Likely New Hampshire, dated 1810 at the bottom, the sitter identified as "James N. Sinter". Watercolor on paper. Attributed to the seldom found, highly sought after artist known only as "Mr Willson" (aka 'Wilson'). Similar portraits by Mr. Willson are in the collection of the New York State Historical Society, Museum of Fine Arts (Boston); Currier Art Gallery; the Shelburne Museum and in private collections. Subjects in Mr. Willson portraits are typically bust-length, three quarter view turned to the right, against a neutral background. Facial features have the profile of the nose, upper eyelid and mouth delineated as a single line. This portrait shows a stylishly dressed, most handsome young James with blue eyes and reddish hair. Early tears were professionally paper-conserved long ago, likely when framed by the Philadelphia Print Shop. Scattered foxing and toning. Frame size about 24 1/2 inches x 20 inches; sight size about 19 inches x 14. See A Loving Likeness, American Folk Portraits of the Nineteenth Century, The Gallery at Bristol-Myers Squibb, Susan and Ray Egan; and Folk Art's Many Faces, Portraits in the New York State Historical Association, for reference. Portraits by Mr. Willson have a look and feel that stands out as very special. I love this portrait. Provenance: The important collection of Edgar William and Bernice Chrysler Garbisch.
Likely Massachusetts, dated 1790, signed "Rhoderick Morley". Watercolor and ink on laid paper. Found years ago in an early desk with family papers in Massachusetts. Beautifully illustrated, likely school-boy created, with one well dressed gentleman firing a flintlock pistol, the other brandishing a sword, flanking multiple phrases possibly connected to healing political or social divisions still strong due to the Revolution and suggesting how one should live and act. One expression prominently at the top center "Let union and peace make discord cease" not only would seem to relate to the recently ended Revolutionary War, it is also an expression that was used by the Mayflower Society. Another phrase: "The wicked they must be dealt with in a more severe manner" might explain the sword and pistol. Paper size 14 3/8 x 11 3/4 inches. Frame size about 18 3/4 x 16 1/4. Condition strong with unobtrusive folds and minor losses..
New England, ca. 1830-1840. Paint on velvet. Strong visual appeal, retaining brilliant, bright unfaded saturated colors and crisp, clean composition, the flowers bursting from the bulging, stylized basket with delightfully exaggerated in-curved sides, the basket resting on graduated steps simulating smoke decoration. Fancy theorems were painted in this period as gifts for friends or to brighten one's home, the still life often chosen as the subject as a symbol of abundance, and velvet for its soft appearance. Painstakingly rendered with exceptional skill by a talented artist. Period frame dimensions of about 22 3/4 inches wide x 21 tall. Remarkable condition; light toning. Provenance: Peter Tillou.
New England, 18th century, 1740-1780. Mixed woods which appear to be maple, cherry, and mahogany with original rich, deep surface and color. Threaded post with adjustable chip-carved rail fitted with original iron candle holders above a scarce medial "table", perhaps to hold extra candles, wick trimmers, etc. All supported by a plinth with tripod raking legs. The carved screw mechanism allowed candles, and medial table, to be raised and lowered to just the right height to optimize precious candle light. In a very high state of originality. The screw mechanism continues to work smoothly. The underside of the medial table is beautifully tooled (see close up photo of its underside). About 32 inches total height. Ex-WADSWORTH ATHENEUM, Hartford (accession number painted on 26.522). PICTURED IN WALLACE NUTTING,1928, plate 1359. Provenance: Private New England collection; Hollis Broderick.
Northeast America, ca 1825-1850. Watercolor on woven paper. Brilliant, saturated colors. The artist rendered the scene in painstaking detail, filled with thousands of tiny little brush-strokes. The young child collects blue flowers along a stream in her gathering basket, likely to enliven the tiny house in the background, or perhaps for a larger home implied by the sturdy gate. A peaceful yet unusually bold colorful image. The gilt frame (with dusting wear at the bottom) may be original. Overall frame size about 20 inches x 16 5/8.
