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FOLK ART BRILLIANCE: Thrilling Portrait of a Sweet Young Girl in Salmon Dress

New Hampshire, ca. 1845. Oil on canvas in original red painted frame. Attributed to H.K. Goodman, whose few known paintings include a family portrait in the Shelburne Museum. Goodman portrayed this pretty little girl with softness and a successful balance of color and calm. Must have been a proud day for her, to have her portrait taken. She has an endearing slightly-turned pose, holding flowers, with a distinctive star pattern to the leaves. These characteristics are also seen in the Goodman family portrait at the Shelburne Museum, and in another little girl portrait in the Don and Faye Walters Collection (Sotheby's, 1986). The mustard-colored tiebacks of the draperies are a perfect splash of light. Found in Claremont NH about a decade ago within the home of the oldest family in that area, the portrait having never being out of that family till then. Virtually untouched original condition with just a minor repair to a small slit in the background that the family had closed with a band aid, and a little rub on the extreme upper right. Frame size about 29 inches tall x 27 wide. Pictured in Antiques and Fine Art, Autumn/Fall, 2013. The harmony of the colors, her sweet face, the remarkable original condition, the frame.....this is folk art at its finest.

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Exceptional American "Fancy" Reflective Candle Sconce.....SOLD

New England or Pennsylvania (Philadelphia), ca. early 19th century. Encased-glass facing over tin body enclosing highly reflective components that were cast by pouring molten tin-lead alloy or pewter onto glass objects, such as the underside of cut tumblers and wine glasses. These imaginative elements created reflections that were a delight as the flickering flame moved across them. The crimped tin candle cup surprisingly separates from the body to become a little chamberstick that can be carried or placed on a chest or stand. As can be seen, the condition is remarkable in a high state of originality, and early dry red paint about the rim and candlecup. About 9 1/2 inches diameter x 6 inches deep. Wintherthur owns 13 of these reflector sconces. For reference, see IRON AT WINTERTHUR, Don Fennimore pp.293-295; and AMERICAN FANCY, EXUBERANCE IN THE ARTS 1790-1840, pp. 167-168, Sumpter Priddy. A quote from Sumpter's book: "Few sconces projected enough light for intricate work like sewing or reading, what mattered is that they turned light and shadow into pattern, and the resultant images into Fancy". They were highly imaginative ways to tease the eyes. And from the MAGAZINE ANTIQUES: "When or whence came those elaborate sconces whose reflecting powers were intensified by metal discs protected by a pane of glass, we know not. They were a luxury item for fine establishments and today are reckoned among major rarities in the category of early lighting.....

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MANITOU EFFIGY FEAST BOWL-Native American Wooden Sculpture.....SALE PENDING

Western Great Lakes Woodlands Indians, ca. 1840. Figurative speciman of ash wood. The water spirit MANITOU, and the use of WOOD, were critical to Native American belief systems. Their spirituality, ceremonies, and rituals formed an integral part of their very being. The forest is where their forefathers lived, the wood the body of their ancestors, such that a ceremonial feast bowl made from their ancestors helped nourish present and future generations. The esteemed and feared MANITOU, the powerful and sacred guardian and keeper of the lakes and rivers, was often manifest as a likeness on bowls, ladles, and clubs . To portray the Manitou in effigy on a bowl is witness to the importance of the water spirit and to the wood. The effigy on this important and rare bowl is especially BOLD, presenting strongly from across the room. The design is "asymmetric", as favored in Western Great Lakes bowls, with an effigy on only one end that integrates with its functionality as a handle. The figure of the ash wood chosen is graphic. Thinly hewn, condition is excellent, dimensions about 19 inches long x 13 7/8 wide x 7 deep. See: "Great Lakes Indian Art", David Penny, and "The Evolution of the Water Manitou as Seen through its Presence in Woodlands Bowls and Ladles", Steve Powers. Relates closely to a bowl at the Detroit Institute of the Arts. Possibly Eastern Sioux, could also be Chippewa or Ottawa. Provenance: Brant Mackley Gallery, Steve Powers, private collections. .

