”. Framed 12” x 14.5”. 2,000/3,000

657, two

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179

658.

SCHOOL OF SEYMOUR JOSEPH GUY United States, 19th Century A girl in a red hooded cape carrying a woven basket. Unsigned. Oil on canvas, 13” x 10.5”. Framed 16.5” x 14”. 2,000/3,000

658

659.

ATTRIBUTED TO THEODORE ROBINSON New York/Vermont/France, 1852-1896 Normandy farmyard. Unsigned. Oil on canvas, 28” x 22”. Framed 35” x 28”. 3,000/5,000 Provenance: The Estate of Lucy Hariot Booth, who new Robinson through various art leagues including the Cos Cob Art Colony.

659

180

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660.

AMERICAN SCHOOL 19th Century Portrait of three children. At left a young girl in a dress holds flowers in each hand, at center a younger boy sits with a toy dog, and at right an older boy stands with a whip and pull toy. A lush landscape fills the background. Oil on canvas, 40” x 54”. Framed. 5,000/10,000 Provenance: Private Collection, Rochester, New York. Eldred’s Fall Americana Auction, November 2013, Lot #1344. Private Collection, Cape Cod, Massachusetts.

660

661.

JEROME B. THOMPSON New York, 1814-1886 Panoramic scene of a man and his dog by a campfire, with waterfalls and mountains in the background. Signed lower center “Jerome Thompson 66”. Oil on canvas, 40” x 50.5”. Framed 46.75” x 56.25”. 5,000/7,000

661

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181

662

662.

CHARLES LINFORD Pennsylvania/New Jersey, 1846-1897 Forest scene with meandering stream. Signed lower left “C. Linford”. Oil on canvas, 16” x 22”. Framed 29” x 35”. 800/1,200

663.

ATTRIBUTED TO WILLIAM MATTHEW PRIOR Massachusetts/Maine, 1806-1873 European landscape at sunset. Inscribed in block lettering “Painting Garret No 36 Trenton Street E. Boston W.M. Prior”. Oil on canvas, relined, 19” x 25”. Framed 23” x 29”. 1,500/2,500

664.

HUDSON M. KITCHELL New York/New Jersey/Rhode Island, 1862-1944 Autumn landscape, similar to the work of Ralph Blakelock. Signed lower left “H. Kitchell”. Oil on canvas, 9” x 7” sight. Framed 10.75” x 8.5”. 500/800 Hudson M. Kitchell’s career is entwined with that of master tonalist Ralph A. Blakelock. The two met and worked closely together painting at a mass-production factory in the early 1880s, and some years later Kitchell was accused of forging Blakelocks. Despite the highly publicized scandal and multiple investigations, the accusations against Kitchell were never substantiated. While little is known about Kitchell’s early years or his art education, he was moderately successful with his own work prior to the Depression. In addition to his work as a commercial artist, he also was a paper salesman and an embosser. He lived in obscurity the last years of his life and purportedly died a pauper in Providence, Rhode Island in 1944.

663

665.

Source: Tina A. Kasper published on AskArt.com.

AMERICAN SCHOOL Early 20th Century A Cotuit homestead. Unsigned. According to family oral history the house seen here is located in Cotuit, Cape Cod, Massachusetts. Oil on canvas, 24” x 28”. Framed 27” x 31”. 500/1,000

664

182

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665

666.

LEVI WELLS PRENTICE New York/Connecticut, 1851-1935 Still life of peaches. Signed and dated lower right “L.W. Prentice 18...”. Oil on canvas, 12” x 10”. Framed 21” x 19”. 12,000/15,000

667.

FRANK HENRY SHAPLEIGH New Hampshire, 1842-1906 “Old Farm House at Jackson, N.H.”. Signed lower right “F.H. Shapleigh”. Titled verso. Oil on canvas, 10” x 16”. Framed 14” x 20”. 1,000/1,500

666

667

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183

668

668.

184

WILLIAM PRESTON PHELPS New Hampshire, 1848-1923 Cascading mountain stream, likely New Hampshire. Signed lower left “W.P. Phelps”. Oil on canvas, 20” x 12”. Unframed. 800/1,200

670, pair

669

669.

GEORGE MCCONNELL Maine/Ohio, 1852-1929 Maine landscape with birch trees and stream. Signed and dated lower right “Geo. McConnell 1907”. Oil on board, 18.5” x 12.25” sight. Framed 22.25” x 16”. 800/1,000

670.

AMERICAN SCHOOL Early 20th Century Pair of floral still lifes. Unsigned. Oils on canvas, the largest 46” x 17”. Framed 48” x 18.5”. 300/500

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671

672

671.

WILLIAM FORMBY HALSALL Massachusetts, 1841-1919 Coastal scene with breaking waves. Signed lower left “W.F. Halsall”. Oil on board, 11” x 36”. Framed 18” x 44”. 3,000/5,000

672.

CLINTON LOVERIDGE New York/New Hampshire, 1838-1915 Young children fishing by a river’s edge, likely upstate New York. Signed lower right “C. Loveridge”. Oil on canvas, 12” x 20”. Framed 21” x 30”. 5,000/7,000

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185

673.

673

THOMAS BIGELOW CRAIG Pennsylvania, 1849-1924 Cows grazing. Signed lower left “Thos. B. Craig A.N.A.”. Oil on canvas, 24” x 34”. Framed 32.5” x 43”. 1,000/1,500

673A. CHARLES HENRY GIFFORD Massachusetts, 1839-1904 Sailing vessel in choppy seas. Signed and dated lower right “C.H. Gifford ‘96”. Oil on canvas, 9” x 14”. Framed 12” x 17”. 1,000/1,500

673A

674.

675.

CHARLES HENRY TURNER Massachusetts, 1848-1908 A seated gentleman. Signed lower left “C.H. Turner 18...”. Oil on canvas, 24” x 14”. Framed 32” x 22”. 800/1,200

674

WILLIAM HENRY (HARRY) HILLIARD Indiana/New York/Washington, D.C., 1836-1905 Taking a break by the river’s edge. Signed and dated lower left “W.H. Hilliard 1879”. Oil on canvas, 18” x 30”. Framed 24” x 35”. 600/1,200

675

186

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676.

ATTRIBUTED TO CORNELIS LIESTE The Netherlands, 1817-1861 Hikers at sunset. Unsigned. Inscribed on stretcher in a later hand “Cornelis Lieste”. Oil on canvas, 27” x 39”. Framed 40.5” x 51.5”. 3,500/4,500

676

677.

ATTRIBUTED TO GEORGE HENRY HARLOW United Kingdom, 1787-1819 Portrait of Eliza Moresby. Unsigned. The subject is identified in a later hand verso as Lady Moresby, wife of Admiral Sir Fairfax Moresby. Oil on canvas, 29.5” x 24”. Framed 41” x 35”. 2,000/3,000 Provenance: Family records indicate the painting was purchased at Christie’s in London in 1989 as a G.H. Harlow. A Westchester County, New York Estate. Admiral Moresby (1786-1877) had a long and distinguished career spent defending the Crown’s global empire. One of his career highlights was the 1822 Moresby Treaty, which was an anti-slavery agreement between Britain and Sayyid Said, Sultan of Muscat. Port Moresby in Papua New Guinea and Moresby Island in British Columbia were named after him. He married Eliza Louisa, daughter of John Williams of Bakewell, Derbyshire, in 1814. Together they had three sons and two daughters.

677

678.

FREDERICK HENDRIK KAEMMERER Holland/France, 1839-1902 Interior scene of two gentlemen engaged in a duel. Signed lower left “F.H. Kaemmerer”. Oil on canvas, 8” x 11”. Framed 16” x 19”. 2,000/3,000

678

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187

679

679.

AMERICAN SCHOOL 19th Century Primitive riverscape with paddlewheeler and a house on a hill. Unsigned. Oil on canvas, 22” x 27”. Framed 27” x 31”. 1,000/2,000

680.

AMERICAN SCHOOL 19th Century Portrait of Lewis Tucker. Signed “E.M. Baldwin 88” on stretcher. Sitter identified on label verso. Oil on canvas, 24” x 18”. Framed 31” x 26”. 500/800 Provenance: Private Collection, Cape Cod, Massachusetts.

681.

AMERICAN SCHOOL Mid-19th Century Portrait of a young man. Unsigned. Inscribed in pencil verso “Charles Rockwell Youngest Son of ... Rockwell Hadley MA”. Oil on canvas, 30” x 24”. Framed 31” x 37”. 800/1,200

680

188

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681

682.

WILLIAM CUMMENS TALL-CASE CLOCK Roxbury, Massachusetts, Circa 1800 Mahogany case. Bonnet with three ball and steeple finials on plinths with satinwood veneer fronts. Plinths joined by delicate scrolled fretwork. Arched dial door with string inlay flanked by full columns with string inlay. Rectangular molded pendulum door flanked by brass-capped fluted quarter columns with inset lighter wood stop fluting. Banded ebony and lighter wood string inlay on door and base panel. French splayed bracket feet. Roman numeral dial with calendar dial, second sweep and moon phase in lunette. Painted decoration of two globes below moon phase and red, white, blue and gilt shields at each corner. Marked “Warranted for Mr. Seth Peck” and signed “Wm Cummens”. Complete with pendulum, weights and keys. Height 94”. Width 18”. Depth 9.75”. 25,000/35,000

682

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189

683.

SILAS HOADLEY TALL-CASE CLOCK New Hampshire, First Quarter of the 19th Century Cherry case. Bonnet with three brass finials, scrolled fretwork and an arched dial door flanked by simple columns. Bracket feet. Retains original wooden works with second sweep and calendar dials. Painted wooden Roman numeral dial with oval panel at crest depicting a landscape. Face signed “S. Hoadley Plymouth”. Height 91.25”. Width 16”. Depth 10.5”. 800/1,200

683

684.

ELNATHAN TABER FEDERAL TALL-CASE CLOCK Roxbury, Massachusetts, Circa 1800 Mahogany case. Bonnet with three ball-form finials with steeple tops on fluted plinths joined by delicate fretwork. Arched dial door flanked by fluted full columns with brass stop fluting. Rectangular pendulum door flanked by brass-capped fluted quarter columns with brass stop fluting. Pendulum door and base panel in select mahogany with string inlay. Ogee bracket feet. Roman numeral dial with calendar dial, second sweep and moon phase in lunette. Painted decoration of globes below moon phase dial and floral and gilt designs at corners. Marked “Warranted by E. Taber”. Complete with weights, pendulum, door and winding keys. Height 107”. Width 19”. Depth 9.5”. 20,000/30,000 684

190

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685.

AARON WILLARD FEDERAL TALL-CASE CLOCK Boston, Circa 1800 Mahogany case with rich old finish. Bonnet with three brass finials, two in ball and steeple form flanking a central urn with eagle. Finials on fluted plinths joined by nicely scrolled fretwork. Arched dial door with ebony and string inlay flanked by fluted full columns with brass stop fluting. Molded rectangular pendulum door flanked by brass-capped fluted quarter columns with brass stop fluting. Pendulum door and base panel with banded and string inlay. Ogee bracket feet. Roman numeral dial with second sweep and moon phase in lunette. Painted and gilt decoration of globes below lunette and green stars within ovals at corners. Signed “Aaron Willard Boston”. Complete with weights, pendulum, and case and winding keys. Height 92.5”. Width 19”. Depth 9.5”. 25,000/35,000

685

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191

687 686

686.

192

688

ABEL STOWELL BANJO CLOCK 687. EPHRAIM DOWNES Massachusetts, FOR GEORGE MITCHELL First Quarter of the 19th Century SHELF CLOCK Mahogany case with brass eagle Bristol, Connecticut, Circa 1830 finial and side arms. Gilt frames Case with stenciled decoration. around reverse-painted throat and Lower panel with reverse-painted door glass. Throat glass depicts scene of Mt. Vernon. Arabic an eagle with shield. Door glass numeral dial. Retains original depicts a naval battle between pasted label in interior. Height 36”. American and British ships. Painted Width 17”. Depth 5.75”. 300/500 Roman numeral metal dial signed “Abel Stowell Charlestown, Mass.” Height 32.5”. 800/1,200

688.

BANJO CLOCK 19th Century Reverse-painted throat and door glass in a patriotic swag and star design. Roman numeral dial. Height 33.5”. Includes pendulum. 800/1,200

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690

691

689

689.