Seeking special examples of 18th/19th century woodenware in original paint. Please email photos to email@example.com, or call 585-385-9002.
Probably Connecticut, ca. 1870-1880. Oil on canvas. The proud owners/workers standing before the Shea and McCarthy Blacksmithing and Jobbing Shop joined with the C.S. Gamwell Carriage Shop. As with most folk art paintings of PRIDE in town or business, the artist has depicted an idealistic view, with no disrepair or debris, and has effectively used rich primary colors of blue in the sky with puffy white clouds contrasted against the reds of the clothing and carriages. The scene shows workers with tools; the blacksmith with leather apron. Of note is the ramp alongside the carriage shop which would allow carriages or wagons to be pulled to the second level for repair, perhaps providing access to the undersides. Excellent condition, cleaned with minor retouch. Original stretcher and likely original frame. Unlined except for tack-edges. Sight size about 30 inches x 22. Overall frame size about 34 x 27.
American, likely Pennsylvania, ca. 3rd quarter, 19th century. Appears to be walnut. Original, remarkable, bold, fanciful decoration by a skilled ornamental painter who likely painted game boards and signs. As with other imaginative and innovative works of art, this piece has significance as being an original creation, not a copy of other works, and a contrast to the subdued color palettes typical of that period, i.e., avant-garde, edgy, and beautiful. Solid, sturdy construction with thumbnail molding about the perimeter, the pegs firmly tenoned through the backboard. Excellent condition with appropriate wear on the pegs. Note diminutive size of just 19 1/4 inches long x 2 3/4 tall with pegs depth of 4 1/2 inches. May have been used for hanging clothing or textiles, and perhaps even as a "gameboard for rings". Provenance: Virginia Pope Cave, David Schorsch, private Connecticut collection..
Pennsylvania, ca. 1824. Oil on wooden panel. Wonderful deep, rich, warm colors, executed in a manner similar to ship captain portraits. The sitter is Daniel Yanior, one of the five member "Butcher's Guild of Philadelphia", hence the cattle in the background. The Guild hired Herring in 1824 to paint portraits of each of its members. Confident attribution to James Herring (1794-1867) based on a very similar example, nearly identical for pose and background, signed by Herring and selling at Sotheby's, October 1991, lot 93. Herring is perhaps best known for creating the periodical "The National Portrait Gallery of Distinguished Americans" and "The Apollo Art Gallery". His painting style favored crisp lines and a bold color palette. Paintings by Herring are displayed in a number of museums, including the Abby Aldrich Rockefeller Folk Art Center, NY State Historical Society, National Portrait Gallery, etc. Research on Herring was published in the Magazine Antiques, January, 1978. Condition: A thin restored crack runs vertically from top to bottom of the board; barely discernable. The frame is contemporary. Frame size 27 inches wide x 32 3/4 tall; sight size 20 3/8 x 26 1/8..... .
New England, ca. late 18th/early 19th century. STAVED pine side-wall held by surrounding wood straps with tiny button-hook joinery. Carved top and bottoms, the bottom chamfered to fit within a side dado groove. Deep original red paint, very dry and dark on the lid, the darkness owing to particulates in the air from the hearth landing on its surface. The underside much brighter as it was protected. The sidewalls retain a very thin crackly over-varnish. A small inner label reads: AE62 . 2ui . -NFS-. My interpretation is that this was in a dealer's collection (not for sale), the dealer had the initials 'A.E.', and bought it in 1962. No idea what the 2ui is. This piece was not a whimsy, rather shows evidence of use, perhaps as a portable butter-tub. Just 2 7/8 inches tall x 2 5/8 diameter at the lid, tapering to 2 3/8 at the base. Terrific condition with just a small loss as shown that is hidden under the lid. Real early American painted treen.