Ca. 1775-1810. Horn. Carving of General Joseph Warren, one of America's greatest heroes who was killed at the Battle of Bunker Hill on June 17, 1775. Reverse carving depicts the patriotic shield and U.S. AMERICA. Cross hatching and swags decorate the rim.....Warren, a physician, was a leader in organizing Patriots in Boston, serving as president of the revolutionary Massachusetts Provincial Congress. Dr. Warren enlisted Paul Revere and William Dawes on April 18, 1775, to spread the alarm that British troops were marching to raid Concord and to arrest rebel leaders John Hancock and Samuel Adams. Warren also participated in the Battles of Lexington and Concord. Commissioned a Major General in the colonial militia shortly before Bunker Hill, yet rather than exercising his rank, Warren served in the battle as a private soldier under Israel Putnam, and was killed when British troops stormed the redoubt atop Breed's Hill. His death was immortalized in John Trumbull's famous painting (see photo). This piece has been in private collections, the most recent public showing being at The Museum of Fine Arts, Springfield, Mass, 1976, "Bicentennial Exhibit of Furniture, Paintings and Decorative Arts 1700-1876", and is pictured in the exhibition catalogue which is included with its sale. Carved Horn cups are done in a similar technique and manner as powder horns, yet POLITICALLY INSPIRED CARVED HORN CUPS ARE EXTREMELY RARE IN COMPARISON TO EVEN THE BEST POWDER HORNS. 3 7/8 inches tall. Excellent condition.
Woodland's Indian, probably Great Lakes, ca. 18th to mid 19th century. Maple, in fine orginal dry, nut brown patina. Elegant, graceful sculptural bird, with very unusual carved crest in high relief, so skillfully executed that it underscores the importance of this object to its original carver and owner. Effigy ladles were carried by the Indian to bring to a supper or feast to serve out from a large common bowl or pot. The effigy had personal meaning to its owner, often carved in response to dreams or illnesses after consultation with a medicine man. Wonderful condition, with museum mount. About 10 3/4 inches tall in the stand; bowl about 5 1/8 inches across.
Northeast America, ca. 1820-1840. White pine staves; probably ash handle and bands. Early nail joinery, including rose-head nails. G. (ground) Cassia is a stronger flavored version of CINNAMON, either used alone or mixed with traditional cinnamon in cooking. An early ink inscription under the lid appears to read: Pulverized Cassia 10 cents 14 lb. (wow, just 10 cents for 14 pounds, reflecting the earliness of this firkin). Also has an inscription for bark (unground Cassia). The firkin has a warm green ground original paint tending toward olive, the front beautifully painted by a professional artist, probably a coach or sign painter in gold/yellow with black shadowing. Very good condition with just minor imperfections. About 12 inches tall not including the handle. Diameter of the base about 12 inches. Diameter of the lid about 11 1/2 (a gradual taper). Spice labeled firkins or pantry boxes are scarce when compared to the large volume of unlabeled pieces. This is a terrific example.
Believed to be from Newburyport, MA, ca. early 19th century. Folding traveling looking glass with the names FAITH HOYT and ABIGAIL ROBERTS. Likely a hand-made gift from one to the other. Folding mirror is encased within embossed hand-blocked wallpaper, with green and blue and bittersweet coloring. Within the case is a folding mirror, with the mirror glass on the right side, and the two girls/women's names on the left. The back is of green wallpaper. Expected wear, yet good condition considering its age and delicacy. Case closed is about 5 inches long x 3 3/4 tall. Opens to about 10 inches. .
From a New England collection, ca. 1840. Dovetailed. The most elaborate of this form that I have seen as usually the grater is the outer surface. This well developed example has the grater (pierced tin) fronting an inner drawer hidden behind a sliding, chamfered front panel. Very sturdily made. Untouched dry surface. About 16 1/2 inches tall x 8 wide x 4 1/2 deep. May be hung or stood upright. All original including the drawer pull.
Probably New England. ca. 1800. Appears to be pine. A miniature example with wonderful shrinkage and retaining early green and black paint over the first red wash or sizing, and remnants of an old oyster white in the interior. Very thinly turned, with chamfered rim and raised foot. Tight shrinkage checks in base. Diameter varies from 5 3/16 inches across the grain; 5 7/16 with the grain (1/4 inch shrinkage). Height varies from 1 5/8 inches to 1 15/16. Miniature turned wooden bowls were seldom made after the early 19th century as they were obsoleted by emerging ceramics and pottery, which were cheaper to make. Large wooden bowls continued to be made for many years as their ceramic equivalents would have been too heavy.
From the Lewiston, ME area. Circa 1830. Basswood. Dovetailed case. Delightful palette and color contrast with wisps of black paint and yellow and black dots against a rich 'old brick red' colored ground. The pattern formed has some order, as if the dots were being carried horizontally in the black wind around the central initials M.A.P., yet follows no predetermined pattern and is without aid of comb or other limiting device. This wonderful palette and original, whimsical, free-form decoration in dramatic colors elevate this box above most of its contemporaries. Excellent condition retaining original hinges and hasp and side handles (missing just one bale). Paint has expected minor scuffs and wear. Ample size at about 30 inches wide, which, combined with the lock set, indicates that in-period this box likely held expensive textiles or clothing, which were of sufficient value to merit lock and key, or served to secure a young lady's valuables, i.e., a dower chest. M.A.P. was likely the initials for whom the box was made. Feel free to ask for high res images, as the impressive nature of this box is more readily seen in larger size.
New England, ca. 1830. Watercolor on velvet, with saturated colors on bountiful fruits, including a two-tone blue watermelon, set upon a handled "Leeds" platter, . A nearly identical example, complete with a watermelon on a platter, is illustrated in Jean Lippman's American Primitive Painting from the Holger Cahill Collection. Superb condition. Set in a terrific period molded gilt frame. Overall frame size of 27 1/4 x 24 1/4 .