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, 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..
Probably New England, ca. mid-19th century. Wooden-peg and cut-nail construction. Most pantry boxes and firkins held dry goods, often spices, yet it is only occasionally that we know what any given box held. This box has a delightful hue of red paint foundation, and is labeled "Ginger" in free-form paint on the side wall, and in ink on the lid. Given its fairly large size (7 1/8 inches diameter x 3 tall) this box must have held a generous quantity. Good condition, thick walled with no cracks and just expected paint wear. Labeled spice boxes are coveted.
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..
Probably New England, 19th century, in original paint, the color that might best be described as a dark pewter in natural lighting, tending toward green under warm indoor lighting. Sturdy and in excellent condition with only a partial split on one band underneath. About 10 3/4 inches to the top of the handle, diameter about 9 inches. From a long-time New Hampshire collection.
Probably Pennsylvania, ca. 1840. Figured maple (tiger) with very dry surface (never varnished). Deeply carved from one piece of wood with stylized tulip over a heart-within-a-heart, the background field chip carved with canted border. Integral handle on reverse. Excellent condition. About 6 1/4 long x 4 1/8 wide. .
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.
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.