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Full Length Profile Portrait of Little 4-Year Old Boy John Smith and his Wheelbarrow. JH Davis.

New England. Likely Maine or New Hampshire. Dated 1837. Confidently attributed to Joseph H. Davis, active 1832-1837. Of exceptional appeal and character. Watercolor, pencil, and probably gum arabic (to provide detail to the black clothing) on woven paper. The inclusion of the wheelbarrow is charming and is probably unique to surviving Davis' works. John wears a black coat with brass buttons over trousers, with frilly collar. Note the tiny feet. Inscription across the base reads: "John H. Smith. Aged 4 Feb 12th, 1838. Painted December 1837". Excellent condition with expected paper toning. Overall frame size about 7 ¾ inches x 6 3/8. Provenance: Prominent Midwestern Collection.

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Folky Gameboard Fair Play/Play Fair with Exceptional Character.....SALE PENDING

Probably Northeast, ca. mid 19 century. Original dark brown paint on white ground, with breadboard ends attached via cut nails. Reads like a favorite novel (read so often that the covers are worn). This game board was made for every day play, with scars and cracks and chips and rich patina that serve to document its many years of gaming with laughter and arguments and "lets play another". The careful scripts of the admonishments Fair Play and Play Fair stand in contrast to the somewhat crudely painted squares and even one with serious runs. About 18 inches long x 11 1/2 wide x only 3/8 thick. Working towards two centuries of patina. Provenance upon request.

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Diminutive TRUE Early American Chandelier......SALE PENDING

New England, ca. 1770-1810. Amont the rarest of all survivors in early American lighting. Stately, proud, uncomplicated presence. In a choice state of originality including the lemon-shaped turned wooden “hub” in dry crusty mustard paint, six rod-iron arms (branches), beautifully crimped-tin drip trays surmounted by tin candlecups, each containing a period candle. Also retains its thin iron hanging rod terminating in a hook for easy hanging. Outside diameter (from outer edges of opposing candle cups) about 16 inches; height about 20 inches (which includes about 13 inches for the hanging iron rod). The lemon hub is about 7 inches tall; each drip pan about 3 3/4 inches diameter. Finest condition despite insignificant hairline shrinkage checks to the wooden hub. See EARLY LIGHTING, the Rushlight Club, page 27 for related examples. Provenance: 30 years ago Hollis Brodrick; private collection until recently.

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Handsome “High Country” Painted Wallbox with Tabbed-Lollipop

New England, ca. late 18th century. Pine, basswood, and perhaps poplar, the case joined by T-head nails, having a lollipop-topped backboard (with extending tab) over a deep well and drawer below. The appealing form is elevated further by beautiful, crazed 19th century red paint and over-varnish covering much of the first 18th century thin black paint. The well sides and front are carved into a pleasing shape (the lower notch perhaps for resting a clay pipe) the tooling of the carver still well evident. The drawer is stoutly made, dovetailed and nailed, retaining the original turned-wood pull. Backboard and underside have strong patina. A well-made box, sturdily constructed. About 19 inches tall x 6 wide x 5 deep (not including the pull). Likely a pipe box, with the drawer for tinder. May be hung, or rests on a chest or shelf.

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Folk Art Paint-Decorated Marriage Record on Panel.....SALE PENDING

New England, dated July 4th, 1827. Unique. The essence of self-taught folk art. Oil painting on pine panel (furniture backsplash or architectural cornice). Likely painted to celebrate the wedding of John and Mary Coleman. Included in the artwork is an iconic New England red painted center-chimney home on the right, likely that of the Coleman’s. Much of the remainder of the painting shows fruited or flowering trees, possibly recalling a voyage the Coleman’s took to a tropical location on the ship pictured within the center panel. Or perhaps they are an idealized interpretation of trees and oversized blossoms from New England during a period in which cultivating flowers was considered a luxury. Note the rooster weathervanes topping the columns bordering the center, and the stylized stars above. The wrought fencing in the foreground ties the composition together. Strong condition and bold colors, no inpainting, with a few scratches and losses, and holes at the bottom from where originally mounted. Cracquelure. Over-varnished (probably shellac). Hangs from the eye-hook at the top. About 39 ¾ inches long x 11 high x ¾ thick. From a long time private collection.

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"THE BRIDGE" BY THOMAS CHAMBERS.....SALE PENDING

New York or New England, ca. mid-19th century. Oil on canvas. Thomas Chambers (1808-1869), described as America's "first modern", is well known for highly imaginative paintings characterized by areas of bright, flat color, large generalized forms, and sharp contrasts between light and dark areas, with playful, romantic exaggerations that reflected the "fancy" taste of his prosperous patrons in New York and New England. "The Bridge" is a tranquil, yet boldly colored painting, with color palette typical of Chambers' work, following a horse and rider trotting over a fanciful bridge spanning a calm river, the peacefulness of the scene accentuated by wading cattle and drifting sail boats. The composition leads the eye under the bridge to wonder what is unseen up the river. This painting is in excellent condition. Lined. The fine gilded frame appears to be the original, as is the stretcher. Frame size about 28 inches wide x 22 tall. A very hard to read saved label from the back of the canvas warrants further research. Museums with paintings by Chambers include: Addison Gallery of American Art, American Folk Art Museum, Dallas Museum of Art, Everson Museum of Art, Fenimore Art Museum, Flint Institute of Arts, Indiana University Art Museum, Mead Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Arts, Museum of Fine Arts, Boston, National Gallery of Art, New-York Historical Society, Rhode Island School of Design, Saint Louis Art Museum, Shelburne Museum, Smith College Museum of Art, The Brooklyn Museum of Art, and the Wadsworth Atheneum. See "Thomas Chambers: American Marine and Landscape Painter, 1808-1869", Foster, for extensive reference.

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RARE, VIVID Folk Art Street View.....SALE PENDING

19th century historical folk art street scenes, especially of this caliber, are scarce. They portray of the pride of the artist in their town. Shown is Albany (Market Street, from State Street to Maiden Lane.), New York. Oil on canvas. Painted by Anne Wrightson (born 1829), emulating in oil paints the watercolor/pencil drawing by James Eights created from his memory of living in Albany in 1805. The scene shows the cohesiveness of the neighborhood reflected in the continuity of architecture and brick-red paint, flanked by the mustard house on the left and a blue open structure on the right. The substantial square, paved with flat stones, shows smartly attired gentlemen sporting walking sticks, and a bonneted-lady in foreground carrying baskets under each arm. More structures can be seen in the distance, one appearing to have a large statue or weathervane surmounting a high cupola. The buildings are rendered with extensive detailing, including clapboards, window panes, steps and rails, and cellar doors. Miss Wrightson was a graduate of the Albany female academy and Lowell Institute. With her sister Harriet, she led a private school for girls on Maiden Lane and Chapel Street, near the location of this painting. The drawings by James Eights that inspired this painting are pictured in the Magazine Antiques, May, 1948. Presented in a walnut frame with gilt liner of the period of about 21 inches x 14; sight size 16 1/2 x 9 1/2. Condition is exceptional, with no restoration.

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