Appears to be pine, ca. first half-20th century. Sizeable carving which likely originally saw outdoor use, perhaps in a garden, as there appears to be a second layer of white paint, and the copper beak has a buildup of verdigris, which likely would have occurred outdoors. Head has inset amber glass eyes with black pupils. Mounted in a wooden stand. In stand, about 21 3/4 inches tall; length from tip of the bill to tail is 18 1/4.
American, probably Northeast, ca. 3rd quarter, 19th century. Dark green paint on what appears to be maple. Thinly turned into a surpressed ball form, tightly lidded with integral finial exhibiting burnished wear from many openings. Lid and body decorated with incised lines. High areas on base are smoothly worn. Structural excellent, with no cracks. Minor wear to paint. Perhaps used for storing spices. Measures just 3 3/4 inches diameter x 2 5/8 tall to the top of the finial.
New England or New York State, ca. 1780. Ash burl, with a fantastic early surface of dry, mottled, gray and white paint. Paint well worn at the high spots, particularly at the doubled-beaded rim. Elevated foot. Crack in base. Interior exhibits a most desirable color graduation from handling. Diameter about 11 1/2 to 11 3/4 inches. About 3 7/8 inches tall. This bowl is for the collector that understands and values the best of early surfaces. Relatively few burl bowls exist in a legitimate early painted surface.
Fitchburg, MA, ca. 1807. Watercolor on paper. From a small group of "Heart and Tree" family records from northern Middlesex County, MA, and nearby southern New Hampshire. This watercolor represents the family record of Asa Farwell of Harvard and Vashti Carter of Fitchburg, married in 1796. The composition has paired hearts supporting a landscape that is graphically augmented by the family tree with family members placed within apples, plus a grand Federal home welcoming guests via a red front door, two chimneys, and fencing. Ribbons bind the two hearts and identify the marriage partners. Stylized trees punctuate the hilly landscape. Frame size about 9 3/4 x 10 3/4. THIS WATERCOLOR IS PICTURED IN THE ART OF THE FAMILY, Geneological Artifacts in New England, Simons and Benes, 2002, figure 26. From the longtime collection of Pam Boynton. Recently reaquired; one of my favorite pieces!
New England, likely New Hampshire, ca. early to mid-19th century. White pine. Sweet little box in strong original conditon. Retains first dry paint of darker-green wisps over a sage ground, with original snipe/wire hinges, and dovetailed case. Surprisingly, despite its small size, this box is fitted with an inner till. Note the side cleats to strenghthen the thinly hewn top. Just 7 1/2 inches wide at the lid x 3 7/8 deep x 4 tall.
Probably New England. ca. 1800. Pine. At just 3.25 inches long, this tiny Queen Anne looking glass is the smallest I have seen, most likely having been used when traveling. Joined by cut nails, and retaining early, well worn, pale-blue paint. The thin glass is largely desilvered except for a quarter size portion in the middle. Silver about the edges has deteriorated away owing to air and mosture infiltration under the glass edges. The back is unpainted, exhibiting a deep patina.
Likely New England, ca. late 19th century. A true folk art rug original created from the experiences and inspirations of the artist, not from a template or print source. Central to the work is MAMMA, an uncommon variant of "mother", perhaps worked as a gift or as a personal remembrance. The abstract figures and lettering emulate impressionist paintings, including a number of softly colored non-linear shapes surrounding the central field, enclosed within an olive-green border. Some vignettes come into focus, such as a running horse to the left, a central heart, and a preening heart, others are more interpretive. Wonderful condition, mounted for hanging, and versatile diminutive size at about 36 inches long x 16 1/2 tall.
Likely New England, ca. early 19th century. Pine. A true miniature in saturated, dappled red-ochre paint over a mustard primer, with very thin crackled over-varnish. Carved boot-jack sides. Thumb-nail drawer joined by wooden pegs. Lift top originally held by snipe hinges, replaced with leather/cut nails long ago. Minor early repair to right-rear leg. Early water mark on lid. Drawer never fitted with a pull. Terrific patina, strong colors, a rare and most desirable survival. Stands just 6 9/16 inches tall by 5 1/4 wide by 3 3/4 deep. A special example of so hard to find painted woodenware/treen.