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HISTORICALLY
IMPORTANT SAMPLER
Colonial Boston, Dated 1765
With Connection to Harvard and the Sons of Liberty
…And a Young Girl’s
Message to Women
“Mary Langdon her Sampler
Wrought In the year 1765.”
A remarkable piece of early American needlework, this sampler is stitched with silk thread on linen. It does not include the letters ‘J’ and ‘U,’ which were not used in the early alphabet. The design features a "Garden of Eden"-like scene, a popular motif in Boston samplers at the time, along with crowns—symbols reflecting their status as British subjects in 1765.
Mary Langdon was the daughter of Samuel Langdon, an ardent patriot. A Harvard graduate (Class of 1740) and classmate of Samuel Adams, he rose to prominence through support from Harvard treasurer John Hancock. From 1774 to 1780, during the American Revolution, he served as President of Harvard. His strong advocacy for limited government and the removal of corrupt officials alienated Tory students and others, ultimately leading to his resignation in 1780.
Mary’s sampler contains an extraordinary inscription for its time:
“If Women will not be inclined to Seek/the improvement of The mind believe/ Me Polly for it’s True Parrots Will talk /As Well as You.”
A bold statement in the 18th century, this verse encourages women to pursue education and independent thought rather than merely repeating the opinions of others.
The sampler remains in fine condition with only minor staining and a small hole. The verse is somewhat difficult to read due to the close color match between the silk thread and linen background. Frame size about 23 ¾ inches x 13 ¾ inches.
Exhibited: The Boston Museum of Fine Arts, Embroideries of Colonial Boston (November 2010 - March 2011). From a distinguished New England collection.
Classic
Child’s Chest.
Blue-Gray Paint
.....sale pending
New England, ca. 1800.
Pine with original very dry blue-gray paint, the color varying between light blue and gray depending upon lighting and surrounding colors.
This classic little New England survivor was likely made for a child to match a full-sized chest made for the parents.
Stylishly cut and relatively tall boot-jack feet support a case with applied molding that echoes that edging the lid. Joinery by square nails. Untouched condition retaining the original cotter-pin hinges, with just minor ancient splits at several nails.
About 18 inches wide x 7 ½ deep x 11 ¼ tall. Has been in a private collection since 1984. .
Stunning Folk Art
9-Color Parcheesi Gameboard
Northeast, ca. 1870.
....SOLD
A brilliant interplay of color and movement.
Graphic, vivid parcheesi game, the reverse in checkers. The parcheesi’s dynamic freehand curved corner fields are amplified against the linear inner dividers.
In a remarkable 9 colors, it offers visual pyrotechnics rarely found in a gameboard of this age.
Single wooden board, bordered by a “square” nailed picture-frame molding, about 20 1/2 inches on each side. A shrinkage split has minimal effect on aesthetic appeal. The fine craquelure surface adds character and authenticity, showcasing its age. No in-painting or restoration—this is a completely original piece.
Remarkable visual impact, especially under art light. It’s not just a piece of art; it's a conversation starter, a slice of history, a masterful display of 19th-century folk art imagination.
From a southern Connecticut estate. Underscoring the importance of gameboards as an art form, note the current exhibition at the American Museum of Folk Art in NYC showcasing the collection of Bruce and Dorann Wendel: https://folkartmuseum.org/exhibitions/playing-with-design-gameboards-art-and-culture/
Sensational Lollipop Wallbox. Scarce
Apple Green Paint
.....sale pending
Probably New England, ca. 18th to early 19th century. Appears to be pine. The rich paint color amplified by its contrast against the complex dark areas of patina.
The design is simple perfection. A canted front well rises to a quarter-round back, like a sunrise, with a lollipop hanger on a narrow neck. And now the form remarkably enhanced by a surface created from everyday use two centuries ago. Note subtle carved pinwheels on the front panel and back.
Joinery by large wrought nails.
Several ancient cracks (irrelevant) including the top of the lollipop that wore through, bridged long ago by an early nail such that it could continue to hang. Scratched initials on the neck.
About 13 inches tall x 8 ¾ wide x 3 ¾ deep. Likely used as a spill holder.
From an exceptional collection purchased about 35 years ago.
JOHN BREWSTER Jr.
Portrait of a Gentleman
......SOLD
New England
early 19th century.
