Eldred's Spring Sale 2022 by Eldred's Auction

THE SPRING SALE APRIL 7-8, 2022

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WWW.ELDREDS.COM

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THE SPRING SALE Thursday and Friday, April 7 and 8, 2022 Both sessions starting at 9:30 a.m. Eastern Location:

Headquarters: 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com I MA Lic. #155

Preview:

Wednesday, April 6 from 10 a.m. to 4:30 p.m., the sale days starting at 8:45 a.m., and by appointment

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IMPORTANT NOTICES Bidding Options Online, phone and absentee bidding available. In-person bidding to be determined, pending COVID-19 guidance. To register for absentee and telephone bidding, please visit our website or call 508-385-3116. Online bidding available through www.eldreds.com. Terms A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 25 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000. We accept checks, cash, money orders, wire transfers and major credit cards for payment. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. Bidders holding a Massachusetts or out-of-state resale number must provide the certificate or copy thereof when registering to bid or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Residents of other states may be subject to state and local sales taxes. Condition Reports Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is. All dimensions are approximate.

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S TA F F D I R E C T O R Y ANTIQUES & FINE ART SPECIALISTS

PRODUCTION & ADMINISTRATIVE STAFF

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

Wendy A. Dunford Treasurer wendy@eldreds.com Susan Eastman Client Services seastman@eldreds.com

Mary Ann Giddings Eldred Chairwoman of the Board maeldred@eldreds.com

Devyn Henry Administrative Assistant dhenry@eldreds.com

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

Nora Ingram Administrative Assistant ningram@eldreds.com Katie Lingoes Shipping klingoes@eldreds.com

Christine Berlane Prints and Multiples cberlane@eldreds.com

Angela R. McParland Executive Assistant amcparland@eldreds.com

Duncan H. Gray Head of General Merchandise dgray@eldreds.com

Madison Morris Head of Photography mmorris@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Kathleen Morse Auction Coordinator kmorse@eldreds.com

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

Megan Nichols Shipping Coordinator mnichols@eldreds.com Cristalyn Searles Assistant to the Photographer csearles@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

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

Jennifer Lacker Mystic Representative Mary M. Kuhrtz and Christine Leofanti Gallery Assistants

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

Al Gray Shipping and Inventory Assistant

OFFICES Headquarters I 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com I MA Lic. #155 Connecticut Gallery I 5 Roosevelt Ave., Mystic, Ct. I 860-912-8169 I info@eldreds.com

facebook.com/eldredsauction 4

eldredsauction

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s any collector will tell you, they are but temporary caretakers of the objects they acquire.

Running a successful family business is very similar; you hope you are a competent custodian and can hand it over to the next generation in better shape than you found it. When Bob Eldred, Sr. founded Eldred’s in 1947, he likely was not thinking about what his auction house would look like 75 years later, but we hope we have served his legacy well and it will continue long after our stewardship is complete. Looking back at our long history, it is amazing to see how much the business has transformed since its humble beginnings. In the early years, auctions were a simple affair, advertised “To be held under canvas, rain or shine” and featuring mostly estate merchandise collected from the Cape and southeastern Massachusetts. In the 1960s, Eldred’s handled the McGrath Collection of Asian Art, which launched our transition from an estate auctioneer into a house with discrete and specialized departments. Dedicated Marine Art, Painting, Americana and Sporing Art sales soon followed, and the seeds for the modern-day Eldred’s were sowed. At Eldred’s, we have strived to adapt with the times while staying true to our roots. We were quick to embrace modern technologies including digital photography and Internet bidding, trying to lead the market rather than follow. At the same time, we still believe in printed catalogs, in-person exhibitions and auctions, and personal service. We want to know our customers on a personal level and help foster their lifetime of collecting. After all, it is you, the customer, who has allowed Eldred’s to thrive for these 75 years. We want to express a huge thank you to all the people who have made Eldred’s what it is today. On behalf of the Eldred family and our dedicated staff who share our passion for what we do, we thank you all for a wonderful 75 years! And we look forward to what the next 75 years bring. Josh Eldred, Mary Ann Eldred and Sarah Eldred Taylor

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PROPERTY FROM Private Collection, Cape Cod Private Collection, Connecticut Private Boston-Area Collection A Stonington, Connecticut Estate A New Hampshire Collection of Paintings Private Collection, New York Private Collection, Kentucky Palm Beach, Florida Collection And Numerous Other Estates and Collections

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INDEX Index of Artists Page 5 Index of Artists Page 6-7 Session I

Lots 1-262

Session II

Lots 301-598

Bidder Information Page 186 Conditions of Sale Page 187 Absentee and Phone Bid Form Page 188

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INDEX OF ARTISTS ADAMS, ANSEL

206

DANNER, SARA ETHEL KOLB

ADAMS, WILLIS SEAVER

240

DAVIS, WILLIAM R.

ALDRICH, WILLIAM T.

439

DE BEER, WILLEM STERNBERG

ALVORD, MURIEL

445

DE GRAILLY, VICTOR

372

ARGUIMBAU, PETER LAYNE

560

DEMERS, DONALD W.

559

DEWING, THOMAS WILMER

344 342

529-538 70

ARMSTRONG, JANE BOTSFORD

BANNISTER, EDWIN (manner of)

317

DILLON, JULIA MCENTEE

BARBER, SAM

546

DOUGLAS, AARON

BARNES, GERTRUDE JAMESON (JENKINS)

127

DOW, ARTHUR W. (school of)

448

BEAL, REYNOLDS

438

DUNBAR, HAROLD C. (attr.)

598

DUNBAR, HAROLD C.

597

DUNNING, ROBERT SPEAR

336

BECHER, BERND (BERNHARD) AND HILLA BENEKER, GERRIT ALBERTUS

48 24C4

BENSING, FRANK

246

DYER, HEZEKIAH ANTHONY

485

BENSON, FRANK WESTON

183

EDDY, ALAN J.

545

BERNSTEIN, THERESA FERBER (attr.)

487

EMORY, ELLA

167

BEVIN, ALICE CONKLIN (LEEWITZ)

518

ENSER, JOHN F.

447

BLACK, OLIVE PARKER

397

FISHER, ALVAN

306

FOWLER, ROBERT

BOSA, LOUIS 47

BRACKMAN, ROBERT

484

GERRY, SAMUEL LANCASTER

308

BRETT, HAROLD

595

GERRY, SAMUEL LANCASTER

302

GIFFORD, SANFORD ROBINSON (manner of)

394

BROE, VERNON GEORGE

557, 558

BROWN, GEORGE LORING

395

GREENLEAF, JACOB I.

441

BURTON, ARTHUR GIBBES

440

GREENWOOD, JOSEPH H. (attr.)

257

CAHOON, MARTHA FARHAM

593

GRIGGS, SAMUEL W.

303

GRUPPE, EMILE ALBERT

446

CARDINAL, ROBERT

526-528

CHAMPNEY, BENJAMIN (attr.)

301

GRUPPE, ROBERT CHARLES

460

CHAPIN, BRYANT

339

HARRINGTON, JAMES

548

HARTLEY, KATHERINE ANN

541 217

CIKOVSKY, NICOLAI S.

CODMAN, WILLIAM P.

113

HAUSER, JOHN

COHEN, ARTHUR MORRIS

522

HAUSSMAN, BERND

COLACICCO, SALVATORE

564

HAYS, GEORGE ARTHUR

318

COLMAN, SAMUEL

399

HEINZ, CHARLES LLOYD

515

COOLE, BRIAN

561, 562

HEKKING, JOSEPH ANTONIO

373

COREY, BERNARD

449-451

HERING, HENRY

243

CROMARTIE, JAMES H.

555, 556

HETZEL, GEORGE T.

179

HILL, JOHN WILLIAM

376

HODGDON, SYLVESTER PHELPS

304

CROSS, REBECCA

551

CROWELL, A. ELMER

187, 188

CURTIS, EDWARD S.

205

HOLLANDER, GINO

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INDEX OF ARTISTS HOLTY, CARL

49, 50

PIERCE, CHARLES FRANKLIN

396

HOWES, JEROME

539

PINDELL, PAMELA

542

HUGHES, DAISY MARGUERITE

516

PRICE, JANIS

247

REMINGTON, FREDERIC (after)

204

HUNTER, ROBERT DOUGLAS

552-554

JOLIMEAU, SERGE

RICHARDSON, VOLNEY

486

KAUPELIS, ROBERT

ROBBINS, JR., HORACE WOLCOTT

392

KAWASHIMA, TAKESHI

RODRIGUEZ, ALFREDO

209

KEMBLE, RICHARD (after)

585

ROSELAND, HARRY HERMAN

411

LAMBDIN, GEORGE COCHRAN

401

RYDER, CHAUNCEY FOSTER (attr.)

479

LANDRY, PAUL

443

SAWYER, HELEN ALTON FARNSWORTH 519-521

LEGANGER, NIKOLAY TYSLAND

375

SCHULENBURG, PAUL

540

LITTLEFIELD, WILLIAM HORRACE

517

SCOTT, JOHN WHITE ALLEN (attr.)

305

LORD, HARRIET

592

SEAVEY, GEORGE WASHINGTON

321

MACY, WILLIAM FERDINAND

581

SHAW, ANNIE CORNELIA

177

MARTIN, HOMER DODGE (attr.)

371

SHEEHAN, DENNIS

457, 458

MAYS, MAXWELL

452-454

SNOWE, FRANK

255

MCGURL, JOSEPH

543, 544

SOMERBY, LORENZO

370

SPENCER, LILLY MARTIN

565

MEESER, LILLIAN BURK

513

MEIERHANS, JOSEPH

MELROSE, ANDREW (after)

569

MELROSE, ANDREW W.

487A

MONAHAN, HUGH CECIL CHARLES MORLAND, GEORGE (attr.)

189 479A

MORRELL, WAYNE BEAM

455, 456

STEVENS, WILLIAM LESTER TAKAYAMA, MICHIO

435-437 52

TERELAK, JOHN CHARLES

459

THIEME, ANTHONY

444

THOMPSEN, ROY THOMPSON, ALFRED WORDSWORTH

69 146

MORVILLER, JOSEPH

316

THOR, WALTER (after)

MOSHER, DONALD

461

TOLLIVER, MOSE

MUMFORD, ELIZABETH

547

TRAYNOR, JOHN C.

MUNRO, JANET

252

VAN BRUNT, JAMES RYDER

385, 386

ORDWAY, ALFRED T.

307

VAN DER PLAS, NIEK

579, 580

PACKARD, ANNE

525

WATERS, SUSAN CATHERINE MOORE

389

WEBB, NANCY

512

PALÉOLOGUE, JEAN DE (after) PANSING, FREDERICK (after)

39 572, 573

WEBBER, WESLEY ELBRIDGE

483

258, 574

PARNALL, PETER KOMMER

254

WESTCOTT, CAROL WHORF

524

PATTERSON, MARGARET JORDAN

514

WHITE, HENRY COOKE)

477

WHORF, JOHN

511

PEREIRA, IRENE RICE

PFEIFFER, FRITZ WILHELM

523

WIEGAND, GUSTAVE ADOLPH

478

PHILLIPS, WALTER JOSEPH

442

WILLARD, ARCHIBALD (after)

121

ZUMMO, LORI

578

PICASSO, PABLO

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SESSION I Thursday, April 7, at 9:30 a.m.

Chinese Export Lots 13-20 Weapons & Firearms Lots 71-93 Sporting Art Lots 182-201 Ethnographic Art Lots 202-226 Also European Art, 20th Century Art & Design Americana and More

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1, four

SET OF FOUR "JACOB’S MONKEYS" ENGRAVINGS Early 19th Century By J.H. Jacob (Italy, Circa 1812). Each species identified at bottom with text in Italian. Hand-colored copperplate engravings, 7.75” x 11.25” sight. Nicely framed and matted. 600/900

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FRENCH CASED SET OF LOO COUNTERS 18th Century Walnut case. Interior fitted with four hardwood boxes containing bone scoring pieces. Case height 1.5”. Width 7.75”. Depth 5.5”. 600/900

ENGLISH TEA CADDY 19th Century In burlwood veneer. Top and front with fruitwood oval patera inlay. Fitted interior. Height 4.5”. Width 6.25”. Depth 4”. 500/700

DUTCH SCHOOL 17th/18th Century Floral still life. Oil on canvas, 29” x 24”. Framed 32” x 27”. 1,000/1,500

ENGLISH SARCOPHAGUS-FORM TEA CADDY 19th Century In mahogany with fruitwood string inlay. Fitted interior. Shaped bracket feet. Height 8”. Width 12”. Depth 7”. 300/500

IRISH MARBLE-TOP CONSOLE TABLE Last Half of the 18th Century In mahogany. Green marble top is a later replacement, probably circa 1900. Detailed geometric and shell-carved skirt, and fan and bellflower-carved knees. Claw & ball feet. Height 30”. Width 37.75”. Depth 26.5”. 1,600/2,400

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DR. WALL WORCESTER PORCELAIN BOWL 18th Century Blue and white floral decoration. Height 3”. Diameter 6.25”. 200/300

PAIR OF WHITE MARBLE WINGED CHERUBS Late 19th/Early 20th Century The boy holding Cupid’s bow and arrows and the girl holding an arrow, both standing atop heavily floral- and rockery-carved columnar bases. Separate socle-on-pedestal bases. Total heights 76”. 1,500/2,500

ENGLISH TEA CADDY 19th Century In mahogany. Top and front with fruitwood conch shell inlay. Sawtooth inlay along lower edge. Height 4.75”. Width 5”. Depth 4”. 350/450

8, pair

10.

FIFTEEN ANTIQUE BOXES Most England, 19th Century 1-11) Eleven shell or partially shell. Includes five card cases, one with pressed gothic arch, and three coin purses with mixed metal inlay. Lengths to 4”. 12-14) Three lacquer. 15) One burlwood. Length 3”. 1,000/1,500

11.

ROBERT FOWLER United Kingdom, 1853-1926 “A Grecian Maid”. Signed lower right “Robert Fowler”. Titled on frame plaque. Oil on canvas, 22” x 16”. Framed 27” x 21”. 1,500/2,500 11

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12.

13.

CHINESE EXPORT LACQUER-CASED CHESS SET Third Quarter of the 19th Century Folding case, mostly black and gilt lacquer, with a chess board on exterior and a backgammon board on interior. Complete with highly detailed carved ivory game pieces, each figure on a puzzle ball (a sphere containing a freefloating sphere) raised on a turned foot. Board height when folded height 4”. Length 22.25”. Width 11”. 2,000/3,000

TWO CHINESE LIFT-TOP TRUNKS 19th Century Brass-bound leather-covered camphorwood. Both with painted floral decoration, one with a white ground and the other dark green. Heights 13” and 18.5”. Widths 29.5” and 40.5”. Depths 15.5” and 21”. 400/600

14.

LARGE CHINESE EXPORT ROSE MEDALLION PORCELAIN PUNCH BOWL Last Half of the 19th Century Height 6.25”. Diameter 14.75”. 500/800

15, set

15.

CHINESE EXPORT ARMORIAL PORCELAIN PARTIAL TEA SET Early 19th Century Consists of: 16 assorted saucers and bowls 8 small cups 4 rice bowls 1 creamer 1 sugar 1 coffeepot, height 6” 1 tea caddy 1 plate 2,500/3,500

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16, set

16.

17.

18.

CHINESE EXPORT FAMILLE ROSE PORCELAIN PARTIAL TEA SET WITH MASONIC DECORATION Mid-19th Century Decorated with Masonic symbols and a stag over “A I DH” surrounded by a floral swag and a gilt bamboo border. Consists of: 1 ball-form teapot 1 creamer 1 covered tea caddy 3 handled cups 6 handless cups 8 saucers 1,000/1,500

NEST OF THREE CHINESE EXPORT CANTON PORCELAIN SCALLOP-EDGE BOWLS 19th Century Traditional blue and white decoration. Diameters from 9” to 10.5”. 200/300

CHINESE EXPORT ROSE MEDALLION PORCELAIN BALUSTER VASE 19th Century Raised gilt dragons chasing a pearl at the neck. Alternating floral and bird and figural panels. Height 14”. Mounted as a table lamp. Total height 32”. 600/900

19.

CHINESE EXPORT ARMORIAL PORCELAIN OVAL SERVING DISH Mid-19th Century Features the arms of Pook Van Baggen. Height 3”. Length 12.5”. 400/600

20.

THREE ENGLISH TEA CADDIES 19th Century In walnut veneer with geometric fruitwood and satinwood inlay. Widths from 6” to 7.5”. 400/700

21.

BRASS-BOUND CAMPHORWOOD TRUNK 19th Century Interior with ditty box. Height 15”. Depth 16”.

22.

400/600

ENGLISH LIQUOR CHEST 19th Century In mahogany with satinwood inlay. Top and front with oval shell inlay. Brass handles at sides. Missing bottles. Height 9.5”. Width 12”. Depth 7.5”. 300/400

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23.

EXTRAORDINARY SHELL AND BEADWORK COAT OF ARMS 19th Century Depicts the “Grant Cookson” arms with a rampant lion crest, a profile helmet, three rampant lions on the left of the shield, three couchant lions on the right, and garland supports. Arms surrounded by elaborate red garlands and floriform designs. Intricately composed of assorted multicolored shells and strands of tiny beads, with some painted details, notably the red background on the right half of the shield and the faces on the couchant lions. Framed 26.5” x 67”. 5,000/10,000

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24.

ENGLISH TWO-PART CAMPAIGN CHEST 19th Century In mahogany. Two half drawers over three full-width drawers. Shaped bracket base. Height 45.75”. Width 39”. Depth 28”. 1,200/1,400

25.

RARE CAMPAIGN LIFT-TOP BOX 19th Century Brass-bound mahogany. Unusual fitted and compartmented interior with fan carving. Height 9”. Width 22”. Depth 15”. 400/700

26.

ENGLISH CHIPPENDALE SLANT-LID SECRETARY Mid- to Late 19th Century In mahogany, with a broken arch pediment, two glass doors and straight bracket feet. Nicely fitted interior. Height 93.75”. Width 46.25” at cornice. Depth 21.5”. 700/1,000 26

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27.

ENGLISH TEA CADDY 19th Century In burled walnut veneer with fruitwood string inlay. Compartmented interior. Ball feet. Width 12”. Depth 7”. 500/1,000

28.

SIXTEEN ENGLISH POTTERY CHILD’S MUGS 19th Century All canary yellow. Heights from 2” to 2.75”. 500/1,000

29.

TWENTY-NINE ENGLISH POTTERY CHILD’S MUGS 19th Century All with alphabet-themed transfers. Heights from 2.5” to 3”. 500/1,000

30.

TWENTY-NINE ENGLISH POTTERY CHILD’S MUGS 19th Century All with “Franklin’s Maxims” transfers. Heights from 2” to 3”. 400/700

31.

ENGLISH TEA CADDY Early 19th Century In mahogany veneer. Interior of lid with gilt brass sunburst rosette. Fitted interior; retains glass blending bowl. Brass floral and ring handles at sides. Brass ball feet. Height 7”. Width 13”. Depth 6.5”. 400/600

32.

ENGLISH LIFT-TOP TEA CADDY 19th Century In mahogany veneer. Top and front with fruitwood shell inlay. Fitted interior. Height 5”. Width 7.25”. Depth 4.5”. 500/700

33.

THREE ENGLISH TEA CADDIES 19th Century 1) Octagonal, in mahogany and satinwood veneer. Height 4.5”. 2) Rectangular, in mahogany. Brass flower basket ring pull on lid. Fitted interior. Width 11”. 3) Square, in rosewood with satinwood floral inlay. Height 5.25”. 500/800

34.

FOURTEEN PIECES OF LEEDS SOFT PASTE PORCELAIN Early 19th Century In green and white. Includes four plates, diameters 10”, a shallow bowl, diameter 10”, two platters, lengths 15.25” and 17”, two covered serving dishes, lengths 8.75” and 10.5”, four non-matching plates and a shallow bowl. 500/800

35.

SIX PIECES OF LEEDS SOFT PASTE PORCELAIN Early 19th Century In green and white. Includes three gravy boats, a pots de cream, a small covered jar and a non-matching pitcher. Lengths from 7” to 8”. 300/400

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36.

EMPIRE CENTER TABLE Second Quarter of the 19th Century In walnut, the top with floral inlay. Carved skirt and pedestal. Three paw feet. Height 29”. Diameter of top 30”. 500/700

37.

FINE AESTHETIC MOVEMENT CREDENZA New York, Circa 1875 In the manner of Pottier & Stymus and Kimbel and Cabus. Large cabinet surmounted by an elaborate backsplash and a smaller stepped case. Ebonized and gilded moldings and edges and gilded intaglios throughout. Cabinet’s single door features a pressed metal figural medallion. Stout and elaborately turned half columns at sides. Height 57”. Width 49.25”. Depth 19.25”. 5,000/7,000

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38.

AFTER WALTER THOR German, 1870-1929 “Peugeot Valentigney - Doubs”. For the Peugeot bicycle company, circa 1905, published by G. Elleaume, Paris. Depicts a woman riding a bicycle in the park with dogs chasing alongside. Inscribed on the screen “Thor” lower right and “Representant M. Eicher Quingaillerie Longwy-Bas” along the lower edge. Silkscreen on paper, sheet size 58.5” x 41”. Framed 59.5” x 42”. 500/800

40.

39.

AFTER JEAN DE PALÉOLOGUE France, 1860-1942 “Cleveland Cycles”. Printed by Paul Dupont, Paris, circa 1898. Depicts a triumphant Native American fleeing his adversaries on his speedy Cleveland bicycle. Chromolithograph on paper, sheet size 58.25” x 43.25”. Framed 59.5” x 44.5”. 600/800

LALIQUE "TETE D’AIGLE" CRYSTAL EAGLE’S HEAD CAR ORNAMENT France, Circa 1928 Beautifully formed, with excellent details in the eyes, beak and feathers. Combination of frosted and clear glass provides texture and dimension. Signed on base in script “Lalique France”. Height 4.5”. Length 5.5”. 800/1,000 Lalique produced 29 different styles of hood ornaments, or “mascots”. The eagle’s head was introduced March 14, 1928 and was number 1138 in the catalog.

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41.

L. & J.G. STICKLEY OAK BREAKFAST TABLE America, 20th Century Model no. 544. Circular top on four exposed tenoned post legs joined with a cross stretcher. Height 29.5”. Diameter of top 48”. 1,000/1,500 Provenance: Peter-Roberts Antiques, Inc., New York. Christie’s East, New York, Sale 8063, Lot #304. Private Collection, Newport, Rhode Island. 41

42.

VERDE MARBLE OBELISK 20th Century Green marble with white veining. White marble base and apron. Green marble riser inset with white marble circular medallions on each side. Height 27.5”. Base 6” x 6”. 800/1,200

43, eight

43.

44.

EIGHT PIECES OF DEDHAM POTTERY Early 20th Century Includes a pitcher with rooster and owl decoration, height 5”, a plate with horse chestnut decoration, diameter 8.5”, a shallow bowl with duck decoration, diameter 8.5”, a plate with turkey decoration, diameter 10”, a cup and saucer with rabbit decoration, saucer diameter 6”, a platter with turkey decoration, diameter 6”, and a teacup with elephant decoration. 700/1,000

BRONZE SCULPTURE OF A MERMAID WITH A GULL 20th Century Signed “Rossi”. Height 45”. Width 25”. 2,000/4,000

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45.