690.

ELMER STENNES GRANDMOTHER CLOCK Second Half of the 20th Century Figured maple case with fruitwood inlaid veneer. Bonnet with three brass finials, pierced fretwork and fluted columns. Pendulum door flanked by repetitive fluted columns. Ogee bracket base. Iron Roman numeral dial with painted floral decoration. Stamped on interior of door “Made by Elmer O Stennes Weymouth Mass”. Height 60”. Width 13”. Depth 8”. 1,000/1,500

691.

RARE RILEY AND WHITING TALL-CASE CLOCK Winchester, Connecticut, 19th Century Case with wonderful spongepainted decoration. Bonnet with broken arch pediment. Case raised on ball feet. Painted Arabic numeral dial with Masonic symbols in lunette and floral, foliate and paterae decoration throughout. Signed “Whiting Winchester”. Wooden works. Includes weights, pendulum and bell. Height 81”. Width 15”. Depth 10”. 1,500/2,500

E. HOWARD & CO. REGULATOR WALL CLOCK Late 19th Century Oak case. Lower glass panel reversepainted red, black and gold. White painted Roman numeral dial. Signed “E. Howard & Co Boston”. Height 30”. Diameter 13.5”. 1,000/1,500 see photos of all lots and view condition reports at www.eldreds.com

692.

THIRTY-DAY WALL CLOCK Circa 1860 Mahogany case with floral carvings and spool turnings. Roman numeral dial marked “Thirty Day”. Includes pendulum. Height 58”. Width 19”. Depth 7.5”. 500/700

693.

MARTIN & SON MFG. CO. TALL-CASE CLOCK 20th Century Cherry case. Bonnet with broken arch pediment, three turned finials and full-turned columns. Arched glass pendulum door. Base with molded panel and carved bracket feet. Height 91.50”. 400/800

193

694

694.

HEPPLEWHITE TAMBOUR SECRETARY Massachusetts, Circa 1800 In mahogany. Upper case with two tambour doors enclosing a central compartment flanked by drawers and pigeonholes. Central compartment’s hinged door with oval flame satin veneer panel. Lower case with a fold-out writing surface, two graduated full-width drawers and tapered legs. Legs with bellflower inlay at tops and banded lighter wood inlay down the lengths. Drawers and top of writing surface with banded alternating wood inlay. Height 42”. Width 37”. Depth 18.75”. 1,000/2,000

695.

SHERATON TALL CHEST New England, First Quarter of the 19th Century In cherry with bird’s-eye and tiger maple veneer. Two tiers of three side-by-side drawers of varied sizes over three graduated full-width drawers. Turned legs. Height 48”. Width 46.5”. Depth 20.25”. 800/1,200

696.

HEPPLEWHITE CARD TABLE ATTRIBUTED TO NATHAN LOMBARD Blackstone Valley Area of Massachusetts, Circa 1800 In mahogany. Top with ovolo corners. Conforming apron inlaid with central dark wood oval panel surrounded by string inlay and flanked by geometric and column forms. Tapered legs with string inlay. Height 28.5”. Width 35.75”. Depth 17.5”. 800/1,200

696

695

194

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697

698

697.

SHERATON SERPENTINE CARD TABLE Coastal New England, Circa 1800-1815 In mahogany with bird’s-eye maple inlaid panels on conforming apron. Tapered, turned and reeded legs. Height 29”. Width 36”. Depth 17.5”. 800/1,200

698.

CHIPPENDALE SERPENTINE-FRONT BUREAU Massachusetts, Circa 1780 In mahogany. Molded-edge top with cut front corners. Four graduated full-width drawers with pine secondary woods and period hardware. Side panels comprised of a sheet of mahogany approx. .25” thick laid on chestnut secondary woods. Bold claw & ball feet. Height 34.75”. Width 40.75”. Depth 22.25”. 3,000/5,000

699.

SHERATON CHEST OF DRAWERS Massachusetts, Circa 1810 In mahogany, with grain-painted decoration on recessed two-drawer deck top and scrolled backsplash. Four-drawer case fronted by three-quarter reeded columns terminating in reeded tapered legs. Height 52.25”. Width 42.75”. Depth 22.75”. 600/800

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699

195

700

702 701

700.

701.

196

CHIPPENDALE TILT-TOP TEA TABLE Massachusetts, Circa 1780 In mahogany. Circular top set on a reverse-tapered columnar pedestal raised on cabriole legs ending in elongated claw & ball feet. Height 27.25”. Diameter of top 32”. 600/800

CHIPPENDALE CORNER CHAIR Massachusetts, Circa 1780 In mahogany. Back with low crest rail and two pierced vertical splats. Scrolled-out arms with turned supports. Needlework slip seat in a heron and parrot design. Cabriole legs joined with turned cross stretcher. Front leg ends in a claw & ball foot. Back height 31.5”. Seat height 18.5”. 600/800

702.

QUEEN ANNE TILT-TOP CANDLESTAND ATTRIBUTED TO JOSEPH SHORT Newburyport, Massachusetts, Circa 1775 In mahogany. Oval top set on a columnar pedestal raised on cabriole legs ending in delicate ridged snake feet. Height 27.5”. Top 23.25” x 17.25”. 3,000/4,000

703. QUEEN ANNE SIDE CHAIR Coastal New England, Circa 1730-1760 In maple. Back with nicely shaped and carved crest rail, vasiform splat and curved molded stiles. Originally had a rush seat that is now no longer t present. Bold block and turned legs are joined by bulbous and straight stretchers and end in Spanish feet. Back height 41.24”. Seat height 18.25”. 300/500

704.

LEONARDS QUEEN-SIZE BED 20th Century In tiger maple. Turned posts. Shaped headboard panels. Includes rails, bolts and three bed slats. Height 48”. Width between rails 61”. 400/700

705.

WINDSOR BOWBACK ARMCHAIR New England, Late 18th/Early 19th Century With knuckle arms, molded saddle seat and ring-turned splayed legs joined by H-stretcher. Back height 37.25”. Seat height 16.5”. 300/500

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706.

FEDERAL TWO-PART BUTLER’S SECRETARY BOOKCASE Portsmouth, New Hampshire Area, Circa 1790 In mahogany and mahogany veneer. Pediment with three brass ball and steeple finials. Upper case with two glazed paneled doors enclosing three fixed shelves. Lower case with a fall-front secretary drawer over three graduated drawers and flat bracket feet. Secretary drawer fitted with pigeonholes and drawers. Height 85.5”. Width 43.5”. Depth 22.25”. 2,000/3,000

706

707.

SHERATON TWO-PART SECRETARY Circa 1810 In mahogany. Slanted cornice with an oval shell inlay within a central rectangular panel. Upper case with glazed Gothic-arched doors enclosing three interior shelves and tambour doors enclosing drawers, pigeonholes and central compartment with door. Lower case with a fold-out writing surface over a full-width drawer over a smaller drawer flanked by bottle drawers. Tapered reeded legs. Retains period hardware. Finials missing. Height 80.5”. Width 40.5”. Depth 21.5”. 1,200/1,800

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707

197

708

708.

SHERATON SIDEBOARD ATTRIBUTED TO WILLIAM HOOK Salem, Massachusetts, Circa 1805 In mahogany. Ribbed molding along top edge. Case fitted with a fall-front butler’s secretary drawer over a two-door cupboard, flanked by deep drawers over bottle drawers. Butler’s secretary drawer contains interior pigeonholes and drawers. Case fronted by acanthus-carved and reeded three-quarter columns that terminate in tapered reeded legs. Height 41.75”. Width 56.5”. Depth 23.75”. 6,000/8,000

709.

HEPPLEWHITE SIDEBOARD North Shore of Massachusetts, Circa 1790 In select mahogany and mahogany veneer. Serpentine top on a conforming case fitted with three drawers and four cabinet doors. Narrow banded inlay at skirt. Tapered legs with string inlay down the lengths. Retains original brass hardware. Height 42”. Width 68”. Depth 24.5”. 5,000/8,000

709

198

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710.

AUBUSSON-TYPE TAPESTRY 15’9” x 24’9” Palladian field with central circular medallion that contains and is surrounded by flowers and scrolling vines. Lattice subfield with floral spandrels echoing the main field. Egg and dart border. All elements rendered in green, brown, beige, pastel pinks, greens and a subtle lavender. 2,500/3,500

711.

ORIENTAL RUG: KAZAK DESIGN RUNNER 2’6” x 11’1” Bright red field is filled with a variety of geometric medallions and small stylized flower branches rendered in light green, navy blue, dark turquoise, ivory and a soft subtle yellow. Dark blue guard borders. Bright ivory main border. 350/550

Lot 710 Illustrated

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199

712.

ORIENTAL RUG: SERAPI DESIGN 9’10” x 14’0” Gabled medallion contains ivory, navy blue and moss green elements. Ivory field with a faded rust red subfield and light blue spandrels that echo the medallion. Green, gold, pale peach and subtle blue flowering vines throughout. Pale blue, pale yellow and rust red borders. 1,800/2,400

713.

ORIENTAL RUG: KAZAK DESIGN 5’7” x 7’9” Dark red field with three dark blue and ivory geometric medallions and neatly arranged stylized blossoms throughout, rendered in blues, greens, dark red, salmon red, ivory and pale yellow. Light green and bright ivory borders. 600/900

712

714.

ORIENTAL RUG: OUSHAK DESIGN 10’0” x 14’0” Light gray field with two columns of blue-gray stylized vines, blossoms and bouquets. Light gray borders with dark gray blossoms and palmettes. 1,200/1,800

715.

ORIENTAL RUG: CHOBRANG IN SULTANABAD DESIGN 6’7” x 9’8” Ivory field is traversed by a tan-colored orderly meandering vine that links traditional blossoms and Shah Abbas rendered in tan, pale olive green, dark red and pale celadon green. Tan guard borders and dark red main border. 600/900

714

200

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716.

ORIENTAL RUG: SERAPI DESIGN 9’11” x 13’9” Rust red field with a blue and ivory gabled medallion that contains green, gold and rust red elements. Dark ivory subfield and pink and green spandrels. Navy blue border with turtle motif. 800/1,200

717.

ORIENTAL RUG: MALAYER 4’2” x 14’2” Quatrefoil motif rests at the center of an abrashed navy blue field and is flanked by a delicate meandering vine bearing a variety of blossoms, leaves, and Shah Abbas motifs in salmon pink, coral, light blue, light green, ivory, brown and yellow. Red and blue borders. 300/500

716

718.

ORIENTAL RUG: MAHAL DESIGN 8’9” x 11’10” Khaki field is traversed by several rows of traditional stylized blossoms emanating from a meandering vine, all rendered in navy blue, light blue, autumn red, brassy gold, subtle pink and light green. Light blue guard borders. Autumn red main border. 900/1,200

719. ORIENTAL RUG: KAZAK DESIGN RUNNER 2’10” x 13’7” Bright red field with seven geometric medallions and subtle stylized branches and blossoms rendered in ivory, bright green, red, and light and dark blues. Dark blue and light ivory borders. 400/600

718

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201

720

202

720.

ORIENTAL RUG: JALLILI TABRIZ 10’2” x 13’6” Navy blue and tan central medallion rests on a rust red field above a navy blue subfield with tan spandrels, with a variety of flower blossoms and scrolling garrus vines throughout. Tan and rust red floral borders. 1,800/2,400

723.

ORIENTAL RUG: KESHAN 4’5” x 6’8” Ivory and navy blue central medallion with navy blue pendants is surrounded by colorful vines and blossoms on dark red field. Complimentary motifs in navy blue spandrels, light blue guard borders and navy blue main border. 250/350

721.

ORIENTAL RUG: AFSHAR SADDLE BAG 1’10” x 1’11” Red geometric medallion with an ivory latch hook perimeter. Scattered stylized blossoms of red, blue, brown, ivory and orange throughout dark blue field. Red, blue and ivory borders. 150/250

724.

ORIENTAL RUG: AFGHAN BOUKARA 7’1” x 9’1” Dark red field with three columns of traditional dark blue and dark red geometric guls. Borders contain repeated motifs in red, blue and subtle olive green. Flatweave panels at each end in colorful checkerboard motifs. 400/600

722.