Oil on canvas. Painted half-length with the typical simple Brewster background that focuses attention on the sitter. Brewster rendered the clothing in well modeled detail, with black high-collared coat, white vest, and elaborate tie. The gentleman holds an intriguing envelope, with red wax seal. Often a book is seen as a device to communicate literacy, yet the presence of an envelope is very unusual. What could it have held to gain such prominence in his portrait? Another Brewster with envelope may be seen in the Laracy Collection; Sotheby's, January, 2007.
John Brewster Jr. (1766-1854) was a deaf-mute, raised in a highly cultured family with seven brothers and sisters. He worked as an itinerant portrait painter along the New England coast. As a result of his extraordinary concentration, exemplary artistic skills, and especially his ability to “see” (given that he could not communicate verbally with his subjects) he was able to capture unique portraits that revealed his sitters’ nuanced personalities. As described by American Museum of Folk Art: "Brewster was especially sensitive to the sitter's face, emphasizing his or her direct gaze-as a deaf artist, eye contact became a moment of engagement and communication.....Brewster was influenced by the paintings of Connecticut artist Ralph Earl but simplified the settings and introduced broad flat areas of color, and soft, expressive facial features"......
Fine condition with touch up around the perimeter. Cleaned and lined. Contemporary gilt frame about 33 x 29 ½ inches; site size (on the larger size for a Brewster half-length) of about 28 inches x 24 5/8.
Provenance: Private Northeast collection. For reference, see A DEAF ARTIST IN EARLY AMERICA, THE WORLDS OF JOHN BREWSTER JR., Harlan Lane; and THE WORLD OF JOHN BREWSTER JR, Fennimore Art Museum
Folk Art Portrait
Toddler Boy
Holding his Tin Horn
Northeast, ca. 1840.
Oil on what appears to be linen. The seated handsome, blue-eyed boy in green/black patterned dress, ruffled collar, and black belt with elaborate buckle. Rendered by an unidentified yet skilled artist. Untouched condition, never lined, expected broad craquelure.
Gilded frame size about 26 ½ inches x 22 ½.
Important Carved Wooden Panel
Rose Bush Plaque
.....SOLD
Likely Maine, ca. 1800-1820
From a small body of work, among the very best in American Folk Art, by an unknown master carver. Others by this carver are the masterpieces: Wallbox in the American Museum of Folk Art; and the Small Chest pictured in AUTHENTIC EYE, FOLK ART MASTERPIECES by David Wheatcroft, and SHARED LEGACY, the Collection of Barbara Gordon, both publications also mentioning a plaque by this carver. See my image showing all three together. (The Barbara Gordon collection also has a wallbox similar to that in the museum).
The carving on this pine panel is all from one solid, standing well proud of panel in an eye-catching deep relief. The paint is bone-dry, never over vanished. The stylized carving is beautifully sensitive and sublime. Structurally exceptional, paint wear as shown, with touchup to the black ground and the blossoms. Robust (weighs several pounds). About 14 inches wide x 12 tall x 2 ¼ deep.
Originally purchased in the late 1980’s from the Portsmouth, NH dealer, Hollis Brodrick, before the wallboxes and small chest were “known”.
Outstanding
Painted Gameboard
.....SOLD
Probably Northeast, ca. second half 19th century.
Original dry paint on a single pine board with breadboard ends joined with cut nails. Soft robin’s egg blue ground contrasting bold black stars and dividers which are the essence of the architecture of the game, without further distraction. Very nice back as well, showing highly patinated white or cream-colored paint.
Impressive size of about 32 inches x 20 x 5/8 thick. Terrific condition with superb surface. Flat without warping or cracks. From a private Midwest collection; pictured in situ previously in Antiques and Fine Art, 2013 (photo shown).
A stirring piece. Authentic 19th century antique yet with an equally contemporary presence..
Rare Ash Burl
Double-Bowl
One of only two known
Northeast, ca. 1760-1780
.....SOLD
Turned from one knot of densely figured ash burl, the upper bowl with an interior lip that extends into the lower to allow them to fit together. Both bowls footed. When flipped the cover can be used as a bowl of equal size to the base.
Unquestionably by the same hand as the example in the renowned Katcher collection, which has been described as an ingenious “American Treen Masterpiece” (more)
Striking Rare Inlaid Cherry Candlestand
Attributed to
NATHAN LUMBARD Worcester County, MA
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.....