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Early and Unusual
Country
Sliding-Lid Box
with Drawer
.....sale pending
Likely New England, 18thc., ca. 1720-1790.
Original oxidized dark red-brown paint on mixed woods. Joined with blacksmithed-wrought
rose head nails.
The arrangement of a drawer fitted under a sliding lid is highly unusual, its scarcity heightened by a wooden locking system. A hole in the back upper section was designed to receive a peg that would drop into a half-round recess below, effectively locking the drawer from above, yet the absence of wear within the recess suggests this mechanism was likely seldom used. It’s possible the upper section was intended for an iron lock that was never installed, leaving a peg to serve merely as a stop to prevent the drawer from sliding out. (The original peg is lost if it ever had one; a later peg is included.)
Robustly made in fine original condition, with what appears to be its original drawer pull, this diminutive survivor measures only about 8 3/4 inches long, 6 3/8 deep, and 5 1/2 high. From a New York State collection.
A particularly appealing example for those who appreciate early country boxes with untouched paint and rosehead nail construction.
AMERICAN ORIGINALS
Important Early
Painted Basket
.....SOLD
New England, likely Nantucket or New Hampshire, ca. 1830.
Original red paint on white oak and pine, with iron tacks.
As described in AMERICAN BASKETS, A Folk Art Tradition: “This may be an early prototype of the later classic Nantucket lightship baskets. Few other basket-making traditions are known to have used the combination of white oak ribs, a wooden bottom and such sophisticated construction technique as are found in this example”.
Stunning in design and presence. Skillfully woodworked.
About 15 inch diameter x 10 tall not including the handle.
In a robust and beautiful state of preservation.
EXHIBITED: “AMERICAN BASKETS, A Folk Art Tradition”, David Schorsch, New York, October 16-November 16, 1988.
PUBLISHED: “AMERICAN BASKETS, A Folk Art Tradition”, David Schorsch, BACK COVER and no. 5.
PROVENANCE: Suzanne Courcier and Robert Wilkins, Austerlitz, NY; David Schorsch, New York, 1988; Collection of Ralph Esmerian, New York (reference AMERICAN RADIANCE, The Ralph Esmerian Gift to the American Folk Art Museum); David Wheatcroft, Westboro, MA; New England private collection; David Schorsch and Eileen Smiles, Woodbury, CT, Don Olson, Rochester, NY. .
Special
Candle Lantern
Rich with Character
.....sale pending
New England, ca. 1800.
I was taken by this rarity
at first sight!
Most square-wooden frame lanterns (sometimes called barn lanterns) are quite wimpy in comparison to this gutsy survivor of substantial scale. Highly patinated pine, with tin conical chimney and wavy glass panes that appear original. Also appears to retain [remarkably] its first leather hinges, and wire door closure. A shadow at the bottom of the interior indicates that the removable tin candle cup has been there a very long time and likely original too.
The lantern is robust and ready to play, while showing the vestiges of time and frequent use in perhaps barns, sheds, or the country home. There are imperfections and shrinkage cracks, with a cool period tin repair at the top. One glass pane has a small loss area in its extreme upper left.
This lantern embodies both the practical and handmade character of early American lighting devices before the widespread availability of manufactured whale and kerosene lamps. Its weathered surfaces and originality amplify its appeal for collectors of early American lighting and country furnishings.
Note the scale: Overall height to the top of the tin hanger is about 21 inches/19 to the top of the tin cone. The wood frame is 13 ¾ inches high x 9 5/8 deep x 7 ¾ wide (rectangular). It has a strong vertical lift that was so prominent in early American furniture. It sits solidly on a surface or may be hung.
AMERICAN ORIGINALS
Early Tabletop
Lighting Stand
.....sale pending
Northeast, probably New England, ca. 18th to early 19th century.
A treasure of colonial America lighting.
Very dry with untouched patina in what appear to be ash or chestnut. Fixed double-light, with wells for candles hand-drilled, the lighting rail tenoned to the carved column which is also tenoned through the broad, hand-planed base, the underside of the base pit sawn. Note how both ends of the column are tightly secured via wedges. The broad base not only provides stability, it also beautifully balances the design.
Superb structural condition, the lighting rail showing expected darkening from flame and soot. Stands tall and proud about 18 inches tall, the base about 12 x 9 ½.
Acquired from a NH collection.
AMERICAN ORIGINALS
Paint Decorated
Spice Box
.....SOLD
Unusually
Small and Exceptional
Midwest to Northeast, often identified as Pennsylvania or Ohio, ca. 1820-1850. Original vinegar-paint decoration on what appears to be poplar, with integrally turned finial.
After a base coat of a light-yellow ochre dried, a dark-ochre vinegar paint was applied, and while still wet creatively patterned to reveal the contrasting base color.
Likely intended for sugar or spices.
Just 3 3/8 inches tall. No cracks, just minor imperfections. Has been in a top-shelf private collection for over 30 years, kept all this time as it is such a special little piece. .
Large Fingered Box
Salmon/Red Paint
Early to mid-19th century.
Oval. Appears to be ash sidewall with basswood or poplar top and bottom. Robustly crafted retaining an especially attractive old, very dry (never over-varnished) deep salmon-red paint. Joinery by wooden pegs and cut-nail tacks. Hand-cut beveled fingering.
