New York Region, circa 1740 Maple, old or original brown paint, original split-seat, 49 x 26 ½ x 17 inches In a fine state of preservation; area of rewoven repair to original splint seat
This is a highly imaginative interpretation of a “Dutch” style armchair with dramatic throne-like proportions and elegantly executed details. Disc-turned finials with baluster-shaped stiles flank the arched crest. The whimsical champhered-edged splat incorporates the extremely rare feature of a pierced heart above a fylfot. The rollover arms of fine profile are elegantly champhered. The chair retains its original split seat, on stylized trumpet turned legs ending in ball-like pad frontal feet, ball-and-reel turned frontal stretcher, cylindrical turned rear legs. A related rush-seated armchair of similar proportions and turnings with a variant heart-pierced splat design is illustrated in an advertisement for Williams Antiques, Old Greenwich, Connecticut in The Magazine Antiques, May 1950, p. 333.
Provenance: A pioneer Connecticut Americana collection; Lincoln and Jean Sander, Redding, CT; John Keith Russell, South Salem, NY; David A. Schorsch, Greenwich, CT, 1985; Private collection.
Literature: David A. Schorsch, “Living with antiques, A collection of American folk art in the Midwest,” in The Magazine Antiques, October 1990, p.784, pl. XIII.
Red haired little girl in a white dress Possibly Portland, Maine, dated 1832 Oil on artist board, 22 x 19 inches Inscribed in ink on verso: “W.M. Prior / 1832.” Cleaned and re-varnished, in a reproduction veneered frame
This portrait of a red-haired little girl in a white dress wearing a coral necklace with heart-shaped pendant is signed and dated by William Matthew Prior (1806-1873), one of the most prominent and influential American folk painters of the nineteenth century. Beginning early in his career Prior cleverly adapted his portrait painting style to respond to the taste and budget of his clientele, that ranged from simple and inexpensive “flat” likenesses to highly polished “shaded” portraits in a nearly academic mode. The dramatic clouds in the background of this portrait anticipate the skies of landscapes that Prior painted in his later years
Provenance: Collection of Marjorie Wyman, St. Louis, MO; Private collection.
Southern United States, circa 1880-1900
Maple, original painted decoration, brass ferule
Length 37 inches
Please contact us for full condition report
We consider this to be the finest Southern alligator cane known. While most folk art canes are carved in a shallow-relief, this example features a large and wonderfully stylized and sculpted full-length alligator, fully three dimensionally carved, with bold profile, textured skin, glass eyes, and open mouth with fine metal teeth. It has survived in outstanding condition, the original painted decoration having a dry surface and nice wear to the ball-shaped handle. For examples of the more typical style of alligator cane see George H. Meyer, American Folk Art Canes, Personal Sculpture (Bloomfield Hills, MI, 1992), pp. 38-41.
Rhode Island or Massachusetts, circa 1780 Maple, chestnut, white pine, with original hardware, 25 ½ x 30 x 14 ¾ inches
This is a finely miniaturized version of a classic New England tall chest, with split top drawers and bracket feet, and mellow color. The use of wooden-spring “Quaker” drawer locks and chestnut drawer linings are indicative of early case furniture made in Rhode Island and parts of southeastern Massachusetts. The original pierced Chippendale brasses of a rare design add an element of sophistication to this beautifully proportioned little gem.