PABLO PICASSO Spain/France, 1881-1973 Le Repos du Sculpteur III. Signed in pencil lower right. From La Suite Vollard, 1933. From the edition of 260. Printed by Lacouriere, Paris. Published by Vollard, Paris. Bloch 173; Geiser 326. Etching on Montval laid paper with Picasso watermark, 7.5” x 10.5” plate and 13.5” x 17.75” sheet. Framed 21” x 23.25”. 7,000/10,000

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46.

NICOLAI S. CIKOVSKY New York/Russia, 1894-1984 Seated ballerina. Signed lower right “N Cikovsky”. Oil on canvas, 20” x 12.25”. Framed 21.5” x 14”. 800/1,200

47.

LOUIS BOSA New York/Pennsylvania/Italy, 1905-1981 “An Evening Prayer”. Signed lower left “Bosa”. Titled on gallery label verso. Housed in a period hand-carved and painted frame. Oil on canvas, 20.5” x 18”. Framed 29.75” x 27.75”. 1,000/1,500 Provenance: Kleemann Galleries, New York, 1952 (label verso). Dartmouth College, Hanover, New Hampshire (label verso).

48.

BERND (BERNHARD) AND HILLA BECHER Germany, 1931-2007 and 1934-2015 Image from “Six Double Water Towers” portfolio, 1972. Edition of 100. Photographic print on paper, 16.5” x 20.5”. Framed 18” x 22”. 2,000/3,000 Provenance: Acquired directly from the artists. Private Collection, Germany. Animation and Fine Art Galleries, Carrboro, North Carolina. Sothebys.amazon.com, December 17, 1999. Private Collection, Cape Cod, Massachusetts. 48

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C A R L H O LT Y New York/France, 1900-1973

49.

“The Summer Sea”. Signed lower right “Carl Holty”. Titled in pencil verso. Watercolor on paper, 20” x 26”. Framed 24” x 30”. 4,000/6,000

50.

Abstract study. Signed and dated lower right “Carl Holty 52”. Watercolor, 12” x 8.75” sight. Framed 19” x 15.25”. 2,000/3,000

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51.

TAKESHI KAWASHIMA New York/Japan, b. 1930 Untitled, 1965. Signed and dated “Kawashima 1965” verso. Signed and inscribed on stretcher “NY 5.24”. Oil on canvas, 24” x 24”. Framed 25.25” x 25.25”. 500/700

52.

MICHIO TAKAYAMA New Mexico/California/Japan, 1903-1994 “Cosmos”. Signed lower left “M. Takayama”. Titled and signed on stretcher. Oil on linen, 24” x 20”. Framed 33” x 29”. 2,000/3,000 Provenance: Michael McCormick Gallery, Taos, New Mexico. David Richard Gallery, New York. Private Collection, Cape Cod, Massachusetts.

53.

BERND HAUSSMAN Massachusetts/Maine/Germany, b. 1957 Untitled abstract. Signed lower right with an “H” in a circle. Dated “1999 + 2004” lower right. Mixed media on paper, 30.5” x 23”. Framed 41” x 32”. 700/900

52 53

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54.

IRENE RICE PEREIRA New York/Massachusetts/Spain, 1902-1971 Linear abstract. Signed and dated lower right “I. Rice Pereira 1956”. Gouache on paper, 8” x 5”. Framed 12.5” x 9.5”. 700/900

55.

JOSEPH MEIERHANS New York/Pennsylvania/North Carolina/ Switzerland, 1890-1980 Abstract study. Signed lower right “Jos. Meierhans”. Oil on board, 9” x 12”. Unframed. 800/1,200

56.

ROBERT KAUPELIS New York, 1928-2009 “Blue Balls”. Signed, inscribed and dated “©Robert Kaupelis 1983 Blue Balls”. Acrylic on canvas, 48” x 52”. 1,000/1,500

Provenance: Jacquie Littlejohn Gallery, New York. Acquired from the above by the consignor, circa 1985.

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57.

AARON DOUGLAS New York/Kansas, 1899-1979 Portrait of a nude woman. Signed upper left “A. Douglas”. Oil on canvas, 16” x 12”. Framed 18.6” x 14.5”. 5,000/7,000

58.

SERGE JOLIMEAU Haiti, b. 1952 Fire screen in the form of a lion. Signed on the lion’s rear haunch “Serge Jolimeau”. Hammered and cut steel, 23.5” x 35”. 400/600

59.

MOSE TOLLIVER Montgomery, Alabama, 1920/25-2006 Four figures on a bus. Signed lower left “T Mose”. Oil on pine block, 11.5” x 13.5”. Unframed. 400/700

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60.

GINO HOLLANDER California/Colorado/Spain, 1924-2015 Foothills. Signed and dated lower left “Hollander ‘91”. Acrylic on canvas, 30” x 40”. Framed 36” x 46”. 800/1,000

61.

CARVED WALL HANGING OF SWIRLING DOLPHINS 20th Century Pair of dolphins chasing each other, carved in relief from an oval cross-section of mahogany, sanded, polished and finished to hang on a wall. Signed “AW”. Height 21”. Width 42”. 600/800 61

62.

JANE BOTSFORD ARMSTRONG New York, 1921-2012 Seal on ice. Possibly signed under tail. Variegated white marble base. Marble, seal height 4.25” and length 7.5”. Base height 1.25”. Length 6.5”. Depth 7”. 500/1,000

63.

TWO THOS. MOSER WINDSOR CHAIRS Auburn, Maine, Dated 2019 Differing forms. Both signed and dated under seat. One retains original tag. Back heights 31” and 39.5”. Seat heights 18”. 500/1,000 63, two

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64.

65.

REBECCA CROSS America, b. 1954 Twelve custom ceramic plates with fruit motifs. Each signed “Cross” and dated “’88” on undersides. Diameters 12”. 600/800

ELDRED WHEELER DESK Massachusetts, 20th Century In strongly figured tiger maple. Both pedestals with four drawers. Top with central drawer. Original Eldred Wheeler paper label inside central drawer. Height 30”. Width 63”. Depth 33”. 4,000/6,000

64, twelve

66.

SCHATZ CLOCK AND WEATHER INSTRUMENT SET Bavaria, Circa 1850-1985 Clock signed below the XII “Schatz”. White enamel 5.25” face with Roman numerals and black steel hands. Dual barrel key wind for the movement and ship’s strike. Brass case with hinged face. Mounted on a backboard with a thermometer, barometer and humidity meter, each with 2.75” silvered faces marked with appropriate readings, black steel indicator hands, and nickel (German silver) cases. Backboard 11.5” x 15.25”. 600/800 66

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67.

PIUS LANG FIFTY-BLADE KNIFE Germany, Circa 1970 Polished stainless steel blades and tools, each providing a unique function, including a prominent blade designed to clean horse hoofs, which provided this knife the nickname “the horseman’s knife”. Mother-of-pearl grips with steel screws and central thin steel plate divider. Signed “P Lang Germany” below the thumb notch and stamped “stainless” at base of one blade. Length closed 4.75”. Width 1.5”. 5,000/8,000 The Pius Lang Cutlery Company was founded in 1852 and is considered one of the greatest and longestoperating knife companies in the world.

68.

RARE BOOK GREAT AND SMALL GAME OF AFRICA “An Account of the Distribution, Habits, and Natural History of the Sporting Mammals, With Personal Hunting Experiences”. Edited by H.A. Bryden. London: Rowland Ward, Limited, 1899. Limited edition, numbered 292 of 500 and signed “Rowland Ward”. Twenty-five contributors, including noted big game hunters of the era and naturalist Richard Lydekker. Fifteen hand-colored plates, all present, and numerous photogravure illustrations. Large quarto (approx. 12” x 9”). Green cloth with gilt lettering. 700/900

69.

ROY THOMPSEN New York/Florida, b. 1928 Herd of elephants on the savanna. Signed lower right “Roy Thompsen”. Beautifully executed, framed and matted. Acrylic, 16.25” x 28”. Framed 32.75” x 43.25”. 2,000/3,000

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70.

WILLEM STERNBERG DE BEER United Kingdom, b. 1941 “Caspian Tiger”. Signed lower left “Willem De Beer”. Titled verso. Oil on canvas, 20” x 30”. Framed 25” x 35”. 2,000/3,000

71.

RARE J.M. LITCHFIELD & CO. DAGGER San Francisco, Circa 1880 Horn and brass handle. Blade etched “J.M. Litchfield & Co. San Francisco Cal”. Length of blade 10”. Total length 14”. 400/700

72.

CLIP POINT BLADE BONE-HANDLED KNIFE 19th Century Together with a dirk with a mother-of-pearl handle and leather sheath. Clip point blade knife with brass and leather sheath. Handle with inlaid silver dog bone design. Both unmarked. Lengths 11” and 12”. 500/800

72, two

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73.

MANHATTAN CUTLERY CO. SPEAR POINT BLADE KNIFE 19th Century Staghorn handle. Stamped “Manhattan Cutlery, Co Sheffield”. Length of blade 6”. Total length 10.5”. 400/600

74.

RARE CLIP POINT BLADE KNIFE MADE BY G. GELSTON 19th Century Staghorn handle. Stamped “G. Gelston MFG Co”. Length of blade 7”. Total length 11”. 400/600

75.

NORTHFIELD UN-X-LD MODEL BOWIE KNIFE 20th Century With leather sheath. Length of blade 9”. Total length 14”. 400/700

76.

IMPERIAL RUSSIAN NAVAL OFFICER’S DIRK Circa 1914 Bone and brass handle, the pommel marked with a crown. Length of blade 12.5”. Total length 17”. 300/400

77.

THREE DAGGERS 19th Century A Scottish dagger with carved wooden handle, a brass-handled sword converted to a dagger, and a U.S. militia sword converted to a dagger, with a Native American-form pommel and motherof-pearl grips. Lengths approx. 17”. 300/400

78.

THREE SHEATHED SILVER DAGGERS 19th Century One with floral designs and a partially wooden handle and sheath. One with a figural handle and Medusa-motif sheath. Other with floral and horse designs. Lengths from 10” to 13”. 500/800

79.

TWO STAGHORN-HANDLED HUNTING KNIVES Late 19th/Early 20th Century One German and includes sheath. The other with straight blade. Both unmarked. Lengths 12” and 15”. 300/500

80.

FIVE FIXED BLADE DIRKS 19th Century Two with horn handles and three with hardwood handles. Lengths from 7” to 14”. 500/800

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81.

ASTON CONTRACT U.S. MODEL 1832 PERCUSSION PISTOL 19th Century .54 cal. Lock plate dated 1852. Double stamped cartouches on left side. Length of barrel 7.75”. Total length 14.5”. 800/1,000

82.

COLT MODEL 1849 REVOLVER 19th Century .31 cal., Serial #38142, all matching. Length of barrel 6”. Total length 10”. 500/800

83.

CONTINENTAL FLINTLOCK PISTOL Late 18th Century Approx. .41 cal. Carved rose decoration. Length of barrel 3”. Total length 7”. 300/500

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IMPORTANT NOTICE

Guns marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer's License. Please be aware of license requirements and delivery regulations and bid accordingly. Eldred’s strongly recommends all firearms be thoroughly checked by a licensed gunsmith.

84.

W.C. SCOTT & SON DAMASCUS SHOTGUN 19th Century 8-ga., Serial #775. Engraved with fowl and dogs. Retains some case colors. Length of barrel 32”. Total length 48”. 700/1,000

85.

* PARKER V GRADE SIDE-BY-SIDE SHOTGUN 20th Century 20-ga., Serial #171702. Choked cylinder and cylinder. Finish worn to silver. Original Parker butt pad. Length of pull 14.5”. Length of barrels 26”. Total length 42.5”. 500/800

86.

* J.P. SAUER & SOHN SIDE-BY-SIDE SHOTGUN Early 20th Century 20-ga., Serial #133141. Left barrel choked full (?) and right barrel IC. Chambered for 2.5” shells. Etched decoration of dogs and birds. Finish worn to dull silver. Length of pull 14”. Length of barrels 28”. Total length 43.5”. 1,000/1,500

87.

TWO HALF STOCK PERCUSSION RIFLES 19th Century Approx. .36 and .41 cal. Unmarked. Lengths 51” and 56”. 400/700

88.

* THREE ROLLING BLOCK ACTION RIFLES 19th Century All with octagonal barrels. Includes a Remington .22 cal., Serial #J272180, length of barrel 22”, a Remington .32 cal., Serial #183557, length of barrel 24”, and a Winchester .32 cal., Serial #13298, length of barrel 24”. 700/1,000

89.

EBERSOL & KROUSE HEAVY BARREL PERCUSSION TARGET RIFLE 19th Century .41 cal. Half stock octagonal barrel. Nickel patch box. Length of barrel 32”. Total length 49”. 1,400/1,800

90.

EXTREMELY RARE NORTHWEST COASTAL TRADE FLINTLOCK MUSKET Early 19th Century .80 cal. Possibly a U.S. Model 1812 contract musket. Barrel and stock cut down to a carbine form. Tiger maple stock carved and inlaid with abalone shell. Length of barrel 22”. Total length 37.5”. 1,000/1,500

91.

TWO GERMAN WORLD WAR I PICKELHAUBE HELMETS Circa 1914 Both with leather liners. Heights 9”. 500/800

92.

SEVEN SPORTING / MILITARY ITEMS 18th/19th Century 1-2) Two tin canteens, possibly Revolutionary War period. Painted black and red. Diameters 4.5”. 3-4) Civil War knife and fork set. Wooden handles carved “J.M.B”. Knife also carved “23d Me, Reg.t Co.I.”. Lengths 7” and 9.5”. 5-7) Three English copper and brass powder flasks. Lengths 7”. 300/500

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93.

94.

RARE REVOLUTIONARY WAR-ERA CANNON RAMROD Dated 1788 Most likely British. Wooden with lead piece set into the head and an iron hook at the end. Head carved “1788 M 17 4 21”. Length 30”. 600/800

IMPORTANT REVOLUTIONARY WAR-ERA MAP OF NEW YORK AND NEW JERSEY 1776 “A Map of the Province of New-York, Reduc’d from the large Drawing of that Province, Compiled from Actual Surveys by Order of His Excellency William Tryon Esqr.”. Engraved by William Faden. 29” x 23” sight. Framed 31” x 25”. 500/1,000

95.

LARGE DECORATED STEER HORN Scotland/America, Late 18th Century Engraved with images of women in various poses, a large sailor with sword, a ship, the sailor’s goodbye and two Scottish scenes of men in kilts dancing, all framed within foliate designs. With later shoulder strap. Length 25”. 800/1,200

96.

CAST IRON FIREBACK 18th Century Discovered on Sandy Neck, Barnstable, Massachusetts, in the Early 20th Century. Depicts a soldier on horseback holding a sword and a scroll surround. Height 24”. Width 17.5”. Depth 1”. 500/800 96

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97.

UNCUT SHEET OF RHODE ISLAND COLONIAL CURRENCY NOTES 1786 Notes for one and two shillings, and six and nine pence. Sheet size 12.25” x 6.75”. Framed 22.5” x 17”. 700/900

98.

COLLECTION OF APPROX. 50 ALMANACS 18th and 19th Centuries Dating from 1787 through 1894. Includes The United States Almanack for 1787, The Temperance Almanac ... 1839, the Phrenological and Physiological Almanac, for 1849, and copies of Beckwith’s, Dr. Jayne’s Medical Almanac, Phinney’s Calendar or Western Almanac, Old Farmer’s, Ayer’s, Greenleaf ’s, Oram’s, and others. Together with a copy of Boston Illustrated published in 1883 and an “American Phrenological Journal” from 1856. One almanac with gilt-decorated red boards, the other with wraps. From approx. 5.5” x 3.25” to 12” x 9.75”. 400/600

99.

GENEALOGICAL CHART FOR THE ADAMS FAMILY Dated 1798 Signed by Elijah Adams of Medfield, Massachusetts and dated 1798; later additions up to the 1820s. Written on heavy paper with canvas backing and wooden ends. Purportedly purchased from an Adams homestead in the 1930s. 22.5” x 20”. 2,500/3,000

100, four

100.

FOUR BLOWN GLASS CHESTNUT BOTTLES New England, Late 18th Century In green and olive-green. Heights from 6.25” to 8.25”. 600/800

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101.

PAIR OF PORTRAITS OF SIR JOHN AND LADY WINTER LAKE Circa 1779 Signed and dated “J. Taylor 1779”. 11” x 9” sight. Framed 18” x 16”. 800/1,200

101, pair

102.

CHIPPENDALE TALL CHEST Rhode Island, Circa 1780 In maple with chestnut secondary woods. Six full-width drawers, the top drawer simulating three side-by-side drawers with central fan carving. High flat bracket feet. Height 59.75”. Width 39.75”. Depth 19.5”. 800/1,200

102

103.

ELDRED WHEELER CHIPPENDALE-STYLE MIRROR Massachusetts, 20th Century Tiger maple frame. Original Eldred Wheeler label on back. Height 37”. Width 20”. 250/350

103

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104.

BANJO CLOCK Massachusetts, First Quarter of the 19th Century Mahogany and mahogany veneer case with gilt finial. Reverse-painted throat and door glass, the throat depicting an eagle and shield and the door an American-flagged ship. Height 32.75”. 800/1,200

104

105.

CHIPPENDALE SLANT-LID DESK Circa 1780 In tiger maple. Fitted interior. Case with four graduated full-width drawers and a shaped bracket base. Height 40”. Width 36”. Depth 19.5”. 1,200/1,400

105

106.

107.

AMERICAN SCHOOL 19th Century Still life of fruit in a basket. Unsigned. Oil on paper, 9” x 11.5” sight. Framed 12” x 14.5”. 500/700

PAIR OF BANISTER-BACK SIDE CHAIRS Deerfield, Massachusetts Area, 18th Century In mixed hardwoods. Splint seats. Back heights 42”. Seat heights 16.5”. 400/600 106

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108

108.

QUEEN ANNE TAVERN TABLE New England, Mid-18th Century Hardwood with traces of old green paint to oval top and base. Straight legs end in modified button feet. Height 25.5”. Top 29.25” x 23.5”. 500/1,000

109.

CHIPPENDALE BUREAU Southern New England, Circa 1780 In mixed woods, with four graduated full-width drawers and flat bracket feet. Height 37”. Width 36”. Depth 18.75”. 500/800

109

110.

ELDRED WHEELER BLANKET CHEST Massachusetts, 20th Century In tiger maple. Two half drawers below blanket compartment. Shaped bracket base. Original Eldred Wheeler paper label. Height 25.5”. Width 39”. Depth 19.5”. 400/600

111.

QUEEN ANNE DROP-LEAF TABLE New England, Mid-18th Century In maple, with cabriole legs ending in bold pad feet. Height 27.75”. Length 16.25” plus two 16” demilune drop leaves. Width 47.75”. 500/1,000

110

111

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112

112.

AMERICAN SCHOOL 19th Century Portrait of a seated woman. Oil on canvas, 27” x 24”. Unframed. 500/800

113.

WILLIAM P. CODMAN Massachusetts, d. 1831 “Sarah Ann Codman in her fifth year”. Unsigned. Inscribed on note verso, “Sarah Ann Codman in her fifth year. Painted by her father Wm. P. Codman”. Oil on canvas, 24” x 20”. Framed 27” x 23”. 1,500/2,500

114.

QUEEN ANNE DROP-LEAF TABLE Connecticut, Mid-18th Century In cherry with a wonderful old washed finish. D-form drop leaves. Beautifully formed cabriole legs end in pad feet. Height 26”. Length 15.5” plus two 13.25” drop leaves. Width 42”. 300/500

113

115.

ONE-DRAWER TAVERN TABLE New England, Mid-18th Century Pine top with breadboard ends. Hardwood base. Straight legs end in button feet. Height 25”. Width 39.5”. Depth 22.5”. 600/800

116.

FOUR PIECES OF STONEWARE 19th Century All with cobalt blue decoration. Includes a Fort Edward twogallon jug, a Rochester two-gallon crock with leaf decoration, an unmarked crock with floral decoration, and a jug. Heights from 10.5” to 15”. 400/600

117.

MOCHAWARE BOWL 19th Century Blue and black earthworm decoration. Height 3.5”. Diameter 6.25”. 250/350

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119

118

120

118.

CHIPPENDALE TALL CHEST Rhode Island, Circa 1780 In maple and curly maple, with six graduated full-width drawers and high flat bracket feet. Height 60”. Width 40”. Depth 20.5”. 1,500/2,000

119.

CHIPPENDALE CHEST ON CHEST New England, Circa 1780 In maple. Upper case with five graduated full-width drawers, the upper simulating three side-by-side drawers with central fan carving. Lower case with three graduated fullwidth drawers and bracket feet. 1,000/1,500

120.

Provenance Richard A. Bourne Company, Hyannis, Massachusetts, July 1968, purchased by the current owner.

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LIFT-TOP BLANKET CHEST New England, Late 18th Century In pine under an old red wash finish. Two faux drawers over three graduated drawers. Flat paneled base. Height 49”. Width 37”. Depth 19.25”. 800/1,200

121.

AFTER ARCHIBALD WILLARD America, Early 20th Century “The Prankster”. Unsigned. Copy of the original by Willard titled “Deacon Jones’ Experience”. Oil on canvas, 19” x 30”. Framed 23” x 34”. 400/600

122.

AMERICAN SCHOOL 19th Century Classical-style view of a boating party. Unsigned. Oil on canvas, 14” x 21”. Framed 20” x 27”. 500/1,000

123.

AMERICAN SCHOOL 19th Century Fall scene of cows in a landscape. Unsigned. Oil on canvas, 20” x 30”. Framed 27.5” x 37.5”. 800/1,200

124.

REDWARE HANDLED CROCK 19th Century Height 10.5”.

121

200/300 122

125.

126.

REDWARE POTTERY CHARGER 19th Century Slip decoration. Diameter 13”.

300/400

LEATHER AND BRASS-BOUND CAMPHORWOOD TRUNK 19th Century Front with “B.G.” in brass tacks. Height 13.75”. Width 30”. Depth 15.5”. 400/600

123

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127.

GERTRUDE JAMESON (JENKINS) BARNES Minnesota/California/Massachusetts, 1865-1939 Pair of fruit still lifes. Both signed lower right “Barnes”. Oils on board, 9” x 12”. Framed 10.75” x 13.75”. 1,000/1,500

127, pair

128.

FEDERAL BUREAU New England, Circa 1800 In mahogany. Molded-edge top. Four full-width graduated drawers with cock-bead molding. Flat bracket feet. Height 36”. Width 40”. Depth 19.5”. 500/800

128

129. 129

130.

HEPPLEWHITE ONE-DRAWER STAND Mid-Atlantic States, Circa 1800 In walnut, the top with select grain. Delicate tapered legs. Height 28.75”. Width 18.25”. Depth 15”. 300/500

SET OF SIX WINDSOR ROD-BACK SIDE CHAIRS New England, Circa 1810 In old, possibly original, black paint. Back heights 34.75”. Seat heights 17.75”. 500/700 130, six

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131.

TAVERN TABLE Connecticut, Mid-18th Century Pine one-board top with breadboard ends. Cherry base with single drawer in apron and block and turned legs joined by an H-stretcher. Old finish with rich patina. Height 29.75”. Width 45”. Depth 31.5”. 1,200/1,800 131

132.

