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Country Chippendale
Tea Table:
Bold Curly Maple Top
and Striking Marlborough Legs
New England, circa 1750–1780.
A rare and especially fine example of 18th-century New England country craftsmanship, this compact tea table showcases the refined simplicity of rural Chippendale furniture.
The highly figured octagonal tiger maple top—crafted from a single board—has a rich patina with a soft, complex, varnish surface. The top overhangs in just the right proportion, joined to the apron with a mix of large wooden pegs and iron nails, and a hand-cut screw.
The table stands confidently on four long, deeply molded Marlborough legs—some of the best you’ll encounter—joined to the pit-sawn apron with classic mortise and tenon construction, secured by large, hand-carved wooden pegs. The legs and apron retain remnants of bittersweet paint over black, all well-worn and patinated, and mellowed by time.
Diminutive--can be placed almost anywhere--top measuring about 20 ½ inches by 30 ½; 28 inches tall. Fine condition; minor expected imperfections. Stands tall, straight, and full of character. A label underneath reads “Olivia Preston”.
I seldom acquire furniture—yet this table was so good it called my name.
Vibrant Painted
Trade Sign
for
Umbrellas & Rainwear
.....sale pending
American, ca. last qtr 19th century. Original paint with soft over-varnish on wood, the molding joined by large cut nails. Unusually bold and graphic, the large red-and-blue umbrella dominates the composition—visually reinforcing the nature of the goods for sale while creating an exciting visual to capture the attention of passersby. Hand-lettered in of serif and italic styles, the text is laid out with careful attention to spacing and color balance. Raindrops scattered around the umbrella provide a whimsical, dynamic touch.
This sign is both functional and decorative, typical of the transitional period between folk tradition and early commercial branding. Before mass-produced printed signage became widely affordable, such hand-painted boards served as a direct, personable interface between merchant and customer. Its cheerful design and painterly quality would have stood out on a bustling street, as it would in your home.
Beautifully preserved with a pleasing warm patina and minor abrasions. About 30 inches tall x 22 wide x 1 5/8 deep. Hangs easily. From a long time Southern collection. .
Stitched in 1765.
"Still speaking to us today"
“Mary Langdon her Sampler
Wrought In the year 1765.”
This notable sampler, sewn by a young girl in Boston a decade before the American Revolution, offers a rare glimpse into the lives and learning of colonial-era youth. It is not just a textile—it’s a moment in time.
Mary Langdon (born April 21, 1751; baptized in July 1760) 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.
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.
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.The sampler remains in fine condition with only minor staining and a small hole. Frame size about 23 ¾ inches x 13 ¾ inches.
Exhibited: Boston Museum of Fine Arts, Embroideries of Colonial Boston (November 2010 - March 2011). From a distinguished New England collection.
Bold Parcheesi Gameboard
with Written Provenance
.....SOLD
Ohio, ca. 1875.
This elaborate Parcheesi gameboard has an integrated design that wraps seamlessly around a vibrant central field. The striking bright-green half-rounds are complemented by a rich palette of black, mustard, cream, red, and orange, creating a captivating visual.
A seldom found feature of this gameboard is a provenance on the reverse, revealing that it was originally made as a first-anniversary gift, which explains the uncommon effort the folk artist made to design and to render such a special and enduring gift.
From a single thin board, this piece has been well-preserved, with an old stabilized split reinforced by battens on the back. The aged surface carries a yellowed patina. The edges are painted black emulating a frame.
About 21 ½ inches square.
First acquired in 2007 from the original owner’s family in Xenia, Ohio; private collection since then.
ZEDIKIAH BELNAP
Portrait of
Sarah Dodge
Massachusetts, 1824
Oil on wooden panel, painted in Sutton, Massachusetts, with strong attribution to Zedikiah Belknap (1781–1858).
On the reverse, inscribed in red paint-likely in Belknap’s own hand: "Mifs Sarah Dodge, age 23, AD 1824." The use of the long ‘S’ in Miss carries over from 18th century conventions.
Sarah Dodge (born 1801) came from a prominent Massachusetts family and was related to Edward Rawson, the first Secretary of the Massachusetts Bay Colony.
Born in Auburn, Massachusetts, Zedikiah Belknap graduated from Dartmouth College in 1807. Despite having no formal art training, he became an itinerant portrait painter, working in Vermont, New Hampshire, New York City, and Massachusetts. He depicts Sarah in a half-length pose, slightly turned, wearing an elaborate sheer lace collar, a flowing shawl, and a fashionable hairstyle with striking curls. The quality (and then expense) of a portrait like this suggests it may have been commissioned for Sarah’s engagement or wedding.
The portrait shows beautifully. It has been professionally cleaned, with some touchup, primarily the blush on her right cheek. Housed in a fine period molded gilt frame about 33 5/8 inches tall × 28 ¼ inches wide. From a fine Northeast collection.
Rare Woodlands
Highly-Abstracted
Owl Effigy Ladle
Northeast/Midwest, ca. 1800.
Carved from figured maple. Skilled Native American woodworkers drew on generations of tradition and sought to capture JUST THE ESSENCE of an animal by subtracting detail. This owl ladle was at one time in the greatest collection of effigy ladles ever assembled (Peter Brams). Peter had four owl ladles, this one being the most “reductive” of all, the context of the progression of the four clearly identifying this effigy as an owl. Not only is it over two centuries old, the highly reductive form gives it a timeless contemporary presence as well.
Only a handful of owl effigy ladles are known. In Woodlands culture they symbolized, depending on context, that a being that can travel between worlds and be a protector, and can also be a symbol of passing.
Excellent condition with a warm honey-colored patina. Overall length about 6 ½ inches.
Important provenance includes: Trotta-Bono American Indian Art; Peter Brams (NYC); Keno Auctions - The Peter Brams Collection of Important Woodlands Indian Art; Steve Powers, Private Florida and Santa Fe Collections.
Ash Burl Bowl
With Exceedingly Rare
Signature of the Maker
.....sale pending
Boston, ca. late 18th century. Signed underneath “I HOWE”, the ‘I’ likely representing ‘J’ (as was then the norm). John Howe father and son were “turners and cabinet makers” working on Back Street in Boston’s North End from 1796-1800—they surely turned this bowl. Back Street was a bustling center where master craftsmen worked wood into objects of beauty and function.
During the Revolution John Howe Sr (1738-1823) and his wife fled to Sudbury, remaining at the Howe Tavern (now known as Longfellow’s Wayside Inn) until the British evacuated Boston. John was a Revolutionary War officer and member of the Ancient and Honorable Artillery Company of Massachusetts, which served to provide well-trained militia officers to fight in the Revolution. He also may have been a juror at the inquest of Crispus Attucks, a victim of the Boston Massacre.
Beautiful classic form with crisply stepped base and rim. Stoutly turned with subtle beehive tooling. Mint condition with warm nut-brown patina. About 6 3/8 inch diameter x 2 5/8 tall. Having been in a collection for some 40 years, now a new prize for the collector of colonial America.
I have not previously seen a burl bowl signed by the maker!
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
.....SOLD
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
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)