ORIENTAL RUG: HAMADAN RUNNER 2’5” x 9’0” A series of six flower vases rendered in brown, pink, blues, subtle green and tan run the length of an abrashed salmon pink field. Subtle blue spandrels. Tan and midnight blue borders. 250/350

725.

ORIENTAL RUG: SERAPI DESIGN RUNNER 2’6” x 15’9” Ivory field contains a series of gabled pendant medallions and clusters of red flowering branches. Medallions rendered in moss green, light blue, dark blue, rust red and ivory. Dark red subfield. Navy blue main border. 350/550

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726.

ORIENTAL RUG: OUSHAK 9’0” x 11’1” Dark pink field with a geometric central medallion and matching medallions at each end. Multiple smaller medallions and stylized flower branches rendered in forest green, olive green, maroon and yellow cover the field. Yellow and green borders. 1,000/2,000

727.

ORIENTAL RUG: KAZAK DESIGN 3’10” x 5’10” A variety of geometric medallions and stylized blossoms in light ivory, red, green and dark blue are arranged neatly on a light blue field. Green guard borders and a bright ivory main border. 250/450 726

728.

ORIENTAL RUG: SAROUK 4’5” x 7’1” Central quatrefoil floral element is surrounded by traditional flowering branches symmetrically arranged and rendered in dark blue, slate blue, dark red and bronze gold on a mulberry field. Dark gold guard borders and navy blue main border. 250/350

729.

ORIENTAL RUG: SERAPI DESIGN 8’10” x 11’6” A central quatrefoil floral element is encircled by a slender vine and is surrounded by bold serrated leaves and palmettes rendered in navy blue, light blue, tan, brown and pale gold on a red field. Pale gold and navy blue borders. 1,200/1,500

729

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203

730.

BELA DETIREFORT Austria/New York/Florida, 1894-1993 Wonderfully active scene of the Brooklyn Bridge, with numerous tugboats and other vessels navigating below the iconic bridge and with the New York skyline in the background. Signed and dated lower left “DeTirefort ‘51”. Oil on canvas board, 16” x 20”. Framed 23” x 27”. 800/1,200 Bela deTirefort specialized in New York scenes, often selling them directly to patrons at Washington Square.

730

731.

JOHN CRIMMINS New York, b. 1963“NYC Stock Exchange”. Signed lower right “John Crimmins”. Titled verso. Oil on board, 16” x 20”. Framed 24” x 28”. 800/1,200 From Long Island, New York, John Crimmins is entirely self-taught but inspired by the techniques and palette of the great American Impressionist painters and the work of Charles Hawthorne. He is especially known for his flag, New York and beach scenes.

731 732

732.

ROGER WILLIAM CURTIS Massachusetts, 1910-2000 Waves crashing against a rocky coast. Signed lower right “Roger Curtis”. Oil on canvas, 16” x 30”. Framed 21.5” x 36”. 500/1,000

733.

JACOB I. GREENLEAF Massachusetts, 1887-1968 “Brookside Farm (Essex, Mass)”. Signed lower right “J. Greenleaf ”. Titled verso. Oil on canvas, 20” x 24”. Framed 26” x 30”. 800/1,200

733

204

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734

734.

PAUL STRISIK Massachusetts, 1918-1998 “Surf at Twin Lights 1961”. Signed lower right “Strisik”. Titled verso. Oil on canvas, 20” x 30”. Framed 27” x 37”. 2,500/3,500

735.

ALICE MARION SUTTON BACON Massachusetts, b. 1907 “The Clock Tower”. Signed lower right “Alice Bacon”. Titled on label verso. Oil on canvas, 24” x 30”. Framed 28” x 35”. 500/700 Provenance: Eldred’s, August 5, 2009, Lot #550.

735

736.

E. RIDGWAY United States, Mid-20th Century A street scene, likely the North Shore. Signed lower right “E. Ridgway”. Oil on board, 16” x 16.5”. Framed 19.5” x 20”. 500/1,000

737.

JACOB I. GREENLEAF Massachusetts, 1887-1968 “The Cove Annisquam, Mass.”. Signed lower right “J. Greenleaf ”. Titled verso. Oil on canvas, 16” x 20”. Framed 21.5” x 25.5”. 800/1,200

736

737

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205

738

739

740

206

738.

ALBERT RUBEN Massachusetts/Louisiana/Mexico, 1918-2011 Fall landscape. Signed lower right “A. Ruben”. Oil on canvas, 16” x 20.25”. Framed 23.5” x 27.5”. 400/600

739.

CHARLES PAUL GRUPPE Massachusetts/New York, 1860-1940 “The Picnicker”. Signed lower left “Chas P. Gruppe”. Oil on canvas board, 10” x 14”. Framed 15.25” x 19.25”. 600/900

741

740.

JOSEF ARENTZ Maine/Maryland/Germany, 1903-1969 Sunlit waves crashing against a rocky shoreline. Signed lower right “Josef M. Arentz”. Oil on canvas, 18” x 24”. Framed 22.5” x 28.5”. 600/800

741.

JAMES KING BONNAR Massachusetts, c. 1884-1961 “Gloucester Boats”. Signed lower right “James King Bonnar”. Titled verso. Oil on canvas board, 20” x 24”. Framed 24.5” x 28.5”. 800/1,200

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742

742.

CHARLES HERBERT WOODBURY Maine/Massachusetts, 1864-1940 “Fishing Village, Perkins Cove” (Ogunquit, Maine). Signed lower right “Charles H. Woodbury”. Inscribed and dated upper left stretcher “Fishing Village 1932”. Titled on gallery and exhibition labels verso. Oil on canvas, 24” x 30”. Framed 33.5” x 39”. 25,000/35,000 Provenance: Vose Galleries, Boston (label verso). Exhibited: The MIT Museum: “Earth, Sea And Sky Charles H. Woodbury -- Artist & Teacher 1864-1940”, March 19 through October 2, 1988. Label indicates the painting was loaned by owner James Killalea.

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207

743.

REYNOLDS BEAL Massachusetts/Rhode Island, 1866-1951 Harbor scene. Signed lower right “Reynolds Beal”. Colored pencil on paper, 4.5” x 6”. Framed 11.5” x 13”. 500/700

743

744.

GUY CARLETON WIGGINS New York/Connecticut/Florida, 1883-1962 “On Dorset Hills”. Signed lower left “Guy C. Wiggins N.A.”. Titled and signed verso. Housed in a Newcomb-Macklin frame. Oil on canvas, 25” x 30”. Framed 31” x 35”. 3,000/5,000

744

745.

CAPE ANN SCHOOL Mid-20th Century A North Shore street scene. Signed illegibly lower right. Oil on canvas, 24” x 30”. Framed 28” x 34”. 300/500

745

208

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746.

MARIA LISZT Massachusetts, 1902-1992 “Rocky Neck, Gloucester, Mass”. Signed lower left “Liszt”. Titled verso. Oil on board, 20” x 24”. Framed 26.5” x 30.5”. 600/800

746

747.

CAPE ANN SCHOOL Mid-20th Century A marsh landscape. Unsigned. Oil on canvas, 25” x 30”. Framed 32” x 37”. 800/1,200

747

748.

JOSEPH RIMINI Massachusetts, 1920-2000 Gloucester Harbor. Signed lower left “Rimini”. Oil on canvas, 20” x 24”. Framed 27” x 31”. 1,000/1,500

748

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209

Emile Albert Gruppe Massachusetts, 1896-1978 Lot 749

749

749.

210

“Early Morning”. Signed lower right “Emile A. Gruppe”. Titled on stretcher. Oil on canvas, 24” x 36”. Framed, 30” x 42”. 4,000/6,000

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750

750.

WILLIAM LESTER STEVENS Massachusetts, 1888-1969 Lighthouse. Signed lower right “W. Lester Stevens, N.A.”. Watercolor on paper, 13.5” x 21” sight. Framed 23” x 30”. 700/900

751.

ANTHONY THIEME Massachusetts/California, 1888-1954 “Enchanting House”. Signed lower left “A. Thieme”. Titled on bill of sale that accompanies the lot. Oil on canvas, 13” x 10”. Framed 21” x 17.5”. 2,500/3,500

751

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211

752

752.

753

753.

C. HJALMAR “CAPPY” AMUNDSEN Maine/New York/Massachusetts, 1911-2001 A North Shore street scene. Signed lower left “F.H. McKay”. McKay and J.J. Enwright were common pseudonyms used by Amundsen. Oil on canvas, 24” x 30”. Framed 30” x 36”. 800/1,200

CAPE ANN SCHOOL Mid-20th Century View of a harbor, likely Gloucester, Massachusetts. Signed illegibly lower left. Oil on canvas, 28” x 34”. Framed 32” x 38”. 500/1,000

754

754.

212

ATTRIBUTED TO MARGARET JORDAN PATTERSON Massachusetts, 1867-1950 Three works on paper: 1) Italian landscape. Inscribed verso. Initialed “J.P.” Mixed media, 10” x 7”. Unframed. 2) Trees along the coastline. Unsigned. Woodcut, 8.5” x 6.75”. Unframed. 3) Yellow roses. Unsigned. Woodcut, 6.25” x 4.5”. Framed 9.5” x 8”. 800/1,000 Provenance: Private Collection, Cape Cod, Massachusetts.

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755.

RUSSELL CHENEY Maine/California/Connecticut/ Maryland, 1881-1945 A New England coastal scene, likely Maine. Signed lower right “Russell Cheney”. Oil on board, 14” x 18”. Framed 18” x 22”. 2,000/3,000

755

756.

RUSSELL CHENEY Maine/California/Connecticut/ Maryland, 1881-1945 A New England church, likely Maine. Signed and dated lower left “Russell Cheney ‘41”. Oil on board, 18” x 24”. Framed 21.5” x 27.5”. 2,500/3,500

756

757.

ATTRIBUTED TO VIRGINIA ARMITAGE MCCALL Pennsylvania, b. 1908 “Live Lobsters”. No signature found. Artist identified and titled on label verso for William Vareika Fine Arts, Newport, Rhode Island. Oil on canvas, 25.5” x 35.5”. Framed 27” x 32”. 800/1,200

757

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213

758

758.

KATHRYN TUCK Massachusetts, 20th Century “A New Season”. Signed lower right “Tuck”. Signed and titled verso. Oil on board, 12” x 16”. Framed 18” x 22”. 800/1,200

759.

GUSTAVE ADOLPH WIEGAND New York/Germany, 1870-1957 Autumn trees. Signed lower left “Gustave Wiegand”. Oil on board, 12” x 9”. Framed 19” x 16”. 1,000/1,500

759 760

760.

SUSAN TERMYN Massachusetts, Contemporary “Medfield 2016”. Signed lower right “S. Termyn”. Oil on board, 20” x 24”. Framed 27” x 31”. 800/1,200

761.

MARGUERITE STUBER PEARSON Massachusetts, 1898-1978 Still life of flowers in a vase. Signed lower left “M.S. Pearson”. Oil on canvas board, 10” x 8”. Framed 15” x 13”. 400/800

761

214

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762

763

762.

CAMILLO ADRIANI Massachusetts, 20th Century “Village Street”. Signed lower left “Camillo Adriani”. Titled on frame plaque. Oil, 28” x 33”. Framed 32” x 37”. 4,000/6,000

763.

FREDERICK JOHN MULHAUPT Massachusetts, 1871-1938 “Guineyboats Gloucester, Mass.” Signed lower left “Mulhaupt”. Oil on board, 8” x 10”. Framed 14” x 16”. 12,000/15,000

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215

764

765

766

216

764.

MABEL GREER Massachusetts, 1880-1972 A woman sketching en plein air. Signed lower right “M.L. Greer”. Oil on board, 19” x 13”. Framed 25” x 19”. 500/700

765.

ALEXIS PAUL ARAPOFF Massachusetts/Russia, 1904-1948 Coastal landscape. Signed lower left “Arapoff”. Oil on canvas, 20” x 30”. Framed 24” x 34”. 1,500/2,500

766.

BERNARD COREY Massachusetts, 1914-2000 “Farm at Jamaica, Vermont”. Inscribed verso “Painted on location Fall 1987 - Bernard Corey A.W.S.”. Oil on masonite, 9” x 14”. Framed 15.25” x 20.25”. 800/1,200

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767.

AMERICAN SCHOOL 20th Century The William Dye House, Little Compton, Rhode Island. Unsigned. Identified on frame plaque. Pastel, 18.5” x 23” sight. Framed 25” x 30”. 300/500

767

768.