PORTRAIT OF A SEATED BROTHER AND SISTER 19th Century Unsigned. New York canvas maker's label verso. Oil on canvas, 25” x 30”. Framed 31” x 36”. 1,000/1,500

132

133

133.

134.

134

SHERATON TWO-DRAWER DROP-LEAF STAND America, Circa 1810 In strongly figured tiger maple. Bulbous turned legs. Height 28”. Width 17.25” plus two 8” drop leaves. Depth 21.75”. 900/1,200

HEPPLEWHITE SLANT-LID DESK New England, Circa 1790 In tiger maple. Interior with drawers and pigeonholes, the central drawer with fan carving. Case with four graduated full-width drawers and French splayed bracket feet. Height 42”. Width 35.75”. Depth 18”. 1,000/1,500

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135.

ELDRED WHEELER TWO-PART FLAT-TOP SECRETARY Massachusetts, 20th Century In cherry. Upper case with two paneled doors and candle slides. Lower case with a slant lid over four graduated full-width drawers and ogee feet. Exceptional fitted interior. Original paper label inside a drawer. Height 79”. Width 35”. Depth 21”. 2,000/3,000

136.

AMERICAN SCHOOL 19th Century Majestic mountain landscape. Unsigned. Oil on board, 7” x 9”. Framed 13.25” x 15.75”. 300/500

137.

STAVED BUCKET WITH SIDE HANDLES Last Half of the 19th Century Contemporary cover. Total height 18.75”. Diameter 21”. 300/400

138.

AMERICAN SCHOOL Late 19th Century A gentleman in a rowboat along the shore of a mountain lake. Signed illegibly lower right. Oil on paper, 16.25” x 7.5” sight. Framed 22.5” x 13.5”. 250/350

135

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139.

CHIPPENDALE BUREAU New England, Circa 1780 In cherry, with a nice patina and an old finish, possibly original. Top with beveled underside and nice overhang. Four graduated full-width drawers. Dovetailed flat bracket feet. Height 37.25”. Width 38.75”. Depth 19.25”. 800/1,200

139

140.

ELDRED WHEELER TALL CHEST Massachusetts, 20th Century In tiger maple. Molded and shaped cornice. Upper drawer simulates three side-by-side drawers, the central with fan carving. Five graduated full-width drawers below. Shaped bracket base. Original Eldred Wheeler paper label in one drawer. Height 52”. Width 37”. Depth 19”. 1,500/2,500

140

141. 141

SHERATON ONE-DRAWER SERVER Circa 1820 In cherry. Top with backsplash. Drawer with tiger maple front. Turned legs joined by a medial shelf. Height 32”. Width 32”. Depth 18.5”. 300/500

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142.

UNUSUAL CARVED MAHOGANY WATCH HUTCH Dated 1858 Lyre shaped, the top formed as a locomotive and the stepped base with “Juliet” and “1858” flanking a floral medallion. Watch aperture with floral surround. Carved “BP” on reverse. Brown stained finish. Height 13.5”. Width 9”. Depth 4”. 500/700

142

143.

D.R. DIMES COMB-BACK WRITING ARM WINDSOR CHAIR New Hampshire, 20th Century In maple and pine. Fitted with two drawers, one below writing pad and the other below the seat. Labeled on underside of seat. Back height 47”. Seat height 17.5”. Width 38”. Depth 32”. 600/1,000

143

144.

AMERICAN SCHOOL Mid-19th Century Figures battling a winter storm. Signed and dated lower right “C.C. Green 1857”. Goupil & Co. New York canvas stencil verso. Oil on canvas, 22” x 30”. Framed 26” x 35”. 500/700

144

145.

DAVID LEFORT QUEEN ANNE-STYLE LOWBOY Massachusetts, 20th Century In tiger maple, with black painted highlights. Overhanging top over 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. Original paper label on back. Height 31”. Width 32”. Depth 18”. 500/700

145

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146

146.

ALFRED WORDSWORTH THOMPSON New York/Maryland/New Jersey, 1840-1896 The Grange Inn. Signed lower left. Oil on canvas, 18” x 27”. Framed 24.5” x 33.5”. 5,000/8,000

147.

TWO NEEDLEWORK SAMPLERS Dated 1833 and 1845 One with rows of alphabets and numbers in brown-black above “Emeline Van Voorhess Aged 15 years Halfmoon June 22 1833 Be Diligent Modesty has more charm than beuty” [sic]. Other with rows of alphabets and numbers in green above “1845 SH” and a grid of assorted geometric, floral and scroll patterns. Framed 19” x 18” and 14” x 16”. 500/800

148.

DIMINUTIVE BLANKET CHEST UNDER RED PAINT Dated 1818 Made of six pine boards, nailed construction. Lid attached with original rat tail hinges. Interior ditty box; no lid. Bootjack ends. Dated 1818 in red paint on reverse. Height 18”. Width 38.25”. Depth 14”. 300/600 Provenance: The Sally Wittemore Collection, Skinner Inc., Boston, 2009.

149.

SHERATON TWO-DRAWER STAND Circa 1810 In maple. Drawers with tiger maple fronts. Case fronted by carved turrets terminating in fluted, tapered and carved legs. Height 29.5”. Width 16.5”. Depth 14.5”. 300/400

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150

151

150.

FEDERAL TWO-PART LINEN PRESS New Jersey, Circa 1800 In cherry. Upper case with chamfered reeded corners and two molded arched paneled doors enclosing two shelves. Lower case with three full-width cock-beaded drawers and French splayed bracket feet. Height 80.5”. Width 44”. Depth 17.75”. 2,000/3,000

151.

D.R. DIMES TWO-PART FEDERAL-STYLE CORNER CUPBOARD New Hampshire, 20th Century In pine. Upper case with two arched paneled doors enclosing three shelves. Lower case with two paneled doors enclosing a single shelf. Both cases stamped “D.R. Dimes”. Height 81.25”. Takes a 25” corner. 1,000/1,500

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152.

COPPER EAGLE AND ARROW WEATHER VANE Late 19th Century Spread-wing eagle perched on a ball atop an arrow. Height 19”. Length 32”. 400/700

153.

VIRGINIA METAL CRAFTERS PATRIOTIC CAST IRON MIRROR Patent Date 1862 Eagle, flag and Liberty shield motifs. Height 19.5”. 300/500

154.

WALKING STICK WITH WHALE IVORY HANDLE America, 19th Century Whale ivory knob handle with carved and incised detail. Tapered mahogany shaft. Length 35”. 300/500

155.

PRESIDENT JAMES MONROE AUTOGRAPHED LAND GRANT Dated August 1, 1821 For a parcel of land in Ohio granted to James Riley. Co-signed by Josiah Meigs. Framed with a portrait etching of a seated Monroe. Framed 16” x 28.5”. 700/1,000

156.

JOHN QUINCY ADAMS AUTOGRAPHED LAND GRANT Dated April 9, 1825 For a parcel of land in Alabama granted to Lewis Houser. Co-signed by George Graham. Framed with portrait print of Adams. Framed 14” x 28”. 700/1,000

157.

CHESTER A. ARTHUR AUTOGRAPH 19th Century Framed with a portrait print of Arthur. Framed 15” x 12”. 200/400

152

153

154

155, land grant

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158.

SPECTACULAR GRAIN-PAINTED BLANKET CHEST Massachusetts, Early 19th Century In pine. Top and sides with black grained painting on a red ground. Front with tan and dark brown circle and worm decoration. Two full-width drawers with turned wooden pulls. Shaped apron. Bracket feet. Height 37.25”. Width 42.25”. Depth 18.25”. 8,000/12,000 Provenance: Descended in the family of Gertrude Croker, born in Clinton, Iowa in 1881. She, her mother and her sister moved back to her mother’s hometown of Newfane, Vermont in 1883. Gertrude graduated from nearby Brattleboro High School in 1900 and trained at the Clark School for the Deaf, where she became friends with Grace Coolidge, wife of President Calvin Coolidge. Grace taught at schools for the deaf and co-authored a series of books on teaching deaf children before retiring and returning to Brattleboro, where she lived with her sister for the rest of her life. She traveled extensively, was an avid bridge and crossword player, and is said to have continued smoking and having a cocktail every day until she was 111. She died in 1994. This chest had been in her bedroom and was given to a family member.

158

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159.

SANDWICH GLASS COBALT BLUE LACY COVERED SUGAR BOWL Second Quarter of the 19th Century In Princess Feather pattern. Height 5.5”. 500/1,000

159

160.

SANDWICH GLASS TRIPLE CUT OVERLAY LAMP Mid-19th Century Salmon cut to white cut to clear. Original brass collar. Fluted brass stem. Double stepped marble base. Height 11.5”. 1,000/1,500

160

161 162

161.

SHERATON FOUR-DRAWER CHEST America, Early 19th Century In mahogany. Top with turret corners. Drawers with bird’s-eye maple fronts. Turned and tapered legs. Height 40”. Width 44”. Depth 19.5”. 500/700

162.

COPPER BANNERETTE WEATHER VANE 19th Century Pierced geometric designs. Surmounted by a cluster of balls and flower sprays. Iron base with scrollwork and copper finders. Gilt and verdigris finish. Total height 53”. Bannerette 22.5” x 30”. 1,000/1,500

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163.

COPPER AND BRASS ROOSTER WEATHER VANE 19th Century Iron base. Height 36”. Length 25”. 700/1,000

163

164.

UNUSUAL ONE-PIECE DOUBLE CHEST America, Last Quarter of the 19th Century Grain-painted surfaces. Two stacks of nine drawers. Turned wooden pulls. Height 58”. Width 52”. Depth 15”. 1,000/1,500

164

165.

165

RARE HARNESS MAKER’S TRADE SIGN Circa 1890 Made by Brewster & Co., New York. In the form of a horse’s head. Carved wood painted black and white. Glass eyes. Leather bridle. Height 30”. 1,000/2,000

166.

14KT GOLD-TOPPED WALKING STICK Late 19th Century Marked 14kt. Presentation engraving “Rev. G.W. Gardner D.D., From his Friends” and dated “August 11th, 1881, Marblehead, Mass.”. Ebony-finish hardwood shaft with white metal tip. Length 35”. Diameter of top 1.625”. 800/1,200

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ELLA EMORY Hingham, Massachusetts, 19th Century

167

This is the companion painting to one illustrated in Little By Little: Six Decades of Collecting American Decorative Arts by Nina Fletcher Little (E.P. Dutton, Inc., 1984). Pieces in the Little collection were purchased from Matthew Cushing in 1957 when Fletcher Little visited the Cushing homestead. Cushing kept this painting because it had the two family cats, Tweedledum and Tweedledee, in the picture. “In 1878, the child Alice Cushing, accompanied by her mother and her Aunt Ella Emory, went to spend the summer in the Peter Cushing house in Hingham, Massachusetts. Aunt Ella was an amateur artist and occupied herself by painting the interiors of four of the rooms as they appeared during her visit. Built about 1678, the house was refurbished during the mid-eighteenth century. At the time the pictures were painted, the majority of the furnishings dated back to the eighteenth century, although a few Victorian pieces had begun to creep in. All these features were duly observed and carefully recorded by Ella Emory, and her canvases are not only charming examples of their period but also visual documents recording the changes in life-style that took place in the life of one family over a span of two hundred years.”

167.

Rare and important view of the East Chamber, Peter Cushing house, Hingham, Massachusetts, 1878. Shows a slant-lid desk, a fireplace with tall brass andirons and a fire going, a large wing chair, a canopy bed with toile bed hangings, a long covered center table, and two kittens, named Tweedledum and Tweedledee, one playing under the center table and the other nearby on the straw floor covering. Oil on canvas, 15.5” x 26.75”. Framed 18” x 30”. 40,000/60,000

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168.

EXCEPTIONAL LIFE-SIZE SWAN GARDEN PLANTER America, Circa 1880 In pine, showing traces of the original gold leaf surface. Positioned as if it is swimming, with its right foot forward and the left foot behind, its neck curved and the head projecting forward, and its wings open and held close to the body. Rounded base with a wave shape at front. Elaborate and delicately executed head, wings, feathers and tail, exhibiting the skill of an experienced professional carver. Original tin ring-handled planter conforms to the shape of the swan. Height 39”. Length 44.75”. Width 26”. Tin planter height 13.25”. Diameter 9”. 5,000/7,500

169.

WONDERFUL TRAMP ART PICTURE FRAME WITH TWELVE APERTURES 19th Century In pine. Typical gouge carvings at the openings, a vine border with hearts at the corners, and recessed heart carvings on the exterior edge. 24.25” x 21.75”. Apertures approx. 5.75” x 3.5”. 250/400 Provenance: Sally Whittemore Collection, Skinner Inc., 2009.

168

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170.

OUTSTANDING CARVED AND PAINTED CAROUSEL HORSE Late 19th/Early 20th Century Galloping horse with its head turned slightly left. Two-rider configuration, with a seat in front of and behind the central mounting pole. Detailed carving of the head, mane, breastplate, saddle, etc. Retains original twisted brass mounting pole and mounting brackets. Includes contemporary base. Total height 67”. Horse height 44”. Length 72”. Width 12.5”. 2,000/3,000

170

171.

CRAZY QUILT Late 19th Century Hand-embroidered silk, velvet and cotton panels. Sewn images include three rings, flower bouquets, a Japanese geisha and a teapot. 60” x 50.5” sight. Framed 65.5 x 57”. 800/1,200

171

172.

AMERICAN SCHOOL 19th Century Humorous courting scene of a suitor being approached by a man wielding a stick. Unsigned. Oil on canvas, 14” x 12”. Framed 16.75” x 18.75”. 500/800

172

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173.

CAST IRON TROTTING HORSE WEATHER VANE America, Late 19th Century Mounted on an iron shaft with a fleur-de-lis pointer. Displayed on a later marble stand. Height 13.5”. Length 32.25”. 600/800

173

174.

174, sampling

WONDERFUL AND RARE COLLECTION OF GLASS NEGATIVES OF HISTORIC NEW ENGLAND SUBJECTS BY GEORGE THRESHER Late 19th/Early 20th Century Approx. 490 negatives, appear mostly to be views of Massachusetts, including historic buildings, landmarks, landscapes and shorelines, as well some interior and figural scenes, providing a vast and unique glimpse into life at the turn of the 20th Century. Each plate is contained in a folder within a manila envelope, numbered and labeled with size, subject and applicable notes. Also includes four three-ring binders containing black and white photographs made from the negatives, and a binder containing a numerical inventory of the negatives. Negatives from 3.25” x 4.25” to 6.5” x 8.5”. 5,000/10,000

George P. Thresher (1854-1927) was born in Massachusetts, resided in Cambridge from 1887 to 1894, and then moved to California in the late 1890s. He lived in Los Angeles the rest of his life and worked as a real estate broker and developer. Described as an amateur photographer, a collection of his photographs depicting the American Southwest is at Huntington Library in San Marino, California.

175.

RARE LITHOGRAPH “NEWPORT R.I.” 19th Century By the New England Lithograph Company, Boston. 19.5” x 34.25” sight. Framed 28” x 42.5”. 500/1,000

175

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176

176.

177.

PAIR OF ENGRAVED STEER HORNS Dated 1880 One depicts a pierced heart containing “1880”, a woman’s heeled boot, a cross within a floriform medallion, a three-masted ship flying a British flag, and two figures, the woman standing and touching the shoulder of a kneeling man holding a baton across his knees. Other depicts two floriform medallions, a rope-wrapped anchor, two Masonic emblems, a woman’s heeled shoe, a profile bust portrait of a woman, and a crown topped with a ship portrait and backed by crossed British flags. Both horns with a crown-like border around the circumference near the bases. Lengths approx. 16”. 500/1,000 ANNIE CORNELIA SHAW Illinois, 1852-1887 Expansive landscape with houses, gardens and figures, probably Chicago. Signed lower right “Annie Shaw”. This work is possibly “Illinois Prairie”, which was exhibited at the 1877 Philadelphia Centennial Exposition. Oil on canvas, 25” x 42”. Framed 31” x 48”. 1,500/2,500

177

178

Annie Shaw was the first woman to be elected to a full membership to the Chicago Academy of Design, now the Art Institute of Chicago.

178.

AMERICAN SCHOOL 19th Century Expansive landscape with a factory on a riverbank. Unsigned. Oil on canvas, 18” x 30”. Framed 23” x 35”. 800/1,200

179.

GEORGE T. HETZEL Pennsylvania, 1846-1912 Landscape with bridge and dam. Signed and dated lower right “G.T. Hetzel ‘94”. Oil on canvas, 12” x 19”. Framed 17.5” x 24.5”. 800/1,200 179

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182 183

180.

AMERICAN SCHOOL 20th Century Family portrait. Signed lower right “K. White”. Watercolor on paper, 2.25” x 8.5” sight. Framed 9” x 15”. 400/600 Provenance: Skinner, Inc., Sale 2351, March 2, 2007, Lot #420. Private Boston-area collection.

181.

FOUR CARVED WOODEN WHIMSIES Late 19th/Early 20th Century Three on contemporary stands. Lengths from 12.75” to 37.5”. 250/350

182.

CURRIER & IVES LARGE FOLIO HAND-COLORED LITHOGRAPH “WILD DUCK SHOOTING, A GOOD DAY’S SPORT.” After the painting by A.F. Tait, 1853. On stone by O. Knirsch, 1854. Framed. 2,000/3,000

183.

FRANK WESTON BENSON Massachusetts, 1862-1951 “Black Ducks Towering”. Signed in pencil in lower left “Frank W Benson”. Etching, 11.5” x 7.75” sight. Framed 21.25” x 17.25”. 700/1,000

184.

TWO PAUL W. CASSON DECORATIVE LIFE-SIZE BIRD CARVINGS Adirondacks, Circa 1985 A black-bellied plover and a curlew. Both mounted on driftwood bases. Signed on undersides “Paul W. Casson”. Heights 10” and 18”. 500/700

185.

TWO REID HIGGINS DECORATIVE BIRD CARVINGS Cotuit, Massachusetts, Late 20th Century A piping plover and a snowy egret. One with paper label and one signed in ink on underside. Heights 6” and 11.25”. 300/500

186.

VIRGINIA WARFIELD DECORATIVE GREBE CARVING Jaffrey, New Hampshire, 20th Century Mounted on a driftwood base. Signed “Warfield”. Height 8.5”. 300/500

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A. ELMER CROWELL East Harwich, Massachusetts, 1862-1952

187.

LARGE-SCALE WOOD DUCK DRAKE Dated 1933 Painted eyes. Oval base. Rectangular stamp and inscribed in pencil “A.E. Crowell 1933 $5.00”. Height 4.5”. Length 6”. 2,500/3,500

187

188

188.

A chickadee, a kinglet and a wren amidst holly leaves and berries. Signed lower right “A.E. Crowell”. Inscribed in ink verso “To Mr. & Miss Eddie Kidder With all of my good wishes for the New Year 1951 Sincerely Anthony Elmer Crowell”. Oil on board, 9.75” x 13.5”. Framed 12” x 16”. 1,000/1,500

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189.

HUGH CECIL CHARLES MONAHAN Canada/Ireland/England, 1914-1970 Flock of shoveler ducks in flight. Signed lower right “H. Monahan”. Oil on canvas, 20” x 16”. Framed 24” x 20”. 700/1,000

190.

MORTON RIG PLOVER DECOY Massachusetts, 19th Century Tack eyes. Original paint. Hit with shot and other gunning wear. Length 10”. 900/1,200

191.

GEORGE BOYD PLOVER DECOY Seabrook, New Hampshire, 1873-1941 Tack eyes. Original paint. Extremely wellworn. Length 11”. 300/500

189

190

191

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192

193

194

192.

GEORGE HUEY GOLDENEYE HEN DECOY Friendship, Maine, Early 20th Century Carved on underside “G R Huey”. Length 14.5”. 1,400/1,800

193.

LINDSEY LEVY MERGANSER HEN DECOY Little Tancook Island, Nova Scotia, 1892-1980 Original paint with gunning wear. Length 15.5”. 1,400/1,800 Illustrated: Decoys: A North American Survey by Gene and Linda Kangas.

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194.

JOHN RAMSEY BRANT DECOY Summerside, Prince Edward Island, 1858-1934 Circa 1900. In preening position. Inletted iron weight. Shot holes. Branded “Kangas”. Length 16.5”. 2,000/3,000 Illustrated: Decoys: A North American Survey by Gene and Linda Kangas, p. 124.

195, two

195.

TWO FRANK ADAMS DECOY PAPERWEIGHTS West Tisbury, Martha’s Vineyard, 1871-1944 A redhead drake and a mallard drake. Lengths 6” and 8”. 400/700

199.

TWO FACTORY DECOYS 20th Century A Mason Decoy Factory Canada goose and a Down East Decoy Company black duck. Lengths 18” and 24”. 400/700

196.

TWO DECOYS 20th Century A widgeon drake by Keyes Chadwick and a Connecticut black duck, maker unknown. Lengths 16” and 17”. 300/500

200.

DODGE DECOY FACTORY BLACK DUCK DECOY Detroit, 19th Century Original paint with gunning wear. Length 16”. 400/600

197.

HARRY V. SHOURDS BLUEBILL DRAKE DECOY Tuckerton, New Jersey, 1861-1920 Circa 1900. Gunning repaint with wear. Length 15”. 300/500

201.

CLOVIS VIZIER BLUE-WINGED TEAL HEN DECOY Galliano, Louisiana, 1884-1975 Carved eyes, wings and tail feathers. Length 10”. 300/500

198.

PAIR OF ALPHEUS A. PENDLETON GOLDENEYE DECOYS Isleboro, Maine, Early 20th Century Wonderful folksy form. Gunning wear. Lengths 16” and 17”. 2,500/3,500

201

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198, pair

199, two

200

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202.

AMERICAN SCHOOL Early 20th Century Scout coming to the aid of a wounded Native American. Unsigned. Oil on unstretched canvas, 10” x 7.75” sight. Framed 14.5” x 12”. 500/700

202

203.

TWO NATIVE AMERICAN BEADWORK BELTS Late 19th/Early 20th Century Multicolor geometric patterns. Widths approx. 2.5”. Lengths 25.5” and 28.5”. 300/500

203, two

204.

AFTER FREDERIC REMINGTON Late 20th Century “Buffalo”. Signed “Inspired by Frederic Remington” on base. Titled on brass plaque attached to green marble base. Bronze, height 13”. Length 17”. Base length 19”. 1,000/2,000

204

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205.

EDWARD S. CURTIS Washington/California, 1868-1952 Four photogravures from The North American Indian, 1900-07: A Hopi Man, A Feast Day at Acoma, The Yuma and The Apache. Photogravures on Hollande Van Gelder with deckled edges and with “ES Curtis” watermark. Each with Curtis’ credit, title, date and the printer’s credit printed on recto. Sheet sizes approx. 19” x 23.5”. Framed 26.5” x 22”. 1,500/2,500

205, four

206.

ANSEL ADAMS California, 1902-1984 “Moon and Half Dome, Yosemite National Park”. Unsigned. Silver print, 24” x 19”. Framed 32” x 26”. 4,000/6,000

206

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207.

NINE HAND-COLORED LITHOGRAPHS OF NATIVE AMERICAN SUBJECTS 19th Century Mostly by McKenney & Hall. Sizes vary. Matted but unframed. Largest matted 12.75” x 11”. 500/800

208.

NATIVE AMERICAN POTTERY VESSEL 19th Century Painted red swirl decoration. Height 11.5”. Diameter 10.5”. 200/400

209.