Lightly and gently handled, the interior without food stains, so likely used for storing only occasionally-accessed textiles. There is a small piece of fabric on the inside edge that supports a textile usage.
Excellent condition without cracks. Slight losses to the underside edge of the lid, perhaps in the making. The top sinks a bit into the lid-sidewall on one end due to a failed wooden peg. About 13 1/8 inches long x 10 ¼ deep x 5 1/8 tall.
Rare PAIR
Portrait Miniatures
Attributed to the
RED BOOK ARTIST
.....SOLD
New England, ca. 1830.
Watercolor, gouache, and graphite on paper. Presumably husband and wife.
In three-quarter length profile, each shows the characteristics associated with the Red Book Artist: Hollow-cut heads backed by black silk, watercolor bodies, overly long thumbs that curl upward and rest on red books, the hands in white and blue.
Presented in period gilt frames that are likely original, frame size about 5 inches x 4 1/8. Fine condition. From a superb Northeast collection of portraits and portrait-miniatures.
Reference: “A Loving Likeness: American Folk Portraits of the Nineteenth Century” The Gallery at Bristol-Myers Squibb, Princeton, 1992.
LEGGY Red-Painted
Hepplewhite Stand
Scalloped Top
New England, likely Connecticut, ca. 1790-1830.
An exceptional high-country example. Original colorful red paint on what appears to be cherry, maple, and pine.
This early Federal/Hepplewhite period stand emphasizes light and delicate design as contrasted against much heavier Chippendale.
I was immediately attracted to the form, with especially long tapered legs, amplified by a narrow drawer and apron, and topped by a delightfully scalloped single-board, its thinness adding to the aesthetic. The dovetailed drawer is faced with birds-eye maple veneer, and mahogany-banding about the perimeter.
Structurally superb condition standing tall and straight, without cracks or breaks or warping, the overall surface with very fine craquelure. The top painted surface is marred by exposure long ago to excessive heat, probably a tipped oil lamp. There are several very small repairs to the drawer front banding veneer. Original brass pull. Most of the original glue blocks remain in place.
About 28 ½ inches tall. The top about 16 ½ x 15 7/8.
From a fine New England collection. A perfect foundation for painted boxes. .
Harper’s Ferry, VA
Folk Art Masterwork.
Historically Significant
.....SOLD
American, ca. 1860. Watercolor and ink on paper. Charmingly naive yet a sophisticated visual story. With its brilliant, softly blended colors, this prized example of American folk art combines real-life details with imaginative elements in a stylized painting of one of the country's most historically significant towns.
The work has classic traits of 19th-century American folk painting—flat perspective, crisp outlines, distinctive figures, and heightened decorative color choices, especially the deep blues, ochres, and brick reds. Natural elements like trees, hills, and rivers are represented with repetitive, ornamental shapes rather than realistic modeling.
There is much to see. For example, I am taken by the figures on the bridge, drawn with intriguing simplicity, uniformity, and bold color-contrast between the blues and blacks. They animate the architectural of the covered bridge while also providing a sense of scale and human presence…..The two men in the foreground seem to be reviewing a map or artwork, perhaps a self-portrait of the artist?
Harper’s Ferry:
Prelude to Civil War
Harper’s Ferry, located at the confluence of the Potomac and Shenandoah rivers, held profound national significance in the years leading up to the Civil War. Its federal armory made it a strategic target for abolitionist John Brown, who sought to ignite a widespread slave uprising. On July 3, 1859, Brown arrived in Harper’s Ferry with his sons, Oliver and Owen, and fellow activist Jeremiah Anderson. Their aim was to seize the U.S. arsenal and incite rebellion across the Southern states.
The raid commenced on October 16 and ended two days later, resulting in the deaths of several raiders. Brown himself was captured, tried, and executed—his actions and martyrdom intensifying the nation's regional tensions.
This event marked a pivotal moment in American history, not only for its impact but also for the way it was covered. It was among the first national crises reported widely through the newly established electrical telegraph. Journalists boarded the first train to Harper’s Ferry on the morning of October 17, and detailed coverage followed in major newspapers. Harper’s Weekly, published vivid engravings of the event, including the widely circulated “Harper’s Ferry – The Scene of the Late Insurrection” dated October 29, 1859, likely the inspiration for this painting.
Presented in a period painted frame, frame size about 23 1/16 inches x 17 ¼.
Brilliant
Painted Gameboard
Published in
"The Art of the Game"
.....SOLD
American, likely New York State or the Mid-Atlantic, circa late 19th century.
A red applied frame encloses a striking checkers/chess board, painted with alternating squares of deep black and golden gilt (likely bronze powder) creating a rich visual contrast. The border is exquisitely detailed with stylized, compass-drawn sunbursts and foliate flourishes in eight colors. A gloss varnish intensifies the palette and gives the surface a luminous quality, especially radiant under sun or art light.
The reverse features a relatively simple yet boldly rendered Parcheesi game.
Fine overall condition, with unobtrusive abrasions visible in the second row of squares. Measures approximately 23 inches square. Published in The Art of the Game by Chambers, from the Collection of Selby Shaver, plates 181 and 182.
Provenance: Directly from Debra Shaver.