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Sensational
10th Anniversary
Tin Basket
Bursting
with Velvet Fruit
.....sale pending
American, the basket ca. 1820-1860, the velvet fruit antique to vintage.
This basket is a superior example of a classic 19th century tenth anniversary gift.
The tenth, or "tin" anniversary, was one of great celebration. Whimsical gifts, made by professional tin smiths, were often presented to the married couple. Tin symbolized the durability and flexibility of a decade of marriage. It is elaborately designed in a Federal style, meticulously hand-made by a master tin-smith, retaining a rich dark patina. A finer example is unlikely to be found.
The charming assortment of beautiful velvet fruits are a delightful example of decorative and functional folk art. These fruits were very popular as both whimsical home decorations and practical sewing pin cushions. They were stuffed with sawdust, emery powder, or even horsehair to provide weight and pin-holding capability, while the soft velvet exterior added tactile appeal and visual charm. Such velvet fruit arrangements were commonly displayed in bowls, baskets, or on mantels.
The basket stands about 10 inches tall x 8 ½ diameter, in superb condition as are the fruits. Provenance: the basket twenty years ago from Judy Wilson, Wiscasset, Maine to a fine Midwestern collection; the fruit carefully selected since then.
Outstanding Collection
Of Carved
Wooden Busks
18th century.
All probably sailor-made as tokens of affection for the wives or sweethearts they were returning to. In this period, corsets held a rigid, removable busk, often of wood or whale bone, inserted into a center-front pocket to create a straight and upright posture.
All richly hand-carved with care and affection.
Excellent condition, lengths ranging from 12 ½ inches to 13 ½. Acquired long ago by an exemplary Midwest collector.
LEFT TO RIGHT:
T*ND. Dated 1784: Profusely chip carved, highlighted with a large pierced heart at top and pinwheel just below. Engraved “T*ND. 1784” on reverse, the lettering with last name followed by first initials.
MARY HARLOW: Many carved elements including three hearts at the top and many pinwheels of varying size and shapes. Engraved “MARY HARLOW” on the reverse, no doubt for whom the busk was made.
RARE MIRRORED: Crisply carved with a large heart, pinwheels, and geometrics, centered by a rarely found diamond-shaped mirror, a real prize for the lady in this period making this similar to a fragment mirror. The reverse with graphite inscriptions including “Savanah A____s wife of David ___Fellows?”
A/S*M 1784Y: Fully chip carved, engraved “A/S*M 1784Y” on reverse, the lettering with last name followed by first initials.
TREE OF LIFE/RT1781: Rare theme in the pattern of a” tree of life” capped by a large heart with two more hearts and pinwheels below.. The back engraved “RT1781”.
Charming Pine
Cutlery Tray
with HEART
.....SOLD
Northeast, likely Massachusetts, found on Cape Cod decades ago, ca 1840.
A boldly graphic cutlery tray, white pine, featuring a shaped handle carved with a prominent, classic heart cutout, flanked by geometric piercings.
The tray has a strong visual appeal, not only from the heart, yet also from its terrific worn highly patinated surface with rich, warm, honey-brown color.
Joinery by large-headed cut nails (square) about the slightly canted tray.
Excellent original condition and remarkably, no cracks to the handle despite the narrow wood section above the heart. Appealing small size of just 11 ½ inches long xo 4 ½ tall x 7 deep.
THOMAS CHAMBERS
Dramatic Landscape with Mount Vesuvius
Ca. 1843–1860
. Oil on canvas.
Described as America's "first modern", Thomas Chambers (1808–1869) is well known for his highly imaginative paintings with a distinctive style characterized by broad areas of luminous, flat color, sharp contrasts of light and dark, and romantic exaggeration of natural forms, qualities that perfectly suited the tastes of his prosperous patrons in New York and New England.
This striking view of Mount Vesuvius is a museum-worthy example of Chambers’ work. The erupting volcano rises against a glowing sky, while richly detailed foreground flora and trees frame the exotic setting producing a scene of both visual drama and luxurious warmth.
Two related views of Vesuvius by Chambers are illustrated in Thomas Chambers: American Marine and Landscape Painter, 1808–1869 by Foster (pp. 66–67).
Paintings by Thomas Chambers are represented in major public collections, including the American Folk Art Museum, Dallas Museum of Art, Fenimore Art Museum, Indiana University Art Museum, Metropolitan Museum of Art, Museum of Fine Arts, Boston, National Gallery of Art, New-York Historical Society, Rhode Island School of Design Museum, and the Shelburne Museum.