GEORGE ALBERT THOMPSON Connecticut, 1868-1938 “Early Moonrise”. Signed lower left “G.A. Thompson”. Inscribed verso “Early Moonrise G.A. Thompson Mystic, Ct.”. Oil on board, 12” x 16”. Framed 13” x 17”. 2,000/3,000

768

769.

JAMES EDWARD FITZGERALD Massachusetts/Maine/California, 1899-1971 “Ogunquit Dunes”. Signed lower right “James Fitzgerald”. Titled in pencil verso. Oil on canvas, 14” x 18”. Framed 19” x 23.5”. 3,000/5,000

769

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217

770.

CHARLES HAROLD DAVIS Connecticut, 1896-1933 Hay wagon and haystack under a setting sun. Signed lower right “C.H. Davis”. Oil on canvas, 12.5” x 17.5”. Framed 23” x 28”. 2,000/3,000

770

771.

HARRY LESLIE HOFFMAN Connecticut, 1874-1966 Winter scene with barn, likely Old Lyme. Signed lower right “Hoffman”. Estate stamped verso. Oil on canvas, 24” x 26”. Framed 32” x 33”. 2,500/3,500

771

772.

WALTER SHERWOOD Rhode Island, 1874-1952 A child on a scooter negotiating a garden path while a farmer tends the crops. Signed and dated lower right “W. Sherwood 1925”. Oil on canvas, 18” x 26”. Framed 23” x 31”. 1,000/1,500 Walter Sherwood was born in England but settled in Rhode Island, working as an itinerant farmhand and painter. His paintings are not often seen on the market.

772

218

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774

773

773.

HEPPLEWHITE CUPBOARD SECRETARY ATTRIBUTED TO JOHN SEYMOUR Boston, Circa 1800 In mahogany and mahogany veneer and with tiger maple sides. Upper case with two paneled cupboard doors enclosing a shelf, four pigeonholes and four drawers. Lower case with a fold-out writing surface, three full-width drawers and tapered legs. Various inlay throughout. Upper case with string inlay and light and dark wood crescent-shaped inlay. Writing surface with banded and string inlay, and central pointed oval satinwood veneer. Drawers with repetitive banded and string inlay. Each front leg with rectangular tiger maple panel at tops. Height 54.75”. Width 39.25”. Depth 19.5”. 3,500/5,000

774.

HEPPLEWHITE CARD TABLE ATTRIBUTED TO JACOB FOSTER Charlestown, Massachusetts, Circa 1800 In mahogany. Top with ovolo corners and alternating wood string inlay along edge. Conforming apron with string inlay and central floral sprig. Tapered legs with string inlay. Height 28.5”. Width 35.25”. Depth 16.75”. 800/1,200

775.

FEDERAL TILT-TOP CANDLESTAND Early 19th Century In mahogany and mahogany veneer with shaped top, turned pedestal and ball feet. Height 30”. Top 27.75” x 17.25”. 300/500

776.

HEPPLEWHITE ONE-DRAWER STAND Circa 1810 In pine under a reddish-brown finish. Shaped top over a single drawer fitted with a brass circular pull. Square tapered legs. Height 28.75”. Top 21” x 16.5”. 150/250

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219

777

778

777.

HEPPLEWHITE BARREL-BACK CHAIR Boston, Circa 1800 With cranberry-colored upholstery and mahogany tapered legs. Back height 43”. Seat height 19”. 1,500/2,000

778.

CHIPPENDALE BLOCK-FRONT SLANT-LID DESK Boston, Circa 1780 In mahogany. Fitted interior with block-front fan-carved drawers flanking pigeonholes and central compartment with fan-carved door. Case with four graduated full-width drawers and bracket feet. Height 42.75”. Width 40.5”. Depth 23.5”. 4,000/6,000

779.

CHIPPENDALE TILT-TOP TEA TABLE Boston, Circa 1770 In mahogany. Circular top set on a columnar pedestal with spiral turnings. Cabriole legs with shell-carved knees end in distinctive claw & ball feet. Height 28.5”. Diameter of top 35.25”. 1,200/1,500

780.

QUEEN ANNE SIDE CHAIR Boston, Mid-18th Century In walnut. Back with yoke crest rail, exaggerated ears and vasiform backsplat. Slip seat with later red velvet upholstery. Bold cabriole front legs end in pad feet. Turned stretcher. Back height 38.5”. Seat height 18”. 500/800

779

220

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781.

QUEEN ANNE BONNET-TOP HIGHBOY ATTRIBUTED TO EBENEZER HARTSHORN Charlestown, Massachusetts, Mid-18th Century In black walnut and black walnut veneer with a fine old crusty finish. Broken arch pediment with nicely molded interior and three turned flaming urn finials. Upper case with three side-by-side drawers of varied sizes over four graduated fullwidth drawers. Lower case with a full-width drawer over three side-by-side drawers of varied sizes. Apron with ball drops. Cabriole legs end in pad feet. All drawers with matching banded and string inlay. Upper and lower central drawers with concave fan-form lighter wood veneer. Height 83.5”. Width 37.5”. Depth 21.75”. 35,000/50,000

781

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221

782.

ORIENTAL RUG: NORTHWEST PERSIAN FLATWEAVE 6’2” x 9’2” Main field is composed of four rectangular panels, each containing a pair of dark red ram figures on an ivory ground. Tan borders contain red and blue serpentine motifs. Striped flatweave panels at each end of field in colors to match borders. 600/900

782

783.

ORIENTAL RUG: SULTANABAD DESIGN 8’3” x 9’8” Blue field with neatly arranged meandering vines and a variety of serrated leaves surrounding a central medallion, all rendered in red, ivory, tan, brown and blue. Khaki and chocolate brown guard borders. Bright red main border. 1,000/1,500

783

784.

ORIENTAL RUG: BIDJAR 8’5” x 10’8” Hexagonal ivory medallion occupies a red field over a dark blue subfield with an uninterrupted Herati pattern of red, dark blue, olive green, ivory and rust red throughout. Green and red guard borders. Ivory main border features a turtle motif. 800/1,200

784

222

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785.

ORIENTAL RUG: SAROUK MAHAL FAMILY 7’3” x 10’1” Several rows of navy blue, blue-green, ivory, light blue and faded gold stylized blossoms and garrus vines form a rectangular medallion on a red field. Red, blue and ivory borders. 800/1,200

785

786.

ORIENTAL RUG: SERAPI DESIGN 8’0 x 10’0” Overlapping navy blue and salmon red gabled medallions occupy an ivory field above a navy blue subfield. Traditional meandering vines, blossoms, and leaves in red, pink, light blue, gold and moss green throughout. Light blue and salmon red borders. 800/1,200

786

787.

ORIENTAL RUG: HERIZ 7’2” x 10’0” Traditional gabled medallion in reds, blues, pink, teal green, bright ivory and pale yellow is surrounded by blooming vines in matching colors. Red field with bright ivory subfield. Light blue and yellow guard borders and abrashed dark blue main border. 600/900

787

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223

788

788.

ORIENTAL RUG: BIDJAR 12’2” x 19’3” Pink and blue geometric central medallion with a bright green meandering vine. Colorful blossoms throughout a rich red field. Herati pattern in blue, pink, tan, green and ivory. Navy blue subfield with red garrus vine. Multiple red and blue borders. 5,000/7,000

789.

ORIENTAL RUG: KARAJA DESIGN RUNNER 2’10” x 9’5” Red field with traditional geometric medallions and a variety of small stylized elements rendered in blues, red, gold, ivory and wine red. Gold and blue guard borders. Bright ivory main border. 300/500

790.

224

ORIENTAL RUG: SARABAND MAT 2’0” x 2’10” Red field with dark blue boteh surrounding a black diamond-shaped central medallion with a pink and green outline. Black and ivory borders. 40/80

791.

ORIENTAL RUG: FRAGMENT 2’1” x 6’1” Four strips of carpet border assembled to create a small runner, consisting of long stripes of green, red and ivory containing colorful stylized elements. Narrow slate gray borders at fringe ends. 200/400

792.

ORIENTAL RUG: SAROUK 2’8” x 6’9” Red field with neatly arrayed clusters of flowering branches in blue, pale green, pale yellow, pink and subtle dark tan and ivory. Dark yellow and midnight blue borders. 300/500

793.

ORIENTAL RUG: SAROUK FAMILY 4’4” x 6’3” Red central geometric medallion contains a quatrefoil floral motif. Midnight blue field contains a Herati pattern in red, blue, green, ivory and subtle shades of gold and peach. Dark red and gold spandrels and borders. 400/600

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794.

ORIENTAL RUG: TABRIZ 9’5” x 12’4” Empty ivory field with subtle red blossoms about perimeter and a faded red geometric medallion that contains a brown Herati pattern. Red subfield also with Herati pattern. Red and brown guard borders feature flowering serpentine vines and turtles. 4,000/6,000

794 795

795.

ORIENTAL RUG: SULTANABAD 11’9” x 16’2” Tomato red field with numerous large blossoms and Shah Abbas motifs joined by meandering vines, all rendered in tan, blue, pink and faded yellow. Traditional motifs throughout numerous borders. 2,000/3,000

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225

796

797

226

796.

ORIENTAL RUG: MALAYER 4’11” x 8’1” Dark red field is covered with staggered rows of colorful blue, red, ivory, gold and green boteh. Multiple borders contain a variety of colorful stylized elements. 500/700

797.

ORIENTAL RUG: BIBIKIBAD 4’3” x 6’6” Ivory field with a single column of Herati pattern in blue, red, pink and tan. Narrow blue guard borders. Broad rust red main border features a turtle motif. 800/1,200

798.

ORIENTAL RUG: KURD BIDJAR FRAGMENT 3’2” x 3’11” Ivory field with three rows of red, blue, green, yellow and brown stylized flower blossoms emanating from a meandering vine. Yellow floral border. 300/500

799.

ORIENTAL RUG: TURKOMAN BAGFACE 2’1” x 3’6” Amethyst field contains quartered geometric guls and small rectangles with star motifs, all rendered in dark blues, bright red, ivory and subtle peach. Amethyst and ivory borders. 150/250

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800

800.

TRANSITIONAL QUEEN ANNE CHEST-ON-CHEST Coastal Carolina, Circa 1770 In black walnut. Upper case with three side-by-side drawers over two half drawers over three graduated fullwidth drawers. Lower case with two half drawers over two graduated full-width drawers and bracket feet. Both cases with chamfered fluted corners. Height 75”. Width 43.5”. Depth 22.5”. 16,000/20,000

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227

801.

FEDERAL OVAL WORK TABLE Probably Charleston, South Carolina, Circa 1790 In mahogany. Top with raised banded veneer and central satinwood paterae. Single drawer with fitted interior. Apron with string inlay. Delicate tapered legs with paterae inlay at tops and brass capped-feet. Legs also support a medial concave shelf. Height 30.25”. Width 28.25”. Depth 21.25”. 3,000/4,000

801

802.

CHIPPENDALE CARD TABLE ATTRIBUTED TO THOMAS ELFE Charleston, South Carolina, Circa 1775 In mahogany. Delicate floral and foliate relief carving along edge of serpentine top. Conforming apron with rope-style molding. Trapezoidal legs with Chinese Chippendale moldings and corner returns. Height 27.5”. Width 36.25”. Depth 17.25”. 7,000/10,000

802

228

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803.

FEDERAL LINEN PRESS ATTRIBUTED TO ROBERT WALKER AND ABRAHAM WATSON Charleston, South Carolina, Circa 1800 In mahogany and mahogany veneer, with select grained veneer used on drawer and door facings. Both side panels cut from the same piece of mahogany. Removable cornice. Upper case with inlaid paneled doors enclosing interior shelves. Lower case with a full-width butler’s secretary drawer over two paneled cupboard doors and bold flat bracket feet. Secretary drawer contains interior drawers and pigeonholes. Base blocking is mortised and tenoned for additional durability, indicative of Robert Walker’s cabinetmaking. Height 95.5”. Width 53.25”. Depth 21.5”. 6,000/8,000

803

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229

804.

HEPPLEWHITE WING CHAIR Baltimore, Circa 1800 With coral floral print upholstery and mahogany block tapered legs. Front legs fitted with brass caps. Back height 46.5”. Seat height 20.5”. 1,500/2,000

804

805.

