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Special
Candle Lantern
Rich with Character
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
Paint Decorated
Spice Box
.....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
.....sale pending
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.
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"
.....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.
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.....
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. .