Northeast America, ca. 18th/early 19th century. Staved construction with beautifully done button-hole hooped joinery. Very dry original soft blue paint oxidized to green with blue highlights. Skillful black-paint labeled: THE 2nd CO. IN THE 16th REGIMENT. Later family label on the back "Canteen carried by Harvey H. Sargent in the Civil War 1861-1865". The form, the paint, and especially the style of the lettering strongly support a 18th to early 19th century making. Consensus is that this canteen was made and labeled in the 18th/early 19th century, then carried in the Civil War by Sargent as a keepsake or good luck piece, perhaps as a gift from an ancestor. Superb solid, uncompromised condition missing only the leather strap. About 6 3/8 inches diameter x 3 3/8 tall. This canteen is one of the finest to be found owing to its great form, condition, blue-green paint, and remarkable lettering.
Northeast America, ca. mid-19th century. White pine with very dry original black paint (never over-varnished) with metallic-gold (likely bronze powder) painted hearts and trim. Retains original leather hinges. Smooth burnishing and paint wear to the handle indicating frequent use, yet the interior is quite clean with few dents or scrapes, so unlikely this carrier was used for cutlery or tools. Probably made as a gift on an important occasion as it is decorated with 6 hearts, one on each side and one on each lid. The box about 12 3/4 inches wide x 12 deep, and 5 1/2 tall (not including the handle) and 7 3/4 (including the handle). Very good condition with expected minor wear; sturdy and robust in-hand.
American, late 19th century. Oil on canvas. Folk art townscapes, and house/farm portraits in the 19th century were painted to reflect pride in home, town, and accomplishments. This is a fine example, rendered in a quiet, soft color palette with horse and rider prancing down the path, with their dog in hot pursuit, while in the foreground a mother pig watches as her piglets drink. Several buildings, including a privy set into the trees, surround the elegant, green shuttered white-painted house with picket fence surrounding to keep out farm animals, and scattered flowers. The composition portrays an appealing simpler time. Excellent condition with minor area of toning. Appears to be original, and very pleasing, molded frame with dry, crackled surface. Overall frame size of about 33 inches x 23 inches. A note on the back indicates this painting was found on a long trip years ago.
New England, ca 1861-1865. Watercolor and pen and ink on paper. Signed W.M.C. Philbrick. The wooden, 207 foot long USS Ossipee, named after the Ossipee River of New Hampshire and Maine, was launched from the Portsmouth Navy Yard in 1861 as a sloop-of-war in the Union Navy during the Civil War. Among many actions the Ossipee served in the blockage of Newport News, Virginia in 1863 and in Admiral Farragut's naval battle in Mobile Bay, Alabama in 1864, forcing the ironclad CSS Tennessee to surrender. This precisely rendered ship portrait shows fittings for battle, including 6 cannons and gun ports enclosing more. The portrait retains strong color, highlighted by the bold American flag. Research reveals that WMC Philbrick is William M.C. Philbrick, a Naval Architect and carpenter's mate of the USS Portsmouth, based on a sketch by him depicting the USS Albatross off Mobile, AL., in 1863, and from The Private Papers of William M.C. Philbrick, US Naval Historical Center, Mystic Seaport, CT. Philbrick also sketched the iron-clad ship Essex in 1862 and likely other ships as well. Excellent condition with minor creases and several small edge tears repaired on the back. Presented in a period gilt frame measuring about 29 inches long x 21 tall. This portrait blends real history with a bright, folk art presence. Please ask for higher res photos to see detail.
New Hampshire, ca. 1750-1765. Pine, with very dry original oxblood red paint. Descended in the "French" family of Portsmouth, NH. Oral family history has this box making the move to Portsmouth from what was then Rumford, NH (renamed Concord in 1765). The double-lollipop hangers, unique in my experience, are tall and stately, with notched necks flowing into incurved shoulders. Lollipops are carved, not sawn. Scholarship suggests the double-lollipops symbolize man and woman or husband and wife, yet perhaps they simply function to prevent the box from swinging. The box saw frequent use as evidenced by patterns of wear to paint and inner box. It survives as a stately, important view into pre-revolution rural colonial America. Joinery of the thick walls by rosehead nails with several nails having lost their heads or replaced by somewhat later nails. Condition is very good with expected irregularities at the locations of the nails. May hang or rest on a flat surface. About 14 1/4 inches tall x 12 wide x 6 deep.
Northeast America, ca. 1820-1850. Appears to be poplar. Slow-lathe turned and footed. Period 19th century very dry, soft mustard/yellow paint over what may be an earlier thin paint or primer. Inside does not have knife marks and is light in color, indicating that this bowl was likely used for dough or dairy, not for chopping or other food preparation. Large size at about 20 5/8 inches diameter with 5/8 inches of shrinkage across the grain. Quite deep at 6 11/2 inches. Excellent condition with no cracks. Outdoor photos shot in 6 degree windchill! (I wanted to show yellow in natural light).
Baltimore, Maryland, ca. 1825. Tall, stately, boldly tapering flask with flattened sides, decorated on both faces with a large brushed cobalt-blue flower with fan-shaped blossom and cobalt-highlighted spout. Approximately 20 examples from Baltimore are known, some being attributed to maker David Parr. Excellent structural condition with no cracks. Stands about 9 1/2 inches tall, broad shoulders of about 5 inches wide tapering down to a base of 2 1/4 inches; about 2 3/8 thick. From a long time private collection. A beautiful gem!
Probably east coast, ca. late 19th to early 20th century. Three carved shorebirds in dry, polychrome paint, including one preening, resting on wire legs set within a perfect portion of driftwood. The birds are tiny, ranging from 2 5/8 inches to 3 3/8. The entire piece is about 7 inches long x 2 3/8 wide. A sweet piece that can rest on a shelf, chest, or candle stand.
New England, ca. early 19th century. Appears to be maple. Intricately pierced by sawing and carving into the most unusual and appealing design of a fretwork mirror that I have seen. Crest centered by a four-leaf clover. Appears to be the original first surface which is dry and crackled. Remarkable condition given that none of the carvings are broken. Pit sawn pine backboard joined by cut nails. Small size at just 12 inches tall x 10 wide. See the Mirror Book, Schiffer, pp 133-168 for many photos of related mirrors, yet none with side-piercing.
Probably New England, ca. 3rd quarter, 19th century. Fairly thick wooden board with picture frame molding joined by cut nails, the molding having two parallel attractive deep incised lines running full length. The original red, black, and gray paint is dry and well cracqueled, with muchof the thin original over varnish worn away. Unusually small and desirable size of just 10 1/2 x 10 1/4 inches on the perimeter and 1 inch thick.