HEPPLEWHITE SERPENTINE CHEST Norfolk, Virginia Area, Circa 1790 In mahogany. Banded diamond-form inlay to edge of top. Four graduated drawers retain period hardware. Bracket feet. Height 37.75”. Width 47.5”. Depth 21”. 3,000/4,000

805

230

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806.

CHIPPENDALE TALL CHEST Mid-Atlantic States, Circa 1790 In poplar and walnut. Three side-by-side drawers over five graduated full-width drawers; the central top drawer and the five full-width drawers with a later relief-carved shell embellishment. Carved fluted quarter columns at sides of case. French splayed bracket feet. Height 66”. Width 40”. Depth 23”. 1,500/2,500

806

807.

SHERATON TWO-DRAWER STAND Norfolk, Virginia, Circa 1810 In mahogany and mahogany veneer, with select wood banding and banded inlay on top. Simple tapered turned legs. Drawers retain original brass pulls. Height 31.25”. Width 21”. Depth 17.75”. 1,000/1,500

807

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231

808.

BRONZE ASTRAL LAMP BY CORNELIUS & CO. Philadelphia, Mid-19th Century Original frosted and cut glass globular shade with suspended prisms. Trifid base with scrolled leaf and other intricate decoration. Oval label on font marked “Cornelius & Co. Philad. Patent April 1st. 1845.” Height 23.5”. 400/800

809.

AMERICAN BRILLIANT CUT LEADED GLASS TWO-SOCLE TABLE LAMP Circa 1910 Attributed to Pairpoint. Mushroom shade with Hobstar cutting and prism pendants suspended from the silver plated rim. Vasiform base with raised circular foot. Base height 15”. Shade height 7”. Diameter 10”. 1,000/2,000

810.

LIFT-TOP BLACK LEATHER TRUNK 19th Century With brass tack decoration and brass bail handles. Interior lined with 19th Century wallpaper. Height 22”. Width 44”. Depth 22.5”. 700/1,000

811.

FEDERAL POLE SCREEN United States, Fourth Quarter of the 18th Century In mahogany. Ring-turned and leafcarved pole with acorn finial. Three arched, carved and molded legs end in raised shaped feet. Shield-form needlework panel. Height 54”. 600/900

809

808

810

232

811

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812

814.

GRAIN-PAINTED STAND 19th Century In pine with brown and yellow grain-painted finish. Chip-carved top set on a T-form base. Height 22”. Top 21.5” x 12”. 200/400

815.

SHERATON BOWFRONT BUREAU Circa 1810 In mahogany with strong bird’s-eye maple drawer fronts. Recessed deck top with two glove drawers. Case with four full-width drawers and tapered legs. All drawers with brass circular floriform pulls. Both deck top and case are fronted by rope-turned columns. Height 44.5”. Width 40”. Depth 20.5”. 1,000/1,500

812.

CARVED AND GILDED WOODEN SPREAD-WING EAGLE Second Half of the 19th Century Perched upon a carved wooden base with “4” carved into front. Nicely detailed feather carvings, particularly on body, underside of wings and tail. Retains original iron supports for wings and body. Sizable hole drilled through wing support, body and base, possibly so it could be mounted on a pilothouse. Height 33.5”. Wingspan 63.5”. Approx. depth 30”. 5,000/10,000

813.

PAINTED WOODEN BIRDHOUSE Early 20th Century In the form of a red and white schoolhouse with shingled roof. Height 25.5”. Length 22.5”. Width 15”. 400/700

815

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233

816.

ROLLING PIERCED STARS MENNONITE QUILT Circa 1890 Colorful stars on a bright yellow ground. 66” x 68”. 250/350

817.

OVOID STONEWARE JUG 19th Century Unmarked. Cobalt blue decoration on handle. Height 15.5”. 200/300

818.

OVOID STONEWARE HANDLED JUG 19th Century Impressed “Clark & Lundy Troy” over cobalt blue floral decoration. Height 13.5”. 250/350

819.

THREE-GALLON OVOID STONEWARE CROCK United States, 19th Century Loop handles applied to shoulder. Incised “3 Boston” below rim. Incised concentric circles on collar and rim. Top with brown glaze. Height 15.5”. 400/600

820.

TWO WHITES STONEWARE COVERED BEAN POTS Utica, New York, 19th Century Both with cobalt blue decoration. One marked “Boston Baked Beans” and with figural and floral decoration. Other marked “Boston the Home of the Bean - Spirit of 76 Bunker Hill” and with floral decoration. Heights including covers 8.5”. 200/300

821.

WHITES STONEWARE THREE-GALLON COVERED ICE WATER CROCK Utica, New York, 19th Century Marked “Ice Water” and “3” and with cobalt blue floral decoration. Height including cover 16”. 150/200

822.

FOUR PIECES OF WHITES STONEWARE Utica, New York, 19th Century Two pitchers, heights 6” and 7”, a #3 bowl, height 5”, and a covered tobacco jar, height 7”, all with cobalt blue decoration of hunting scenes. 300/500

823.

WHITES STONEWARE THREE-GALLON CROCK Utica, New York, 19th Century Impressed “N.A. White & Son Utica N.Y. 3” above cobalt blue floral decoration. Height 10.25”. 150/250

Lot 816 Illustrated

234

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824

824.

WONDERFUL GROUP OF SEVEN CARVED WOODEN ANIMAL FIGURE NAPKIN RINGS 20th Century Carved by Rev. Henri Blanc of Oteen, North Carolina, in 1941 and 1942. Includes two monkeys, a lion, a kitten, a puppy, a tiger and a leopard. Signed and dated on underside of rings. Heights from 3.5” to 4.5”. 1,500/2,500

825

825.

CARVED WOODEN MODEL OF A STEAM ENGINE LOCOMOTIVE United States, Late 19th/Early 20th Century Painted red and black. Metal wheels. Height 14”. Length 26”. 700/900

826

826.

CARVED AND GILT AMERICAN EAGLE Late 19th Century Height 15.5”. Length 25”. 1,000/1,500 From a Nantucket Collection.

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235

828

828.

WROUGHT IRON FLOOR MAT United States, Late 19th Century With repeating heart design. 24” x 15.5”. 500/700

827 829

827.

236

FIGURAL PAINTED FIREPLACE BOARD England, 19th Century In the form of a well-dressed woman. Height 51”. Width 21.75”. 500/700

829.

NEEDLEWORK AND MIXED MEDIA ON SILK “VUE PRISE DANS LES APENNINS” France, Circa 1800 Needlework woodland landscape with painted mountainous background, reclining nude figure in the foreground and two standing figures at center. Housed in its original reverse-painted glass frame. 11.5” x 14.25” sight. Framed 15.5” x 18.25”. 1,500/2,000 Provenance: G. Sergeant Antiques, Woodbury, Connecticut, 2007. Private Connecticut Collection.

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Roger Norman Medearis California/Missouris, 1920-2001 Lot 830

830

An American Regionalist painter, Roger Medearis’s career was largely shaped by one of the style’s masters, Thomas Hart Benton. Medearis met Benton at age 18, when he enrolled in the Kansas City Art Institute in 1938, and he would study under him for the next three years. Medearis’s career was interrupted by World War II, when he took a job with the Navy as a cartographer. After the war he established a studio in Connecticut but became deeply depressed and abandoned his wife and child as well as his artistic career at age 30. He returned to the Midwest and re-married. By the 1960s his artistic passion was re-kindled. In 1966 a Maryland art dealer, Philip Desind, tracked Medearis down with the help of Benton, who referred to him as “his finest pupil in the late 1930s”. Desind became Medearis’s primary dealer and they had a long and productive partnership until the artist’s death in 2001. Painted in 1970, “Missouri Farm” represents a fine and desirable work from the early

830.

“Missouri Farm”. Signed lower left “Medearis”. Inscribed verso “Missouri Farm 16” x 24” Painted in Egg Tempera (with Acrylic Polymer Emulsion) Painted on Hardboard Panel Which Has Been Coated with Acrylic Gesso. Varnished with ‘Liquitex Soluvar’. Roger Medearis Monterey Park, California 1970”. Egg tempera on board, 16” x 24”. Framed 22.25” x 30.25”. 5,000/10,000 Provenance: Private Collection, Massachusetts.

part of the artist’s rebooted career. Its rolling hills, sculpted fields and earthy palette gives us a fine example of American Regionalism in the tradition of its masters, Thomas Hart Benton and Grant Wood.

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237

831

832

833

831.

832.

238

JOHN KELLY FITZPATRICK Alabama, 1888-1953 Landscape, likely Alabama. Signed lower right “J. Kelly Fitzpatrick”. Oil on canvas, 20” x 24”. Framed 22.5” x 27”. 3,000/4,000 Provenance: A Massachusetts Estate.

ROBERT MCDONALD GRAHAM, JR. Missouri, 1919-2003 “Saturday Night On the Town”. Signed lower left “Graham”. Titled verso. Acrylic on masonite, 9” x 12”. Framed 15” x 18”. 400/600 Provenance: Private Collection, Massachusetts.

834

833.

LOUIS MICHEL EILSHEMIUS New York/California/New Jersey, 1864-1941 “Boatmen”. Signed lower left “Elshemius”. Titled verso. Oil on board, 7” x 6”. Framed 14” x 13”. 800/1,200

834.

AMERICAN SCHOOL 20th Century Crashing waves, approaching surf. Signed “John A. Popelli [?]”. Oil on masonite, 20” x 25.75”. Framed 24.5” x 30.5”. 1,000/1,500

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835

836

837

838

835.

MAURICE BRAUN California/New York/Hungary, 1877-1941 Cattle in a country meadow, likely New York. Signed lower right “M. Braun”. Oil on canvas, 16” x 26”. Framed 27” x 38”. 3,000/4,000

837.

RAY HARE California, b. 1950 “Canyon Light”. Signed and dated lower right “R. Hare ‘96”. Acrylic on board, 36” x 48”. Framed 43” x 54”. 800/1,000

836.

HOWARD RUSSELL BUTLER New Jersey/California, 1856-1934 “California Desert Cactus”. Signed lower left “H.R. Butler”. Titled verso. Oil on board, 14” x 20”. Framed 21” x 28”. 500/1,000

838.

AMERICAN SCHOOL Early 20th Century Garden landscape. Unsigned. Oil on canvas, 12” x 18”. Framed 19.75” x 26”. 800/1,200

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239

839.

ATTRIBUTED TO FRANK CONVERS MATHEWSON Rhode Island, 1862-1941 Still life of gourds. Unsigned. Oil on canvas, 18” x 27”. Framed 26” x 35”. 500/1,000

840.

FREDERICK MORTIMER LAMB Massachusetts, 1861-1936 Still life of a cat and a floral arrangement. Signed lower left “F.H. Lamb”. Oil sketch of “Hylas and the Nymphs” on reverse. Oil on board, 26” x 36”. Framed 30” x 40”. 500/800

841.

WALTER PARSONS SHAW GRIFFIN Connecticut/Maine/France, 1861-1935 Genre scene with a young girl feeding a calf. Signed and dated lower right “W. Griffin ‘89”. Oil on canvas, 18” x 23.5”. Framed 24” x 28.5”. 1,500/2,500

842.

MARY RITER HAMILTON British Columbia, 1873-1954 Portrait of a young woman seated on a porch. Signed lower right “Mary R. Hamilton”. Oil on canvas, 21.5” x 18”. Framed 29” x 25”. 1,200/1,800

839

840

841

240

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842

Lee Lufkin Kaula Massachusetts/New Hampshire, 1865-1957 Lot 843

843

843.

Anne on the veranda. Signed and dated lower right “Lee Lufkin Kaula 1919”. Frame with mark for Richard Tobey, Los Angeles. Oil on canvas, 29” x 29”. Framed 40” x 40”. 8,000/12,000

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241

844.

ALSON SKINNER CLARK California/Illinois, 1876-1949 “Old Mill Falls”. Signed and titled verso “Alson Clark Old Mill Falls”. Oil on board, 21” x 25”. Framed 29” x 33”. 1,500/2,500

845.

ALSON SKINNER CLARK California/Illinois, 1876-1949 Autumnal landscape with a stand of trees. Signed verso “A. Clark”. Oil, 24” x 26”. Framed 27” x 29”. 2,000/3,000

846.