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Large Ash Burl Bowl with Top Shelf Surface.....SOLD

New York State or New England, ca. 1780-1820. Colonial lathe- turned strongly-figured ash burl with original dry untouched patina with complex surface. Retains remnants of the original thin over varnish. Deeply patinated interior, yet the top few inches about the rim lighter from frequent period handling. This bowl has a feature that I have not seen before: the bottom of the interior stands proud of the side walls, like a convex donut, likely to give additional mass to the bottom that often wore to failure. Classic shape with molded rim and foot, about 20 inches diameter x 6 1/2 tall. Recently from a 60 year New York State collection. In hand as good an example of a large ash burl bowl as one will find with scale, color, complexity of surface, and exceptional condition..

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Important Folk Art Arrangement from the Collection of Barry Cohen.....SOLD

American, individual pieces and basket, second half, 19th century. Singular, elaborate tinned-iron basket with velvet and felt fruit and vegetables, and fabric birds, collected and composed by Barry Cohen, an artist, teacher, collector, and major influencer of the folk-art community for thirty years. Barry Cohen's legacy was his unique and remarkable ability to find antique objects and assemble them into incomparable expressions of folk art. As written in the catalogue: The Barry Cohen Collection by David Schorsch and American Hurrah, 1990: "Barry delighted in transforming "simple objects of beauty" into "minor masterpieces" through his exceptionally sophisticated compositions.".....This fabulous basket was made in the 19th century when there was a tradition of gifting fanciful objects in tin on tenth wedding anniversaries. It stands about 20 1/2 inches tall and is surmounted by two star ornaments. On its own, the basket represents as fine an example of anniversary tin as one can find, yet is filled and designed to overflowing with a three-dimensional composition of fruit, vegetables, and birds. Each fruit, vegetable, and bird is also a wonderful element on its own....Described and pictured on pages 14-15 of the Barry Cohen catalogue..

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NATIVE AMERICAN HISTORICAL ART: MASTERPIECE CARVED WALKING STICK

Eastern Woodlands, probably Great Lakes, ca. 1870, perhaps earlier. My enthusiasm for this elegantly carved horse is UNBRIDLED. Carved by a gifted Native American artist, chances are to honor his favorite horse. It is so unique that I remembered it instantly from years ago when offered by noted folk art dealer Marna Anderson. The graceful, stylized head appears to be from maple, with a gorgeous worn black stain. Retaining the original amber glass-bead eyes. The carving joined to the shaft at the position of a metal ring. A hole just below the ring held decorative attachments, like feathers. The shaft retains a reddish stain and the nubs from branches which add unexpected interest and character. The last few inches protected with a metal ferrule. The whole in superb rich patina. About 37 inches long. Comes with the floor stand as shown, but may also be wall hung. Thrilling that it has survived and in such amazing condition, this Native American wooden sculpture will bring joy each time it is seen. See Horse Imagery in Native American Art, within the book GREAT LAKES INDIAN ART, David Penny, that details the critical importance of horses to the Native American. Provenance includes Marna Anderson, distinguished collector Peter Brams, Harris Diamant. and a private South Dakota collection.

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WINDS FROM THE SEA. BEST Early Fish Weathervane.

Likely the J. W. Fiske Company, New York City, ca. 1870. Form. Surface. Size. .....Copper, with a complex weathered surface that has taken on a beautiful verdigris color while retaining a good amount of gilding and sizing. As weathervanes were of critical importance for centuries to foretell changes in weather, they also become an important American sculptural art form. The best examples, like this scarce full-bodied fish, have appealing sculptural design AND retain an authentic surface that reflects the environmental conditions that led to the aesthetic. Note the balance of top and bottom fins, the graceful flowing lines of the body into the flared and corrugated tail, the repousse eyes, and that dramatic mouth, rimmed with copper molding, that is downswept against the flat bottom jaw. The presence is strong and confident. About 31 1/2 inches long x 13 tall (including stand) x 5 deep. Superb condition; just a few filled or open bullet holes and minor imperfections. See: The Art of the Weathervane, Steve Miller, page 79 for a similar example.

