American, ca. 1825. Hollow-cut silhouette of a young gentleman in what appears to be the original, unpainted, deeply-patinated very appealing pine frame. The silhouette has ink embellishment to the hair, white outlining the coat, and a nice teal watercolor to the collar. Collection number on the back, along with the label: "WORK DONE AND CUT BY WILLIAM CHAMBERLAIN OF NEW LONDON NH OR MA. 1815-1825.
Probably New England, ca. 1800-1850. Pine. In high-relief, this primitive carving retains an untouched rich dry natural patina. In 1782 the eagle was first introduced into American design as a symbol of strength and independence. From that time onward renderings of the eagle flowed into decorative arts, signs, furniture, etc. This early carving was meant to hang, not stand, is sizable enough to have had use as a sign, yet its specific use is uncertain. It would highlight a collection of early furniture and accessories with the commonality of strong surface. About 20 1/2 inches across x 20 tall x 2 deep.
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. last quarter, 18th century. Maple, with thickly applied early dark green paint. Crisply turned by an accomplished wood worker, with incised lines of decoration near the rim, and a lower "knop" above a stepped base. Excellent condition with good shrinkage yet no cracks. Rich patina to the maple. Beautiful form. Impressively tall at about 6 3/8 inches x 3 3/4 diameter. Spills were typically tightly wound plant material, or textile scraps, used to transfer flame from one source to another, as in lighting a candle from the hearth. In-hand this is a special object that would thrill the collector of early American treen/woodenware. Provenance includes the American Folk Art Museum.
From the contents of the Silas Hastings tavern (built ca 1817 on the site of the original settler's home) in Boylston, Massachusetts. The lantern, ca. early 19th century, is in a very high state of originality (appears untouched) retaining very dry black paint on a pine domed case, the dome top fitted with sheet-tin attached via cut nails. The case also retains the four original thin-glass panels, each with a slightly greenish cast, held by tin-tabs, the door glass-panel with a thin crack. The tin candle socket, attached with cut nails, also appears to be the original, strongly indicating that this lantern received very little use, no doubt a key factor in its survival and outstanding condition. The delicate door hinges and hasp are also original, as is the turned-bale handle fitted through the dome. About 10 inches tall (not including the bale handle).
View of Forestville, Chautauqua County, New York. 19th century. Oil on canvas with rich, saturated colors. The cozy picturesque village with closely knit structures wraps around a wooded square and is nestled in the valley below pristine forested hills. The artist represented the forest with an engaging "rhythm" to the trunks and leafed-canopies, the rhythm echoed in the trees that frame the foreground, and even within the clouds. The two taller foreground trees also mirror the strength and verticality of the meeting house and/or church spire. The artist has successfully portrayed a tight sense of community and pride. The painting contains abudant detail from the clock on the tower to subtle architectural elements to polychrome grasses and leaves; even several window curtains. In a high state of originality retaining its original stretcher and likely frame, never lined, two very small holes yet no restoration or in-painting. Frame size about 31 1/2 inches wide x 24 tall.
American, ca. 1840's. Pastel on paper. Unsigned. A most pleasing little boy in a soft, quiet color palette. The boy fashionably attired in what appears to be a long sleeved "skeleton" suit, with three columns of buttons. The quiet of the portrait enhanced by the softness of the bird he holds. Somewhat unusual to find in an early portrait is that the boy wears an earring. The portrait is presented in what is likely its original period mahogany frame. The frame is so well made it is like furniture. Appealing presence with minor spots of loss about the edges and unobtrusive water stains at the bottom. Frame dimensions about 20 1/2 inches x 16 5/8.
Probably Hudson River School, New York State, signed and dated lower right Maria W Chapin, 1838. Watercolor on paper. Great pride in the compelling natural beauty of the Hudson River drove talented 19th century artists to portray that beauty in landscape paintings, with deep reverance toward the spectacular river and its surrounding mountains. This masterfully executed watercolor is by one of those capable artists who was able to capture that splendor with her brush before the availability of photography. Several vignettes of those enjoying the vista highlight the composition, including a gentleman to the left directing two ladies toward perhaps the sailboats, two fisherman and their companion dog on the near shore, and even the subtle depiction of smoke rising from several distant campfires, suggesting a cold day and maybe more fishermen making a meal of their catches. Very cool to have this "snapshot" of nature and the "outing" clothing of the day over 175 years ago. Well cared for excellent condition. About 26 5/8 inches wide x 18 tall. High res photos easily emailed.
New England, ca. 1830-1835. Attributed to the celebrated "Puffy Sleeve Artist". Hollow-cut, watercolor on paper over black-fabric backing of an elegant young woman with a room-filling presence that belies its small size. The work is crisply and confidently rendered, and remains in a super state of preservation. The teal dress is likely a unique survival for this artist and elevates the work well above most related examples. Brass frame is of the period and likely original, measuring about 5 1/8 inches tall x 4 3/8 wide. See "A Loving Likeness, American Folk Portraits of the Nineteenth Century", original and supplement, for other examples attributed to the Puffy Sleeve Artist.
Probably England ca. 18th century. Painted softwood, with original leather straps securing the ox-horn window protecting the manuscript (hand lettering). Period horn-books are seldom encountered regardless of makeup, yet this example even more so as the lettering is done in a bittersweet ink or paint (black ink is expected). Note the 24 letter alphabet, as seen in early writings, in which the capital "J" was represented by the letter "I", and "U" by the letter "V". Hornbooks originated in England in the 15th century, being used as a reading primer during a period when many were illiterate and paper and glass were handmade and expensive. About 6 inches tall. Imagine the school-child holding this piece in their hands while reciting their letters! Found recently in a long time Ohio collection of Americana and related material.