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Harper’s Ferry, VA
Folk Art Masterwork.
Historically Significant
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.
Very Rare…..
Country Slipware Colander
England. Dated 1761
This English slipware colander combines utility with exciting bold, expressive decoration. Made from earthenware and covered in dark brown and ochre-colored slip, the decoration features rhythmic combed and trailed patterns. The center is pierced with a regular field of holes and raised on three short legs to enable drainage, indicating its function as a strainer, possibly for rinsing fruit. The perimeter is nicely finished with a pie-crust or “coggled” edge.
This colander is personalized with the initials "M G" and the date "1761", applied in slip, likely commemorating its maker or owner. Such dated and initialed examples were often created for domestic pride or as personal gifts. Slipware of this type was produced in rural potteries in regions such as Staffordshire, Yorkshire, and North Devon, where folk ceramic traditions endured into the late 18th century.
Slipware colanders are seldom preserved, especially with intact pierced surfaces and clear inscriptions. This rare survivor is a vivid testament to the artistry and individuality of vernacular ceramics in Georgian England.
Condition is outstanding with just minor imperfections. About 13 ¼ inches diameter x 4 tall. From a private New England collection.
SUPERB!
Paint Decorated
Love Token Box
.....SOLD
Likely Maine, ca. 1820, precisely made and decorated with great care for a special person. Appears to be basswood.
In a brick-red ground with green borders, highlighted with a pair of light-yellow ochre hearts on the front panel and single hearts on each end. The hearts are embellished with ornamentations in the same buff paint, the panels enclosed within orange lines. Initialed on the lid ‘H’ and ‘F or T.
The paint is protected by varnish that has taken on a highly crazed texture creating a superb surface quality, both visually-and by touch. The case is beautifully dovetailed; the inside perimeter with dust barrier. Remarkable structural condition just missing the hasp. The brass pull and hinges are original. Minor paint rubs and two dry drip spots on the top, with tiny paint splatters on the front.
Appealing small size of just 10 inches long x 6 ½ deep x 6 ¼ tall.
Brilliant
Painted Gameboard
Published in
"The Art of the Game"
.....sale pending
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.
Folk Art
High-Wheel Bicycle
Trade Sign
.....SOLD
American, ca. late 19th century. Original paint on heavy sheet tin with hand-punched detailing.
The figure is riding a penny-farthing (aka high wheel, high wheeler) an early bicycle with a large front wheel and a much smaller rear wheel. This design dates back to the 1870s–1880s.
The figure is not generic, rather whimsical, stylized, and dressed in a somewhat fancifully version of period attire: a suit jacket and bow tie, red knickers or stockings, and a red cap or hair. Trade signs often used exaggerated or caricatured figures to draw attention, or to communicate friendliness or expertise. It could have hung outside a bicycle store or repair shop, or possibly even a circus or amusement venue.
About 30 inches tall x 27 wide. From a southern collection, bought in 1997 from Greg Kramer who had acquired it in Lancaster, Pennsylvania.
Rare Little
Ash Burl Cup
.....sale pending
Northeastern America, ca. 1800.
Hand-carved from a single block of ash burl, the tool marks still readily visible. Faceted with 8-sides, the facets slightly tapered inward. The cup has a superior dark bone-dry patina (never varnished).
Of a handful of known examples, identical and almost surely by the same hand as that pictured on page 49 NORTH AMERICAN BURL TREEN Colonial and Native American, Powers.
About 2 5/8 inches tall x 2 1/8 diameter bowl x 3 wide including the handle. From a long-time southern collection..
RARE FORM
“SCALLOPED”
BLUE BOX
New England 1820–1840
Visually compelling.
A striking large round box in thick-walled ash with pine top and bottom. Original dry paint in contrasting shades of blue, in a charming scalloped or swag design that I have not seen before. The whimsical motif wraps gracefully around the sides and is echoed on the lid.
Its bold scale—approximately 13 inches in diameter by 5½ tall—amplifies its visual impact.
While the painted surface shows wear from age and use, it doesn’t diminish the box’s charm.
This is a powerful example of early American folk art, with a form and decoration that may well be a unique survivor.
RALPH CAHOON
Oceanside
Family Outing
Featuring his
Hallmark Mermaids!
Cape Cod, Massachusetts. Signed lower right: R. Cahoon, 1979. Oil on Masonite.
Commissioned by the J.S. Harmon Family.
Ralph Cahoon (1910-1982) is celebrated as one of America's most beloved folk art painters, renowned for his vibrant and whimsical depictions of life in nineteenth-century coastal New England settings. His iconic artworks are highly coveted by both antique and contemporary collectors alike.
In this enchanting family scene, a majestic whale.....
Fine DaLee
Portrait Miniature
Likely Massachusetts, Connecticut or New York State, ca. 1840.
Watercolor, graphite, ink, and gum arabic on wove paper. Precisely painted showing a pleasant looking, smartly attired, husky young gentleman seated in half-length.
The portrait has the distinctive look of itinerant artist Justus DaLee and his family, painted by Justus-or possibly by his oldest son Amon-who accompanied Justus on his travels. In the research paper by Joan Brownstein and Elle Shushan, Magazine Antiques: “Side Painters-Differentiating the DaLee Family Artists”, a documented Amon DaLee portrait has the subject sitting in an identical chair as in this portrait.
Excellent condition with just minor abrasions at the bottom. Presented in a beautiful molded gilt frame that is probably original. The “package” of the frame and portrait is unusually appealing. Frame size about 5 inches x 4 ½. .
Sensational
Parcheesi Gameboard
with Soft Palette
.....SOLD
Ohio, ca. 1870-1880.
High visual impact from a bold yet quiet presence from a harmonious blend of eight colors.
The inventive design is distinguished by large, balloon-like circles in each corner, separated by delightful salmon-colored ladders. At the center, a bright blue field creates a compelling contrast against the salmon. The board's oyster-white base provides backdrop for the vibrant hues, which include a reddish-black frame, orange, dark blue, green, mustard yellow, and a bright light blue. The deep frame appears to be square nailed with a few later tightening nails.
About 24 x 20 inches. Has been in a private collection since 2011. A stunning forward-looking piece of American folk art. .