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Profusely Carved and Chip-Decorated Small Sliding Lid Box

Probably New England or Pennsylvania, ca. 1780-1820. Prominently features the FYLFOT as one of the carved pictorial elements. Although we don't know exactly what the fylfot symbolized, we know that it was important, beyond just decorative, and has been seen in both secular and sacred contexts. Research suggests it may represent the sun, energy, rebirth, and/or renewal. The fylfot is often seen on early New England and Pennsylvania decorative arts, and is frequently found on the relief-carved rosettes terminating the split-pediments of 18th century Connecticut furniture. The box also features stylized conjoined hearts, implying being made for a special occasion such as a wedding or anniversary. Carved from a single block (not joined) of dense hardwood. Surprisingly heavy in hand. Retains original thin black paint, with traces of crackled over-varnish within some of the pictorial elements, perhaps used to highlight them. Indistinctly inscribed underneath the lid "This belonged to...given...." The time and effort and precision shown in the carving suggests the box having been important to the maker. Just 9 inches long including the over-extending thumb piece x 3 wide x 2 3/4 tall. Exceptional condition and may be laid flat or stand on end. Favorable price, email me.

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IMPORTANT HISTORIC ANTIQUE SIGNBOARD. PATRIOTIC EAGLE AND SHIELD. SYMBOLS OF AMERICA

AMONG THE FINEST OF PATRIOTIC IMAGES KNOWN. Masterpiece folk art interpretation of the Great Seal of the United States of America centering rare signage for a US Marshal. Powerful. Dramatic. Confident. Inspiring. Brilliantly composed, rich with the visual vocabulary of America, like an illustrated time-capsule, revealing the deep pride and gratitude of early American's in their young country. Lansingburgh, New York, ca. 1853. Signed by the artist J. Follett. Painted on wood panel, for the appointment of John Mott as United States Marshall for the Northern District of NY State by U.S. President Franklin Pierce. The visual is glorious. The majestic eagle's talons firmly hold the bold red, white, and blue shield against his breast. E PLURIBUS UNUM is affirmed by his intense gaze as he supports the blue ribbon in his powerful beak. The roiling sun-filled clouds are a perfect backdrop to make the arrows (birth in warfare) and olive branches (hope for a prosperous, peaceful nation) stand out. Likewise, the gray-blue clouds, and dark wings contrast and frame the eagle's white head. The artist effectively rendered the US Marshal message, in gilt lettering against a sage ground, subordinate to and without competing with the eagle and shield. A thrilling signboard at the pinnacle of early American folk art. About 34 inches tall x 22 wide x 1/2 thick, with beveled edge. Condition: Unweathered as always presented indoors. Touch-up to scratches and lightly cleaned. Full condition report available. .

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Delicate DIMINUTIVE Swing Handle Painted Bucket.....SOLD

Northeast, ca. early 19th century. Pine staves with likely ash bands. Original very dry bittersweet paint that may tend toward salmon in some lighting. Interior is unpainted in rich patina. Showing skill and precision in its design and craftsmanship, this little bucket is a rarity. Crisp, thin, button-hole bands hold the staves tightly, the maker chamfering the upper portion of the staves to give them an even thinner appearance. Two of the staves are longer such that they can hold the wooden-pegged buttons that secure the swing handle. This bucket was really used as evidenced by the paint wear, especially to the handle. Use is unknown, although traces of white residue suggest perhaps a dairy usage. Structural condition is exemplary (apparent replacement of just one wooden pin). The bucket weighs next to nothing which makes it survival even more impressive. Almost miniature JUST 3 7/8 inches to the top of the sides, 5 to the top of the extended staves holding the swing handle, diameter 5 3/4 x 6 (shrunk out of round). Choice form, small size, surface, condition.....sculptural historic art.

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