ALFREDO RODRIGUEZ California/Mexico, b. 1954 “To the Winter Rendezvous”. Signed lower right “A. Rodriguez”. Titled verso. Oil on canvas, 30” x 40”. Unframed. 2,000/3,000

210.

NATIVE AMERICAN PLATEAU BAG Early 20th Century Five-color floral decoration. Leather-backed. 11” x 9.5”. 400/600

211.

THREE NATIVE AMERICAN OLLA Early 20th Century 1) Black on black. Signed “RIO H.”. Diameter 6”. 2) Painted stylized wave decoration. Unsigned. Diameter 8”. 3) Painted geometric design. Diameter 7”. 300/500

212.

BLUE CORN SAN ILDEFONSO POT New Mexico, 20th Century Attributed to Crucita Calabaza (1921-1999), also known as “Blue Corn”, of the San Ildefonso Pueblo. Repeating step design around shoulder. Signed on base. Height 2.75”. Diameter 4”. 250/400

213.

COLLECTION OF NATIVE AMERICAN BAGS 19th/Early 20th Century Together with a beaded collar. Includes six beaded bags and a cotton and leather bag. Lengths from 5” to 7”. 500/1,000

209

210

211, three

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214.

214

NAVAJO RUG: 2’3” x 7’3” Early 20th Century Peace symbols in red and dark brown on a light brown field. 250/350

215.

NEZ PERCE CORN HUSK BAG Early 20th Century Differing geometric patterns on each side. 21.5” x 14.5”. 150/200

216.

CHROMOLITHOGRAPH "CUSTER’S LAST FIGHT" Drawn on stone by Otto Becker. Printed by Milwaukee Litho. Co. and published by Adolphus Busch. Inscribed lower left “Entered according to act of congress by Adolphus Busch March 30th 1896 in the office of the Librarian of Congress of Washington, D.C.”. Additional inscription lists twelve identified individuals. On paper, 31.5” x 42” sight. Framed 39” x 49.25”. 1,000/1,500

216

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217.

JOHN HAUSER Ohio, 1859-1913 “Comrades de Plains”, a Native American and his horse. Inscribed “Presented to Mrs. J. Hauser” and titled lower left. Signed lower right “Original Composition by John Hauser”. Watercolor and gouache on paper, 12.25” x 9.25”. Framed 14.75” x 11.75”. 2,000/3,000 John Hauser was one of several Early 20th Century Ohio artists known for paintings of Western Native Americans, including portraits of chiefs, notably Lone Bear, Spotted Tail and High Horse. His admiration and respect for Native Americans was recognized in 1901 when he and his wife were adopted into the Sioux Nation and were bestowed the names “Straight White Shield” and “Bring Us Sweets”.

217

218.

TEN NATIVE AMERICAN BASKETS Mostly 19th Century All with geometric designs. Diameters from 4” to 17”. 800/1,200

218, ten

219.

219, four

FOUR PRINTS FROM HISTORY OF THE INDIAN TRIBES OF NORTH AMERICA Circa 1872 Includes “TO-KA-CON A Sioux Chief ”, published by E.C. Biddle, “TAI-OMAH A Musquakee Brave”, published by F.W. Greenough, “MAR-KO-ME-TE A Menomene Brave”, published by F.W. Greenough, and “A WINNEBAGO”, published by Rice & Clark. 15.5” x 12” sight. Framed 24” x 19.5”. 700/1,000

220.

CARVED STONE EFFIGY PIPE Early 19th Century or Older In the form of a bear. Length 6”. 200/300

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220

224, three

221.

TWO LARGE NATIVE AMERICAN COIL BASKETS Early to Mid-20th Century One in baluster form with two-color stepped pattern. Height 15”. Diameter 13.5”. Other round. Height 5”. Diameter 14”. 250/400

222.

TWO NORTHWEST COASTAL CANOE MODELS 20th Century 1) Inuit laced hide and carved wood. Two figures set in canoe. Length 24”. 2) Polychrome wood. Made into a pincushion. Length 21”. 300/400

223.

NORTHWEST COASTAL BASKET 19th Century Geometric design. Height 3”. Diameter 7.5”.

224.

300/500

THREE INUIT CARVED AND PAINTED WOODEN FISH 20th Century Each mounted on a backboard, signed on the front “J. Lee” and with the type of fish identified on the reverse. Each fish with detailed coloring, scales, fins, teeth and other details. Includes a barbel (a type of carp), backboard 8” x 22.75”, a pinagor or sparrow fish, backboard 9” x 16.25”, and an eagle croaker, backboard 11.25” x 23.5”. 600/800

225.

RARE AND INTERESTING BATAK CARVED AND ENGRAVED BONE CALENDAR Late 19th/Early 20th Century Probably carved from a water buffalo rib. Used by priests to divine auspicious days for particular activities and by agricultural communities to determine the best times for planting and harvesting. One side engraved with script characters, geometric designs and stylized human and animallike figures surrounding the calendar grid, in which some boxes contain characters, some are fully shaded and some are bisected diagonally. Other side with a relief-carved and engraved snake and lizard surrounded by engraved characters and a stylized double-faced figure. The Batak calendar, derived from the Hindu calendar, is a lunar/solar calendar consisting of twelve months divided into 30 days, with an occasional leap month. Length 20.25”. 300/500

226.

GROUP OF SOUTH SEAS WEAPONS Late 19th/Early 20th Century Includes two bows, eight arrows and two spears. Lengths from 17” to 54”.

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400/700

227.

"J.B. LEWIS SHOE-MAKER" LITHOGRAPHED TIN ADVERTISING SIGN Circa 1910 Depicts a seated cobbler with “Wear Resisters” on his apron and “J.B. Lewis Shoe-Maker Boston Working For You” on his bench. 19.75” x 13.5”. Unframed. 300/400

227

228.

THOMAS A. EDISON ALS Dated 1912 On letterhead “From the Laboratory of Thomas A. Edison”. Typed letter addressed to W.A. Hardy, in appreciation for work performed. Signed “Edison”. 8.5” x 11”. 600/900

228

229.

229

230.

ALBUM OF SIDESHOW AND MINSTREL PERFORMER CDVS 19th Century Nine CDVs, four of General Tom Thumb and family, three of minstrel performer Dan Bryant, and others of “Queen of Scotland” Jennie Quigley and “Giant Lady” Madame Sherwood. Cards 4” x 2.5”. 1,000/1,500

MASSACHUSETTS PRISON LOT Circa 1930-50s Includes mug shots, information on crimes, prison art drawings, etc. Contained within a binder. 500/1,000 230

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231

232

233

234

231.

“RAILWAY EXPRESS AGENCY INCORPORATED” TRADE SIGN Early 20th Century Tin with wooden core. Double-sided. 12” x 71.5”. 250/350

232.

WOODEN “AMBULANCE.” SIGN Late 19th/Early 20th Century Gold and red lettering and crosses on a black-painted ground. 7” x 55”. 300/500

233.

WOODEN FUNERAL DIRECTOR TRADE SIGN Early 20th Century “John. H. Meade Funeral Director” in gold lettering on a black sandpainted ground. 14” x 42”. 250/350

234.

RARE PAINTED WOODEN SMOKING STAND IN THE FORM OF MAGGIE OF "JIGGS AND MAGGIE" Mid-20th Century Height 33.75”. Depth approx. 15”. 500/600

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236

235

235.

ELDRED WHEELER TWO-PART CHEST ON FRAME Massachusetts, 20th Century In tiger maple. Upper drawer simulates three side-by-side drawers, the central with fan carving. Five graduated full-width drawers below. Scroll-carved frame with cabriole legs ending in pad feet. Original Eldred Wheeler paper label inside a drawer. Height 58”. Width 39”. Depth 19”. 1,500/2,500

236.

ELDRED WHEELER QUEEN ANNE-STYLE HIGHBOY Massachusetts, 20th Century In tiger maple. Upper case with three side-by-side drawers, the central with fan carving, over four graduated full-width drawers. Lower case with a full-width drawer over three sideby-side drawers, the central with fan carving. Cabriole legs end in pad feet. Original Eldred Wheeler paper label. Height 72”. Width 37”. Depth 18.5”. 1,500/2,500

237.

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ELDRED WHEELER QUEEN-SIZE BED Massachusetts, 20th Century In tiger maple. Includes canopy mounts and finials. Original Eldred Wheeler paper label on back of headboard. Height without finials 66.5”. Width 65”. 2,000/2,500

238

238.

STEP-BACK CUPBOARD Early 20th Century In tiger maple. Upper case with two four-panel glazed doors. Lower case with two half drawers over two paneled cupboard doors and flat bracket feet. Interior with single shelf. Height 77.25”. Width 52”. Depth 20”. 1,500/2,000

239.

AMERICAN SCHOOL 1901 A newlywed couple atop a rocky outcropping. Signed illegibly in pencil verso. Inscribed in pencil on upper stetcher bar “ ... Painted on the ‘frog’ on two happy days on Oct. 1901”. Lower stretcher bar with pencil inscription of a W.E. Channing poem. Label verso for a Cambridge, Massachusetts framer. Oil on canvas, 11.5” x 14.5”. Framed 18” x 21.5”. 400/700

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240.

WILLIS SEAVER ADAMS Massachusetts/Connecticut, 1844-1921 Two landscapes. Both signed lower left “W.S. Adams”. Oils on board, the largest 5.75” x 9”. Framed 8.25” x 11.5”. 500/1,000

241.

INDEPENDENCE CLOCK WORKS STRIKING BOX CLOCK Marblehead, Massachusetts, Circa 1994 Cherry and walnut case. Hinged front door with a reverse-painted glass panel by Larosch Strickler depicting Marblehead as seen from the water, dated 1994. White enamel face with Roman numerals. Double barrel key-wind, mechanical movement and strike. Face marked below the twelve “Independence Clock Works Marblehead, Massachusetts”. Maker’s label affixed to the interior. Height 22.25”. Width 13”. Depth 4”. 800/1,200

241

242.

AMERICAN SCHOOL Early 20th Century Two views of Yale, one depicting what appears to be graduation day and the other a busy street scene with figures, horses and carriages. Unsigned. Typewritten notes affixed verso claim they were part of a large mural that was discarded. Watercolors on cardboard, 4.25” x 6.5”. Framed 9” x 11”. 500/700

242, two

243.

HENRY HERING New York, 1874-1949 Pair of bas-relief panels “Industry” and “Commerce” depicting Columbia standing atop a globe supported by a spread-wing eagle with a shield at its breast. Mock-ups created for the entrance to the original Kansas City Federal Reserve Building located at 928 Grand Street, designed by Graham, Anderson, Proust and White and built in 1914. Hering was an assistant to his mentor, Augustus Saint-Gaudens. Signed “H.H.” lower right. Plaster, 25” x 10”. Framed 26.5” x 11.5”. 2,000/3,000 Provenance: A Stonington, Connecticut Estate.

243, pair

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244.

GERRIT ALBERTUS BENEKER Massachusetts/New York/Michigan, 1882-1934 Original illustration for “Ambition”. Signed in pencil lower right “G.A. Beneker”. Framed with a copy of the printed work. Watercolor on paper, 8” x 5.25”. Framed 23” x 30”. 400/600

244

245.

AMERICAN SCHOOL Early 20th Century “Stetson Shoes for Men”. Unsigned. Gouache on board, 15” x 21.5” sight. Unframed. 300/500

245

246.

FRANK BENSING New York/Illinois, 1893-1983 “Enery Earns His Shoes”, 1944. Original illustration for a 1944 syndicated newspaper story by Leon Ware titled “Enery Earns His Shoes”. Signed lower left “Frank Bensing ‘44”. Titled upper right. Oil on board, 21” x 24”. Unframed. 400/600

246

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247

247.

JANIS PRICE Ohio, b. 1933 “Canal Town”. Signed lower right “Janis”. Titled verso. Oil on canvas, 24” x 30”. Framed 31” x 37”. 4,000/6,000

248.

ELDRED WHEELER QUEEN-SIZE BED Massachusetts, 20th Century In maple. Ball and turned posts. Original Eldred Wheeler paper label and brand on back of headboard. Post heights 57.5”. Headboard width 78”. 1,400/1,600

249.

COLLECTION OF FIVE TIGER MAPLE PIECES, SOME BY ELDRED WHEELER Massachusetts, 20th Century Includes an Eldred Wheeler pipe box, height 17”, tea table, height 25”, and candlestand, height 25”, all with original Eldred Wheeler paper labels, as well as a one-drawer stand, height 27.5”, and a drying rack by Tannery Creek Woodworks, Naples, New York, height 36”. 700/1,000

250.

THIRTEEN BRASS STENCILS, MANY PERTAINING TO APPLES Mid-20th Century Twelve apple-related: “Duchess”, “Bellflower”, “XXXXDucks” (Jacob Bros., 23 Market St., Boston), “N. Spy”, “Greenings”, “Fancy Kings”, “Stark”, “T. Sweets”, “Baldwin”, “Gravenstein” (F.G. Stone, Lockport, New York) and “McIntosh Red”, lengths from 2.5” to 6.75”, and an apple “Min. Size” chart, 9.75” x 8”. Also includes a “John Deere”, length 12”. 350/450

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251.

WOODEN SCULPTURE OF A RUNNING DOG JAGGING WHEEL/PIE CRIMPER 20th Century Dog’s front and rear legs extended, the front legs holding a finely carved jagging wheel. Double black bands at the waist. Displayed on an black steel stand. Height on stand 22.5”. Length 43”. 1,500/2,500

251

252.

JANET MUNRO Massachusetts/Florida, b. 1949 “Picking Apples”. Signed lower left “Munro”. Titled verso. Egg tempera, 3” x 4”. Unframed. 400/600

252

253.

ELDRED WHEELER BEDSIDE STAND Massachusetts, 20th Century In tiger maple. Fitted with a single drawer and medial shelf. Original label inside drawer. Height 28.5”. Width 20”. Depth 17”. 900/1,200 253

254.

PETER KOMMER PARNALL Maine, b. 1936 “Barn Cats”. Signed lower left “Parnall”. Identified and titled on gallery label verso. Acrylic on board, 11” x 37”. Framed 18” x 43”. 300/500

254

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255

256

257

255.

FRANK SNOWE America, 19th Century Cattle by the seaside. Signed lower left “F. Snowe”. Oil on canvas, 14” x 24”. Framed 21” x 21”. 500/1,000

256.

AMERICAN SCHOOL Late 19th/Early 20th Century Impressionist landscape with stone walls, trees, fields and a gate. Unsigned. F.W. Devoe label verso. Oil on academy board, 6” x 8”. Framed 8” x 10”. 300/500

258

257.

ATTRIBUTED TO JOSEPH H. GREENWOOD Massachusetts, 1857-1927 Verdant landscape with cottage. Initialed lower right “J.H.G.”. Label verso for framer Charles J. Edmands, Boston. Oil on canvas, 6.75” x 6.75”. Framed 10” x 10.5”. 300/500

258.

WESLEY ELBRIDGE WEBBER Massachusetts/California/Maine, 1841-1914 Geese on a country path. Signed lower left “W. Webber”. Oil on canvas, 16” x 26”. Framed 18” x 28”. 800/1,200

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259.

PAIR OF ELDRED WHEELER ONE-DRAWER STANDS Massachusetts, 20th Century In cherry, with square tapered legs. Eldred Wheeler label inside drawer. Heights 27.5”. Widths 19”. Depths 17.5”. 1,200/1,400

259, pair

260.

261.

ELDRED WHEELER TWO-PART CORNER CUPBOARD Massachusetts, 20th Century In tiger maple. Upper case with shaped cornice and a glazed door enclosing two shelves. Lower case with two paneled doors enclosing one shelf. Shaped bracket base. Height 82.5”. Width 45”. Takes a 18.5” corner. 1,000/2,000

ELDRED WHEELER DROP-LEAF TABLE Massachusetts, 20th Century In maple. Original Eldred Wheeler paper label. Height 29”. Length 19” plus two 11.75” drop leaves. Width 27.5”. 700/1,000

260

262.

AMERICAN SCHOOL Early 20th Century Young children at a wading pond. Unsigned. Oil on canvas, 19” x 27”. Unframed. 500/1,000

262

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SESSION II Friday, April 8, at 9:30 a.m. Paintings Fine Furniture Oriental Rugs And More

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301.

ATTRIBUTED TO BENJAMIN CHAMPNEY Massachusetts/New Hampshire, 1817-1907 River cascading through the mountains. Unsigned. Pencil notation verso attributes the work to Champney. Oil on board, 10” x 8”. Framed 14” x 12”. 700/1,000

301

302.

SAMUEL LANCASTER GERRY Massachusetts, 1913-1991 “Fishing at the Falls”. Signed lower right “S.L. Gerry”. Titled on gallery label verso. Housed in its original frame. Oil on canvas, 20” x 14”. Framed 31” x 25”. 6,500/8,500 Provenance: The Cooley Gallery, Connecticut. Private Collection, Connecticut.

302

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303.

SAMUEL W. GRIGGS Massachusetts, 1827-1898 Busy day on a mountain lake, likely Lake George, New York. Signed and dated within composition on a log at lower right “S.W.G. ‘78”. Oil on canvas, 22” x 36”. Framed 33” x 47”. 3,000/5,000

304.

SYLVESTER PHELPS HODGDON Maine/Massachusetts, 1830-1906 Mountain landscape with a waterfall and lake. Signed and dated lower left “S.P. Hodgdon”. Oil on canvas, 20” x 30”. Framed 24” x 34.5”. 1,200/1,800

305.

ATTRIBUTED TO JOHN WHITE ALLEN SCOTT Massachusetts, 1815-1907 “Haying Near Mt. Chocorua”. Titled on label verso for Vose Galleries, Boston. Oil on canvas, 22” x 30”. Framed 31” x 39”. 4,000/6,000

303

304

John White Allen Scott worked with Fitz Henry Lane in the 1840s, and Lane’s influence can be seen in this work.

305

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306.

ALVAN FISHER Massachusetts, 1792-1863 Waterfall tumbling down the mountain into a pool. Signed and dated lower left “A. Fisher 1839”. Oil on canvas, 30” x 25”. Framed 42” x 37”. 3,000/5,000

307.

ALFRED T. ORDWAY Massachusetts/New Hampshire, 1821-1897 “Artists’ Brook North Conway NH 1874”. Signed lower right “A. Ordway”. Oil on canvas, 29.5” x 49.5”. Framed 34.5” x 55”. 2,000/3,000 Provenance: A New Hampshire Collection of Paintings.

306

307

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308.

SAMUEL LANCASTER GERRY Massachusetts, 1813-1891 Garden scene with chickens and pumpkins. Signed lower right “S.L. Gerry”. Oil on canvas, 10” x 14”. Unframed. 1,500/2,000

308

309

309.

SHERATON SOFA New England, Circa 1810 In mahogany, nicely upholstered in a gold damask print. Arms with reeded supports. Tapered turned legs. Back height 34.75”. Seat height 18.75”. Length 79”. 1,000/1,500

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310.

HEPPLEWHITE BOWFRONT CHEST New Hampshire, Circa 1810 In mahogany with extensive fruitwood and satinwood inlay. Four graduated full-width drawers. Splayed bracket feet. Height 38”. Width 40”. Depth 20.5”. 3,500/4,500

310

311

311.

SHERATON CARD TABLE Portsmouth, New Hampshire, Circa 1805 In mahogany. Skirt with satin veneer panels. Reeded tapered legs. Height 30.5”. Width 37.75”. Depth 17.5”. 3,000/5,000

312.

HEPPLEWHITE BOWFRONT BUREAU Portsmouth, New Hampshire, Circa 1790 In mahogany and mahogany veneer. Four graduated full-width drawers with flame satin veneer panels. Shaped skirt. French splayed bracket feet. Height 36”. Width 39.5”. Depth 21”. 2,500/3,000

312

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314 313

313.

QUEEN ANNE HIGHBOY New England, Mid-18th Century In maple and curly maple. Upper case with two half drawers over four graduated full-width drawers. Lower case with three side-by-side drawers and cabriole legs ending in pad feet. Height 70.75”. Width 38”. Depth 18.5”. 2,500/3,500

314.

CHIPPENDALE TWO-PART SECRETARY New England, Circa 1780 In applewood. Upper case with two closed face paneled doors enclosing three shelves. Lower case with a slant lid enclosing pigeonholes and drawers. Four graduated full-width molded-edge drawers below. Flat bracket base. Height 81”. Width 36”. Depth 19.5”. 1,500/2,500

315.

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FEDERAL TWO-PART BANQUET TABLE New England, Circa 1820 In cherry with bird’s-eye maple veneer at skirt. Delicate acanthus-carved legs fitted with brass casters. Height 29”. Length 81”. Width 45”. 1,500/2,000

316.

JOSEPH MORVILLER Massachusetts/France, 1800-1870 New England landscape. Signed and dated faintly lower right “J. Morviller 1864”. Oil on canvas, 16” x 27”. Framed 23.5” x 34.5”. 2,000/3,000

316

317.

MANNER OF EDWIN BANNISTER America, 19th Century Cows watering by a stream. Initialed and dated verso “E.M.B. 83”. Oil on canvas, 30” x 20”. Framed 34.5” x 24.5”. 900/1,200

317

318.

GEORGE ARTHUR HAYS Rhode Island/Massachusetts/New Hampshire, 1854-1945 “Sheep Edge of Woods 1912”. Signed lower left “GA Hays”. Titled verso. Oil on canvas, 16” x 24”. Framed 23” x 31”. 800/1,200

318

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319.

TWO-PART FEDERAL SECRETARY North Shore of Massachusetts, Circa 1800 In mahogany and mahogany veneer. Upper case with three brass steeple finials and two Gothic arch glazed doors, the lower portion of doors with bird’s-eye maple veneer panels. Lower case with a fold-out writing surface above two fullwidth drawers. Oval bird’s-eye maple panel on top of writing surface. Drawers and front of legs with bird’s-eye maple facings. Skirt with halfmoon inlays in the manner of Thomas Seymour. Height 80”. Width 21”. Depth 21.75”. 4,000/6,000

319

320.

FEDERAL SERVER 19th Century In cherry with tiger maple drawer fronts. Three side-by-side drawers over two doors flanked by two deep drawers. Two graduated full-width drawers below. Shaped bracket base. Height 41.5”. Width 42.5”. Depth 20”. 1,500/2,000 320

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321.

322.

GEORGE WASHINGTON SEAVEY Massachusetts/Florida/Maine, 1841-1913 Still life of roses. Signed lower right “G.W. Seavey”. Oil on canvas, 18” x 14”. Framed 21” x 17”. 800/1,200

RARE SHERATON SIDEBOARD North Shore of Massachusetts, Circa 1810 In mahogany and mahogany veneer, with select flame mahogany used throughout. Upper recessed tier with an attached backsplash and two drawers flanking a concave central section. Brass geometric inlay on concave panels. Case with five varied drawers across top and two cupboard doors flanking an open arch. Corners of upper tier with exceptional deep acanthus-carved balusters. Matching carvings at tops of three-quarter reeded and carved columns fronting case. Columns terminate in tapered reeded legs fitted with brass casters. Height 47.75”. Width 72.25”. Depth 23.5”. 2,000/4,000

321

Nearly identical acanthus carvings are illustrated in a print advertisement for Gary Sullivan Antiques, which attributes the work to cabinetmaker Nathaniel Appleton of Salem, Massachusetts.

