American, Westminster, Maryland. 19th century. Double-sided, with original COMPLETELY UNTOUCHED dry, paint decorated surface on wooden board with sturdy, chamfered wooden molding. Iron hanging brackets. Signed "S.V. Bankert". This sign is a folk art treasure, exhibiting a vibrant image with appealing subtleties of color and detail, and elevated considerably in character by a marvelous surface that only generations of exposure can create. From a considerable distance it communicated the business it represented without the need of lettering. As with most double-sided signs, one side is more worn than the other, this with the back bearing marks from buckshot, the impact of which would have caused the sign to swing wildly from its brackets..... S.V. Bankert was not only the sign's artist, yet also likely a close relation to the cattle dealer's owner. It was originally discovered at the Bankert family sale in Carroll County, Westminster, MD. An 1880 census from Carroll County lists: Adam Bankert, age 34. Occupation: "Dealer in Cattle". And also Samuel V. Bankert, age 40 and his wife, age 29 who had occupation listed as "furniture store". Dimensions: 23 1/2 inches tall (29 inches with brackets) by 41 3/4 wide. Pictured under indoor halogen art light AND also outdoors in early morning natural light. EASY TO EMAIL HIGH RES IMAGES, JUST ASK.
New England, ca. early 19th century. Appears to be pine. Most desirable dry red paint with bittersweet highlights. Joinery by square nails. The backboard surmounted by a lollipop, the shape of the lollipop echoed in four round hangers that are pierced with a long wooden pin that secures three yarn-holding spindles. Tooling marks about the hangers indicate they are carved, not sawn. The form has pleasing design features including a small crown at the top of the lollipop, eased edges, and smaller, secondary discs at the top of each spindle to secure the end of yarn lengths. Exceptional surface and structural condition. About 21 1/2 inches long x 3 1/2 wide x 4 1/4 deep..
New England, likely New Hampshire, ca. 1800-1825. Appears to be pine with staved sidewalls held by thin iron bands. Original dry crackled paint with blue ground centered on one side by a gold star with black shadowing. The star may have been a symbol for the town in which the militia was mustered. The pride of being a member of the militia was so strong that these canteens were decoratively embellished to represent the militia in parades and to accessorize their clothing and hats. Retains what appears to be the original stopper. Good condition with expected period paint wear. About 7 inch diameter x 2 3/4 tall..
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.
New England, ca. early 19th century. Appears to be maple, with early red paint and thin over-varnish. Emulating the popular form of Chinese porcelain export bowls of the late 18th century. This is an exceptional example, with rich red paint on the exterior. Dry interior with gradations of color and worn smooth from handling. About 6 3/4 inches diameter x 2 1/4 tall with good shrinkage without cracking. Impactful stand alone or grouped/nested.
American, ca. 1870-1880. Oil on canvas. Probably New York State or Pennsylvania (given "Climax" on the windmill). Upliftingly rendered as a bright, sunny day with wispy clouds and stylized trees framing a large home, the path from which leading to a mustard-painted barn. A white painted fence separates the home from the fields in the background, helping to define this property as "our space" and the horse as a family member as he is inside the fencing. The artist pulls us in with large spaces of solid primary colors, and the "companionship" amongst the dog, horse, and bird. No in-painting save for a small (1 inch square) area in clouds. Never lined. Unframed. About 28 1/2 inches x 16 1/2. Provenance: Private collection; bought years ago from Don Walters. Something to consider: undoubtedly thousands of trained-artist paintings from this period have been lost, this folk picture survives. I think it is because of the friendly story it tells, and the bold aesthetic of its colors.
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.
Carved at Grand Bank, Nova Scotia, ca. 1764. Birchwood with naturally oxidized patina. A SENSATIONAL VIEW INTO PERIOD LETTERING, as it is inscribed on the reverse: "July Ye 17, 1764, A Busk, Made At Ye Grand Bank". Note the use of the early 24-letter alphabet that uses I for J, and V for U. The front skillfully carved including a stylized heart. Likely sailor-made as a gift to a back-home sweetheart as only a handful of residents made Grand Bank their home in 1764 (famous explorer Captain James Cook mapped the area in 1765). And given the proximity to New England, very likely that sailor was from a colonial American port. Superb condition. About 13 inches long x 3 wide....................Provenance: NINA FLETCHER LITTLE collection, sold at the Little auction January 29, 1994, lot 151, and in a private collection until recently. Published/PICTURED in Nina Fletcher Little, "Country Arts in Early American Homes," p. 56, fig. 53.
New England, ca. 1840. Pine top and bottom with what appears to be ash sidewall. Joinery by iron tacks and wooden pegs. Charming paint decoration with wisps of bittersweet against mustard. Retains original thin over varnish. Excellent condition. About 6 inches diameter x 2 1/8 tall. Nice.
New England, ca. 1840. Pine top and bottom with what appears to be ash sidewall. Joinery by iron tacks. Labeled in bittersweet with the initials P.C. over mustard. Retains thin over varnish. Excellent condition missing just one peg in the base. About 5 5/8 inches long x 3 7/8 wide x 1 15/16 tall.