HARRY LESLIE HOFFMAN Connecticut, 1874-1966 Boats in a harbor. Unsigned. Estate stamped verso. Oil on board, 8” x 10”. Framed 11.5” x 13.5”. 500/700

844

845

846

242

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847.

WALTER KING STONE New York, 1875-1949 Looking down upon a mountain valley. Signed lower left “Walter King Stone”. Oil on canvas, 48” x 40”. Framed 55” x 47”. 3,000/5,000

848.

AMERICAN SCHOOL Early to Mid-20th Century Still life of purple lilacs. Unsigned. Oil on canvas, 36” x 28”. Framed 45” x 37”. 400/600

849.

AMERICAN SCHOOL Circa 1916 Figures by a waterfront. Signed and dated lower left “Mary Holy 1916” (signature untraced). Oil on board, 8” x 4.5”. Unframed. 400/600

847

848

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849

243

850.

ARTHUR E. SIMS Rhode Island, Early 20th Century “Little Compton, R.I.”. Signed lower left “A.E. Sims”. Titled in pencil verso. Typed note verso indicates Sims had one-man shows at the Providence Art Club while he was working at Brown University in the 1920s. Oil on board, 8” x 10”. Framed 12” x 14”. 500/1,000

850

851.

AMERICAN SCHOOL Early 20th Century Beach scene. Unsigned. Inscribed in pencil verso “Beach Scene”. Oil on board, 6.25” x 8.5”. Framed 10.5” x 12.5”. 500/1,000

851

852.

AIDEN LASSELL RIPLEY Massachusetts/New York, 1896-1969 Three sketches: 1) Male nude. Unsigned. 2) Female nude. Signed lower right “A.L. Ripley”. 3) Double-sided, with three semi-nude male figures on obverse and a standing female nude on reverse. Obverse unsigned, reverse with estate stamp. Mixed medias on paper, the largest 27” x 20”. Unframed. 500/1,000

852, three

244

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853

853.

ANDREW GEORGE WINTER New York/Maine/Massachusetts, 1893-1958 Captain Upton’s House, Cape Elizabeth, Maine. Signed and dated lower left “A. Winter - 40”. Oil on canvas, 22” x 28”. Framed 28” x 34”. 4,000/6,000 This is strikingly similar to “The Lighthouse at Two Lights” by Edward Hopper, painted more than a decade earlier. Hopper’s painting sold at Sotheby’s in 1987 for $2,310,000.

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245

854

855A

855

854.

ALFRED RICHARD MITCHELL California, 1888-1972 Forest stream. Signed lower left “Alfred R. Mitchell”. Oil on canvas, 15.5” x 20”. Unframed. 2,500/3,500

855.

PAUL RODDA COOK Texas/Kansas/New York/Mexico, 1897-1972 Southwestern landscape. Signed lower left “Paul Rodda Cook”. Oil on board, 13” x 19”. Unframed. 1,000/1,500

855A. ATTRIBUTED TO ERNEST MARTIN HENNINGS Illinois/New Mexico, 1886-1956 Study of a donkey. Shovel and pickax monogram lower left. Signed verso “E.M. Hennings”. Oil on canvas, 16” x 12”. Framed 19” x 15”. 2,000/3,000 855B

855B. AMERICAN SCHOOL Early 20th Century Impressionist winter landscape. Unsigned. Oil on canvas laid down on board, 16” x 12”. Framed 21” x 18”. 800/1,200

246

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856.

REDWARE POTTERY RUM CASK Possibly American, 19th Century Medium brown glaze with “Rum 1814” in mustard yellow lettering. Includes an attached brass spigot and a turned wooden cover. Height 11.5”. 500/700

857.

TWO-GALLON STONEWARE JUG 19th Century Impressed “2” and “A Tucker Spring Hill Portsmouth NH” surrounded by cobalt blue floral decoration. Height 12”. 700/1,000

856 857

858.

SPONGE-PAINTED LIFT-TOP BLANKET CHEST 19th Century In pine with iron hinges. Full-width drawer below blanket compartment with turned wooden pulls. Shaped bracket base. Height 32.5”. Width 43”. Depth 17.75”. 300/500

859.

TASHA TUDOR New Hampshire/Vermont/Massachusetts, 1915-2008 Spring farm scene, with chickens in a barnyard. Signed and dated in pencil lower right “T. Tudor Sussex 1958”. Includes note signed “ERS” indicating Tudor painted it while she was living in England and gave it to Gerhard and Edith Shack as a wedding gift in 1958. Watercolor on paper, 8.25” x 10.25” sight. Framed 15” x 13”. 700/1,200

858

860.

CARVED AND PAINTED PIPE BOX 19th Century In pine under red and gold paint. Central carved star decoration. Includes clay pipe. Box height 9.5”. Width 4”. Depth 2.75”. 250/350

861.

THREE STONEWARE CONTAINERS 19th Century A three-gallon jug marked “E.E. Hall & Co.”, height 13.25”, a one-and-a-half-gallon jug marked “E Norton & Co”, height 10.5”, and a two-gallon jug marked “2” in cobalt blue, height 9”. All with cobalt blue decoration. 200/300

859

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247

862

865.

LIFT-TOP IMMIGRANT’S TRUNK WITH PAINTED DECORATION Early 19th Century In pine with a blue and white sponge-painted finish. Painted panels depict flowers and urns. Iron hinges. Interior ditty box. Ball feet. Height 26”. Width 46”. Depth 25”. 400/600

862.

COPPER BANNERETTE WEATHER VANE Late 19th Century Height 20”. Length 39”. 900/1,200

863.

LARGE APOTHECARY CHEST 19th Century Fitted with 56 drawers. Height 44”. Width 101”. Depth 18”. 866. PAIR OF STAINED GLASS WINDOWS 800/1,200 United States, Early 20th Century Discovered in Maine. With a multicolored rectangle design. Overall 34” x 35.5”. 400/600 SET OF FIVE TIGER MAPLE SIDE CHAIRS 19th Century 867. WOODEN SWIFT WITH PATRIOTIC With cane seats. Back heights 34”. Seat heights 17”. AND OTHER DECORATION 300/500 United States, 19th Century Mount and other components with polychrome decoration of an American flag, eagle with shield, fish, hearts, potted plants, etc. Marked “P.A. Brooks” on one side. Height 24.25”. Cage diameter 22”. 500/700

864.

863

248

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868

868.

COPPER AND ZINC RUNNING HORSE WEATHER VANE United States, Early 20th Century Mounted on a contemporary wooden base. Height 21.5”. Length 42”. 1,000/1,500 Provenance: A Prominent New York Collection.

871.

CARVED WOODEN EAGLE IN THE MANNER OF WILHELM SCHIMMEL Late 19th Century Under an old ebonized finish. Eagle rests upon a turned ball on a ring-turned base. Mounted to a contemporary square wooden base. Overall height 15”. Wingspan 16”. 400/600

869.

LIFT-TOP BLANKET CHEST 19th Century In pine under old, possibly original, green paint. Iron hinges. Shaped bracket base. Height 29”. Width 43”. Depth 20.75”. 1,500/2,000 Purportedly of Cape Cod origin. Purchased from Anne Pflock Antiques in the 1980s.

872.

VERY LARGE “COMMUNITY CENTER” WOODEN SIGN Harwich, Massachusetts, 20th Century In pine with black painted lettering on a white ground. Signed lower right “Bob Cummings W. Har”. Height 24”. Length 132”. 300/500

870.

QUEEN ANNE TAVERN TABLE New England, Circa 1760 In pine and maple. Rectangular top with breadboard ends. Single drawer in apron. Straight turned legs end in diminutive pad feet. Height 27.5”. Top 41.5” x 26.25”. 400/600

873.

ARCHED WINDOW FRAME Under gray paint. 16.75” x 41.75”.

Late 19th Century 200/400

870 869

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249

874.

PAIR OF TOLE TEA CANISTERS Second Half of the 19th Century Both decorated with Scottish castle scenes and gold trim on a green ground. One marked “#14” and one marked “#16”. Retain domed covers. Heights 14.5”. 800/1,200

874, pair

875.

SANDWICH DOUBLE CUT OVERLAY GLASS LAMP Mid-19th Century Font and tapered shaft both in white cut to cranberry. Double stepped marble base with fancy brass mounts. Height 15”. 1,000/1,500

876.

875

SANDWICH GLASS OIL LAMP Mid-19th Century Double cut overlay font in emerald green cut to clear. Pressed clambroth base with gilt presentation. Height 12”. 600/800

876

877, pair

877.

878

878.

250

PAIR OF CAST IRON ANDIRONS IN THE FORM OF AMERICAN NATIVES United States, Early 20th Century Possibly by Taunton Iron Works. Heights 20”. Depths 20”. 800/1,200

EMPIRE TWO-DRAWER DROP-LEAF STAND Circa 1830 In tiger maple and other woods. Drawers with circular wooden knobs. Turned pedestal base raised on shaped scrolled legs. Height 29.75”. Width 14.5” plus two 8” drop leaves. Depth 21.75”. 700/1,000

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879.

UNUSUAL CEDAR AND PINE UTILITY BOX United States, First Half of the 19th Century With hinged cover and two small dovetail drawers at front. Interior fitted with bottle divider. Ivory diamond-shaped escutcheon and inset brass hardware. Height 10”. Width 18”. Depth 11.5”. 400/600

879

880.

PAIR OF RARE CAST IRON FIGURAL ANDIRONS Mid- to Late 19th Century In the form of standing sailor figures. Under old black paint. Heights 17”. Depths 15”. 1,000/1,500 Discovered in a house on Cape Cod, Massachusetts. 880, pair

881.

RARE CARVED AND PAINTED WOODEN WHIRLIGIG 19th Century In the form of Punch, of Punch and Judy, with an orange and gold cap, a green suit, and red and white stockings. Painted brown eyes. Standing on a carved base. Arm paddles and base exhibit traces of mustard yellow paint. Height 21.25”. 500/1,000

881

882.

TURNED WOODEN BOWL 19th Century Slightly burled. Under a dark finish. Height 8”. Diameter from 19.25” to 21”. 800/1,200 882

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251

883

883.

DOUBLE-SIDED HANGING METAL TRADE SIGN “WM. GIBBONS JEWELER” First Half 20th Century Shield-form sign with stencil-cut block lettering. Top edge with applied scrolled corners and central pediment. Height 39”. Width 27”. Depth 7”. 900/1,200

884.

885.

ANTIQUE WOODEN FIRE LADDER Rungs fitted with brass endcaps. Length when opened 167”. Closed 180”. Width 13”. Depth 4”. 300/500

CARVED AND GILDED WOODEN EAGLE Late 19th Century Executed in the manner of a pilothouse eagle. Height 18”. Wingspan 29.5”. 800/1,200

885

252

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884

886

887

886.

CARVED AND GILDED AMERICAN EAGLE WALL PLAQUE BY PAUL WHITE Cape Cod, Massachusetts, Contemporary Impressed “PW” on reverse. Wingspan 48”. 800/1,200

887.

HAND-PAINTED SIGN ADVERTISING THE PADDLEWHEELER “DIXIE QUEEN” United States, Mid 20th Century “Cruise the Mississippi New Orleans to Naches” in red lettering below an image of the Dixie Queen under full steam. Oil on plywood. 33” x 48.5”. 500/1,000

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888.

THREE TURNED BURLWOOD BOWLS Early 19th Century Heights 3” and 3.25”. Diameters 6” and 7.75”. 500/700

253

889.

EARLY NEEDLEWORK LANDSCAPE Possibly American, 18th Century Depicts figures and trees. 6” x 6.5” sight. Framed 9” x 10”. 500/1,000

890.

FRAMED NEEDLEWORK MEMORIAL ON SILK Early 19th Century A woman and a child stand next to a tombstone with “Sacred to the Memory of Mr. Thomas Brown obt. 1804 ...”. Surrounding landscape with finely embroidered willow and other trees and distant house. 17.5” x 21” sight. Framed 23.5” x 26”. 500/800

891.

