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Large Early Painted Bowl with Pronounced Shrinkage

New England, ca. 1800, appears to be turned from ash or chestnut with orginal red paint. This bowl stands out given its impressive size and dramatic soaring lines created by strong shrinkage across the grain. Further enhanced by a swelled-body and molded rim with inward cant. Excellent structural condition without cracks. Diameter ranges from 21 to 19 ¾ inches, with height 5 to 6 1/4 inches.

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The HEART-AND-HAND ARTIST: Calling Card for Lorenzo F. Conner

New England, possibly Fairfield, Maine, ca. 1830-1851. Attributed to the HEART-AND-HAND ARTIST, possibly Samuel Lawhead. Ink and watercolor on paper. Calling cards, which included only the caller's name, were customary in this period to be presented to the host or hostess on formal visits. Many houses then kept these cards in a basket as a record of visitors. Most calling cards were simply printed, yet those by the heart-in-hand artist are beautifully hand-drawn and personalized, suggesting they were made for special events or persons. This terrific example remains in superb condition with bright, strong colors; a crisp rendering. Intriguingly the bottom of the card bears a fingerprint. The card itself is about 4 1/8 inches long x 3 tall. Presented in a vinegar painted frame, which is not period yet shows the work very well, is about 6 ¾ x 5 ¾ inches. See Expressions of Innocence and Eloquence, page 90 for a similar piece.

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Lovely Teen-Age Girl, Prior-Hamblin School, Sturtevant Hamblin.....SOLD

New England, ca. 1845. Oil on press board. Attributed to Sturtevant Hamblin (active 1837-1856). From her soft, pretty face and elegant lines, to her long fingers grasping the little book, this image has elements that advance the work well beyond that typically found in Prior-Hamblin School portraits. And using the device of the book, although many decades later, she successfully communicates to us her pride that she was literate in a time when many were not, particularly girls.....Remarkable UNTOUCHED original condition with no in-painting. Appropriate period, possibly original, frame. Overall frame size about 17 5/8 inches x 13 3/4......Hamblin was born into a Portland, Maine family whose business was ornamental painting. He resided in Portland with his sister, the wife of William Matthew Prior, and moved with them to Boston in 1840......Provenance: Bill Samaha, Stephen Score, Barbara Pollack, and a private collection for the last 20+ years.

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Oval Shaker Box in Applewood Green.....SALE PENDING

Northeast America, ca. mid-19th century. Four “swallow tail” fingers (one mostly hidden by lid). White pine top and bottom with probably ash sidewalls. Finger joinery by copper tacks. Original, extremely dry (never over-varnished) rich apple-green paint with complex surface being darker on the top from airborne particles falling more fully on the top than the side-walls. Smoothly burnished edges from handling at the edge of the top. Excellent structural condition with very clean interior. Stains on top as shown, and errant paint flecks. Dimensions about 9 x 6 3/8 x 3 1/4 inches. Provenance: New Hampshire collection, yet may have been made by the Sabbathday Lake, Maine Shaker community.

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Folky Young Man Portrait

New England, ca. 1820-1840. Oil on canvas. A most handsome young man (that FACE!) with characteristics that we folk art collectors love. Portraits can be so naive that there is little artistic skill, or so academic that they require an equally academic, formal setting. Yet this portrait falls on the "sweet-spot" of that naive-to-academic continuum. His face is mostly without shadow leading to stylized-combed hair presenting like waves. His black coat and white shirt/collar, and simple background combined with his confident gaze give this painting a clean and uncomplicated aesthetic. It has survived in sensational condition. About 26 inches tall x 24 wide. Gilded frame-liner appears original. He's terrific.

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Carved Folk Art Polychrome Walking Stick.....SOLD

Likely Southern US, ca. late 19th century. Graceful carving. ITS ALL ABOUT THE PAINT. Eye popping and dazzling patterning. Avant-garde for the period in which it was made. Superb condition with scattered wear. About 38 inches long. May rest on a flat surface, or be positioned vertically (comes with a wall mount). Provenance: Southern Collection; David Wheatcroft. By the same hand as a similar cane exhibited at the Brookln Musuem and Los Angeles Museum of Art in 1976, the seminal exhibition of American folk sculpture. Happy to send photos from that exhibition.

