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Elegant Young Woman in Green Dress Signed by William Kennedy

Probably Maryland. Signed and dated in pencil, upper right back of frame "William W. Kennedy/1854". Oil on artist board. Exhibiting unusually fluid brushwork, this important signed and dated portrait is a superior example of Kennedy's artistry, illustrating an especially attractive young woman. It rises above his more formulaic, symbolic likenesses and is painterly and spontaneous while portraying a quiet confidence. Note the background flowers, a feature associated with Kennedy. In a superb state of preservation; professionally cleaned of yellowed over-varnish, mint condition with no restoration. The original frame was expertly re-veneered. Painting size about 17 inches x 13 3/4. Frame 20 3/4 x 17 3/4. Kennedy (1818-after 1870) was a native of New Hampshire and itinerant member of the Prior-Hamblin school of painters. He painted in New Bedford, MA in 1845; Ledyard, CT in 1846; and Berwick, ME in 1847. By 1850 he had moved to Baltimore, MD where he lived just a few doors away from William Matthew Prior. Provenance: "Important Americana" Sotheby's, February 1, 1986, lot 434. Collection of folk art historians and authors' "Mr. and Mrs Howard Fertig", Livingston, NJ. Exhibited: "The Fertig Collection of Folk Art" The Morris Museum, Morristown, NJ, 1991; David Schorsch; Don Olson; private Southern collection..

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Sensational 18th Century American (NANTUCKET) Tabletop Pipe Box. SIGNED!

Nantucket, ca. late 18th century. FORM. HISTORY. CONDITION. Mahogany, with white pine drawer interior. The skillful design, the expert construction from thinly-worked stock, and the use of expensive mahogany indicate an experienced cabinet maker made for a sophisticated client. The form has sweeping curves softening the linear base, and a wide stance that give it visual appeal and practical stability (as it was never meant to hang). The backboard possibly suggests a reductive anthropomorphic figure. The drawer front has a crisply beaded border and retains the original bass pull. The appealing surface is dry and appears original. The back of the drawer is signed in pencil SIMEON FOLGER (born in 1762) who could be the maker, or for whom the box was made for. The Folder family is very important in Nantucket history, including Abiah Folger (born 1667) who was the mother of Benjamin Franklin. About 16 3/4 inches tall x 6 3/4 wide x 5 3/4 deep. Super condition with just a minor hairline on the front. Provenance includes Pat Guthman, Southport CT. Pat writing on the receipt from 1998: "I am delighted that you decided to purchase the pipe box as it is such an important piece of Massachusetts history...". Sale includes the Guthman receipt as well as genealogical research about Simeon and the Folger family of Nantucket.

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Important. Referencing VIRGINIA. Exceedingly Rare PRE-REVOLUTION Tobacco Box....SOLD

Probably Birmingham, England, ca. 1735 to 1765. Surviving objects directly related to the trade of Virginia tobacco, of this early date prior to the American Revolution, are seldom found. Possibly made for an English merchant ship captain (sometimes known as a 'Master') for his prized imported Virginia tobacco (Virginia Good), yet it can not be ruled out that it could have been owned by one living in the colonies. The engraving: "Virginia good within I have, Yet am not free to evry Knave. My Master only I Supply, Let Begging fellows go & buy" has been found on two other boxes, one also in steel in the celebrated Monahan Pilgrim-century collection (Northeast, August 4, 2001), the other in brass, dated 1716, in the Deyerle important Americana collection (Sotheby's January 1, 1995). The back is pierced with holes forming a Celtic Knot, believed to symbolize a sailor's strength, friendship or affection. See IRON AT WINTERTHUR, Fennimore, figures 163-168, for similar engraved steel tobacco boxes of this period, although none show this rare historic expression. Excellent condition, about 4 3/8 inches long when the draw box is closed..

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Colorful Folk Art Painting of a Village about an Inlet

Eastern US, ca. mid 19th century. Oil on canvas. A scarce painting of coastal life about a little inlet, clearly showing pride and happiness of the artist. The idealized representation is often what set folk paintings apart from more academic works, as the folk artist was painting what he felt as much as what he saw. The painting is a gem given its appealing strong colors, and vignettes of tranquil boat life about the inlet and dwellings. Previous owner had the painting cleaned and lined, in beautiful condition with only very minor non-image touchup. Fine gilt frame of about 30 inches wide x 23 tall. Important Provenance includes: Gift from the Estate of Edgar William and Bernice Chrysler Garbisch to the Art Institute of Chicago, 1980; private Southern collection..

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Soulful Early American Wallbox in Historic Red Painted Surface

New England, ca. 18th century. Hand-planed pine, with soulful very dry, original red paint with patterns of wear that speak to how it was handled and used. Appears untouched. Case joinery including wrought T-head nails, the drawer with large dovetails tightened probably years later with cut nails. The back of the drawer bears the inscription SS-245, likely an old museum accession number. About 18 ¼ inches tall x 6 5/8 wide x 4 ½ deep. May be hung or rest on a horizontal surface. If you seek early Americana in high-character original paint and dry surface showing the story of its usage, then this box is for you. Few wallboxes with this caliber of surface, form, and originality come to market. Provenance: Midwestern collection years ago from David Good.