NEEDLEWORK FAMILY REGISTER Dated 1833 “Family Register of Henry Richardson ... Executed by Betsey Richardson aged 11 years”. Floral and foliate border surrounds a list of seven members of the Richardson family and a verse. Betsey’s birthdate is listed as August 9, 1822. Genealogical research indicates she died at age 29, one day before her 5-year-old daughter. She is interred at Prospect Hill Cemetery in Millis, Massachusetts. The Richardson family was one of the first settlers of the Millis/Medfield area. 16.25” x 16.75” sight. Framed 19” x 19.5”. 300/500

889

890

891

892.

PRIMITIVE STEP-BACK SERVER 19th Century In pine and chestnut. Shaped backsplash and sides support a tier of five small drawers. Case with three side-by-side drawers over two paneled doors enclosing a single interior shelf. Shaped bracket base. Drawers and doors with turned wooden pulls. Height 70.5”. Width 49.75”. Depth 19.75”. 500/800

892

254

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893 895

897, pair 894

896

893.

AUGUSTE EDOUART Louisiana/France, 1789-1861 Portrait of a large family in an interior. A seated man reads a newspaper titled the “Courier”, a woman holds a piece of sheet music, one boy holds a bow, another plays a hoop game, and another woman holds a small child’s hand. Silhouette and pencil, 15.25” x 22” sight. Framed 18.5” x 25.5”. 2,000/3,000 Provenance: The Old Print Shop, New York. A Westchester County, New York Estate.

894.

ATTRIBUTED TO AUGUSTE EDOUART Louisiana/France, 1789-1861 Silhouette of an Edinburgh family, including a mother, father and three children. Applied titles given to each figure. Stamped verso “By Auguste Edouart Silhouettist to the French Royal Family, 1826-1849”. Silhouette on paper, 12” x 17.5” sight. Framed. 1,500/2,500

895.

MINIATURE PORTRAIT OF A YOUNG LADY Circa 1830 Identified verso as Sarah Stevens Read, age 16. Depicted seated on a sofa and holding a book. Additional information about the sitter inscribed in pencil on the reverse. 3.25” x 2.5” sight. Framed 4.75” x 4”. 600/900

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896.

CHARMING SILHOUETTE OF A YOUNG GIRL HOLDING A DOLL Second Quarter of the 19th Century Pencil and black watercolor silhouette with hand-colored doll, sash and other highlights. Housed in its original gilt-lined rosewood frame. 5” x 4” sight. Framed 8” x 7”. 400/600

897.

PAIR OF SILHOUETTES IN THE MANNER OF EDOUART Watercolors on paper, one depicting two ladies mending at a table and the other depicting two gentlemen seated at a table. Housed in period bird’s-eye maple frames with gilt liners. 7.25” x 8.75” sight. Framed 10” x 11.75”. 800/1,200

255

898, pair

898.

PAIR OF ELDRED WHEELER ONE-DRAWER STANDS WITH SHELVES Massachusetts, Late 20th Century In cherry. Drawers fitted with circular brass pulls. Turned legs. Retain Eldred Wheeler label in one drawer. Heights 29”. Widths 20”. Depths 17”. 700/900

899.

WONDERFUL ELDRED WHEELER LIFT-TOP BLANKET CHEST Massachusetts, Late 20th Century In maple, with inlaid compass rose and heart decoration to front. Lid attached with iron strap hinges. Two drawers below blanket compartment fitted with brass pulls. Shaped bracket base. Eldred Wheeler paper label in right drawer. Height 25.5”. Width 38.5”. Depth 19.5”. 2,000/2,500

900.

PAIR OF ELDRED WHEELER QUEEN ANNE-STYLE ONE-DRAWER STANDS Massachusetts, Late 20th Century In maple with strong tiger maple drawer fronts. Padded slipper feet. Retain paper label on inside of drawer. Heights 27.75”. Widths 20”. Depths 17.75”. 700/900

901.

19TH CENTURY-STYLE BLANKET CHEST WITH HAND-PAINTED DECORATION 20th Century Chest with lift top, single drawer below blanket compartment and bracket base. Decoration in the manner of Rufus Porter depicts landscapes on a yellow ground. Height 36.5”. Width 38”. Depth 24”. 500/1,000

902.

BUSSOLINI BROS. CUSTOM-MADE TRESTLE TABLE West Quincy, Massachusetts, Circa 1960 In bird’s-eye maple. Height 29.5”. Length 84”. Width 43”. 1,500/2,500

899

900, pair

256

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903, two

904

903.

TWO SILHOUETTES OF GENTLEMEN IN THE MANNER OF EDOUART 19th Century Both black and gilt watercolors on paper. Both men depicted wearing three-quarter-length coats; one is in a landscape setting. 8.75” x 6.5” and 11” x 7” sight. Framed 11.5” x 9.5” and 13.5” x 9.5”. 400/600

904.

AMERICAN SCHOOL Circa 1830-1840 Portrait of a lady wearing a bonnet seated at a writing table. Unsigned. Housed in its original grain-painted frame. Watercolor, 6.5” x 5.25” sight. Framed 9.75” x 8.5”. 300/500

905

906

905.

ELDRED WHEELER COFFEE TABLE Massachusetts, Late 20th Century In cherry with porringer top, shaped apron and slipper feet. Eldred Wheeler brand and paper label on underside of top. Height 19”. Length 48”. Width 23”. 500/700

906.

ELDRED WHEELER QUEEN ANNE-STYLE TEA TABLE Massachusetts, Late 20th Century In cherry. Eldred Wheeler brand and paper label on underside of porringer top. Height 25.25”. Top 25.5” x 17.5”. 400/600

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257

907

907.

258

908

ELDRED WHEELER MEDIA CABINET Massachusetts, Late 20th Century In strong tiger maple. Upper case with shaped cornice and a three-panel door that encloses a single interior shelf. Lower case with a three-panel door that encloses four interior shelves. Ogee bracket feet. Height 75”. Width 46”. Depth 21.5”. 3,000/4,000

908.

ELDRED WHEELER DUNLAP CHEST ON FRAME 20th Century In tiger maple. Six full-width drawers; both top and bottom drawers simulate three side-by-side drawers with central fan carvings. Frame with repetitive serrated molding, scrolled and fan-carved skirt, and cabriole legs ending in pad feet. Drawers with brass bail handles. Retains original paper label. Height 57.75”. Width 40”. Depth 20”. 5,000/7,000

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909.

ELDRED WHEELER COUNTRY-STYLE HEPPLEWHITE SERVER Massachusetts, Late 20th Century In strong tiger maple. Three drawers with brass bail pulls. Square tapered legs. Eldred Wheeler paper label affixed to underside of the center drawer. Height 36.5”. Width 66.75”. Depth 20.25”. 2,000/2,500

909

910, set of six

910.

SET OF SIX ELDRED WHEELER CHIPPENDALE-STYLE CHAIRS Massachusetts, Late 20th Century In strong tiger maple with gold and blue upholstered slip seats. Eldred Wheeler brand on underside of seats. Back heights 38.5”. Seat heights 17.75”. 1,800/2,200

911

911.

ELDRED WHEELER QUEEN ANNE-STYLE HARVEST TABLE Massachusetts, Late 20th Century With porringer corners. Height 29.5”. Length 72”. Width 26”. 2,000/2,500

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259

Yasemin Kyrena Tomakan Connecticut/Massachusetts/Turkey, b. 1958 Lots 912-914

912.

“Sunrise Marsh”. Signed lower right “Tomakan”. Titled on tag verso. Oil on canvas, 24” x 36”. Framed 26” x 38”. 1,500/2,500

912

913.

“Shore Waves”. Signed lower right “Tomakan”. Titled on tag verso. Oil on canvas, 30” x 30”. Framed 32” x 32”. 1,500/2,500

913

914.

“Salt Marsh, Nantucket”. Signed lower right “Tomakan”. Titled on label verso. Oil on canvas, 11” x 14”. Unframed. 500/700

914

260

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Elizabeth Mumford Cape Cod, Contemporary Lots 915-917

915.

“Happy the Bride the Sun Shines On”. Depicts a bridal party outside a church. Signed and dated lower right “Elizabeth Mumford 1989”. Oil on board, 20” x 30”. Framed 22.5” x 32.5”. 2,500/3,000

915

916.

“Why does a Fireman wear red suspenders?”. Depicts the “Volunteer Fire Co.” in a seaside village parade. Unsigned. Artist identified on label verso for Tree’s Place Gallery, Orleans, Massachusetts. Mumford was represented by Tree’s Place Gallery for many years. Oil on panel, 18” x 30”. Framed 20.5” x 32.5”. 2,000/3,000

916

917.

“All is well with him who is beloved of his Neighbors”. Depicts a croquet party. Signed and dated lower right “Elizabeth Mumford 1989”. Oil on board, 15” x 20”. Framed 17.5” x 22.5”. 1,500/2,500

917

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261

918

919

920

262

918.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 The sidewheel steamship Islander off the coast. Signed lower right “Jerome Howes”. Oil on masonite, 24” x 36”. Framed 32” x 44”. 1,500/2,000

919.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Busy harborside dock scene, Nantucket, Massachusetts, with sailors, mermaids, a whale, hot air balloons and sailing vessels. Signed lower right “Jerome Howes”. Housed in an ornate painted gilt frame. Oil on masonite, 36” x 30”. Framed 36” x 45”. 3,000/5,000

920.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 The Rainbow Fleet, Nantucket, Massachusetts. Signed lower right “Jerome Howes”. Oil on masonite, 7” x 40”. Framed 11.5” x 45”. 1,000/1,500

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921

921.

VERNON SMITH Massachusetts, 1894-1969 School of fish. Signed lower right “Vernon Smith”. Carved and painted wood relief, 19” x 53.5”. 5,000/7,000 Private Collection, Cape Cod, Massachusetts.

920

922.

GERTRUDE M. SACHS United States, 20th Century Mending nets. Signed and dated lower center “Gertrude M. Sachs 1953”. Oil on board, 23” x 17.5”. Framed 26.5” x 21.5”. 400/600

923

Reminiscent of Sol Wilson, Gertrude M. Sachs is associated with the Provincetown Art Colony. She had two paintings in the 1952 Provincetown Art Association Exhibition.

923.

SMIRA SHAOUL Israel, b. 1939 “Fisherman”. Signed lower left. Titled on label verso. Watercolor on paper, 28” x 20”. Framed. 2,000/3,000

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263

924.

CAROL WHORF WESTCOTT Massachusetts, 1926-2008 “Red Sky at Morning”, depicting a Provincetown winter street scene. Signed lower right “Westcott”. Titled on stretcher. Oil on canvas, 18” x 24”. Framed 21” x 27”. 1,500/2,500

924

925.

CAROL WHORF WESTCOTT Massachusetts, 1926-2008 Woman reading in a garden. Signed lower right “Westcott”. Oil on canvas, 22” x 28”. Framed 29” x 36”. 1,500/2,500

925

926. PROVINCETOWN SCHOOL 20th Century “Friends”. No signature found. Label on underside for Provincetown Art Association and Museum Members Juried exhibition, Nancy Whorf, juror, August 16, 1999. Verdigris bronze sculpture, height 8.5”. Length 6”. Marble base, length 10.25”. 500/700

926

927.

PETER HUNT-DECORATED MIRROR 20th Century Wooden dome-top frame surmounted by a snow-covered Christmas tree and decorated with fourteen applied angels. Height 57”. Width 29”. 500/700 927

264

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928

929

930

928.

JOHN WHORF Massachusetts,1903-1959 New England winter scene with a snowy road and a red barn. Signed lower right “John Whorf ”. Watercolor on paper, 13” x 18” sight. Framed 23.5” x 29”. 2,000/3,000

929.

ERWIN LUCAS SCHROERS New Jersey, 1923-2009 “Provincetown, Mass. View from the Old Wooden Pier”. Signed and dated lower right “Erwin Lucas Schroers ‘56”. Watercolor, 19” x 29” sight. Framed 29” x 39.5”. 400/600

931

930.

CHARLES DE CARLO Massachusetts/Connecticut, 1911-2003 “Winter on Cape Cod”. Signed lower right “De Carlo”. Titled verso. Inscription on reverse also provides artist’s address as “Herring River Rd., Wellfleet, Mass”. Watercolor on paper, 6” x 7.75”. Framed 10” x 13”. 250/350

931.

JAMES CARTER Connecticut, b. 1948 “Still Life with Shell #2”. Signed lower right “James Carter ‘85”. Acrylic on board, 16” x 16”. Framed 21” x 21”. 700/900

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265

William R. Davis Massachusetts, b. 1952 Lots 932-936

932

932.

