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Richly Carved Early Spoon Rack.....SALE PENDING

Likely New Jersey or New York State's Hudson River Valley, ca. 18th century. Pine or poplar. 19th century "Spanish Brown" paint over first green. An exceptional example of the carver's skill, with the outer profile of the board shaped with gouge, not sawn. Profusely and deeply carved within the profile with stylized pinwheels the dominant feature. The spoon rails are joined with rosehead/T-head nails. Structural condition is excellent, straight and solid, with just stable cracks as shown in the spoon-rails caused by attachment with nails, not damage. Diminutive size at about 18 1/4 inches tall x 8 3/4 wide x 1 3/4 deep at the rails. The depth and full coverage of the carvings gives this early piece movement and variety as the changing daily lighting impacts the shadowing. HAPPY TO EMAIL HIGH RES PHOTOS.

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Figured Cutlery Tray

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.

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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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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.

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"Story-Book" Folk Art House Portrait.....SOLD

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.

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