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Important Pair Small Portraits on Wooden Panels. Attributed to Jasper Miles (formerly known as Mr. Boyd).....SOLD

Likely Ohio, New York State, or Pennsylvania, ca. 1830-1840. For many years portraits by this artist were attributed to "Mr Boyd". Recent research has now identified "Mr Boyd" as actually Jasper Miles (1782-1849). See Magazine Antiques, July/August 2016 for the research by David Allaway, "Jasper Miles-19th c. Portrait Artist". As is characteristic with other examples by Miles, this pair is oil paint on wooden panels (probably poplar), the panels about nine by seven inches; they have an extraordinary attention to detail in the hair, which is drawn in miniaturist technique with a sharp-pointed brush; and there is a distinctive horn-shaped shading to the inner ear (look closely at the man's ear). The man has an upright posture, and his far arm is suggested simply by a triangle. As with others of this period, the ovals have rough edges that would be concealed by a cardboard or eglomise mat, and one can see Miles' color tests and/or brush cleaning outside the image area. Both sitters' clothing shows subtle, extensive detail, while the lovely young lady's portrait is enhanced by the splash of color from yellow ribbons in her lace bonnet and her salmon shawl. Note the gentleman's tie in the form of a bow, his high collar, double-breasted coat, and swept-aside hair part, all high-style for this period. Excellent condition with exceedingly minor retouch to background. Frames are contemporary, made to fit these profiles several decades ago. Overall frame sizes about 11 inches x 9 1/4. Provenance: Long-time Private Collection from Peter Tillou; David Wheatcroft, Don Olson, private Southern Collection. HAPPY TO EMAIL HIGH RES PHOTOS.

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Black Hawk Weathervane.....Sensational Historic Weathered Verdigris Surface

Northeast, likely made by Cushing & White or Jewell, ca. Civil War period to 1875. The visual appeal of the best authentic early weathervanes often relate to the aesthetics of their surface. This Black Hawk has a beautiful blue-green verdigris on copper that developed over many years of outside exposure, and does not appear to ever having had a second gilding. The rich color and sculptural form elevate it to art that would stand out in a historic or contemporary setting. Black Hawks are amongst the most sought after weathervane forms owing to their proud, elegant, powerful stance. This Blackhawk is further distinguished by its finely detailed mane and tail hair (and three-dimensional tail) that enrich its silhouette. Its flattened body allows it to be placed on a narrow shelf, windowsill, or mantel. Black Hawk, born 1833 in New Hampshire, was a famous black stallion described as coming nearer to the ideal of the perfect horse than any other animal ever seen; abundant spirit and life, bold, fearless, and graceful. About 24 inches long x 19 ½ (to the top of the ears when mounted in the stand), the body about 2 inches thick. Exceptional condition. See the terrific new book, American Weathervanes, The Art of the Winds, Robert Shaw, for reference. Pictured: The Olde Hope Collection, Summer 2008.

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Noteworthy Portrait Miniature Attributed to Thomas Skynner; Ex Don Walters

Probably New Hampshire, ca. 1840. Watercolor and pencil on paper. The dark haired, crisply dressed appealing young man holds a book to communicate his literacy. The portrait enclosed within a blue scalloped border. Note the crude and stiff rendering of his arm holding the book, a most desirable untrained artist attribute. Portraits by Skynner are represented in the National Gallery of Art, the former Chrysler-Garbisch collection, Old Sturbridge Village, and the Shelburne Museum. Period frame is likely original. Frame size about 5 5/8 inches tall x 5 wide. Super condition. Provenance for this portrait includes THE AMERICAN FOLK ART COLLECTION OF DON AND FAYE WALTERS, Sotheby's, October 25, 1986, pictured and described lot 33. Other examples may be seen in The Loving Likeness, The Susan and Ray Egan collection. And, just discovered: see AMERICAN ANTHEM, MASTERWORKS IN THE AMERICAN FOLK ART MUSEUM, page 109, for a very similar portrait by Skynner probably of my portrait subject's brother.

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MANITOU EFFIGY FEAST BOWL-Native American Wooden Sculpture.....SOLD

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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A LITTLE MASTERWORK(!!!) PORTRAIT OF A BABY BOY WITH RIDING CROP

New England, ca. 1845. One of the finest Prior-school portraits of this type known. Attributed to William Mathew Prior . Oil on board. The inviting warm color palette complemented by the striking, unique, paint decorated frame. The shape of the lips and eyes, and softness of the face are exceptional. The child centering colorful draped swags with rim lighting. Note red corals at each sleeve of the delicate, lace-trimmed dress, the coral typically worn by children as it was believed to ward off evil. He grasps a riding crop, a device sometimes held in portraits as they were a common gift for boys in this period. Even though way too young to ride a living horse or pony, he could saddle-up with his crop on his rocking horse. The paint decorated frame is a treasure on its own, yet combined with the portrait creates a singular presence. Overall frame size about 18 inches x 13 3/4. Exceptional condition. Provenance: Distinguished private collection for decades. A rare opportunity to acquire an iconic folk art image.

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