322

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323.

RARE QUEEN ANNE SLIPPER CHAIR Massachusetts, Mid-18th Century In mahogany. Cabriole legs end in pad feet and are joined by a turned and blocked H-stretcher. Back height 44.5”. Seat height 15”. 1,000/1,500

323

324.

CHIPPENDALE BOWFRONT BUREAU Massachusetts, Circa 1780 In tiger maple, with a molded-edge top, four graduated full-width drawers and ogee bracket feet. Height 36.5”. Width 40”. Depth 21.5”. 2,000/3,000

324

325.

326.

HEPPLEWHITE CARD TABLE Massachusetts, Circa 1790 In mahogany and mahogany veneer. Banded inlay along edge of top. Oval panels on skirt. Double reverse-tapered legs with string inlay. Height 29”. Width 35.5”. Depth 17”. 300/500

QUEEN ANNE TILT-TOP CANDLESTAND Massachusetts, Circa 1760 In mahogany. Dish top on a birdcage mount. Vasiform pedestal raised on three cabriole legs ending in snake feet. Height 28.5”. Diameter of top 19.5” x 19.75” with shrinkage. 1,000/1,500 326

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325

327

327.

EXCEPTIONAL CHIPPENDALE BLOCK-FRONT BUREAU ATTRIBUTED TO HENRY RUST Salem, Massachusetts, Circa 1780 In Cuban mahogany, exceptionally grained wood throughout and matching single plank used on top and sides. Old surface, possibly original. Molded-edge top over four subtly graduated drawers. Skirt with fan-carved drop. Bold claw & ball feet with talons on all four. Initialed in chalk on back of lower drawer “HR”. Height 37.5”. Width 37.25”. Depth 20.25”. 30,000/50,000 Illustrated: The New Fine Points of Furniture ... by Albert Sack (N.Y.: Crown Publishers, 1993"Good, Better, Best", p. 110.

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328

328.

329

CHIPPENDALE SLANT-LID DESK Massachusetts, Circa 1780 In curly maple. Interior with pigeonholes, drawers and central compartment. Case with four graduated full-width drawers and ogee bracket feet. Height 42”. Width 40”. Depth 21.25”. 1,500/2,000

329.

QUEEN ANNE TILT-TOP CANDLESTAND Massachusetts, Last Half of the 18th Century In mahogany. Circular top set on a vasiform pedestal raised on three cabriole legs ending in snake feet. Height 27.75”. Diameter of top 19.75” x 19.5” with shrinkage. 300/500

330

331

330.

HEPPLEWHITE CARD TABLE Massachusetts, Circa 1790 In mahogany and mahogany veneer. Top edge with banded alternating wood inlay. Satinwood oval panel at center of apron. Tapered legs with string inlay. Height 29.75”. Width 35.75”. Depth 16.5”. 1,000/1,500

331.

SHERATON BOWFRONT BUREAU Massachusetts, Circa 1810 In cherry, with bird’s-eye maple facings. Four graduated full-width drawers flanked by half columns. Turned feet. Height 41.5”. Width 42.5”. Depth 23.25”. 800/1,200

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332

332.

QUEEN ANNE BIRDCAGE TILT-TOP BREAKFAST TABLE America, Second Half of the 18th Century In cherry and mahogany. Circular top set on an elaborate tenspindle birdcage mount. Cabriole legs with shell-carved knees and bold snake feet. Height 28.5”. Diameter of top 45.5”. 500/1,000

333

333.

HEPPLEWHITE BOWFRONT BUREAU Early 19th Century In mahogany. Four drawers with tiger maple veneer fronts. Shaped skirt. French splayed feet. Height 38”. Width 41”. Depth 22”. 1,500/2,000

334, pair 335

334.

PAIR OF FEDERAL GILT MIRRORS America, First Quarter of the 19th Century Cornice with ball drops. Upper panels with applied foliate moldings. Reeded columns at sides. Heights 33.5”. Widths 24”. 1,000/2,000

335.

CHIPPENDALE SLANT-LID DESK 18th Century In maple and tiger maple. Fitted interior. Case with four graduated full-width drawers and flat bracket feet. Height 42”. Width 37”. Depth 20”. 600/800

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ROBERT SPEAR DUNNING Massachusetts/New Hampshire, 1829-1905

336

336.

“Still Life with Rose, Peaches and Grapes, 1877”. Signed and dated lower right “R.S. Dunning 1877”. Signed and dated verso. Titled on gallery label verso. Oil on canvas, 10.25” x 8.25”. Framed 16.25” x 14”. 8,000/10,000 Provenance: Thomas Colville Fine Art. Berry-Hill Gallery, New York. Hollis Taggart Galleries, New York. Questroyal Fine Art, New York. Private Collection, New York.

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337.

QUEEN ANNE BONNET-TOP HIGHBOY Charlestown, Massachusetts, Third Quarter of the 18th Century In cherry. Bonnet with broken arch pediment and three twist and urn finials. Upper case with three side-by-side drawers, the central with fan carving, over four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Drawers with molded edges. Acorn drops at skirt. Cabriole legs end in pad feet. Height 91.5”. Width 38.75”. Depth 20.5”. 6,000/8,000

337

338.

QUEEN ANNE FLAT-TOP HIGHBOY Salem, Massachusetts, Dated 1776 In mahogany. Upper case with a molded cornice and two half drawers over three graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Beautifully carved and shaped skirt at front and sides. Cabriole legs end in pad feet. Dated in chalk on back. Height 70.75”. Width 38”. Depth 20.75”. 7,000/10,000

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338

339.

BRYANT CHAPIN Massachusetts, 1859-1927 Still life of apples. Signed and dated lower left “Bryant Chapin 1906”. Oil on canvas, 8.5” x 11.5”. Framed 14.5” x 17.5”. 1,200/1,800

339

340.

341.

SEYMOUR SCHOOL SHERATON CARD TABLE North Shore of Massachusetts, Circa 1805 In mahogany and mahogany veneer, under an old finish. Tapered reeded legs with ribbed turrets. Edge of top and bottom of apron with lunette design. Height 30.25”. Width 35.75”. Depth 17.5”. 800/1,200

SHERATON SIDEBOARD Massachusetts, Circa 1805 In mahogany and mahogany veneer. String and other inlay throughout. Three side-by-side drawers over a central two-door cupboard flanked by one-door cupboards. Delicate tapered legs. Height 40.75”. Width 67”. Depth 25”. 2,000/3,000

341

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340

342.

343.

JULIA MCENTEE DILLON New York, 1834-1918 Yellow roses in a pitcher. Signed lower right “Dillon”. Oil on panel, 16” x 14”. Framed 19.5” x 17.5”. 1,000/2,000

342

DIMINUTIVE HEPPLEWHITE SIDEBOARD ATTRIBUTED TO BENJAMIN FROTHINGHAM, JR. Charlestown, Massachusetts, Circa 1790 In mahogany and mahogany veneer. Serpentine front. Three drawers across top. Central slide and two-door compartment flanked by a stack of two drawers at left and a bottle drawer at right faced as two drawers. Drawers and door with cock-bead molding and original brass hardware. Delicate tapered legs. Pin construction where case meets lower part of legs indicative of Frothingham’s work. Height 40.75”. Width 58”. Depth 23.5”. 7,000/10,000

343

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THOMAS WILMER DEWING New York/New Hampshire, 1851-1938

Thomas Dewing is best known for artful, dream-like portraits of refined women executed in a Tonalist palette. He worked at a time when Impressionism gained dominance in the art world and was then surpassed by Modernism. Dewing was born in Boston to prominent land- and millowning families. Thomas expressed an early interest in the arts; he was fond of drawing and literature, played violin and had ambitions of becoming a stage performer. His father, however, was a drunk, and led the family into a steady financial and social decline before he died in 1863, at which time Thomas was apprenticed to a lithographer. In the early 1870s Dewing studied informally in Boston and became known for excellent figural chalk drawings. In 1876 he moved to Paris and studied at the Academie Julian, where he learned anatomical drawing with live models. He returned to New York, then Boston, in 1877/1878, showing small academic nudes, which gained him attention from artists R. Swain Gifford and George Fuller, who encouraged Dewing to show in New York.

344

344.

“The South Wind”. Titled upper right. Signed and dated lower left “T.W. Dewing 1878”. Includes the two-volume Thomas Wilmer Dewing Beauty into Art: A Catalog Raisonne by Susan A. Hobbs, et al. (2018). Oil on canvas, 58” x 36”. Framed 63” x 41.5”. 120,000/180,000 Provenance: Peter W. French, Boston, possibly purchased from the artist. George Dresser, East Weymouth, Massachusetts, by the 1930s, purchased from French as part of the contents of French’s house. Descended in the Dresser family, Windsor, Connecticut. Private Collection, Kentucky. Literature: For a discussion of this work, see Thomas Wilmer Dewing Beauty into Art: A Catalog Raisonne by Susan A. Hobbs with Shoshanna Abeles (2018), p. 87-89. Illustrated in color p. 89, plate 6.

Shortly after moving to New York in 1880, Dewing met and married Maria Oakey, an accomplished painter with extensive formal training and connections within the art world. He was an instructor at the Arts Students League until 1888, and he was elected to the National Academy of Design and won a medal at the Paris Exposition in the late 1880s. Starting in 1885, he and Maria summered at the art colony in Cornish, New Hampshire, and in 1898, he became a member of the Ten American Painters, a group that included Childe Hassam and J. Alden Weir, though Dewing stood out from the others because he was not an Impressionist. Dewing is best known as a Tonalist, an American genre rooted in “art for art’s sake” English Aestheticism. In her catalog raisonne, Susan Hobbs posits that the classically draped women in works by Edward Burne-Jones and the 1877 opening of the Grosvenor Gallery in London may have been the inspiration for Dewing’s monumentally scaled “South Wind”, an elongated floating woman plucking at the mullein plant. The concept may also have been derived from engravings after the painting “Aurora” by Jean-Louis Hamon. Hobbs writes that “South Wind” was likely intended as an architectural feature in a private home, and it is unique for the artist in its life-size proportions and gold leaf ground. Dewing showed the work at Doll & Richards Gallery in Boston, where critical response was positive and patrons appreciated his ability to produce something imaginative that wasn’t in the French academic style.

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347 346 345

345.

100

TURKISH PRAYER RUG: 3’0” x 5’6” Late 19th Century Red and light gray overlapping fields with rectangular yellow panels containing tulips above and below. Light brown and gold borders with colorful floral motifs. 1,000/2,000

346.

CAUCASIAN RUG: 3’7” x 4’9” Late 19th Century Ivory field with red and blue geometric medallions containing and surrounded by miniature blossoms and animal and bird figures. Floral and geometric guard borders. Main border with Kufic design in ivory on red. 500/700

347.

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PEREPEDIL RUG: 2’4” x 3’3” Early 20th Century Traditional faded orange, gold, ivory and subtle amethyst stylized motifs are neatly arranged about an abrashed dark blue field. Multiple borders with familiar repeating motifs in colors to match the field. 200/300

348.

KIRMAN RUG: 10’5” X 22’0” Circa 1920-1930 Densely and elegantly arrayed floral clusters and boteh arranged in quatrefoils, rendered in pastel shades of red, pink, blue, green, violet and gold, wholly occupy an ivory field. Multiple floral borders echo the field. 2,000/3,000

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101

349.

WILLIAM MORRIS DESIGN RUG: 9’0” x 11’2” 21st Century Onyx field with leafy light green serpentine vines bearing elegant pale gold and pink blossoms. Subtle ivory secondary vines throughout. Pink guard borders and a taupe main border feature elements to match the field. 1,200/1,800

349

350.

BAKHSHAISH RUG: 8’6” x 11’7” Circa 1910-1920 Traditional red, light blue and olive green cypress, willow and deciduous trees amidst stylized marine blue blossoms are arranged in rows across a navy blue field. Ivory and rust red floral borders. 1,000/2,000

350

351.

KUBA DESIGN RUG: 8’10” x 11’8” 21st Century Ivory, abrashed slate blue and warm gray geometric medallions are suspended on a stylized ivory vine, which also bears blue, gray, ivory and subtle pink blossoms on a light bronze field. Ivory guard borders and khaki main border. 800/1,200

351

102

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352 354

353

352.

BIDJAR RUG: 4’8” x 7’1” First Quarter of the 20th Century Navy blue field with quatrefoil motifs and neatly arrayed flowering branches, all rendered in shades of pink, light blue, ivory and mossy green. Rich red main border features turtle and floral motifs. 500/700

353.

KAZAK RUG: 4’5” x 8’3” First Quarter of the 20th Century Red field with bold dark blue geometric medallions containing and surrounded by stylized cloud bands and tiny flower blossoms in red, ivory, blue, gold and dark amethyst. Ivory floral main border. 800/1,200

354.

355.

PERSIAN SOUMAC RUG: 4’9” x 8’7” First Half of the 20th Century Traditional geometric medallions contain and are surrounded by traditional stylized elements rendered in faded shades of blue, yellow, dark red and ivory on a reddish brown field. Brown and ivory borders. 600/900

CAUCASIAN DESIGN RUG: 4’0” x 6’0” 21st Century Camel’s hair-colored field with bright ivory, blue, red and a rich yellow geometric medallions and sparsely scattered small blossoms. Light blue guard borders with red and ivory blossoms. Camel’s hair-colored main border with stylized elements to echo the field. 350/450

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356.

HERIZ: 8’4” x 11’5” Circa 1920-30 Green and red meandering vine bears traditional blue, red, ivory and light olive green blossoms and leaves, symmetrically arranged about the center lines of a brick red field. Broad dark blue main border. 500/1,000

357.

HAMADAN RUG: 2’11” x 11’10” Mid-20th Century Abrashed red field with an ivory central medallion and skillfully arrayed clusters of pastel-colored flower branches. Red and ivory borders. 300/500

103

358.

MAHAL DESIGN RUG: 10’0” x 13’10” 21st Century Bright ivory field is traversed by five columns of traditional stylized blossoms rendered in shades of blue, rich red, dark brass, gold, and subtle shades of pale green and yellow. Broad navy blue main border with a colorful well-rendered turtle motif. 900/1,200

359.

HAMADAN RUG: 3’6” x 6’8” Early 20th Century Multiple rows of a repeating blue, faded gold and light red stylized element cross a dark red field. Faded gold guard borders. Light blue main border. 150/250

358

360.

KESHAN RUG: 9’6” x 13’8” Last Half of the 20th Century Bright red field with blue and ivory traditional overlapping medallions that suspend pendants and are surrounded by graceful green branches bearing colorful blossoms. Spandrels and borders echo medallion. 1,200/1,800

361.

KHOTAN DESIGN RUG: 6’1” x 9’0” 21st Century Traditional circular medallions, stylized blossoms and flower branches are symmetrically arrayed about the center lines of a smoke gray field. Ivory borders with traditional Eastern motifs rendered in shades of blue, pale yellow, gray and salmon pink. 600/900

360

104

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362.

SERAPI DESIGN RUG: 12’0” x 14’10” 21st Century Rust red field with traditional vines, blossoms and serrated leaves. Dark gold, ivory and navy blue borders. 1,800/2,400

362

363.

SERAPI DESIGN RUG: 9’8” x 14’1” 21st Century Rust red field with traditional vines, bold palmettes and serrated leaves. Ivory guard borders. Broad gold main border. 1,500/2,000

363

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105

364.

QUEEN ANNE HIGHBOY BASE ATTRIBUTED TO JOHN GODDARD Newport, Rhode Island, Mid-18th Century In mahogany, with three varied side-by-side drawers, a relief-carved fan at skirt reminiscent of John Goddard’s work, and cabriole legs ending in bold pad feet. Height 33.25”. Width 42.75”. Depth 22.5”. 1,500/3,000

365.

QUEEN ANNE TILT-TOP CANDLESTAND Rhode Island, Mid-18th Century In mahogany. Dish top on a birdcage mount. Vasiform pedestal raised on three cabriole legs ending in modified snake feet. Height 27.25”. Diameter of top 21.5” x 22.5” with shrinkage. 1,000/1,500

364

365

106

366.

CHIPPENDALE PEMBROKE TABLE Rhode Island, Circa 1780 In cherry. Single drawer at one end of apron has chestnut secondary woods. Tapered corner-molded legs joined by a cross stretcher. Height 28”. Width 20.75” plus two 9.25” drop leaves. Depth 35.25”. 500/1,000

367.

HEPPLEWHITE DEMILUNE CARD TABLE America, Circa 1800 In mahogany and mahogany veneer. Molded-edge top with string inlay. Oval pateras at the tops of each of the tapered legs. Height 27.5”. Width 35.75”. Depth 18”. 500/1,000

366

367

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368.

QUEEN ANNE FLAT-TOP HIGHBOY Rhode Island, Mid-18th Century In cherry. Upper case with two half drawers over three full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, a nicely scrolled skirt and cabriole legs ending in pad feet. Height 67.25”. Width 37”. Depth 20”. 1,800/2,500

368

369.

DIMINUTIVE TWO-PART SECRETARY 19th Century In tiger maple, birch and mahogany, with marquetry inlay. Upper section with three side-by-side drawers over tambours flanking a central door. Fitted interior. Lower case with three graduated full-width drawers and spade feet. Height 47.5”. Width 33.25”. Depth 24”. 1,000/1,500

369

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107

370.

LORENZO SOMERBY Massachusetts, 1816-1883 “Cornwall On The Hudson, Bannerman’s Island”. Signed and dated lower right “L. Somerby 1852”. Titled on label verso. Oil on board, 17.75” x 23.75”. Framed 24.25” x 31”. 2,000/4,000 Provenance: Vose Galleries, Boston. Newhouse Galleries, New York. Exhibited: U.S. Department of State (label verso).

370

371.

ATTRIBUTED TO HOMER DODGE MARTIN New York/Minnesota, 1836-1897 Expansive river landscape with distant mountains. Unsigned. Oil on canvas, 20” x 36”. Framed 28” x 44”. 2,000/3,000

371

372.

VICTOR DE GRAILLY New York/France, 1804-1889 West Point on the Hudson River, New York. Unsigned. Oil on canvas, 22” x 30”. Framed 29.5” x 37.5”. 2,500/3,500

373.

JOSEPH ANTONIO HEKKING New York/Michigan/The Netherlands, 1830-1903 Deer in a mountain landscape. Signed lower right “J.A. Hekking”. Oil on canvas, 10” x 16”. Framed 19” x 25”. 2,500/3,500

372

373

108

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374.

AMERICAN SCHOOL 19th Century Tropical landscape, likely South America, with two figures in a boat. Unsigned. Oil on canvas, 30” x 43”. Framed 39” x 52”. 3,000/5,000 Provenance: Eldred’s, April 3, 2004, Lot #1020. Private Collection, Connecticut.

374

375.

NIKOLAY TYSLAND LEGANGER New York, 1832-1905 “View from Crown Point Lake Champlain” (Vermont). Signed lower right “N.T. Leganger Lake Champlain”. Titled verso. Oil on board, 9.5” x 13.5”. Framed 17.5” x 21.5”. 800/1,200

375

376.

JOHN WILLIAM HILL New Jersey/California, 1812-1879 “The Hudson River at Caldwell’s Landing”. Signed lower right “J.W. Hill 1873”. Titled on gallery label verso. Watercolor on paper, 8” x 12” sight. Framed 13.25” x 17.25”. 3,000/5,000

376

Provenance: Christie’s New York, East, October 4, 2000, Lot #24. Sotheby’s New York, May 19, 2004, Lot #66. Thomas Colville Fine Art (label verso).

377.

AMERICAN SCHOOL 19th Century Boaters on a mountain lake, probably Lake George. Unsigned. Oil on canvas, 12” x 20”. Unframed. 300/500

377

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109

378.

PAIR OF HEPPLEWHITE SIDE CHAIRS Connecticut or Rhode Island, Circa 1800 In mahogany. Pierced splats with central urns. Serpentine-front seats with gold damask upholstery. Tapered legs joined by H-stretchers. Back heights 40.25”. Seat heights 19.5”. Seat widths 21.25”. 400/600

378, pair

379.

CHIPPENDALE TILT-TOP TEA TABLE New York, Circa 1780 In mahogany. Molded-edge top set on a vasiform pedestal. Cabriole legs end in elongated paw feet. Height 28.25”. Diameter of top 31.75”. 500/1,000

379

380

381.

380.

DIMINUTIVE SHERATON CARD TABLE New York, Circa 1810 In mahogany and mahogany veneer. Five ropeturned legs fitted with brass casters. Height 29.5”. Width 30”. Depth 15.75”. 500/800

PAIR OF PHILADELPHIA CHIPPENDALE SIDE CHAIRS Circa 1780 In mahogany. Backs with shell-carved crests and pierced carved splats. Slip seats with gold damask upholstery. Block legs joined by H-stretchers. Back heights 38”. Seat heights 18”. Widths 20.25”. 1,000/1,500 381, pair

110

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382.

HUDSON RIVER SCHOOL 19th Century Sailing on the river. Unsigned. Oil on canvas, 23” x 37”. Framed 29” x 43”. 1,000/2,000

382

383.

HUDSON RIVER SCHOOL 19th Century Sailboats on a mountain river. Unsigned. Aaron Draper Shattuck keys. Oil on canvas, 21.25” x 31.25”. Framed 29” x 39”. 800/1,200

383

384.

HUDSON RIVER SCHOOL 19th Century Mountain and river landscape. Unsigned. Oil on canvas, 22” x 36”. Framed 29” x 43”. 800/1,200

384

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111

385

385.

JAMES RYDER VAN BRUNT New York, 1820-1916 Sunset landscape, likely the Hudson River. Initialed lower right. Watercolor on paper, 5.25” x 8”. Unframed. 900/1,200

386.

JAMES RYDER VAN BRUNT New York, 1820-1916 Three watercolors on paper depicting animals and birds. One of a peacock, 5” x 6.75”, and two featuring dogs in a landscape, both 7.5” x 5.5”. All initialed in pencil. Unframed. 800/1,200

James Ryder Van Brunt is a well-listed New York artist, but his works are rarely seen on the auction market. A descendant of Brooklyn’s earliest settlers, he spent time sketching his native Brooklyn as well as Long Island. His works have been exhibited at the Brooklyn Historical Society, Museum of the City of New York, and the Center for Brooklyn History.

386, three

387.

388.

112

TRANSITIONAL TWO-PART EXTENSION DINING TABLE New York, Circa 1840 In mahogany and mahogany veneer. Bases with carved pineapple legs and carved paw feet. Height 30”. Length 55.5” plus one 29.5” leaf. Width 48”. 800/1,200

388

HEPPLEWHITE CARD TABLE Probably New York, Circa 1790 In mahogany and mahogany veneer with string inlay. Five tapered legs. Height 29.5”. Width 35.75”. Depth 17.75”. 800/1,200

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389.

SUSAN CATHERINE MOORE WATERS New Jersey/New York, 1823-1900 “Herding Sheep Before the Storm”. Signed lower right “Mrs. Susan C. Waters”. Also signed verso and labeled “Bordentown, N.Y.”. Label on stretcher for F. Weber & Co., Philadelphia. Housed in a period tiger maple veneer frame. Oil on canvas, 24” x 36”. Framed 31” x 42.5”. 5,000/10,000 The Burlington County Historical Society claims Susan Waters will best be remembered for her large and painstakingly executed sheep paintings, which established her as one of the foremost American sheep painters of the 19th Century.