In excellent condition with very-minor touchup at the perimeter. New stretcher; cleaned and re-lined by Yost Conservation in 2015. The choice gilt frame is period, frame size 28 ¼ wide x 22 5/8 tall. Site size 23 1/8 x 17 ¾ inches.
Provenance includes the Kennedy Galleries, New York City; private New York City collection; Joan Brownstein American Folk Paintings; private Massachusetts collection.
A rare opportunity to acquire a particularly dramatic example of Chambers’ landscape painting.
Militia Canteen
Vivid BLUE Paint
War of 1812 Period
New England, cheesebox form, ca. late 18th century to 1825. Pine and ash.
A top-shelf militia canteen retaining striking original blue paint, boldly centered with the painted initials “P.R.C.”, reflecting the pride and identity of a volunteer militia company.
Research finds three possibilities for PRC:
1. Very active during the War of 1812, the (Maine) PORTLAND RIFLE CORPS was elite. They bought their own fancy uniforms and matching gear (like painted canteens) to stand out from the common militia.
2. PROVIDENCE RIFLE COMPANY used the term "Company" and "Corps" interchangeably for their (also elite) light infantry and rifle units. Providence (RI) was a major hub for militia activity, and many canteens from this region follow this exact cheesebox construction.
3. The PORTSMOUTH RIFLE COMPANY (NH) was under constant threat of British naval attack. Local "Rifle Companies" were formed to defend the coast. The initials match with the standard labeling as seen on New Hampshire volunteer units of that era.
About 6 3/8 inch diameter x 2 1/4 tall. OUTSTANDING condition. Provenance includes Sam Forsythe, Don Olson, private collections.
PIPEBOX WITH RARE “HEART AND CROWN” CREST
Probably Milford area of Connecticut, 18th century.
Original red stain and varnish on white pine.
Tall and slender with the vertical emphasis favored by American colonial makers.
The walls are animated with fine hand-carved scrollwork, rising to a pierced Heart-and-Crown crest often seen on chairs from this period and region-yet very rare in pipe boxes. Characteristic of fine 18th century Connecticut work, this pipebox reflects Connecticut’s often more creative and less-restrained design than other New England regions.
Excellent condition. Notably retaining the original carved wooden pull on the drawer. Inconsequential cracks under base. About 18 ¼ inches tall. Base at the molding about 5 ½ wide x 5 deep. ..
REMARKABLE
GAMEBOARD
.....RARE!!
Landscape Vignettes
Found in upstate New York and likely painted there, ca. 1870-1900.
Principally parcheesi with secondary chess.
This elaborately hand-painted gameboard shows influence from the Hudson River School, a 19th-century American art movement known for its romanticized portrayals of nature and featuring aspirational European motifs.
Each corner, and home-area, are small painted stories rather than stars or geometrics typically found in parcheesi boards. Clockwise from top left: A maiden in white by a stream, evoking purity and reflection/Three figures in a boat fending off a menacing beast-related to 19th century adventure stories /A rider beneath a palm-like tree, evoking the exotic and unexplored/A dramatic mountainous landscape. The central "HOME" may show the Hudson River, with a castle-like structure, a theme borrowed from European Romantic art to suggest history and grandeur. MORE.....
The
PUFFY SLEEVE ARTIST
Silhouette of a Lady
.....SOLD
Likely Massachusetts, possibly New Hampshire or Vermont, ca. 1830-1831.
Hollow-cut with woven-cloth backing, watercolor, and ink on paper. The lady with high lace collar and red ribbon, while holding a red-rose bouquet.
Profiles by the celebrated Puffy Sleeve Artist are attributed given characteristics including: the distinctive way their bodies are turned toward the front while their heads remain in profile; woman wear the fashionable dress of the period with exaggerated puffy sleeves; iconic tiny hands at their waists (woman’s left hand often grasping a book or other object (rose)); her hair comb (also the fashion for the period) being cut into the hollow work with her hair painted about it.
Based on the article, from the Magazine Antiques, July/August 2014 “UNMISTAKEN IDENTITY”, Michael & Suzanne Paine and Sam Herrup make the case that the Puffy Sleeve Artist was Ezra Wood, Buckland, Massachusetts. Works by the Puffy Sleeve Artist are among the most sought after silhouette portraits from the early 19th century.
In a period, not first, gilt frame, about 5 inches x 4. Good condition with expected toning and an old, non-image tear upper right.
Provenance includes Pam Boynton. From a private Northeast collection. .
Outstanding
Folk Art
Sidewinder
Paddlesteamer
Sailing Ship
.....sale pending
American, ca. 1840-1860. Oil on canvas.
