New England, ca. 1815. Sensitive and delicately rendered images that have survived nearly 200 years. The lady is identified on the reverse as Al__sra Preston. Both the lady and gentleman styled in the latest fashions of the day, the lady's hair in tendrils and tortoise shell comb, and necklace of triple-strand of red beads above a lace collar and blue dress, the gentleman with cock's-comb hair, and high collared coat and cravat and Mason's pin. The lady centers wisps of green foliage. Mounted in gilt frames and eglomise panels. Frames measuring 4 7/8 x 5 7/8 inches.. .
New England, likely Coastal Massachusetts, ca. mid 19th century. Pine top and bottom; ash side band. Joinery is with copper tacks, a feature seen in Eastern Massachusetts. The lid, with deep patina and tool marks making it resemble leather, exhibits a compass rose centered by a six-lobed flower, with extensive chip carving about the inner and outer perimeters. The underside of the lid is carved with a hex symbol inside a larger one. One side of the box is lightly engraved with the beginnings of what appears to be a two-headed sea creature. Good condition with thin dry over-varnish with some "bleached drip lines" and a small breakout at a lower nail. About 6 inches diameter x 2 3/4 inches tall. The patina is so rich that it must give a clue as to what the box stored, yet I can only speculate. A maritime box to be sure, and most likely carved by a sailor while at sea. .
New England, ca. 1800. ONE-OF-A-KIND. SOULFUL. OF REMARKABLE FORM AND ORIGINALITY HAVING NOT BEEN ON THE MARKET IN AT LEAST 40 YEARS. Ash and pine. Wooden-peg and cut-nail joinery. Vent holes form the initials 'L' and 'M', likely for whom the lantern was made. The design has a compelling folk art presence with a whimsical sideward bias: two side walls vertical, the others angled toward them. Unified by a dry red-painted surface resulting from more than two centuries of handling and exposure. The character is augmented by thin, wavy glass with expected pronounced distortions, held in place by un-headed cut nails. A small leather-hinged door provides access to the interior, its diminutive opening limiting a smaller hand to pass through, perhaps that of the lady 'LM'. The leather hinges are remarkable in their own-right, well worn yet undisturbed, and encrusted with paint and grunge. The carved turnbuckle is also original. The door opens to the first wrought iron candle socket, which pierces the lantern bottom and is held in place by a wooden wedge. It is significant that the original socket remains, as many lanterns had it replaced due to deterioration from heat and from candles being pushed in and stubs pried out. It also suggests, combined with the presence of the first leather-hinges, that this lantern had limited use in period, probably not an everyday object but rather withheld for special times. Eye-catching verticality and presence as it stands about 15 1/2 inches tall not including the wire hanger; base dimensions about 6 inches x 6 1/2.....Comparable painted treen lanterns are exceedingly rare. See lot 264, Weld Collection, Skinner Auction, August 13, 2000 for comparison. For the advanced collector pursuing the best. .
Probably the Filley tinware shop, Philadelphia, PA, 1818-1853. Crooked-spout coffee pot boldly decorated with a large cartouche of flowers on the body (front and back) in saturated hues of green, red, and yellow with black accents, with yellow banding about the lid and body. The lid is capped by the original brass pull. Wonderful condition, with colors remaining bright and typical background asphaltum wear. An exceptional example! A fine way to add eye-catching splashes of color from a period object. See American Painted Tinware, Martin and Tucker, VIII, for reference. About 10 1/2 inches tall.
From the celebrated woodworking town of Hingham, Massachusetts, ca. mid-19th century. All oval in original painted surfaces with opposing fingers. Colors of gray, yellow, green, green-blue, and red in dry, patinated mellowed surfaces that work beautifully together as a graduated stack or mixed arrangement. Details: Gray paint, probably Hersey, copper tacks and wooden pins, 4 7/8 x 3 5/8 x 1 11/16 inches. Yellow paint, copper tacks and wooden pins, 5 7/8 x 4 1/23 x 2 1/4 inches. Green paint, probably Hersey, copper tacks and wooden pins, 5 1/2 x 4 x 2 inches. Blue, oxidized to a greenish blue, probably Hersey, copper tacks and wooden pins, 6 5/16 x 4 11/16 x 2 1/2 inches. Red paint, iron tacks, 6 1/2 x 5 x 2 3/4 inches. All in good condition. Years ago in the collection of American Hurrah.
Probably Massachusetts or Maine, ca. 1830-1840. Oil on canvas. Attributed to George Hartwell who was closely associated with William Matthew Prior and Sturtevant Hamblin. Pleasant seated young lady in stylized scroll-back chair in soft colors holding book with rose and landscape embellishments. Painted in the desirable flat style without shade or shadow. Consistent with Hartwell in overall look and feel, and in the three-quarter length view, two-toned lips, and smooth areas in varying shades on the cheeks, noses, and under the brows to suggest modeling. Frame size 31 5/8 inches tall x 26 5/8 wide. Sight size 26 3/4 inches x 21 3/4. This compares to typical Prior-Hamblin portraits that are about half this size. Condition is strong with just minor in-painting; relined. A bit of paint loss to the right of the lady's face and scattered specks and craquelure.
Likely Native American, ca. late 19th century. Ash or hickory. Strong nut-brown patina. Burnishing to the peak of the "high-kick" in interior indicates this basket saw use. Condition is terrific with minor imperfections. About 15 1/2 inches diameter x 5 tall (not including handles).
New England, probably Massachusetts, possibly Hingham, ca. 1800-1840. White oak and pine. Very thick walled. Opposing fingers. As large of this form as I have seen. Quite early, as some of the nails are rosehead form. Very good condition with only minor imperfections. Stands 7 3/4 inches tall x 11 diameter..