New England, ca. 1800-1820. Hardwood, perhaps birch, with original red paint tending toward bittersweet. Beautifully slow-lathe turned in manner of porcelain bowls of the period with well developed rim and foot. Lathe marks easily apparent. Very small size at just 6 inches maximum diameter with 3/8 inch shrinkage across the grain and about 1 ¾ tall. A very good example.
Probably Northeast, ca. 1820-1850. In a highly figured wood that may be walnut burl or curly birch. Square nail joinery including the mitered corners and under-base. Early over-varnish. "High country" being of country form yet made from expensive wood. About 12 7/8 inches long x 7 3/8 wide x 4 3/8 to the top of the handle. Good sturdy condition.
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. Fine 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.
THE BOND BETWEEN J. ELY BROWN AND HIS DOG......Likely Boston area. Oil on board. SIGNED on the reverse: W.M. Prior Sept. 1849. Prior has masterfully told the story of the soft, cozy bond between little boy and dog, while capturing the likeness of the boy that his parents undoubtedly craved. Excellent condition with minor touch-up. Beautifully presented in an old (not period) paint decorated frame. Larger than typical "Prior-school". Sight size 16 1/2 inches x 12 1/2; outer frame size 21 inches x 17......PROVENANCE: Peter Tillou (for decades). Before Peter: Connecticut home. PUBLISHED: Fig. 122 in Nineteenth-Century Folk Painting: Our Spirited National Heritage, Works of Art of the Collection of Mr. and Mrs. Peter Tillou; The William Benton Museum of Art, University of Connecticut, 1973. EXHIBITIONS (Partial List): William Benton Museum of Art, University of Connecticut, 1973; The New York State Historical Association, Cooperstown, NY, 1973; Abby Aldrich Rockefeller Folk Art Collection, Williamsburg, Virginia, 1974; Pennsylvania Academy of Fine Art, Philadelphia, PA. 1977; Yale University, Special Folk Art Conference, 1975; Colby College Exhibition of American Folk Art, Waterville, ME, 1975......Iconic. AMONG THE FINEST OF ALL PRIOR (AND MORE BROADLY PRIOR-HAMBLIN SCHOOL) PORTRAITS KNOWN.
New England, likely Maine or Massachusetts, ca. mid-19th century. Miniature opposing finger box of just 2 inches in diameter, in dark-green ground paint, the lid decorated with a finely detailed polychrome pictorial image of a bird on a branch in the foreground, with a flock of birds flying over an autumn tree in the background. The entire box wall also decorated with autumn trees and flowers or marshland. This decoration elevates this box to likely a "one of a kind", certainly unique in my experience. For the advanced collector seeking the best of category. Discovered in a desk in Maine.
Probably Eastern American, ca. 1st half, 19th century. Grouping of three objects, each special in its own way. The wonderful stylized heart cutter, about 3 1/8 inches wide, of tin and likely maple, joined by cut nails, is ex-Winterthur Museum, and is pictured on page 73 of Folk Hearts, A Celebration of the Heart Motif in American Folk Art. The heart-in-hand tin cookie cutter, is just 3 1/2 inches tall and is ex: personal collection of Carole Hayward. Similar tin cookie cutter examples are pictured within the same Folk Heart book. It is robust with only minor corrosion to the surface. The hardwood board (5 inches tall) with pierced heart and fragment-glass window may have been used a a box cover. It is engraved with the initials 'RV', wavy glass (with stable crack) original grungy dry (possibly painted) surface. It may have been intended to be used as a fragment mirror but was never silvered. Probably all made and given originally as tokens of affection.
Likely Southern, possibly Virginia or the Carolinas, 19th century. Sturdily woven basket with "squared" design. Substantial weight in hand. Inner spine also forms the handle. Good natural patina. Very minor imperfections. About 11 inches tall to the top of the handle x 11 wide x 11 deep.
New England, ca. 1820-1830. Dovetailed. Boxwood. Original dry ochre paint decoration with spongework, including end panels that are nicely "fanned". Retains original wire hinges, lockset, and inner-perimeter dust liner. Very clean condition with tight horizontal crack that appears as an architectural feature. About 10 3/8 inches wide x 5 1/4 tall x 5 7/8 deep..
New England, ca. 1840 to 3rd quarter, 19th century. Oil on artist board. Reads like a novel. Showing pride in one's home, the artist, likely the owner, took great care to show fine detail including a hitching post, tree shadowing, hinges on the barn door, foundation bricks, grained side door, and many more. The artist precisely directed clapboards and pathways to a proper vanishing point. Note the 12-over-12 window “lights” an early home feature. A passerby (perhaps a self portrait) walks a tiny white dog. Partial foliage color suggests an early autumn season. Presented in a grained frame that perfectly complements the work, with frame dimensions about 19 inches x 14 1/2. Fine original condition with very minor touch up. The color palette would work equally well in a collection that features either rich, saturated colors or more muted colors. This painting has so much detail that the more one looks, the more one discovers. ASK FOR HIGH RESOLUTION PHOTOS SO YOU CAN SEARCH THE DETAIL.