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, 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 By the late 1830's many of the young ladies' seminaries had been replaced by public schools with emphasis on academic subjects rather than art, and Romanticism was replaced by the Industrial Revolution and Realism, so few examples of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.
Northeast America, ca. mid 19th century. In scarce small size and color. Maple walled, pine bottom, and cherrywood lid (uncommon in cherrywood). Original chrome yellow paint. Three fingered. Crisply and expertly constructed with three finely cut fingers and joined by copper tacks, now darkly oxidized. Excellent condition save a hair-line around the left side of lid rim that doesn't go through. JUST 4 5/8 INCHES LONG x 2 15/16 wide x 1 3/4 tall. So many boxes are incorrectly labeled as Shaker, it is a pleasure to be able to offer one that really is. The tightness and fit of true Shaker-made boxes are unequaled.
New England, ca. 1835. Watercolor and ink on paper. Elegant young woman with hollow-cut head and hair comb sitting high on top of her slender neck. Her gaze is to the right with body in three-quarter posture. Her hair is painted about the edges of her head which is further ornamented. Note the delicate pendent-on-chain. Color remains in terrific bright condition catching one's eye from even across the room. Old repaired tear. Period brass frame of 5 3/4 x 4 1/2 inches. Painted silhouettes like this example are scarce. See A Loving Likeness, page 51 for another silhouette in blue dress likely by the same hand.
American, ca. 1830-1840. Three-quarter length oil on canvas. Retaining its original stretcher in Southern yellow pine, suggesting an origin from Virginia through the Mid-Atlantic States and perhaps down to the Carolinas. An unusually desirable portrait of an especially handsome boy standing before stately columns proudly grasping his target rifle, outfitted with a silver-mounted ebonized powder horn and double bag (used for combinations of either ball and shot-or-two different size balls). His cap rests on a side-table fronting the verdant outdoors. The silver-mounted horn and setting suggests that the boy is from a wealthy family and likely near a larger town or city with a working silver-smith. The handsomeness of the boy and his youthful skin are enhanced by the artist's choice of a soft color-palette. Cleaned and lightly varnished, the condition very good with minor in-painting (black light photos easily emailed). The frame was recently custom-designed. Overall frame size about 39 5/8 inches tall x 33 5/8 wide. Distinctive and so pleasing!