266

“‘Yacht Peerless’ Built 1876 Brooklyn, N.Y. New York Yacht Club Squadron Race August 1892”. Signed lower right “William R. Davis”. Titled verso. Oil on board, 12” x 16”. Framed 17” x 21.5”. 5,000/7,000

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William R. Davis Massachusetts, b. 1952 Lots 932-936

933.

“Rain Shower Off Vineyard Sound Lightship”. Signed lower left “W. Davis”. Titled verso. Oil on board, 6” x 8”. Framed 9.5” x 11.5”. 1,200/1,800

934.

“New York Yacht Club Station No 7 Circa 1889 Vineyard Haven, MV”. Signed lower left “William R. Davis”. Titled verso. Oil on board, 9” x 12”. Framed 15” x 18”. 3,000/5,000

933

935 934

935.

“Cimitero di Montepulciano Si - Entrance Gate Italy”. Signed and dated lower left “W. Davis 2016”. Titled verso. Oil on board, 8” x 10”. Framed 13” x 15”. 1,200/1,800

936.

Cape Cod marsh. Signed lower right “W. Davis”. Oil on board, 8” x 6”. Framed 11.5” x 9.5”. 1,500/2,500 936

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267

937.

JOSEPH MCGURL Massachusetts, b. 1958 World’s End, Hingham, Massachusetts. Signed lower right “Joseph McGurl”. An early example of the artist’s, likely dating to the early 1980s. Oil on board, 11.5” x 14”. Framed 17” x 20”. 2,000/3,000

938.

ROBERT CARDINAL Massachusetts/New York/Canada, b. 1936 “Highland Light”. Signed lower left “Cardinal”. Titled verso. Oil on canvas, 12” x 12”. Framed 17” x 17”. 2,000/3,000

939.

SAM VOKEY Massachusetts, b. 1963 Still life of pears, an apple and a red mug. Signed lower left “Vokey”. Oil on canvas, 10” x 20”. Framed 14” x 24”. 500/700

937

938

939

268

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Anne Packard Massachusetts/New Jersey, b. 1933 Lots 940-943

940

942

943

940.

Sailboat on the horizon. Signed lower left “A. Packard”. Oil on board, 4” x 4.75”. Framed 6” x 7.5”. 800/1,200

941.

Dune landscape, Provincetown, Massachusetts. Signed lower left “A. Packard ‘87”. Oil on canvas, 20” x 20”. Framed 24” x 24”. 4,000/6,000

942.

Sailboat off the shore. Signed lower right “A. Packard”. Oil on board, 5” x 7”. Framed 12” x 13.5”. 1,500/2,000

943.

White house in the hills. Signed lower right “A. Packard”. Oil on board, 5” x 7”. Framed 8” x 9.5”. 1,000/1,500

941

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269

944.

POSSIBLY REGINALD NICKERSON 20th Century Pair of primitive-style portraits. Signed lower right “W. Sloan”. Oils on canvas, 30” x 24”. Framed 33” x 27”. 1,000/1,500 Provenance: Purchased at Nickerson Antiques, Yarmouth Port, Massachusetts.

944, pair

945.

AMERICAN SCHOOL Second Half of the 20th Century “Salt Works Bridge Road, Eastham”. Signed and titled verso “Salt Works Bridge Road, Eastham by Dickerson”. Oil on board, 17.5” x 24.5”. Framed 26” x 33”. 500/700

945

946.

ROSEBEE Massachusetts, 1932-2016 “Village Skaters”. Signed lower right “Rosebee”. Poem “Village Skaters” written by the artist attached to the reverse. Oil on board, 10” x 12”. Framed 15” x 17”. 700/900

946

270

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947.

RALPH EUGENE CAHOON JR. Cape Cod, 1910-1982 A man stands in delight as a mermaid sits on a swing. Signed lower right “R. Cahoon”. Oil on masonite, oval 9” x 12”. Framed 11.5” x 14.5”. 3,000/4,000

947

948.

MARTHA FARHAM CAHOON Cape Cod, 1905-1999 A figure riding a white horse. Signed and dated lower right “Martha Cahoon 1981”. Oil on masonite, 10” x 12”. Framed 11.5” x 13.5”. 700/1,000

948

949.

ATTRIBUTED TO RALPH EUGENE CAHOON, JR. Cape Cod, 1910-1982 Cupboard with painted decoration of Masonic symbols on a blue-green ground. Initialed on drawer “R.E.C.”. Height 28”. Width 29.5”. Depth 15.25”. 400/600

949

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271

951 950

952

272

950.

VERNON BROE Maine/Illinois, 1930-2011 Catboats. Signed lower right “Vern Broe”. Oil on canvas board, 16” x 20”. Framed 22” x 26”. 800/1,200

951.

KARL KNATHS Massachusetts/Wisconsin, 1891-1971 Figures salt haying. Signed lower right “K.K.”. Watercolor on paper, 7.5” x 7.25” sight. Framed 15” x 13”. 800/1,200

952.

ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Boatyard scene, Provincetown, Massachusetts. Signed lower right “Arthur V. Diehl”. Inscribed verso “Painted expressly for Mildred M. Key through Arthur V. Diehl, his studio Provincetown - Mass, Aug. 12th - 1921”. Oil on board, 5” x 9”. Framed 9” x 13”. 1,500/2,500

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Gerrit A. Beneker Massachusetts/New York/Michigan, 1882-1934 Lots 953-954

953

953.

954

The Declarant. 954. The Foreman. Signed and dated lower right “Gerrit A. Beneker 1919”. Dated and signed lower right “19©21 Gerrit A. Beneker”. Oil on canvas, 26.5” x 24.25”. Framed Inscription verso indicates the sitter is Andrew Folta. Oil on canvas, 18.25” x 16.25”. Framed 22” x 20”. 30.75” x 28.5”. 2,500/3,500 2,000/3,000 In a description written by Beneker on this painting he In a 1927 article written by Beneker on this painting, he states “He [Dave] is quite [a] fellow. Time hung heavily on said “There was no particular reason why I should paint a his hands as he sat there, do’in nothin’, while I worked hard portrait of Andy, except that he was a likely looking chap, at paint. ... ‘The Foreman’, he replied, ‘Is only the place and, then, there is always something good in every man where trouble and misunderstandings find expression ...”. which seems to come out in the paint on the canvas. ... He showed up an hour late, but asked my pardon because he had stopped in at the federal building to get his first citizenship papers. So I called him the “Declarant”, because he had declared his intention to become a citizen of these United States of America”.

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273

955

955.

CALEB ARNOLD SLADE Massachusetts, 1882-1961 Ten sketches. Includes views of Maine and Europe. Some part of a sketchbook. Some signed, others not. Mixed medias on paper, the largest 8.5” x 11.5”. All unframed. 800/1,200

956.

HARVEY JOHN DODD Massachusetts, 1933-2011 Three sketches of Provincetown, Massachusetts, one titled “Annette’s Porch”. All signed and dated lower right “H. Dodd 1961”. Mixed medias on paper, the largest 16” x 13.5”. Unframed. 200/300

956

End of Auction 274

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BIDDER INFORMATION

ADVICE TO BIDDERS

SHIPPING INFORMATION

1. Carefully read the Conditions of Sale.

We require prompt payment and removal of your purchases as stated in Paragraph 12 of 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.

If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready.

3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form. 5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. 6. Online bidding is available through Eldred’s Live! at www.eldreds.com, powered by Invaluable.com, with a 25% buyer’s premium. Prospective bidders must register and be approved prior to placing bids or bidding live online. 7. Eldred’s reserves the right to refuse to issue, or to revoke, bidding credentials, or to reject any bid, if deemed necessary and proper in its sole discretion, for the conduct of the auction process, and to insure fairness to consignors and other bidders.

THE PROPERTY LISTED IN THIS CATALOG WILL BE OFFERED AND SOLD SUBJECT TO THE TERMS AND CONDITIONS LISTED IN THIS CATALOG.

We provide shipping services directly from our gallery for select merchandise including small items, small paintings and rugs. We do not ship glass items or items framed under glass. Our staff can assist with determining if your items qualify for in-house shipping. Shipments from our gallery may take four to six weeks from receipt of payment. You will be charged for the shipping or carrier fees, packing and handling fees, and required insurance. There is a minimum handling charge of $15.00 for all shipments. Depending on the carrier, insurance limits may exist (i.e., Federal Express will only insure up to $500). If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent. We require seven to ten business days for your payment to clear our banking system before releasing purchases to your chosen shipping agent. Shipping estimates can be provided only AFTER we receive payment for your invoice.

BIDDING INCREMENTS $0-$49: $5 $50-$199: $10 $200-$499: $25 $500-$999: $50 $1,000-$2,999: $100 $3,000-$4,999: $250 $5,000-$9,999: $500 $10,000-$29,999: $1,000 $30,000-$49,999: $2,000 $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

Please adhere to the above bidding increments. Eldred’s reserves the right to adjust absentee bids to the nearest increment below the bid.

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275

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.

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.

2. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered.

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.

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

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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 it with Eldred’s; b) is an out‑of‑state vendor who meets requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89‑10 and registers with Eldred’s prior to each purchase; or c) has purchases shipped out of state directly from Eldred’s by a bona fide shipping agent. Applications for a Massachusetts number are available through the Massachusetts Department of Corporations and Taxation. Purchases picked up at our Mystic, Connecticut location or shipped to Connecticut are subject to 6.35% Connecticut state sales tax unless a resale certificate is provided. 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. Revised 10/12/16

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

ABSENTEE BID FORM 1.

Please clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow the bidding increments outlined in this catalog. Carefully check your bid form. Although we attempt to confirm the description against the lot number, bids are posted by lot number.

All bids should be received prior to the day of the sale. Submitting your bids in a timely manner avoids the chance of a posting error. In the event of identical bids, the earliest received by Eldred’s will take precedence. All bids are kept in strict confidence.

On the day of the auction, a member of our staff will act as your agent and bid for you, attempting to obtain the lot(s) for you for the lowest possible amount. If you have indicated the highest amount you are willing to pay, you should not be disappointed if you lose an item. Many times you will actually buy it for less than your bid.

Are you a new bidder with Eldred’s?

Yes:

No:

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

A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount of your deposit will be returned promptly to you.

A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. All invoices must be paid in full within seven (7) business days of the close of the auction. All sales subject to sales tax unless the item is shipped outside of Massachusetts or Connecticut by a licensed carrier, or if we have a copy of your valid re-sale certificate on file. All sales are subject to the Conditions of Sale printed in this catalog.

The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.

SALE TITLE: SALE DATE:

NAME: Lot #

Item Description

Maximum Bid

or “phone” for Telephone Bid

ADDRESS: check if change in address

PHONE: ALTERNATE PHONE: EMAIL: Signature (required): By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc.

Date: SHIPPING

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

No:

Ship to address above:

or Ship to:

20% buyer’s premium will be added to the hammer price. See Item 5 above.

Total 10% Deposit

Have you examined the items listed above? Yes

No:

All property must be removed from our facility within 28 days of the close of the auction or be subject to a $5 per item/per day storage fee.

PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 www.eldreds.com info@eldreds.com see photos of all lots and view condition Phone: reports at508-385-3116 www.eldreds.com

Fax: 508-385-7201

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AMERICANA ONLINE

online -only timed auction

4/1/19 - 4/15/19

w w w.el dreds.co m

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

Save the Date

The inaugural Nantucket Auction July 13 at the Boys & Girls Club, Nantucket

“Siasconset Beach - Nantucket” by Francis Seth Shedd Frost Part of the Nantucket Auction

Consignments Invited

Consign early for premier catalog placement and other exclusive marketing opportunities.

Call 508-385-3116 or email info@eldreds.com.

MAY 2-3

Asian Art

MAY 16

Evening Auction

JUNE 13

Fine and Decorative Arts

JULY 13

Nantucket Auction

JULY 25

The Marine Sale

JULY 31, AUGUST 1-2

Americana

AUGUST 7

Contemporary Art

AUGUST 19-24

Asian Art Week

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

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Illustrations Cover - Lot 830 Page 3 - Lot 672 Page 7 - Lot 862 Artist Index - Lot 676 Session I Index - Lot 283 Session II Index - Lot 560 This Page - Lot 757

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