389

390

390.

SHERATON SOFA New York, Circa 1810 Arms with turned and foliate-carved supports. Turned legs. Burgundy damask upholstery with a gold wreath and star print. Back height 38.5”. Seat height 20”. Length 78”. 1,200/1,800

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113

391.

NEAR-PAIR OF HEPPLEWHITE SIDE CHAIRS Connecticut or Rhode Island, Circa 1800 In mahogany. Pierced splats with carved urns. Seats with gold damask upholstery. Tapered legs joined by H-stretchers. Back heights 37.25” and 37.75”. Seat heights 18”. Seat widths 21.5”. 300/500

391, pair

392.

HORACE WOLCOTT ROBBINS, JR. New York/Connecticut, 1842-1904 “Farmington River, CT”. Signed lower right “H.W. Robbins”. Titled on gallery label verso. Oil on canvas, 25” x 30”. Framed 31” x 36”. 3,000/5,000 Provenance: R.H. Love Galleries, Chicago. Mongerson Wunderlch Galleries, New York. Private Collection, Connecticut.

392

393.

BOWFRONT CHEST America, Early 19th Century In mahogany. Four graduated drawers with tiger maple fronts. High shaped bracket base. Height 33.5”. Width 40”. Depth 22.5”. 1,500/2,000 393

114

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394

395

396

394.

MANNER OF SANFORD ROBINSON GIFFORD America, 19th Century Indian summer. Signed and dated lower right “S.R. Gifford ‘63”. Oil on canvas, 12” x 20”. Framed 17” x 26”. 3,000/5,000 Provenance: Henry Luce III, New York. By descent to Leila Hadley Luce, New York. Gifted to present owner, a Palm Beach, Florida collector.

395.

397

396.

CHARLES FRANKLIN PIERCE Massachusetts/New Hampshire, 1844-1920 Sheep in a stable. Signed lower right “C.F. Pierce”. Oil on canvas, 12” x 16”. Framed 19.5” x 23.5”. 600/1,000

397.

OLIVE PARKER BLACK New York/Massachusetts, 1868-1948 Stream through a meadow. Signed lower right “Olive P. Black”. Oil on canvas, 20” x 30”. Framed 25.5” x 35.5”. 2,500/3,500

GEORGE LORING BROWN Massachusetts/New Hampshire, 1814-1889 “View Towards Staten Island, 1860”. Signed and dated lower right “Geo. L. Brown 1860”. Titled on gallery label verso. Oil on board, 9” x 12”. Framed 15.75” x 19”. 2,000/3,000 Provenance: Lopoukhine Gallery, Inc., Boston (label verso).

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115

398.

PAIR OF HEPPLEWHITE SIDE CHAIRS Connecticut or Rhode Island, Circa 1800 In mahogany. Pierced splats with two rosettes and central urn. Slip seats with gold damask upholstery. H-stretchers. Back heights 38.5”. Seat heights 18”. Seat widths 21.25”. 400/600

398, pair

399.

SAMUEL COLMAN New York/California/Maine, 1832-1920 “View of the Lake”. Signed lower left “Samuel Colman”. Pastel on paper, 10.5” x 8.25”. Framed 16.25” x 14.75”. 1,500/2,000

399

400

400.

116

FEDERAL-STYLE DINING TABLE 20th Century In mahogany with lighter wood banded edge. Double pedestal base with reverse-arched molded legs ending in brass-capped paw feet. Height 29.25”. Length 66.25” plus two 13.5” leaves. Width 45”. 800/1,200

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401.

402.

402

GEORGE COCHRAN LAMBDIN Pennsylvania/New York, 1830-1896 Roses. Signed lower right “Geo. C. Lambdin”. Oil on canvas, 30” x 20”. Framed 37” x 27”. 3,000/5,000

HEPPLEWHITE SHIELD-BACK SIDE CHAIR New York, Circa 1800 Back with ribbed, fish scale and halfsunflower carvings. Seat with gold damask upholstery. Tapered block reeded front legs end in spade feet. Back height 38.5”. Seat height 18”. Seat width 21.75”. 400/600

403.

401

HEPPLEWHITE-STYLE SERPENTINE-FRONT SIDEBOARD Early 20th Century In mahogany and mahogany veneer, with detailed satinwood inlay. Oval brasses with shell and trident design. Square tapered legs with band of geometric inlay at cuffs. Height 38”. Width 66”. Depth 24”. 500/800

403

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117

404.

404

405.

HEPPLEWHITE DEMILUNE CARD TABLE Circa 1810 In tiger maple and fruitwood veneer. Tapered legs. Height 29.5”. Width 35”. Depth 16”. 500/800

FEDERAL FOUR-DRAWER CHEST Mid-Atlantic States, Circa 1800 In wavy cherry. String inlay along edge of top. Four graduated full-width drawers with cock-bead molding. French splayed bracket feet. Height 40.25”. Width 41.25”. Depth 22”. 800/1,200

405

406.

406

407.

HEPPLEWHITE ONE-DRAWER STAND Mid-Atlantic States, Circa 1800 In mahogany with yellow pine secondary woods. Drawer front and tapered legs with string inlay. Diamond inlay at tops of legs. Height 29.75”. Width 18.75”. Depth 18.25”. 700/1,000

FOUR-DRAWER CHEST America, 19th Century In maple and tiger maple. Height 36”. Width 40”. Depth 20”. 1,000/1,500 407

118

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408.

CHIPPENDALE TWO-PART SECRETARY Mid-Atlantic States, Circa 1780 In walnut. Upper case with two arched paneled molded doors above candle slides. Doors enclose three adjustable interior shelves. Lower case with a slant lid over four graduated full-width drawers and flat bracket feet. Slant lid encloses an interior fitted with pigeonholes, drawers, and a central cupboard flanked by letter drawers. Height 80.25”. Width 39.75”. Depth 21”. 2,000/3,000

409.

408

410.

SET OF EIGHT CHIPPENDALE-STYLE DINING CHAIRS Early to Mid-20th Century Two armchairs and six side chairs. Backs with nicely carved splats. Slip seats with gold and turquoise upholstery. Back heights 37.5”. Seat heights 18.5”. Widths at seat 21”. 600/900

TRANSITIONAL BANQUET TABLE Mid-19th Century In mahogany, with a carved base, reeded extension legs and four 19.75” leaves. Height 31”. Diameter of top 47”. Maximum length 126”. 1,000/1,500

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410

119

411

412

411.

120

HARRY HERMAN ROSELAND New York, 1866/68-1950 Interior scene with two women by a fire. Signed and dated lower left “Harry Roseland ‘43[?]”. Oil on canvas, 12” x 18”. Framed 18” x 25”. 2,000/3,000

412.

HEPPLEWHITE SIDEBOARD Mid-Atlantic States, Circa 1790 In mahogany. Three side-by-side drawers over a central twodoor cupboard flanked by a deep drawer on the left and a cupboard on the right. Edge of top, cupboard doors and drawer fronts with veneer and alternating wood string inlay. Case with unusual reeded moldings above the tapered legs. Height 39.75”. Width 66.5”. Depth 25.75”. 1,800/2,500

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413.

CAUCASIAN DESIGN RUG: 9’1” x 13’10” Late 20th Century Clusters of blue and pale yellow stylized branches form medallions amidst bold blossoms on an abrashed red field. Stylized blossoms repeat throughout blue and yellow borders. 800/1,200

414.

KAZAK DESIGN RUG: 5’6” x 7’1” 21st Century Pale blue field with three columns of colorful geometric medallions with latch hook perimeters. Marine blue guard borders. Main border composed of colorful stylized repeating elements. 450/650

413

415.

KESHAN DESIGN RUG: 10’0” x 13’9” Last Half of the 20th Century Dusty rose-colored field with a delicate dark blue vine bearing leaves, blossoms and Shah Abbas motifs in pastel colors. Spandrels echo medallion. Borders feature traditional motifs. 800/1,200

416.

SERAPI DESIGN RUG: 7’10” x 9’10” Late 20th Century Gray and dark rust red gabled medallions on overlapping smoke gray and tan fields. Gray and rust red borders. Traditional vines, leaves and blossoms throughout. 500/1,000

415

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121

418

417

417.

SULTANABAD DESIGN RUG: 8’0” x 9’8” 21st Century Bright copper-colored field with columns of traditional bold blossoms and lattice-like vine in bright ivory, pale gold, pale yellow, khaki and light turquoise. Antique ivory guard borders and dark blue main border. 700/1,000

418.

HERIZ RUG: 7’1” x 9’9” Mid-20th Century Abrashed red field with a traditional ivory subfield and blue and ivory medallion and pendants. Typical flowering vines throughout rendered in pink, ivory, red, blue and subtle dark gold. Dark gold and midnight blue borders. 450/650

419.

KAZAK DESIGN RUG: 8’2” x 9’9” 21st Century Dark camel’s hair-colored field with traditional geometric elements along the center and neatly arrayed stylized blossoms and bird figures throughout. Bright ivory, bright red and dark salmon red guard borders. Dark blue main border. 1,000/1,500

419

122

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420.

SULTANABAD DESIGN RUG: 8’9” x 11’10” 21st Century Light sage green field with colorful randomly scattered stylized blossoms in shades of red, pink, blue, peach, green and chocolate brown. Ivory guard borders. Broad peach main border. 900/1,200

421.

SULTANABAD DESIGN RUG: 9’3” x 12’5” 21st Century Light blue field with bold blossoms suspended from a delicate vine, all rendered in shades of ivory, light pink, light red, dark slate blue and green. Light peach guard borders. Broad light sage green main border. 1,000/1,500

422.

HERIZ RUG: 8’6” x 12’5” Circa 1900 Faded gold linear vines bear bold blossoms and serrated leaves in traditional shades of red, blue, pink, ivory and gold, arranged skillfully across the length of a navy blue field. Rust red main border features light blue and turquoise turtles. 1,000/2,000 420

421

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422

123

423.

CAUCASIAN DESIGN RUNNER: 3’3” x 24’7” 21st Century Light slate blue field with diagonal rows of varied colorful gabled medallions. Pale yellow guard borders. Bright ivory main border. 1,000/1,500

424.

TRIBAL DESIGN RUG: 5’0” x 6’6” 21st Century Three rows of bold geometric medallions are colorfully rendered across the entirety of an aquamarine field. Aquamarine borders feature serpentine motifs. 450/650

425.

TURKISH RUG: 5’9” x 8’6” Mid-20th Century Red and gray overlapping geometric medallions with barber pole, latch hook and serrated perimeters occupy a green field. Red guard borders and broad ivory main border. Variety of stylized elements throughout. 400/600

426.

CAUCASIAN RUG: 3’3” x 5’3” Late 19th Century Red, blue and ivory geometric medallions are flanked by smaller stylized elements and tiny animal figures on a navy blue field. Guard borders feature a running dog motif and the main border features wine cup and serrated leaf motifs. 150/250

427.

HAMADAN RUG: 3’4” x 6’3” Early 20th Century Blue and rust red overlapping geometric medallions contain and are surrounded by stylized blossoms and bird and animal figures on a navy blue field. Ivory subfield with red geometric medallions at corners. Colorful floral main border. 100/200

428.

HERIZ RUG: 8’2” x 11’5” Second Quarter of the 20th Century Ivory field with linear vines bearing traditional pink, gold, red, light blue and dark blue stylized elements. Borders with traditional turtle motif. 450/650

429.

NORTHWEST PERSIAN RUNNER: 7’3” x 3’4” 19th Century Stylized geometric and Herati designs on a red and blue field, with one major border and three minor borders. 200/400

430.

TRIBAL DESIGN RUG: 8’0” x 10’1” 21st Century Slate blue field is traversed by colorful geometric medallions with latch hook perimeters. Marine blue guard borders and light gray main border feature stylized elements to echo medallions. 700/900

423 124

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431

433

431.

SERAPI RUG: 5’8” x 6’11” 19th Century Traditional gabled medallion with a floral center contains, and is surrounded by, a traditional flowering vine on a rust red field. Abrashed faded turquoise subfield contains a dark red flowering vine. Navy blue main border with a serpentine arrangement of leaves and blossoms. 700/1,000

432.

KAZAK DESIGN RUG: 5’3” x 6’10” Late 20th Century Abrashed red field with a sunburst central medallion flanked at each end by octagonal medallions. Traditional elements rendered in shades of abrashed blue, red, tan, pale yellow and subtle rust red throughout. Pale yellow guard borders with running dog motif and blue main border with crab motif. 400/600

433.

TURKISH HEREKE RUG: 4’7” x 6’1” Circa 1900 Dark red field with delicate flowering vines, graceful boteh and several prayer niches surrounding a pewter and beige central medallion. Elaborate borders feature cartouches of metallic threads to match medallion. 800/1,200

434.

SHIRAZ RUG: 6’2” x 10’0” First Quarter of the 20th Century Three blue and ivory geometric medallions contain, and are surrounded by, traditional stylized blossoms and peacocks. Overlapping midnight blue and red fields. Blue and ivory borders. 500/800

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125

WILLIAM LESTER STEVENS Massachusetts, 1888-1969

435.

Harbor scene. Signed lower right “W. Lester Stevens N.A.”. Oil on canvas, 19” x 23”. Framed 22” x 26”. 3,000/5,000

435

436.

Winter scene with stream. Signed lower right “W. Lester Stevens N.A.”. Oil on canvas, 24” x 30”. Unframed. 2,500/3,500

436

126

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437

Founder of the Rockport Art Association, William Lester Stevens was born and raised in Rockport, on the North Shore of Massachusetts. He began studying painting as a young child and had exhibited his first piece at the National Academy of Design by age 18. Following four years at the Boston Museum of Fine Arts School, Stevens launched an active painting career, but it was interrupted by a tour of duty in World War I. He didn’t begin exhibiting again until 1921, at which time he and 50 other artists established the Rockport Art Association. Rockport had become a haven for artists, including Childe Hassam, Leon Kroll and Jonas Lie, and the group wanted to make art more accessible to a greater population.

437.

Looking over the harbor, possibly Rockport, Massachusetts. Signed lower right “W. Lester Stevens N.A.”. Oil on canvas, 25” x 30”. Framed 28.5” x 33.5”. 8,000/12,000

Stevens taught in Rockport, as well as at Boston University, Princeton and in North Carolina. By 1964 had won more awards than any other living artist. Because of its growing popularity as a busy tourist spot, Stevens moved away from Rockport in 1934 to western Massachusetts. He painted until nearly the day he died.

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127

438.

REYNOLDS BEAL Massachusetts/Rhode Island, 1866/67-1951 “Calm at the End of the Day”. Unsigned. Identified and titled on gallery label verso. Ink on paper, 16.5" x 22" sight. Framed 25.5" x 31.5". 800/1,200 Provenance: Quester Gallery, Stonington, Connecticut.

438

439.

WILLIAM T. ALDRICH Massachusetts, 1880Ducks in a bucolic pond. Signed in pencil on upper stretcher bar "W.T. Aldrich". Oil on canvas, 24" x 30. Framed 28" x 34". 500/1,000

440.

ARTHUR GIBBES BURTON Vermont/New York, 1883-1969 Sunset winter landscape. Signed lower right “Arthur Gibbes Burton”. Oil on canvas, 22” x 27”. Framed 25.5” x 30.5”. 800/1,200

441.

JACOB I. GREENLEAF Massachusetts, 1887-1968 “Annisquam River”. Signed lower left “J. Greenleaf ”. Titled on artist’s studio label verso. Oil on canvas board, 12” x 16”. Framed 19” x 23”. 700/900

439

440

441

128

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442.

WALTER JOSEPH PHILLIPS Canada, 1884-1963 “Norman Bay 2”. Titled in pencil lower left margin and signed “W.J. Phillips” lower right. Signed with monogram and dated October 1923 in plate lower right. Color woodcut, 8.25” x 9.75” to the plate line. Framed 15” x 15.5”. 600/800

443.

PAUL LANDRY Connecticut/Canada, 1933-2018 “Day’s Over”, depicting vessels at a pier. Signed lower right “Paul Landry”. Titled verso. Watercolor on paper, 9” x 10.75” sight. Framed 16.5” x 18.5”. 400/600

442

443 444

444.

ANTHONY THIEME Massachusetts, 1888-1954 “Rockport”. Signed and titled lower right “A. Thieme Rockport”. Pencil on paper, 8.25” x 10.75” sight. Unframed. 500/1,000

445.

MURIEL ALVORD Connecticut, 1900-1960 “Surf Bass Rock”. Signed lower right “Muriel Alvord”. Inscribed and titled verso. Oil on canvas, 25” x 30.25”. Framed 31.25” x 36.25”. 1,000/1,500

445

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129

446

446.

EMILE ALBERT GRUPPE Massachusetts, 1896-1978 Birches on the mountainside. Signed lower right “Emile A. Gruppe”. Oil on canvas, 20” x 18”. Framed 23” x 21”. 3,000/5,000

447.

JOHN F. ENSER Massachusetts/New Hampshire, 1898-1968 “The Fisherman’s Hut Cape Breton Island”. Signed lower right “John F. Enser”. Titled verso. Oil on canvas, 24” x 30”. Framed 29” x 35”. 1,000/2,000

448.

SCHOOL OF ARTHUR W. DOW America, Early 20th Century Towering tree and distant mountains. Unsigned. Oil on canvas, 8” x 10”. Framed 11” x 13”. 400/600

447

130

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448

BERNARD COREY Massachusetts, 1914-2000

449.

Winter landscape with icy river. Signed lower right “Bernard Corey”. Oil on board, 9” x 12”. Framed 15” x 18”. 800/1,200

449

450.

“A Winter’s Day”. Signed lower right “Bernard Corey”. Titled on gallery label verso. Oil on board, 9” x 12”. Framed 16” x 19”. 800/1,200

450

451.

“Field and Stream”. Signed lower left “Bernard Corey”. Titled on gallery label verso. Oil on panel, 9” x 14”. Framed 18” x 24”. 800/1,200

451

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131

M A X W E L L M AY S Rhode Island, 1918-2009

452.

“Oakland House”. Signed lower left “Maxwell Mays”. Oil on canvas, 24” x 30”. Framed 31” x 37”. 2,500/3,500

453.

City in winter, likely Providence, Rhode Island. Signed and dated lower left “Maxwell Mays ‘90”. Oil on canvas, 22” x 28”. Framed 27.5” x 34”. 2,500/3,500

452

453

454.

Hand-painted serpentine two-drawer bureau. With claw & ball feet fitted with casters. Top and drawer fronts with figural landscape vignettes. Corners, apron and side panels with a red and green-yellow foliate design on a green-black ground. No signature noted. Height 27.5”. Width 32.5”. Depth 19.5”. 1,000/1,500 454

132

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455

456

457

455.

WAYNE BEAM MORRELL Massachusetts, 1923-2013 Quiet reflections. Signed lower left “Wayne Morrell”. Grand Central Gallery label verso. Oil on canvas, 24” x 36”. Framed 30.5” x 40.5”. 1,000/1,500

456.

WAYNE BEAM MORRELL Massachusetts, 1923-2013 “Sunlight of Winter”. Signed lower right “Wayne Morrell”. Tiled and inscribed verso “A sunny afternoon with the oak leaves still lingering through January 1965”. Oil on canvas, 30” x 40”. Framed 38” x 37”. 1,000/1,500

458

457.

DENNIS SHEEHAN New Hampshire/Massachusetts, b. 1950 Lone figure in a park. Signed lower right “Sheehan”. Oil on canvas, 24” x 36”. Framed 32.5” x 44.5”. 2,000/3,000

458.

DENNIS SHEEHAN New Hampshire/Massachusetts, b. 1950 Sunset over a snowy marsh. Signed lower right “Sheehan”. Oil on canvas, 16” x 28”. Framed 22” x 34”. 1,500/2,500

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133

459.

JOHN CHARLES TERELAK Massachusetts, b. 1942 “Evening into Night”. Signed and dated lower left “J.C. Terelak 80”. Titled verso. Oil on canvas, 20” x 30”. Framed 26” x 36”. 1,200/1,800

459

460.

ROBERT CHARLES GRUPPE Massachusetts, b. 1944 North Shore harbor scene. Signed lower right “R. Gruppe”. Oil on canvas, 25” x 30”. Framed 31” x 36”. 1,500/2,500

460

461.

DONALD MOSHER Massachusetts, 1945-2014 Winter’s End, Essex, Massachusetts. Signed lower right “Donald Allen Mosher”. Oil on canvas, 24” x 30”. Framed 32” x 27”. 3,000/5,000

461

134

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462

462.

ELDRED WHEELER TWO-PART STEP-BACK CUPBOARD Massachusetts, 20th Century In tiger maple. Upper case with two glazed paneled doors enclosing interior shelves. Lower case with two paneled doors enclosing one interior shelf. Flat bracket base. Eldred Wheeler label. Height 81”. Width 51”. Depth 18”. 2,500/3,500

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135

463.

CHIPPENDALE SLANT-LID DESK Connecticut, Possibly Litchfield County, Circa 1780 In cherry. Interior with drawers and pigeonholes. Case with four graduated full-width drawers. Ogee bracket feet with lovely scrolled moldings indicative of Litchfield County origin. Height 43”. Width 35.75”. Depth 20”. 500/1,000

463

464.

BIRDCAGE TILT-TOP TEA TABLE Connecticut, Mid-18th Century In cherry. Cabriole legs end in snake feet. Height 27”. Diameter of top 30.5” x 31” with shrinkage. 800/1,200 464

465.

CHIPPENDALE BUREAU Connecticut, Circa 1780 In cherry, with a molded-edge top, four graduated full-width drawers and flat bracket feet. Height 33.25”. Width 41.5”. Depth 19.5”. 800/1,200

465

136

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466.

CHIPPENDALE TWO-PART SECRETARY Hartford, Connecticut, Circa 1780 In cherry. Delicate broken arch pediment with carved floral rosettes, central circular fan carving and three turned flame finials. Upper case with two arched paneled doors. Lower case with a slant lid, four graduated full-width drawers with cock-bead molding, and ogee bracket feet. Slant lid encloses pigeonholes and drawers. Height 87”. Width 39”. Depth 18”. 2,000/3,000

466

467.

CHIPPENDALE TWO-PART SECRETARY Connecticut, Circa 1780 In cherry. Upper case with two paneled doors enclosing a compartmented interior. Lower case with slant lid over four graduated full-width molded-edge drawers and flat bracket feet. Slant lid encloses drawers and pigeonholes. Height 83”. Width 40”. Depth 19.25”. 1,200/1,800

467

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137

468.

QUEEN ANNE BIRDCAGE TILT-TOP TEA TABLE Connecticut, Mid-18th Century In cherry and mahogany. Circular top on a vasiform pedestal raised on three cabriole legs ending in snake feet. Height 26.75”. Diameter of top 36”. 500/1,000

468

469.

CHIPPENDALE BUREAU Connecticut, Circa 1780 In cherry. Molded-edge top. Four graduated full-width drawers with molded edges. Ogee bracket feet. Height 37”. Width 41.25”. Depth 21.25”. 1,000/1,500

469

470.

DIMINUTIVE QUEEN ANNE CANDLESTAND Connecticut, Last Half of the 18th Century In cherry, with an oval top, vasiform pedestal and cabriole legs ending in snake feet. Height 26.25”. Top 12.25” x 18.5”. 300/400

470

471.

