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Folky Young Man Portrait

New England, ca. 1820-1840. Oil on canvas. A most handsome young man (that FACE!) with characteristics that we folk art collectors love. Portraits can be so naive that there is little artistic skill, or so academic that they require an equally academic, formal setting. Yet this portrait falls on the "sweet-spot" of that naive-to-academic continuum. His face is mostly without shadow leading to stylized-combed hair presenting like waves. His black coat and white shirt/collar, and simple background combined with his confident gaze give this painting a clean and uncomplicated aesthetic. It has survived in sensational condition. About 26 inches tall x 24 wide. Gilded frame-liner appears original. He's terrific.

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Historically Important. War of 1812. Folk Art Portrait of Famous American Naval Captain James Lawrence.....SOLD

Northeastern, ca. 1815. Watercolor and ink on wove paper. Painted during a time when American’s were extremely patriotic and proud of their young country, and heroes were often the subject of art. James Lawrence was one of those heroes. His command, the frigate Chesapeake, left Boston on June 1, 1813 and immediately attacked the blockading Royal Navy frigate Shannon. During a fierce battle, the British disabled the Chesapeake. In the less than fifteen minutes of fighting, 228 men were killed or wounded in the bloodiest frigate action of the War of 1812. Captain Lawrence, mortally wounded, ordered repeatedly his famous command, “DON’T GIVE UP THE SHIP. Fight her till she sinks” and “Tell them to fire faster, don’t give up the ship.” Yet the Chesapeake was lost to a British boarding party. Friend and fellow officer Oliver Hazard Perry honored Lawrence with a large battle ensign, stitched with the phrase "DONT GIVE UP THE SHIP". Lawrence was so famous in his day that many streets, counties, cities, and naval ships are named after him. The portrait is an exceptional folk art treasure, retaining rich, saturated colors, and like a window into the feelings of that period. Lawrence is in full-dress uniform with bold gilt mounts and epaulets. He is encircled in a laurel wreath (a mark of honor), his likeness supported by crossed American flags, eagle with shield, a canon, sword, and bayonet. He grasps a highly stylized map, with compass in the upper right, the compass upside down (perhaps symbolizing distress). A water stain on the right does not impact the painted image. Presented in a later gilt-glassed shadowbox which appears to house the original black painted frame. Captioned “Capitaine Larence” and signed lower right “Fredric ___spel pinxt (painted by). Overall frame size about 13 x 11 inches. See http://blog.nyhistory.org/dont-give-up-the-ship/ for a detailed description of the battle. Private Northeast collection. .

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Important William and Mary Lighting Stand in Cherry and Cherry-Burl.....SOLD

Northeast America, likely New England, possibly Connecticut River Valley, ca. 1720-1740. Baluster-turned double candle holder moveable on cherry-wood column supported by a bold exceedingly rare cherry-burl base with ring-turned top and incised lines. The column is surmounted by an acorn finial, a symbol of Huguenot-craftsman and representing many positive attributes, including: life, power, longevity, new growth, good luck, and as a heraldic symbol “independence to its bearer”, and “great oaks from little acorns grow”. Retains period candles. Stands a majestic 29 inches tall. Pictured/described “North American Burl Treen”, Powers, 2005. Provenance: About 1970-2002 Clarke Garrett; then David Good. HAPPY TO EMAIL HIGH RES PHOTOS.

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Folk Art Hooked Rug of Fanciful Leaping Horse within Delightfully Colored Borders.....SALE PENDING

American, ca. late 19th century, a mix of cottons and wools. Soft hues of blue, salmon, beige, pink, brown, and red would bring a focal point of quiet color to a contemporary setting, or fit equally well within a collection of early folk art and paint. The leaping horse in silhouette, likely inspired by the family’s own horse or weathervane, is whimsically rendered in red, sporting a red and white blanket, while he affably lowers his head. The artist has rendered the hour-glass-like geometrics within the borders organically, i.e., without stiff adherence to consistent measurement, and brilliantly expressed harmonious colors within these shapes. Fine condition with minor repairs. Recently professionally remounted. About 37 inches square. Provenance: Stephen Score; private collections.

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Stately, Ancient Brass Gothic Candlestick.....SOLD

Northwest Europe, ca. 15th century. Imagine holding in your hands an object that has witnessed centuries of history and still appears much as it did during its initial period of use! This remarkable candlestick features 4-discoid knops on the column which is peened underneath to a stepped, broadly flaring skirt with incised lines of decoration supporting a pronounced deep well/drip pan centered by a stepped-conical cone. The socket has moldings for aesthetics and added strength, and horizontal aperature in the lower half to aid removal of candle stubs. Superb condition. About 9 5/8 inches tall x 4 1/2 diameter at base. Scholarly references include Koper and Brons, RIKS Musuem, Amsterdam; Lear Collection, Copper-Alloy Candlesticks A.D. 200-1700, Christopher Bangs; Old Domestic Base-Metal Candlesticks, Michaelis; and Antique Brass Candlesticks, 1450-1750, Grove.

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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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SEVEN-COLOR Folk Art Paint Decorated Parcheesi Gameboard.....SOLD

Northeast America, 19th century (not one of the numerous 20th century boards). Original paint and well-patinated surface on a thick pine board. Simple, direct, crisp, unpretentious, authentic. The snappy stars have varying orientations which promotes movement. Can pick up colors in virtually any room with strong color contrast created by pigments of blue, green, yellow, red, brown with black lining and white fields. Colors really pop when well lit, particularly under art light. Never mounted for hanging, so has the flexibility of being placed in whatever orientation fits a space. Appealing size of about 15 3/4 x 16 inches, and a delightfully thick 7/8 inch (feels substantial in hand) . Excellent condition with a few scratches and very slight bow to the patinated back. .

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Early Graphic Southern Still Life

From a private Virginia collection and believed to have been painted there, ca. 1790-1820. Oil on Southern-Yellow Pine wooden panel, the back with with deep edge chamfering. Exhibiting a delicacy and vertical “lift” associated with furniture and decorative arts of this period (transitioning from Chippendale to slender Hepplewhite). Wispy flowers in white and robin’s-egg-blue highlight the composition which includes leafy-green tendrils emanating from an electric-blue vase to accentuate the sense of verticality. The charcoal background is unusual and contributes to a feel that is graphic yet also “quiet”. Unobtrusive paint loss as shown due to expansion and contraction of the wooden panel, long ago professionally stabilized. Almost certainly the original painted frame, frame size about 20 inches tall x 14 3/4 wide. .

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Early American 18th Century Painted Standing Salt....ex Roger Bacon.....SOLD

New England, ca. 18th century. Appears to be turned from maple. Wood salts were used in the modest country home, while upscale city homes might have salts fashioned from silver. Original worn paint presenting as blue-green over black (or green oxidized to black). Worn crackly over-varnish. Slow-lathe turned (faint widely-spaced lathe tool marks visible underneath) with flaring bowl above a knopped stem (the knop a design element as seen on candlesticks of the period) supported by a round footed base, the base now shrunk to an oval with desirable wear about the underside of the edge. The interior shows salt residue and paint loss, this one was really used. Complex highly patinated surface. Ancient tight hairlines. About 2 1/2 inches tall. Provenance: private collections, Roger Bacon..

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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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