Likely near Salem, Massachusetts, ca. early 19th century. Maple, leather, and brass. Carved in a manner that had to be influenced by the exquisitely carved (in mahogany) bellows created by Samuel McIntire in late 18th to early 19th century, or his son Samuel Field McIntire, this example being the more "country" version of their works. The carving, in high relief, is of a basket with overflowing fruit with 6-pointed stars (similar to that of Samuel Field McIntire furniture carvings) in the background, all set within an oval border. The condition of the carving is excellent, and the patina on the maple is a rich nutty-brown, very dry and untouched. The leather shows typical period losses. About 18 inches long x 7 1/2 wide x 1 1/2 deep. See SAMUEL MCINTIRE Carving an American Style, Peabody Essex Museum for reference. This is a rare piece.
New England, discovered decades ago in Massachusetts. 18th century. Pine and linen, the top and bottom panels profusely carved, retaining untouched rich natural patina, the two panels joined by a circle of long wooden pins about the perimeter. The top panel is centered by a leather-hinged door, the leather held by rose-head nails (the leather long ago worn through). Retains the original carved turnbuckle clasp, and door finial. The wooden pins form the structure around which thick linen (with likely cotton batting within) are wrapped. The linen wrap is the foundation upon which the lace is crafted using pins to hold the lace in place. The inside of the ball functions as a box, holding carved wooden tools (two present) that provided tension to lace-threads. The door is decorated with an elaborate petal design that is repeated under the base. A substantial piece of about 8 1/2 inches diameter x 5 tall, and pleasingly weighty in-hand. This is an exceedingly rare Americana survival.
New England, ca. 1822-1830. Watercolor and ink on paper, in what appears to be the original period frame. The artist effectively used arbitrary scale: note the relative sizing of the lady, the church, the home. Memorials were typically created by young ladies while attending a seminary, where the well-educated girl was expected to master the basics of drawing, painting, embroidery, and penmanship. A memorial would have been influenced by the instructor and by the tenets of Romanticism learned from the popular authors of the day (the content of art comes from the imagination of the artist, not defined by a set of "rules"). They were often created years after the events they depicted as gifts for family or close friends. The home with its red door, three floors of green windows, and stylized trees has striking similarity to a Fitchburg, Massachusetts family record that I once owned, which is pictured on page 40 of "The Art of the Family". Colors are rich and saturated with impressive finely painted detail. The large tree bordering the right side, and bushes below it, are "PIN-PRICKED" to give the leaves dimensionality (simulating embroidery). The winged angel adds considerable interest. By the late 1830's many of the young ladies' seminaries had been replaced by public schools with emphasis on academic subjects rather than art, and Romanticism was replaced by the Industrial Revolution and Realism, so few examples of this exceptional artistic merit are seen after this period. Deserving of the best of folk art collections. Frame size about 16 3/4 inches wide x 13 inches tall. HAPPY TO EMAIL HIGH RESOLUTION PHOTOS.
American, ca. late 19th century. The full-body and orb made from moulded zinc, hammered and worked by the maker into shape, the legs and feet cast from zinc for extra detail and strength. Early surface of very dry, patinated paint. The form of the dove is terrific, with crisp detail, highlighted by raised wings and wide fanning tail. Small size so it can be rested comfortably on a desk, table, or shelf. Stands about 21 5/8 inches tall including the stand, about 12 inches from outer breast to the end of the tail, and a full five inches across the wings. Very good condition. Not a common form.
Likely Northeast, ca. 1820-1840. Appears to be chestnut or ash. Very thinly lathe-turned by a skilled woodworker. Molded rim and turned foot. Shows burnished tool marks where the lathe-block was chiseled from the bottom. In a thin yellow paint that provides a burst of color yet lets the figure of the wood show through. Excellent condition with no cracks and good shrinkage, the diameter about 8 7/8 x 8 3/8, the height about 2 3/8 to 2 3/4 inches. .