A striking maritime folk art painting depicting a sidewinder under both steam and sail.
The artist captures the vessel with clarity and directness, cutting cleanly through a choppy green sea beneath a luminous sky. The American ensign flies proudly at the stern, with additional signal flags aloft. Note the eagle figurehead (sailors believed that the sharp eyes of the eagle would be constantly on the lookout for hazards).
Steam-powered sidewinder sailing ships first came into service about 1840. Initially, these ships were prone to mechanical failure, so early paddle wheelers were fitted with a full complement of masts, rigging, and sails due to captains’ mistrust of the new steam technology.
By 1860, they were reliable enough, and now significantly faster than sailing-ships, so the sailing apparatus, including spare sails, rope, and all things needed to sail were eliminated, creating space for passengers and their belongings, enabling much faster trans-Atlantic service for many more travelers. At the outbreak of the Civil War, it was found that the side paddlewheel could easily be disabled, so the paddlewheel in later ships moved behind the stern.
Terrific condition, with very minor in-painting and craquelure.
The chamfered black painted frame appears original (with a bit of frame repair on the lower edge). Overall frame size is 35 ¾ inches x 25 ¼.
Provenance includes private collections, Robert Thayer, Stephen-Douglas; Don Olson.
AMERICAN ORIGINALS
STRIKING RARE
INLAID
CHERRY
CANDLESTAND
.....SOLD
Attributed to
NATHAN LUMBARD
Massachusetts, Worcester County (Sturbridge).....ca. 1800
Cherrywood, with serpentine-shaped top of figured cherrywood, with striped-inlaid hearts at the corners and centered by an inlaid pinwheel. The column features a deeply carved spiral fluted urn, supported by a tripod base with distinctive spurred knees.
As per Clarke Pearce (The Language of Nathan Lumbard, Antiques and Fine Art, March 2018) “Around 1790, there was a major shift afoot in cabinet shops across greater Worcester County. Printed British pattern books like George Hepplewhite’s Cabinet-Maker and Upholsterer’s Guide carried many new design ideas deep into the agrarian hinterlands. A new generation of young, ambitious artisans embraced the Neoclassical style, changing forever the way the region’s cabinetmakers went about their business. By the late 1790s, cabinetmakers all over central Massachusetts were making furniture in the Neoclassical style with inlaid decoration”.
Further, as stated by Chipstone about Nathan Lumbard: “….superior craftsmanship, love of complex inlay and an impeccable sense of design and proportion”.
Excellent original condition with just a minor old repair at the outer edge of one top-lobe. Original dry surface.
Diminutive size of about 25 5/8 inches tall.
A similar candlestand attributed to Lombard, yet lacking the heart-corner inlays, sold at Sotheby’s, January, 1999, lot 755, selling for much more. Also see: Crafting Excellence. The Furniture of Nathan Lumbard and His Circle, Winterthur, Christine Jackson, Brock Jobe, Clark Pearce
THE COMPASS ARTIST
Paint Decorated Box
Important Provenance
....SOLD
Lancaster County, PA, ca. 1800-1840. One of just three dozen boxes known by this celebrated artist, held in private collections or museums including Winterthur (which has 8) and the Philadelphia Museum of Art.
The name “Compass Artist” is an attribution coined by collectors and scholars based on the use of a draftsman’s compass to lay out decorative motifs. The identity of the Compass Artist remains unknown, though analysis suggests he may have been trained as a joiner or cabinetmaker within the Pennsylvania German tradition, which emphasized both functionality and ornamentation. Comparisons have been made between the Compass Artist's work and those found in frakturs and dower chests, noting that the designs likely held symbolic meaning tied to protection, fertility, and prosperity.
As seen on this box, works by the Compass Artist are identified by a recognizable visual vocabulary: sharp scribed compass-work outlines; polychrome paint, especially Prussian-blue, Vermilion red, and white lead (the top white-field on this box is a rarity); tin hinges inserted through horizontal slits; dovetails bisected, sawn after making basic box shape; dimpled hasp and escutcheons; bottom attached with square wooden pegs.
Very good condition, overall minor wear. Unobtrusive shrinkage crack on domed lid. No inpainting or repairs. Large enough create an impact yet small enough that it can be placed almost anywhere. About 11 ¼ inches wide x 6 ¼ tall x 7 ½ deep.
REFERENCE: THE COMPASS ARTIST OF LANCASTER COUNTY PENNSYLVANIA, Wendy Cooper et al., American Furniture, Beckerdite, 2009, pp 62-87.
IMPORTANT PROVENANCE: Martha Bartlett, Washington, DC.