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New Hampshire, dated July 7, 1842. Remains in a remarkable state of preservation with original clock, mirror glass, and varnish over black paint and bronze-powder stenciling on half-round columns with corner blocks. Walnut or mahogany case. Brass movement. Rare miniature size of just 7 inches tall! See “The American Clock”, Distin and Bishop, for images of several NH mirror clocks.

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Remarkable Carved and Painted Early Frame.....SOLD

Centre County, Pennsylvania, ca. 1840. Likely poplar, with original dry red paint. Remarkable carving! The corner pinwheels stand so tall from the surface that they remind one of frosting on a cupcake. Each individual "herring-bone-like" channel is skillfully and carefully carved. Lapped-corner joints secured from behind by wooden pins. The painted surface is red, tending towards salmon. The thin over-varnish is crackled; a sensational surface. Outside dimensions about 18 inches x 14 1/2. The view dimensions about 13 1/8 x 9 3/4. The inside rabbet (the maximum piece of art that it could take) is about 14 inches x 10 5/8. About 5/8 inches thick, and a full 1 1/2 inches thick at the corners including the pinwheel carvings. Superior condition, tight and robust in hand. Stand-alone as a work of art, or to present a top-shelf painting about the size of a Prior-Hamblin School portrait.

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Beautiful Redware Salt.....SALE PENDING

Likely Pennsylvania, ca. 1820-1840. Redware, decorated with manganese splashes with crystal clear lead glaze. A gem, created by a skilled potter. Expertly balanced form. PERFECT, little used, original condition. Stands about 1 3/4 inches tall x 3 1/4 diameter. Freshen, or begin, your collection with an appealing, authentic, colorful object.

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Folk Art Paint-Decorated Marriage Record on Panel.....SALE PENDING

New England, dated July 4th, 1827. Unique. The essence of self-taught folk art. Oil painting on pine panel (furniture backsplash or architectural cornice). Likely painted to celebrate the wedding of John and Mary Coleman. Included in the artwork is an iconic New England red painted center-chimney home on the right, likely that of the Coleman’s. Much of the remainder of the painting shows fruited or flowering trees, possibly recalling a voyage the Coleman’s took to a tropical location on the ship pictured within the center panel. Or perhaps they are an idealized interpretation of trees and oversized blossoms from New England during a period in which cultivating flowers was considered a luxury. Note the rooster weathervanes topping the columns bordering the center, and the stylized stars above. The wrought fencing in the foreground ties the composition together. Strong condition and bold colors, no inpainting, with a few scratches and losses, and holes at the bottom from where originally mounted. Cracquelure. Over-varnished (probably shellac). Hangs from the eye-hook at the top. About 39 ¾ inches long x 11 high x ¾ thick. From a long time private collection.

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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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RARE, VIVID Folk Art Street View.....SALE PENDING

19th century historical folk art street scenes, especially of this caliber, are scarce. They portray of the pride of the artist in their town. Shown is Albany (Market Street, from State Street to Maiden Lane.), New York. Oil on canvas. Painted by Anne Wrightson (born 1829), emulating in oil paints the watercolor/pencil drawing by James Eights created from his memory of living in Albany in 1805. The scene shows the cohesiveness of the neighborhood reflected in the continuity of architecture and brick-red paint, flanked by the mustard house on the left and a blue open structure on the right. The substantial square, paved with flat stones, shows smartly attired gentlemen sporting walking sticks, and a bonneted-lady in foreground carrying baskets under each arm. More structures can be seen in the distance, one appearing to have a large statue or weathervane surmounting a high cupola. The buildings are rendered with extensive detailing, including clapboards, window panes, steps and rails, and cellar doors. Miss Wrightson was a graduate of the Albany female academy and Lowell Institute. With her sister Harriet, she led a private school for girls on Maiden Lane and Chapel Street, near the location of this painting. The drawings by James Eights that inspired this painting are pictured in the Magazine Antiques, May, 1948. Presented in a walnut frame with gilt liner of the period of about 21 inches x 14; sight size 16 1/2 x 9 1/2. Condition is exceptional, with no restoration.

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