Massachusetts, ca. 1830. Oil on canvas in original frame with a high-state of originality. The confident young woman is identified on the back of the canvas as LENORA FISH of UPTON, MASSACHUSETTS. Consistent with other portraits by Blunt, she is lavishly attired and adorned with gold jewelry. As a further expression of wealth, the "high style" elaborate curled coiffure would have required a skilled maid to set so precisely. A French-twist is held by a large tortoiseshell comb. The ends of her long hair are oiled and curled and set with pins. Ringlets hang down her neck......The "golden" landscape over her shoulder and red sofa are seen in other portraits by Blunt.....John Samuel Blunt (1798-1835) was born in Portsmouth, New Hampshire. Owing to his short life and the relative scarcity of signed works, scholarship on him has been limited. Nina Fletcher Little first brought serious critical attention to Blunt with her landmark article "J. S. Blunt, New England Landscape Painter" published in Antiques (September 1948). Robert Bishop wrote a dissertation on Blunt in 1980 and curated two exhibitions featuring works by him. Labeled as the "Borden Limner" until research by Bishop firmly linked him to Blunt. Blunt painted miniatures, ship ornaments and signs, portraits, landscapes, and is well known for his marine art. Works by Blunt can be seen in the Abby Aldrich Rockefeller Folk Art Museum, American Folk Art Museum, Museum of Fine Arts Boston, New Bedford Whaling Museum, Portsmouth Athenaeum, and Strawbery Banke Museum. Excellent condition and surface. Never lined. Frame size about 35 1/2 inches long x 30 1/2 wide. .
Northeast America, possibly Philadelphia, ca. 18th century. Hardwood (maple?) with remnants of early cream and black paint and retaining the original iron hangers. It attracted passersby during a time when many were illiterate, so figural signs, like this carved pig (rather than lettered) were often used. The pig is a remarkable survivor, having endured many years of weathering that checked and pitted its surface into a deeply textured sculptural object with much more character and presence than when first crafted. It exhibits shadows of long lost 19th century tin sheets installed to extend its life. Comes with a custom iron stand, or may be hung. About 21 inches from the tail to the tip of the snout......Simple, honest, rare, graphic, historic.....Please ask for high res photos to better see the surface details.
Northeast America, ca. early 19th century. Carved from what appears to be a hardwood root. Dry surface, strong patina. Just 3 3/4 inches from the tip of the tail to the tip of the head. Presented within an iron mount. Ex collection of Peter Brams.
Allentown, Lehigh County, Pennsylvania , dated 1823. Marked "Wrought in the year 1823" by Rebecca Ford "R. Fords Work", "Age 9 years". This is a very pleasing piece with central Federal-home with double-chimney and fan-light atop a grassy hill, flanked by stylized trees with what appears to be deer at the bottom of the hill. Other elements include birds, a tulip, and urn filled with flowers or fruit (a symbol of abundance and optimism). Rebecca , born on March 1, 1814 in Allentown, was the daughter Robert Perrine. She later married Joseph Vorhees, born 1812. Excellent contemporary frame fitted with Museum Glass. Overall frame size about 16 5/8 inches x 12 1/8. Excellent condition. .
New England, 18th century. Newburyport, MA. Maple and iron. Rich patina. Plank scribes were used by shipwrights to mark large planks, typically from white oak, which were heated to be bent with the curve of the ship. This scribe can be used on planks as large as 40 inches or a small as 8 with adjustment by the iron turn-screw. The pride of the maker is demonstrated by the crisp decorative carving and incised-lines, and the tapering arms highlighted by lambs tongue carving. Handling of this rare piece connects one to the early days of colonial ship building which began in America as fishing provided commerce between colonies. Colonial towns provided skilled labor which included carpenters, joiners, borers, coppers, caulkers, and dubbers. During the colonial period shipbuilding became the major source of employment for coastal towns. A prized example with impressive size of about 28 inches. See The Pine Furniture of Early New England, Kettell, page 209, for a similar but less developed example.