CHIPPENDALE OXBOW BUREAU Connecticut, Circa 1780 In cherry, with a molded-edge top, four graduated full-width drawers and flat bracket feet. Height 33.5”. Width 41”. Depth 21.75”. 4,000/5,000

471

138

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472.

SET OF TEN FEDERAL-STYLE DINING CHAIRS BY MARGOLIS Hartford, Connecticut, Early 20th Century Two armchairs and eight side chairs. In mahogany. Beautiful lobed backs with pierced and urn-form splats. Seats with gold damask upholstery. Block tapered fluted legs. Unmarked. Back heights 39.5”. Seat heights 20”. 5,000/10,000

472, ten

473

473.

ELDRED WHEELER QUEEN ANNE-STYLE DINING TABLE Massachusetts, 20th Century In maple. Includes two 12” leaves. Original Eldred Wheeler paper label and brand on underside. Height 29.5”. Length 59.25”. Width 41.5”. 800/1,200

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139

474.

CHIPPENDALE BLOCK-FRONT BUREAU Springfield, Massachusetts, Circa 1780 In cherry. Molded-edge top over four graduated full-width drawers retaining original hardware. High flat bracket feet. Height 33”. Width 35.25”. Depth 22.25”. 10,000/15,000 Provenance: The Landsell K. Christie Collection, Sotheby Parke Bernet, Inc., October 21, 1972, Lot #50.

474

475.

EARLY QUEEN ANNE LOWBOY Probably Windsor, Connecticut, Mid-18th Century In maple with strong tiger maple solid drawer fronts. Deep rich patina. Molded-edge top over a shallow full-width drawer over three varied side-by-side drawers. Retains original engraved brasses. Shaped skirt with two drops. Diminutive cabriole legs end in modified slipper feet raised on turned balls. Height 29.75”. Maximum width 36.25”. Width at waist 32.5”. Depth 22.5”. 4,000/6,000

475

Illustrated: Connecticut Valley Furniture by Thomas and Alice Kugelman, catalog 8, p. 39.

140

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476.

QUEEN ANNE THREE-PART SLANT-LID SECRETARY Connecticut, Second Quarter of the 18th Century In cherry under an old finish with rich patina. Upper case with a flat molded cornice and two paneled molded doors enclosing compartments and shelves. Lower case with a slant lid over a faux drawer over three working graduated full-width drawers. Drawers with molded edges. Slant lid encloses a side-stepped interior with central drop well, pigeonholes and drawers, the letter drawers with book-form molded fronts. Frame with cabriole legs ending in bold pad feet. Height 82.25”. Case width 34.5”. Depth 19”. 10,000/15,000 Provenance: Jonathan Williams, Stafford, Connecticut.

476

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141

477

478

479A

479

477.

HENRY COOKE WHITE Connecticut, 1861-1952 “Autumn, Lyme, Connecticut”. Signed lower right “H.C. White”. Signed and titled in pencil verso. Oil on panel, 12” x 16”. Framed 15.25” x 19.25”. 1,200/1,500 Provenance: Private Collection, New York.

478.

142

GUSTAVE ADOLPH WIEGAND New York/Germany, 1870-1957 House by a rural pond. Signed lower right “Gustave Wiegand”. Oil on canvas, 16” x 20”. Framed 24” x 29”. 1,000/1,500

479.

ATTRIBUTED TO CHAUNCEY FOSTER RYDER New York/New Hampshire, 1868-1949 Fall landscape. Unsigned. Oil on board, 10” x 13.5”. Framed 16.5” x 19.5”. 800/1,200

479A. ATTRIBUTED TO GEORGE MORLAND United Kingdom, 1763-1804 An active farmyard. Unsigned. Oil on canvas, 20” x 24”. Framed 29" x 34". 3,000/5,000

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480.

CHIPPENDALE TALL CHEST Connecticut, Circa 1780 In cherry. Six graduated full-width drawers with molded edges. Ogee bracket feet. Height 51.75”. Width 40”. Depth 20.75”. 800/1,200

480

481.

QUEEN ANNE FLAT-TOP HIGHBOY Connecticut, Mid-18th Century In cherry. Upper case with five graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with fan carving. Drawers with molded edges. Cabriole legs end in delicate pad feet. Height 71”. Width 39.25”. Depth 20”. 2,500/3,500

481

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143

482.

ELDRED WHEELER QUEEN ANNE-STYLE HIGHBOY Massachusetts, 20th Century In strong tiger maple. Upper case with three finials on plinths, three carved sunbursts, three side-by-side drawers, the central with fan carving, and four graduated full-width drawers. Lower case with a full-width drawer over three side-by-side drawers, the central with repetitive fan carving. Shaped skirt. Cabriole legs end in pad feet. Original Eldred Wheeler label. Height 82”. Width 38.5”. Depth 20”. 4,000/6,000

482

144

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483

484

483.

JOHN C. TRAYNOR New Hampshire/New York, b. 1961 “The Blue Hills”. Signed lower right “John C. Traynor”. Titled verso. Oil on board, 11” x 14”. Framed 16” x 19”. 1,200/1,800

484.

ROBERT BRACKMAN New York/Connecticut, 1898-1980 “In Late September Noank”. Signed lower right “Brackman”. Titled verso and on frame plaque. Oil on canvas, 12” x 20”. Framed 15.5” x 23.5”. 1,000/1,500

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145

485.

HEZEKIAH ANTHONY DYER Rhode Island, 1872-1943 A smoldering volcano. Signed lower left “H.A. Dyer”. Gouache on board, 21.5” x 30” sight. Framed 28” x 36”. 800/1,200

486.

VOLNEY RICHARDSON Texas/New York, 1880-1955 Still life of flowers and porcelain. Signed upper left “V.A. Richardson”. Oil on canvas board, 16” x 20”. Framed 23” x 27”. 1,200/1,800

487.

ATTRIBUTED TO THERESA FERBER BERNSTEIN New York/Massachusetts, 1891/1895-2002 Figural study. Unsigned. Noted in pencil verso “Nocturn Theresa Bernstein”. Oil on board, 5.75” x 9.75”. Framed 9” x 13”. 300/500

485

486

487

487A. ANDREW W. MELROSE New Jersey/California, 1836-1901 Tantallon Castle, Scotland. Signed lower left "A. Melrose". Oil on canvas, 22" x 36". Framed 28” x 40”. 3,000/5,000

487A

146

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488.

QASHQAI RUG: 5’4” x 6’10” First Quarter of the 20th Century Red and blue diamond-form medallions contain colorful stylized elements and are surrounded by navy blue borders containing serrated leaves. Field composed of ivory, red, green and blue chevrons. Rich red and bright ivory exterior borders. 1,000/1,500

489.

TURKISH RUG: 4’9” x 5’10” First Half of the 20th Century Light gray field with bold red, orange, faded yellow, ivory and gray medallions and stylized branches. Barber pole guard borders. Red main border with colorful blossoms. 300/400

488

490.

KAZAK RUG: 3’10” x 6’6” Late 19th Century Red field with four geometric medallions composed of checkerboard squares that are surrounded by similar motifs, all rendered in dark blue, dark red, aqua, dark amethyst and subtle gold. Blue and aqua guard borders with colorful checkerboard motifs. Ivory main border. 300/500

491.

SERAPI DESIGN RUNNER: 2’9” x 16’2” 21st Century Rust red field with a skillfully rendered array of garrus vines and flowering branches in brassy gold, subtle green, midnight blue, subtle gold and ivory. Broad black border with turtle motif. 400/600

490

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147

493

492.

NORTHWEST PERSIAN RUNNER: 3’7” x 13’9” Second Half of the 20th Century Abrashed bright red field with broad, bold geometric medallions in dark blue, ivory, red and faded gold. Narrow red and ivory guard borders. Broad gold main border with stylized turtle motif. 600/800

493.

CAUCASIAN DESIGN RUNNER: 2’6” x 17’0” 21st Century Red, blue and ivory geometric medallions alternate with clusters of bright red, ivory and autumn brown stylized branches throughout the length of a light blue field. Bright red guard borders and an ivory floral main border. 500/800

492

148

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494.

NAVAHAND PERSIAN RUG: 5’0” x 8’3” Second Half of the 20th Century Red field with a green Herati pattern surrounding a red and blue gabled medallion outlined in subdued gold. Navy blue subfield and main border. Small red spandrels and guard borders. 400/600

495.

AFSHAR RUG: 4’9” x 5’8” Mid-20th Century A pair of green, ivory and brown geometric medallions are surrounded by numerous tiny blossoms throughout a reddish brown field. Abrashed brown and ivory borders. 350/550

496.

TURKISH LONG RUG: 3’8” x 7’4” First Half of the 20th Century Camel’s hair-colored field is traversed by staggered rows of colorful boteh. Red, ivory and blue borders with a variety of traditional motifs. 400/600

497.

HERIZ RUG: 8’8” x 11’0” Second Half of the 20th Century Bright red and midnight blue central medallion occupies a bright red field above a white subfield with spandrels. Midnight blue main border with traditional turtle motif. 1,000/1,500

497

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149

498.

KESHAN RUG: 8’9” x 11’7” Mid-20th Century Seven staggered columns of blue flower vases containing colorful boughs and blossoms traverse the length of a rich red field. Yellow and ivory guard borders and the navy blue main border feature floral meandering vines. Signature cartouche in end guard border. 1,000/2,000

498

499.

MAHAL RUG: 8’11” x 12’6” Circa 1940 Bright red field with a lattice of ivory branches bearing a cacophony of colorful palmettes, blossoms and serrated leaves. Multiple floral borders in shades of blue and ivory. 1,000/1,500

499

150

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500.

MAHAL DESIGN RUG: 7’9” x 10’2” 21st Century Bold pale yellow, pale gray, light brown and pink blossoms and similarly colored leaves are suspended on pink and ivory vines across a slate blue field. Light yellow guard borders and a broad light gray main border. 700/1,000

500

501.

CAUCASIAN DESIGN RUG: 6’0” x 8’10” 21st Century Navy blue field with symmetrically arranged red, ivory, green and yellow flower branches flanked by bold ivory palmettes and red and ivory willow branches. Red guard borders and a bright ivory main border. 700/900

501

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151

502

502.

CAUCASIAN DESIGN RUNNER: 2’5” x 10’0” Late 20th Century Series of dark red, navy blue, marine blue, pale gold and subtle pink linked geometric medallions traverse the length of a dark red field. Dark red and pale gold borders. 200/400

503.

KAZAK RUG: 4’0” x 8’0” Late 20th Century Brown field with four red and blue Lesghi stars surrounded by small stylized blossoms. Exterior guard border with red and brown reciprocal spearpoints. Ivory main border with serrated leaves and wine cups. 400/600

504.

152

KAZAK RUG: 4’3” x 6’3” Late 20th Century Bold blue and ivory medallions and stylized elements traverse the center of an abrashed red field and are surrounded by satellite blossoms and branches in the same colors. Reciprocal spearpoint guard borders. Wine cup and serrated leaf main border. 200/300

505.

MESHED RUG: 9’7” x 15’7” Second Half of the 20th Century Red field with elaborate blue and red central medallions surrounded by graceful flower branches and blossoms. Navy blue spandrels. Bright ivory guard borders. Midnight blue main border with a small Arabic script cartouche. 1,200/1,800

506.

PERSIAN DESIGN RUG: 8’1” x 9’6” 21st Century Variety of stylized blossoms rendered in khaki, salmon red, light amethyst, blue and subtle pale green are arranged in columns across a light blue field. Light gray guard borders and ivory main border. 700/1,000

507.

MAHAL RUG: 4’11” x 6’4” Early 20th Century Abrashed dark blue field with multiple columns of traditional stylized elements in shades of red, tan, blue and subtle ivory. Light blue guard borders. Red main border with turtle motif. 400/600

508.

HAMADAN RUG: 3’4” x 6’0” Early 20th Century Large hexagonal navy blue medallion contains three smaller red, blue and brown medallions and rests above a dark red field featuring flowering trees at corners. Navy blue guard borders with repeating boteh. Red main border with stylized elements. 150/250

509.

PERSIAN DESIGN RUNNER: 2’7” x 10’3” Late 20th Century Delicate red vine bearing gold, dark olive green and gray leaves and blossoms crosses a beige field. Borders in colors to match the field. 350/550

510.

KILIM RUG: 4’8” x 8’6” Mid-20th Century Traditional bands of large and small geometric medallions in a wide variety of colors alternate with broad blue, red and brown stripes to traverse the field from edge to edge and end to end. 400/800

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LOT 505

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153

511

511.

JOHN WHORF Massachusetts, 1903-1959 The fishing boat North Star at dock. Signed lower right “John Whorf ”. Watercolor on paper, 14” x 21” sight. Framed 23” x 29”. 2,000/3,000

512.

NANCY WEBB Massachusetts, 1926-2012 Three tiles, one depicting two rats, one depicting six bees and one depicting an alewife. Signed on backs “Webb”. Bronzes, each 6” x 6”. 500/800

513.

LILLIAN BURK MEESER Pennsylvania/Michigan, 1864-1942 Still life of roses and a figurine. Signed lower left “Meeser”. Watercolor on paper, 13” x 10” sight. Framed 20” x 16”. 250/350

512, three

513

154

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514.

MARGARET JORDAN PATTERSON Massachusetts, 1867/77-1950 Lily pad. Signed in pencil lower right “Margaret J. Patterson”. Color woodcut on paper, 10.25” x 7”. Framed 18” x 14”. 2,000/3,000

515.

CHARLES LLOYD HEINZ Illinois/Massachusetts, 1884-1953 Fishing boat in the harbor. Signed lower left “Charles L. Heinz”. Watercolor and gouache on paper, 17” x 23” sight. Framed 24” x 30”. 400/600

516.

DAISY MARGUERITE HUGHES Massachusetts/California, 1882-1968 “Old Yellow House at South Truro”. Signed lower right “D.M. Hughes”. Titled verso. Oil on canvas, 24” x 30”. Framed 31” x 37”. 1,500/2,500 Exhibited: Los Angeles County Museum: 4th Annual Exhibition Artists of Los Angeles and Vicinity, 1943 (label verso). 514

515

516

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155

517.

WILLIAM HORRACE LITTLEFIELD Massachusetts/New York, 1902-1969 “Bathers (Yellow Bathing Trunks Large Version)”. Signed and dated lower left “William Littlefield July 27, 1951”. Titled verso. Oil on panel, 51.5” x 23.5”. Framed 52.5” x 25.5”. 3,000/5,000 William Littlefield was a frequent exhibitor at the Provincetown Art Association.

517

518.

ALICE CONKLIN (LEEWITZ) BEVIN Connecticut, 1893-1969 “We Are Watching”. Signed lower right “Provincetown A.C. Bevin”. Oil on canvas, 36” x 30”. Unframed. 2,000/3,000 Illustrated: April 15, 1943 issue of The Art Digest. Corresponding article, titled “Portraits by Bevin”, states the work depicts a Provincetown Civilian Defense Volunteer.

518

156

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H E L E N A LT O N FA R N S W O R T H S AW Y E R Massachusetts/Florida/Washington, D.C., 1900-1999

519.

“Bouquet at Bay”. Signed lower left “Helen Sawyer”. Titled verso. Oil on masonite, 30” x 25”. Framed 36” x 30”. 600/800

519

520.

“Small Craft Warning” (Highland Light). Signed lower left “Helen Sawyer”. Titled verso. Oil on canvas, 30” x 36”. Framed 36” x 42”. 2,000/3,000

520

521.

“In the Park”. Signed lower right “Helen Sawyer”. Titled verso. Oil on board, 14” x 18”. Framed 22” x 26”. 800/1,200

521

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157

ARTHUR MORRIS COHEN New York, 1928-2012

522

522.

158

“MacMillan Wharf, Provincetown”. Signed “Arthur Cohen” and titled on stretcher. Oil on canvas, 24” x 30”. Framed 25” x 31”. 4,000/6,000

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523.

FRITZ WILHELM PFEIFFER Massachusetts, 1889-1960 Provincetown Harbor. Signed and dated lower right “Fritz Pfeiffer Provincetown 1932”. Watercolor on paper, 8” x 11” sight. Framed 15” x 17.5”. 1,000/2,000 Provenance: Handwritten note states this was purchased directly from the artist on Cape Cod and descended through family.

523

524.

CAROL WHORF WESTCOTT Massachusetts, 1926-2008 “In the Garden”. Signed lower right “Westcott”. Titled verso. Oil on canvas, 18” x 24”. Framed 26” x 31”. 900/1,100

524

525.

ANNE PACKARD Massachusetts/New Jersey, b. 1933 “Sea Scene”. Signed lower center “A. Packard”. Titled on label verso for the Sidney Rothman Gallery, Barnegat Light, New Jersey, Twentieth Annual Exhibit - 1977. Oil on board, 2.5” x 8”. Framed 4” x 9.25”. 1,200/1,800

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525

159

ROBERT CARDINAL Massachusetts/New York/Canada, b. 1936

526

526.

“Beach Point”. Signed lower right “Cardinal”. Titled verso. Oil on canvas, 36” x 36”. Framed 42” x 42”. 4,000/6,000

527.

“East Chop”. Signed lower right “Cardinal”. Oil on canvas, 14” x 18”. Framed 19” x 23.25”. 2,000/3,000

528.

Mayo Beach. Signed lower left “Cardinal”. Oil on canvas, 24” x 30”. Framed 29” x 35”. 2,500/3,500

527

160

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528

W I L L I A M R . D AV I S Massachusetts, b. 1952

529

529.

“Break in the Rain”. Signed lower left “W. Davis”. Titled and signed verso “William R. Davis”. Oil on panel, 6” x 8”. Framed 9.5” x 11.5”. 700/900

530

530.

“The Cottage”. Signed lower left “W. Davis”. Titled and signed verso “William R. Davis”. Oil on panel, 6” x 8”. Framed 9.5” x 11.5”. 700/900

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161

W I L L I A M R . D AV I S Massachusetts, b. 1952

531

531.

“Echo Lake Conway, N.H.”. Signed lower right “W. Davis”. Titled verso. Oil on board, 5” x 7”. Framed 10” x 12”. 1,200/1,800

532.

“Winter Storm Break”. Signed lower left “W. Davis”. Titled verso. Oil on panel, 8” x 10”. Framed 11.25” x 13.25”. 1,500/2,500

532

533

533.

“November Sunset Hampton Falls, NH”. Signed lower left “William R. Davis”. Titled verso. Oil on board, 8” x 10”. Framed 14.5” x 16.5”. 2,000/3,000

534.

“Inlet, Palm Coast, FL”. Signed lower left “W. Davis”. Titled verso. Oil on board, 8” x 10”. Framed. 1,800/2,500

534

162

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535

535.

“View on Iron Mt. Road Jackson, NH”. Signed lower left “W. Davis”. Titled verso. Oil on masonite, 8” x 10”. Framed 11” x 13”. 1,800/2,500

536.

“Echo Lake, Conway, N.H.”. Signed lower left “W. Davis”. Titled and dated 2003 verso. Oil on masonite, 10” x 8”. Framed 13” x 11”. 2,000/3,000

536

537

537.

“Squam Lake from Five Finger Point”. Signed lower right “W. Davis”. Titled verso. Oil on masonite, 8” x 10”. Framed 13” x 15”. 2,000/3,000

538.

“Tenaya Lake, Yosemite”. Signed lower right “William R. Davis”. Titled verso. Oil on board, 10” x 16”. Framed 15.5” x 21.5”. 3,000/5,000

538

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163

539.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Sailboats racing off the Sandy Hook Lightship. Signed lower right “Jerome Howes”. Oil on canvas, 36” x 36”. Framed 44” x 44”. 1,400/1,800

539

540.

PAUL SCHULENBURG Massachusetts, b. 1957 “River Through Marsh Grass”. Signed lower right “Schulenburg”. Titled and signed verso. Oil on board, 12” x 16”. Framed 13.5” x 17.5”. 800/1,000

540

541.

KATHERINE ANN HARTLEY New York/Arizona/Massachusetts, b. 1959 Still life of hyacinths. Signed lower left “KAH”. Oil on board, 9” x 15”. Framed 15” x 20.5”. 1,500/2,500

541

542.

PAMELA PINDELL Massachusetts/Indiana, b. 1950 Nude seated at a mirror. Signed lower left “Pindell”. Pastel, 24” x 18”. Framed 34” x 28”. 600/900

542

164

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543

544

543.

JOSEPH MCGURL Massachusetts, b. 1958 A boat passing Nixes Mate, Boston Harbor, under a brilliant sunset. Signed lower right “Joseph McGurl”. Oil on canvas, 12” x 16”. Framed 19” x 23”. 5,000/7,000

544.

JOSEPH MCGURL Massachusetts, b. 1958 “Farmland Near Westport River”. Signed and dated lower right “Joseph McGurl 89”. Titled verso. Oil on canvas, 24” x 36”. Framed 25” x 37”. 3,000/5,000

Provenance: Private Collection, Connecticut.

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165

545

546

545.

ALAN J. EDDY Massachusetts, b. 1940 Sunset on the coast. Signed lower right “Alan J. Eddy”. Oil on canvas, 18” x 24”. Framed 24” x 30”. 1,500/2,500

546.

SAM BARBER Massachusetts/Italy, b. 1943 “Floral Dreams”. Signed lower right “S. Barber”. Titled and dated 1985 verso. Oil on board, 48” x 36”. Framed 55” x 43”. 1,500/2,500

547.

ELIZABETH MUMFORD Massachusetts, 1950-2020 “You can’t unscramble scrambled eggs”. Signed and dated lower left “Elizabeth Mumford 1993”. Oil on masonite, 19” x 19.5”. Framed 23” x 22.5”. 2,000/3,000

547

166

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548.

JAMES HARRINGTON New York, b. 1929 Beach scene with figures and an umbrella. Signed lower right “Jas. Harrington”. Oil on canvas, 28” x 36”. Framed 29.5” x 37.5”. 1,000/2,000

548

549.

JUNE NOLL CARVED AND PAINTED WOODEN BONITO Brewster, Massachusetts, Contemporary Painted eyes. Signed on back “June Noll”. Length 26”. 500/800

549

550.

JUNE NOLL CARVED AND PAINTED WOODEN TUNA Brewster, Massachusetts, Contemporary Painted eyes. Length 22.5”. 500/800

550

551.

SARA ETHEL KOLB DANNER Pennsylvania/California, 1894-1969 “Plymouth Tercentennial”. Signed lower right “Sarah Kolb Danner”. Titled and signed verso. Oil on board, 8” x 10”. Unframed. 800/1,000

551

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167

ROBERT DOUGLAS HUNTER Massachusetts, 1928-2014

552

552.

“Still life with Grapefruit and Clementines”. Signed and dated lower left “Robert Douglas Hunter ‘97”. Titled on gallery label verso. Oil on board, 21” x 33”. Framed 29” x 43”. 3,000/5,000 Provenance: Tree’s Place Gallery, Orleans, Massachusetts.

168

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553

554

553.

“View From Snow Point - East Orleans, Mass”. Signed and dated lower right “Robert Douglas Hunter ‘83”. Titled, dated and personally inscribed by the artist verso. Oil on canvas board, 24” x 13”. Framed 17” x 29”. 1,500/2,500

554.

Tom Never’s Head, Nantucket. Signed lower right “Hunter”. Dated verso “Sept.- 1967”. Housed in a Goodnow frame. Oil on board, 8.5” x 15”. Framed 12.5” x 19.5”. 1,000/1,500 Provenance: Eldred’s, August 5, 2005, Lot #924. Private Boston-area collection.

