Hubbardston, MA. Signed by Jospeph Goodhue Chandler and dated 1850. Oil on canvas. Having never been out of the family of descendent's of the sitter until recently found in Western New York State. A BEAUTIFUL COMBINATION OF A MOST DESIRABLE SUBJECT BY A NOTED CHILD ARTIST IN A HIGH STATE OF ORIGINALITY......An itinerant painter who was born in Massachusetts, Joseph Chandler was a typical folk artist who traveled painting portraits, but unlike many, he signed and dated his paintings on the backs of the canvases. He was especially skilled with children. He favored a deep blue dress behind one hand that held flowers, the other hand often holding a pet or object, in this case the ribbon of the child's hat. As with many folk art paintings, the image would seem to depict Miss Mary older than her three years of age. Children's portraits by Chandler are in fine museum and private collections. In ink, on back of canvas: Painted for Mifs Mary S. Gardner aged 3 years.....By J G Chandler , May, 1850.....On the stretcher: Hubbardston, Mafs Minor restoration, original frame and stretcher. Note the use of the "long S" in Miss and Mass, an early writing convention that slowly fell out of use after 1800.
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. .
Great Lakes, 19th century. Gilt paint over gesso on carved pine, even the chain links are carved from pine. This trade sign was from a Lake Erie ships "chandlery", which was a supplier of goods for ships/boats. Note that every piece is carved, including the links. This sign may rest on a table or chest, or be hung from the links. Hanging would be easy as the sign is very lightweight. Exceptional condition with minor imperfections and possibly early restoration to one ball-end of the cross-member. Clearly made by an accomplished wood worker, note the smooth transitions and the crisp carving of the flukes. Not including the links it is about 25 1/2 inches long; 31 inches if hung from the links. Width about 20 inches tip to tip. Important provenance of Betty Doran and Bill Samaha, Milan, Ohio.
Probably New England, ca. 1850-1880. A scarce early example in rich polychrome paint with exceptional dry surface with much character. Fits well with an early paint or folk art collection. Bread-board ends. Double-sided with checkers on the reverse. About 19 5/8 inches square.
New England, likely Massachusetts, ca. 1830. A nice example of green painted opposing finger box elevated considerably by the decoration of bittersweet flowers, which contrast beautifully against the green. Decoration is unquestionably period under early dry, craquelured over-varnish. I have only seen a handful of boxes that were paint decorated in period over the base color. About 6 1/4 inches long x 4 5/8 wide x 2 1/2 tall.
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.
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.
HANNAH BROWN. Dated 1780. Primarily wool and silk. Of a small, delicate size for a pocket, this exceptional embroidered flame-stitch-variant pocket is rarer than similarly crafted pocketbooks. Representative of the best American needlework. Beautiful, labor-intensive textiles for personal adornment were amongst the most valuable possessions in the 18th century and a symbol of status. Probably made by Hannah for her own use, imagine her wearing this pocket at the finest gatherings. And like samplers, needlework accomplishments were often part of a young woman's dowry. Handsomely mounted for presentation yet also easily removed from the mount if desired. The pocket is about 7 inches wide x 10 1/4 to the top of the silk hanger. Mounting is about 12 3/4 inches x 9 3/4. Excellent condition with minor losses. Reference: "Worldly Goods, the Arts of Early Pennsylvania", Philadelphia Museum of Art, and "What Clothes Reveal", Baumgarten, Colonial Williamsburg. A beautiful object that would be unique in a modern or classical decor with the character of almost 250 years of history.
Maine, ca. 1830. Polychrome paint on basswood/pine with cut nail joinery. Scalloped backboard, echoed in the facing of the shelf, above two drawers,with shaped, square bracket base. Beautifully decorated with green vining and soft-red flowers on white ground. Turned wooden pulls appear original. Likely used in period for jewelry or other small valuables. About 12 1/4 inches tall x 11 1/2 wide x 9 1/4 tall. High state of originality. Provenance: Helen and Steven Kellogg Collection of American Folk Art.