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Important William and Mary Lighting Stand in Cherry and Cherry-Burl.....SOLD

Northeast America, likely New England, possibly Connecticut River Valley, ca. 1720-1740. Baluster-turned double candle holder moveable on cherry-wood column supported by a bold exceedingly rare cherry-burl base with ring-turned top and incised lines. The column is surmounted by an acorn finial, a symbol of Huguenot-craftsman and representing many positive attributes, including: life, power, longevity, new growth, good luck, and as a heraldic symbol “independence to its bearer”, and “great oaks from little acorns grow”. Retains period candles. Stands a majestic 29 inches tall. Pictured/described “North American Burl Treen”, Powers, 2005. Provenance: About 1970-2002 Clarke Garrett; then David Good. HAPPY TO EMAIL HIGH RES PHOTOS.

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OUTSTANDING Folk Portrait of a Sidewinder Paddlesteamer Sailing Ship

American, ca. 1840-1860. Oil on canvas. Steam-powered sidewinder sailing ships first came into service about 1840. Initially, these ships were only marginally faster than wind-powered clipper sailing-ships and were prone to mechanical failure and fuel shortage. As such, these early paddlewheeler's were typically fitted with a full complement of masts, rigging, and sails due to the captain's mistrust of the new steam technology......By about 1860, technology improved to the point that they were reliable enough (and now significantly faster than sailing-ships) such that the sailing apparatus, including spare sails, rope, and all things needed to sail were eliminated. A benefit of eliminating sails and support supplies was that there was now more space for passengers and the storage of materials for their comfort and other amenities......This painting is a superb depiction of one of these early hybrid sailing and sidewinder ships. Note the beautiful eagle figurehead (sailors "believed" that the sharp eyes of the eagle would be constantly on the lookout for perilous shoals), and the large anchor attached to the side. A bold American flag alerts of the captain's pride. The ship cuts cleanly through wind-swept seas. The warm tone of the sky is well balanced by the aqua-green of the swirling waters, with dashes of color from flags, figurehead, and anchor......Terrific condition, with very minor in-painting. Chamfered black painted frame appeaers original (with a bit of repair on the lower frame edge). Overall frame size is 35.75 x 25.25 inches. Sight size is 29.25 x 19 inches.....Provenance: Important New England collection, and previously Stephen-Douglas; Robert Thayer.

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SENSATIONAL Theorem Still-Life Painting: Fruit with Melon and Corn and Notable Provenance Including the National Gallery of Art.....SOLD

Probably Connecticut, ca. 1820-1850. Painted on velvet with sliced watermelon centering an abundance of fruit, with an ear of corn in the foreground and two birds perched on leafy vines above. Velvet was the fabric of choice for many early theorems as its napped surface gave an appealing softness to the edges. The floating of strawberries and grapes on the sliced-open facet of the melon, bordering patterned seeds, is rare and likely unique, and is a little gem of a detail that reveals the singular mind of the artist. The bountiful composition of fruits was meant to suggest optimism and plenty. Retains strong colors, with toning and an unobtrusive slit in the upper right. The glass and gilded frame is period and may be original, measuring about 24 ½ inches x 20 ½. Provenance: Sotheby Parke Bernet, Important Frakturs, Embroidered Pictures, Theorem Paintings and Cut work Pictures and other American Folk Art from the collection of Edgar William and Bernice Chrysler Garbisch, 1974, and Washington DC, The NATIONAL GALLERY OF ART, 1953-1974.

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Deeply Carved American Civil War Cribbage Board.....Soldier-Made.....SALE PENDING

Likely Northeast, ca. 1861-1865. Carved from a thick, solid walnut plank. The board illustrates a soldier in profile, wearing a kepi, within a sawtooth border flanked by carved flowers, heart, and diamond, and beautifully carved highly-detailed pistols and crossed rifles. Each end finished with elegant scrolls and punched stars. The skill and care of the carver is well evident. About 14 inches long x 3 ½ tall x 7/8 thick. Easily stands on edge, lays flat, or would like to see it elevated in iron mount. HAPPY TO EMAIL HIGH RES PHOTOS....A remarkable object given the context in which it was made!

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