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169

JAMES H. CROMARTIE Nantucket, Massachusetts, b. 1944

555.

Boy with his bicycle and fishing net at the beach. Acrylic on masonite, 24” x 30”. Framed 31.5” x 37.5”. 1,500/2,500

556.

House and rowboat in a field of daisies. Acrylic on board, 24” x 36”. Framed 28” x 39.75”. 2,000/3,000

555

James H. Cromartie pioneered “Hard-Edge Realism”, an evolution from Andrew Wyeth’s “Magic Realism”. In comparing his works to a photograph of the same scene, Cromartie says his “lighting is better than real life. My composition is better than real life. … My paintings have emotion and feeling” that cannot be conveyed in a photograph. Cromartie was born into one of North Carolina’s most prominent families and he has lived on Nantucket since the 1960s. Nelson Rockefeller and Roger Firestone were early patrons of his work, and he has done commissioned works for the Smithsonian, the U.S. Capitol, the White House and the Supreme Court.

556

170

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557

557.

VERNON GEORGE BROE Maine/Illinois, 1930-2011 Catboats off the coast. Signed lower left “Vern Broe”. Oil on board, 12” x 16”. Framed 18” x 22”. 2,000/3,000

558.

VERNON GEORGE BROE Maine/Illinois, 1930-2011 Heading in for the day. Signed lower left “Vern Broe”. Oil on board, 17” x 21”. Framed 21.5” x 25.5”. 2,500/3,500

558

559

559.

DONALD W. DEMERS Maine/Massachusetts, b. 1956 Yachts racing. Signed and dated lower right “D. Demers 1993”. Watercolor on paper, 8” x 11.5”. Framed 17” x 20”. 500/800

560.

PETER LAYNE ARGUIMBAU New York/Connecticut/Italy, b. 1951 The yacht White Heather. Signed lower right “Layne”. Vessel identified verso. Oil on board, 12.5” x 11”. Framed 17” x 16”. 1,500/2,000

560

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171

561.

BRIAN COOLE America/England, b. 1939 “Liberty”, a scene of a paddle-wheeler and pilot boat off the Statue of Liberty. Unsigned. Titled lower center. Artist’s card attached verso. Oil on board, 19.5” x 36”. Framed 23” x 39”. 3,000/5,000

561

562.

BRIAN COOLE America/England, b. 1939 An American ship at sea. Signed lower right “Brian Coole”. Oil on board, 10” x 12”. Framed 13” x 15”. 800/1,200

562

563.

563

172

CARVED AND PAINTED AMERICAN EAGLE "LIVE AND LET LIVE" PLAQUE 20th Century Carved from pine. Eagle clutches a “Live and Let Live” pennant in its beak and an American shield in its talons. Height 16.5”. Length 45”. 800/1,200

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564.

SALVATORE COLACICCO Canada/United Kingdom/Italy, b. 1935 “Shipping in a Calm in the Solent”. Signed lower right “Salvatore Colacicco”. Titled verso. Oil on artist board, 16” x 24”. Framed 19.5” x 27.5”. 600/900

564

565.

LILLY MARTIN SPENCER Ohio/New York, 1822-1902 “The Sailor’s Expected Return”. Unsigned. Identified by John Driscoll of Driscoll-Babcock Galleries, New York. Graphite on paper, sheet size 8” x 12”. Unframed. 1,000/1,500 Provenance: Private Collection, New York. Driscoll-Babcock Galleries, New York.

565

566.

SHADOW BOX MODEL OF THE TWO-MASTED SCHOONER FRANK FURST Late 19th/Early 20th Century Seen with land off her stern and bow, and a bold American flag flying off the stern. Height 35”. Width 44.75”. Depth approx. 6”. 2,000/3,000

566

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173

567.

CHROMOLITHOGRAPH OF THE HUDSON RIVER DAYLINER C. VANDERBILT America, Circa 1870 Depicts the dayliner C. Vanderbilt cruising down the Hudson River on a moonlit night. On paper, 17.75” x 33” sight. Framed 21.75” x 37.5”. 500/700

568.

ENDICOTT & CO. HAND-COLORED LITHOGRAPH "STEAMER ST. JOHN OF THE PEOPLES LINE" Circa 1863 Depicts the paddle steamer St. John traveling down the Hudson River. 17” x 26” sight. Framed 26.5” x 36.25”. 600/900

569.

AFTER ANDREW MELROSE New Jersey/California, 1836-1901 “West Point”. Depicts a busy Hudson River with the U.S. Military Academy in the distance. Signed in the plate lower right “Andrew Melrose”. Chromolithograph on paper, 21.5” x 35.5” sight. Framed 25.5” x 39.5”. 300/500

567

568

569

174

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570

571

572

573

570.

CHROMOLITHOGRAPH "U.S. CRUISER BALTIMORE." Copyright 1889 Burk & MCFetridge, Lithographers, 1877-1890. Signed lower left and dated lower right. Titled in the lower margin, with ship details listed on the left and right. On paper, sheet size 22” x 32.25”. Framed 27.5” x 38”. 300/500

571.

ENDICOTT & CO. HAND-COLORED LITHOGRAPH "NARRAGANSETT STEAMSHIP CO’S STEAMER BRISTOL" Titled in the lower margin, with ship details listed on the left and right. Sheet size 23.5” x 35”. Framed 29.5” x 41.25”. 300/500

572.

AFTER FREDERICK PANSING New Jersey/Germany, 1844-1912 “New Haven Steamboat Company.”. Depicts the dayliners Richard Peck and C.H. Northam. Lithograph on paper, sheet size 22” x 36”. Framed 28.5” x 42.5”. 600/800

573.

AFTER FREDERICK PANSING New Jersey/Germany, 1844-1912 “Hudson River Day Line.”. Depicts the dayliner New York at West Point Light and Crow’s Nest Mountain. Signed on stone lower right “Fred Pansing”. Published by The Knapp Co., Lithographers, N.Y. Chromolithograph on paper, 27.5” x 41” sight. Framed 34.5” x 48.5”. 600/800

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175

574

574.

WESLEY ELBRIDGE WEBBER Massachusetts, 1841-1914 “The Amanda of Boston”. Signed lower left “W. Webber”. Titled on frame plaque. Oil on canvas, 21” x 33.25”. Framed 30” x 42.25”. 8,000/12,000 Provenance: Private Collection, Boston. Eldred’s, August 5, 2011, Lot #1379. Private Collection, Connecticut.

176

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575.

SAILOR’S VALENTINE Late 19th/Early 20th Century Composed of mulitcolored shells. Housed in a hinged octagonal wooden case. Left side with a central heart and right side with “Remember Me”, both surrounded by geometric bands. Each side 9” x 9”. 1,000/1,500

575

576.

LARGE LIVERPOOL PITCHER England, Early 19th Century Depicts an American-flagged ship, an eagle and “Peace, Plenty and Independence” in black on a white ground. Height 10.25”. 1,000/1,500

576, two views

577.

CARVED BELLAMY-STYLE EAGLE 20th Century With a “Don’t Give up the Ship” banner. Length 63”. 800/1,200

577

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177

578.

LORI ZUMMO Massachusetts, Contemporary Dunes, East Beach, Watch Hill, Rhode Island. Signed lower right “Zummo”. Oil on canvas, 27” x 31”. Framed. 2,000/3,000 Provenance: Chaplin B. Barnes. Gift from the above to the consignor.

578

579.

NIEK VAN DER PLAS The Netherlands, b. 1954 Playing at the beach. Signed lower right “Van Der Plas”. Oil on board, 21” x 27”. Framed 25” x 33”. 2,000/3,000

580.

NIEK VAN DER PLAS The Netherlands, b. 1954 Beach scene with umbrellas, likely Nantucket. Signed lower right “Van Der Plas”. Oil on board, 11.75” x 15.75”. Framed 17.25” x 21.25”. 1,500/2,500

579

580

178

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581.

WILLIAM FERDINAND MACY New York/Massachusetts, 1852-1901 Coastal landscape. Signed and dated lower left “W. Ferdinand Macy 1900”. Oil on canvas, 16” x 26”. Unframed. 500/700

581

582.

TILT-TOP TABLE WITH ROUND NANTUCKET BASKET TOP 20th Century Mahogany vasiform pedestal raised on three cabriole legs ending in spade feet. Marked on underside “Made in ‘Sconset #1” and signed illegibly, possibly Marshall Chambers. Total height 30.25”. Diameter 23.75”. 500/1,000

582

583.

RARE COPPER-OVER-WOOD SWELL-BODIED WHALE WEATHER VANE 19th/Early 20th Century Brown painted finish showing traces of blue paint. Length 40”. Width 14.75”. 3,000/5,000

583

584.

584

TWO BETTY MACLAREN BOXES WITH NANTUCKET-THEMED DECORATION 20th Century Both oval lidded boxes. Smaller with Nantucket Island on the lid, beach scenes on the sides and “Nantucket” stenciled on the bottom. Larger with Brant Point Light, a sailboat and a distant view of town on the lid, and windmills and cobblestone street scenes on the sides. Heights 3.5” and 7”. Lengths 7.5” and 10.5”. 300/500

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179

585.

AFTER RICHARD KEMBLE Massachusetts/Florida, 1932-2007 “Nantucket”. Depicts “Nantucket” above a stylized whale. Limited edition, numbered 29/60 lower left. Signed and dated lower right “Kemble ‘80”. Silkscreen on wove paper, sheet size 19” x 24”. Framed 23.5” x 29”. 600/800

585

586.

GEORGE H. WALKER & CO. CHART OF NANTUCKET ISLAND Boston, Circa 1907 Copyright 1891, 1902, 1904 and 1907. Atlas Plate No. 10. Engraving on paper, 19” x 28” sight. Framed 26” x 35”. 600/800

586

587

587.

180

NANTUCKET ROAD SIGN IN THE FORM OF A WHALE Late 20th Century Whale painted white with gray border. “Low Beach Rd.” in painted lettering. Height 7.25”. Length 31”. 300/500

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588.

CHART OF NANTUCKET SHOALS SURVEYED BY CAPT. PAUL PINKHAM, 1791 20th Century Giclée reproduction print from the original 1791 chart. Published by Paul La Paglia Gallery, Nantucket, Massachusetts. On paper, 13.5” x 21.5” sight. Framed 23.5” x 31.5”. 300/500

589.

BIRD’S-EYE VIEW OF THE TOWN OF NANTUCKET J.J. Stonier, Madison, Wisconsin, Circa 1881 Showing the town of Nantucket with vignettes of four popular hotels at the time, including Ocean House, Sherburne House, Springfield House, and Ocean View House at Sconset Beach. Lithograph on paper, 20” x 29” sight. Framed 24.5” x 33”. 400/600

590.

ROGER MITCHELL CARVED AND PAINTED HUMPBACK WHALE Kingston, Massachusetts, Contemporary Antiqued finish. Length 19.5”. 350/450

591.

ROGER MITCHELL CARVED AND PAINTED SPERM WHALE Kingston, Massachusetts, Contemporary Antiqued finish. Length 18.5”. 350/450

588

589

590

591

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181

H A R R I ET LO R D Massachusetts/New Jersey, 1879-1958

592

592.

182

Marsh landscape. Signed upper left “Harriet Lord”. Oil on canvas, 20” x 24”. Framed 26” x 30”. 2,000/3,000

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M A R T H A FA R H A M C A H O O N Massachusetts, 1905-1999

593

593.

Farm scene with haying. Signed and dated lower right “Martha Cahoon '75”. Oil on masonite, 17” x 19.5”. Framed 18.75” x 21”. 2,000/3,000

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183

594.

RARE CHATHAM, MASSACHUSETTS NEEDLEWORK SAMPLER 19th Century “Wrought by Mehitable Atkins of Chatham born August 7 1829 Aged ten years”. Upper half with rows of alphabets and numerals. Lower half with verse “The love that in my bosoms glows will live when I shall long be dead and happy open some budding rose that bushes over my grassy bed” above a large house flanked by trees and flowers. 15.5” x 16.5”. Framed 18” x 19”. 500/1,000

594

595.

HAROLD BRETT Massachusetts/New York, 1880-1955 Two works: 1) Pen and ink “The Coast Guard from Cape Cod Yesterdays”, probably an illustration from the book by Joseph C. Lincoln. Titled and signed “Harold Brett” lower right. Framed 10.5” x 12”. 2) Oil on artist board “Chathamport - A Cape Cod House”. Signed lower left “Harold Brett”. Framed 12.5” x 16.5”. 700/1,000

595, two works

596.

AMERICAN SCHOOL 20th Century Cape Cod scene, likely Barnstable looking toward Sandy Neck. Unsigned. Oil on board, 3" x 5". Framed 8" x 10". 200/300

596

184

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597.

HAROLD C. DUNBAR Massachusetts, 1882-1953 “Old House on Sunset Lane, Chatham, Cape Cod”. Signed lower right “Harold Dunbar”. Titled verso. Housed in a Goodnow frame. Oil on board, 18” x 24”. Framed 24” x 30”. 1,000/2,000

597

598.

ATTRIBUTED TO HAROLD C. DUNBAR Massachusetts, 1882-1953 Marsh landscape in the style of C.D. Cahoon. Unsigned. “Harold Dunbar Chatham” label verso. Oil on board, 7” x 10”. Framed 10” x 13”. 400/600

598

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185

THE SPRING SALE

ADDENDA

April 7-8, 2022

ADDITIONS: 389A. ATTRIBUTED TO WILLIAM CHARLES ANTHONY FRERICHS New York/New Jersey/North Carolina, 1829-1905 Skating along a river. Unsigned. Oil on canvas laid down on board, 16” x 29”. Framed 24” x 37”. 3,000/5,000 389B. ROBERT SALMON Massachusetts/England, 1775-1844 Boston landscape. Signed verso “RS”. Numbered 133. Oil on board, 23” x 36.5”. Framed 29” x 42”. 5,000/10,000 448A. JAMES KING BONNAR Massachusetts, 1883/85-1961 “Rocky Neck Gloucester MA”. Signed lower right “James King Bonnar”. Oil on canvas board, 18” x 25”. Framed 23.5” x 30.75”. 800/1,200 448B. JAMES KING BONNAR Massachusetts, 1883/85-1961 Cape Ann, possibly Bear Skin Neck. Signed lower right “J.K. Bonnar”. Oil on canvas, 25.25” x 30.25”. Framed 31.25” x 36.25”. 800/1,200 448C. ANTONIO CIRINO Rhode Island/Italy, 1889-1983 North Shore landscape, possibly Lanes Cove. Signed lower left “A. Cirino”. Oil on canvas, 25” x 30”. Framed 31.75” x 36.75”. 2,500/3,500

186

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187

GLOSSARY OF TERMINOLOGY AND ADVICE TO BIDDERS Authorship of Paintings and Works of Art

Advice to Bidders

1. Carefully read the Conditions of Sale.

LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, this is a work by the artist. ATTRIBUTED TO LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, probably a work by the artist based on the style of the piece, however, the work lacks a signature, marking or adequate provenance to fully ascribe it. MANNER OF LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, a work made in the style of the artist listed, most likely by a follower or student.

D. SCHOOL OF LEMUEL D. ELDRED

Late 19th Century In our opinion, a work executed at the time and in the style of the artist listed.

AFTER LEMUEL D. ELDRED 20th Century In our opinion, a work made in the style of the artist listed, but not by the artist. Often used to describe a direct reproduction of an original work of art.

Ascribing Date of Origin If a date and location are included in a heading, it is our opinion the piece is essentially of the period and was made in the area indicated. The inclusion of the world “style” in the heading indicates the piece was made at a later date as an intentional reproduction of the earlier style.

2. Pre-sale estimates are provided by the auctioneers for the convenience of our customers. They are not meant to be taken as a guide to the value of an item, but as a guide to its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision. 3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form. 5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 25% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. 6. Online bidding is available at www.eldreds.com and 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.

Shipping Information We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale. If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready.

Dimensions Unless otherwise specified, dimensions are formatted Height x Width. Dimensions are approximate as they are often rounded to the nearest quarter inch. Furniture and other objects are measured to the tallest and widest points. Paintings are measured by the dimensions of the stretcher or supports. A “sight” measurement is the visible size of an artwork if the piece is obscured by its frame or matting.

Condition Reports Condition reports can be viewed at www.eldreds.com. The absence of a condition report does not imply an object is free of defects or restoration. If provided, a Condition Report may only detail flaws or restorations, and may not take into account wear, fading or other issues consistent with an object’s age. Please contact Eldred’s before bidding with any questions as to condition.

We provide limited shipping services directly from our gallery; our staff can assist determining if your items qualify for in-house shipping. Shipments from our gallery may take 4-6 weeks from receipt of payment. You will be charged for carrier fees, packing and handling, and required insurance. There is a minimum handling charge for all shipments. 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 once your payment has cleared. Shipping estimates can be provided only AFTER we receive payment for your invoice.

Bidding Increments $0-$99: $10 I $100-$499: $25 I $500-$999: $50 $1,000-$2,999: $100 I $3,000-$4,999: $250 $5,000-$9,999: $500 I $10,000-$29,999: $1,000

The property listed in this catalog will be offered and sold subject to the terms and conditions listed in this catalog.

188

$30,000-$49,999: $2,500 I $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

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CONDITIONS OF SALE 1. CORRECTNESS OF DESCRIPTION: Robert C. Eldred Co., Inc. (hereinafter referred to as Eldred’s) has exercised reasonable care to catalog and describe correctly the property to be sold, but neither Eldred’s nor its consignors warrant the correctness of description, attribution, authenticity, or condition of said property. No statements shall be deemed such a warranty or representation or an assumption of liability with respect thereto, but are to be construed as opinions only. Bidders are encouraged to personally examine all property to be sold prior to the beginning of the auction.

anticipated top bid is required. Eldred’s shall not be held responsible for any failure to properly execute such a bid whether it be due to equipment failure, loss of connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder. ONLINE BIDS: Eldred’s shall not be held responsible for any failure to properly execute bids placed online. All online bidding is solely at the risk of the bidder.

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 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

10. SALES TAX: All purchases are subject to the Massachusetts sales tax (currently 6.25%) unless the purchaser: A) possesses a Massachusetts sales tax exemption or resale number and registers that number with the company, B) is an out-of-state vendor who meets all the requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89-10 and registers with the company prior to each purchase, or C) has purchases shipped out of state (with the exception of Connecticut and New York) directly from Eldred’s by a bona fide shipping agent. Connecticut residents picking items up in our Mystic branch or having purchases shipped to their Connecticut address are responsible for CT state sales tax (currently 6.35%). New York residents having purchases shipped to their New York address are responsible for NY state sales tax (currently 4.0%). Due to the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair, residents of other states may be required to pay their state sales tax on purchases as we meet each state’s nexus requirements. Dealers, museums, etc. can apply for a Massachusetts number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, MA 02204. 11. RESERVES: Unless advertised as an “Unreserved Auction”, all sales may have items subject to reserve (an agreed upon price between the auctioneer and the consignor, below which the article will not be sold). 12. COLLECTION OF PURCHASES: Delivery or shipping arrangements must be made within seven (7) days from the close of the auction for all purchases. All items must be removed from Eldred’s facilities within fourteen (14) days of the end of the auction. All items remaining after fourteen days may be subject to a $5/per item/perday storage fee. No items will be released unless storage fees are paid in full. Items remaining over thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees. 13. PACKING: Purchasers are advised that packing and/or handling by Eldred’s employees is undertaken solely as a courtesy for the convenience of customers. In the case of fragile articles, it will be undertaken at the sole discretion of the company. Handling and packing by Eldred’s is at the risk of the purchaser. SHIPPING: When requested, Eldred’s may arrange shipment of paid purchases. Eldred’s will not be responsible for damage or loss once the item has been received by the shipper. In the case of fragile articles, shipping will be undertaken at the sole discretion of the shipper. Please refer to our Advice to Bidders for details. 14. These Conditions of Sale cannot be altered except in writing by Eldred’s or by public announcement by the auctioneer at the time of the sale. 15. Bidding on any article(s) indicates acceptance of the terms set forth above. 16. These Conditions of Sale and any suits arising thereunder shall be construed and governed by the laws of Massachusetts.

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189

BIDDER PRE-REGISTRATION Thank you for your interest in bidding in our auction. If you have not been a successful bidder with Eldred’s in the past, please help us establish your bidding credentials by completing this form and selecting one of the options that follow.

CLIENT INFORMATION Name:

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All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof when registering. Failure to do so will subject the bidder to paying 6.25% Massachusetts sales tax on purchases.

MA Resale #: State:

ZIP:

FINANCIAL REFERENCES Please select one of the following options: 1. DEPOSIT Submit a deposit representing 10% of the total order, either by mailing a check to the address below or providing a credit card number. We accept Visa, MasterCard, American Express and Discover with domestic billing addresses in amounts up to $5,000.00. 2. LETTER OF CREDIT FROM YOUR BANK Please have your bank fax us at 508-385-7201. Letter must be on bank letterhead. 3. AUCTION HOUSE REFERENCE Complete the information requested below. Advance notice is required for this option as it is often difficult to reach the appropriate contact. You may have to authorize release of information. Please be aware Christie’s and Sotheby’s will not divulge any credit information. Auction House:

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SIGNATURE (required): Date: Bids will not be accepted without your signature on this form. 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.

190

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ABSENTEE/TELEPHONE BID FORM

2. Carefully review your bid form for accuracy of lot numbers, phone numbers, shipping information, etc. Although we attempt to conﬁrm descriptions against lot number, bids are posted by lot number.

6. At the conclusion of the sale you will be notiﬁed if you were the successful bidder. All invoices must be paid in full within ten (10) days of the close of the auction. We accept checks, cash, money orders, wire transfers and major credit cards for payment. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. We reserve the right to hold goods until payment has cleared.

3. Please submit your bids in a timely manner, to avoid the chance of posting error. We request all bids be received by 3 p.m. the day before the auction. In the event of identical Absentee bids, the earliest received takes precedence.

7. All purchases are subject to state and local sales tax unless you possess a Massachusetts or out-of-state sales tax exemption or resale number and register that number with us.

4. A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount will be returned promptly to you.

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.

1. Clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow our standard bidding increments.

5. A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 25% of the ﬁnal bid price up to and including $500,000, and 10% of the ﬁnal bid price over $500,000.

Are you a new bidder with Eldred’s?

Yes:

No:

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

SALE TITLE: SALE DATE:

NAME:

Lot #

Item Description

Maximum Bid or “phone” for Telephone Bid

ADDRESS: check if change in address

PHONE: ALTERNATE PHONE: EMAIL: Signature (required): By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc. All bids are kept in strict conﬁdence.

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

No:

Ship to address above:

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

Or ship to:

Total 10% Deposit

Have you examined the items listed above?

Yes:

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

Phone: 508-385-3116

Fax: 508-385-7201

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C E L E B RAT I N G O U R 7 5 T H A N N I V E RS A RY

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invitation to consign BE PART OF A SPECIAL SUMMER AUCTION SEASON

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2 20

7 4 9

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I L L U S T R AT I O N S Front Cover Lot 327 Page 3 Lot 553 Page 5 Lot 158 Page 6-7 Lot 457 Page 8 Lot 99 Page 80 Lot 393 This Page Lot 189 Back Cover Lots 327, 344, 302, 251, 466, 431

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