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. .
Probably New England, ca. 1800-1825. Tin and glass, with traces of early black paint. Graceful trapezoid form, with square bracket base (as seen on chest of drawers of the period) glass panels, and surmounted by by a decorative crown that conceals vent holes. Original candle cup. Terrific dry surface. Stands an impressive 19 1/2 inches tall. The base is 9 1/2 inches square. Given its stylish, sophisticated design and large scale, this lantern must have graced a magnificant home or building 200 years ago.
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 .
Likely New England, ca. 1830-1840. Paint on velvet. Exceptional visual appeal, retaining bright colors and crisp, clean composition, the flowers bursting from the bulging, stylized basket with delightfully exaggerated in-curved sides, the basket resting on graduated steps. Fancy theorems were painted in this period as gifts for friends or to brighten one's home, the still life often chosen as the subject as a symbol of abundance, and velvet for its soft appearance. These theorem paintings were as painstakingly rendered as fine needlework samplers. The artist, typically a lady, often ground and mixed her own paints, designed and carefully cut her own stencils, and employed practice sheets, study notes, and color samples. Some young women of well to do families attended seminaries where they could learn drawing and painting. This exceptional example has frame dimensions of about 22 3/4 inches wide x 21 tall. Outstanding condition with light toning.
New England, Pennsylvania, or New York State, ca. 2nd quarter, 19th century. Pine top and bottom, chestnut or ash sides. Very thick-walled, stoutly-made round box with single finger on the lid, profusely decorated with flowers, berries, lining, and cross-hatching in a manner similar to paint decorated tinware of the period. A delightful and seldom-seen characteristic is that yellow flowers are shaped like little hearts, indicating this box to be a love token or for a special event such as wedding, anniversary, or birthday. The box retains an early resin over-varnish (likely shellac), which is "dryer" on the top (with more craquelure) than the sides, as airborne particles from the fire were more likely to fall on the horizontal surface of the lid than the vertical sides. Superb structural condition with no cracks, and deep rich patina under the base. 3 5/8 inches tall x 6 5/8 diameter. Terrific box.
Northeast America, with paint-precedents in Pennsylvania and New England. Ca. early to mid-19th century. Pine. Crisply made with a fine-Federal dovetailed case. Vivid, dry, paint decoration of blue-green serpentine swaths on a barn-red ground with whimsical trailing salmon-colored dots. The sliding lid with thumbnail molded sides above sliding dados. The top of the lid has always been fitted with a leather strip, presumably used to sharpen blades. An exceptionally well made box with unusually delightful folk art paint decoration. About 11 1/2 inches long x 3 wide x 2 7/8 tall. Excellent condition