Western Massachusetts, dated July 4, 1831 Watercolor and ink on maple with original resin-based finish, replaced bone escutcheon, 3 1/2 x 11 x 7 3/8 inches Inscribed in ink with verse, “White” and “Green” and “July 4, 1831.” With a later ink inscription on underside: “Mrs. Belle B. Gibbs.” In a fine state of preservation with original painted decoration
Executed in transparent watercolor and ink on a dovetailed maple box with original resin based finish having a warm golden brown patina. This box is remarkable for the clarity and vibrancy of its well preserved landscape decoration painted from life and print sources. The scenes of local New England landscapes include: mountains, red-roofed Federal houses, outbuildings, fences, gardens, and row boat. The vignettes taken from print sources depict pastoral scenes with stone thatched roof cottages, fences, trees, and a castle ruin. The front of the box with a diamond-shaped bone escutcheon and steel lock, is flanked by a poetic verse in tiny block lettering above the names of the artists “White” and Green” and the date “July 4, 1831” in ornamental calligraphic lettering. The underside of the lid is inscribed in script: “This work is trifling, yet my friend, Perhaps to you ’twill sometimes End / A memory of those days that’s past, When joy, and pleasure fleeted past.” It has been suggested that this box may honor President James Monroe who died on July 4 1831. Monroe was popular in his day, overwhelmingly elected president in 1816 and 1820, during a period of increased nationalism after the War of 1812 known as the “Era of Good Feelings” between 1815 and 1825.
Charles F. Montgomery observed that “A little before 1800, ornamental painting became a part of the curriculum in girls’ schools in the United States; and as early as 1812 this was extended to include the painting of tables and work boxes. In Reminiscences of a Nonagenarian, the author writing of Newburyport, comments that in 1812 “Miss Mary Ann Colman was a good teacher of water color painting; the fruit and flower pieces executed at her school were natural and well done. She also taught painting on wood; several work boxes and work-stands, painted under her instruction, are still to be seen in the residences of some of our older citizens.” (American Furniture, The Federal Period…, p. 462.) Dean A. Fales, Jr., noted that “fond parents often obtained from cabinetmakers boxes or tables on which their daughters could demonstrate their newly acquired proficiencies.” (American Painted Furniture…, p. 177). For references to this genre see Charles F. Montgomery, American Furniture, The Federal Period in the Henry Francis du Pont Winterthur Museum (New York, 1969), figs 478-481; Dean A. Fales, Jr., American Painted Furniture 1660-1880 (New York, 1972), figs 284-286, 290-293; C. Kurt Dewhurst, Betty MacDowell and Marsha MacDowell, Artists in Aprons, Folk Art by American Women, (New York, 1979), figs 58-59; Nina Fletcher Little, Neat and Tidy: Boxes and Their Contents Used in Early American Households (New York, 1980), fig 70 and pl. 20; Cynthia V. A. Schaffner and Susan Klein, American Painted Furniture (New York, 1997), figs 1.37-1.43, and Stacy C. Hollander, Ed., American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum (New York, 2001), figs 248 and 250.
Provenance: Owned by Isabella B. Gibbs (1826-1902), a music teacher from Russell, Massachusetts, a town near Springfield; Nathan Liverant & Son, Colchester, CT.
Probably Massachusetts, circa 1830
Sycamore and white pine, iron tacks and wooden pins, original painted decoration,1 ¾ x 5 x 4 inches, in a fine state of preservation, with minor in-paint to small areas of loss.
Please contact us for a full condition report.
With exceptionally fine floral, vine and striped decoration in shades of red and blue on a mustard yellow ground, this fine New England pantry box is elevated to the highest level of American folk decoration. It clearly evidences the hand of an accomplished ornamental painter. It is one of the very best examples of its type known to us.
Child holding a peach
New England, circa 1845
Oil on canvas, 30 x 25 inches, with original gilt frame
Cleaned and lined, one repaired tear, with minor scattered in-painting to small areas of loss.
Please contact us for full condition report.
This portrait is an important discovery among the small known group of full-length child portraits by George Gassner. For biographical information on Gassner see David A. Schorsch, “The Myth of G. Gustemer and the Recognition of George Gassner,” Antiques & Fine Art, Anniversary issue 2015.
Provenance:
Robert L. Foster Auction Co., Newcastle, ME; September 3-4, 2016;
New England private collection
Wisconsin, circa 1880
White pine, iron wire legs, with original paint, height 5 ½ inches
In a remarkable state of preservation
Please contact us for full condition report
This rooster shares common authorship with a small group of bird sculptures from rural Wisconsin circa 1880. Oral tradition maintains that the maker was a deaf-mute farm worker. This rooster was discovered in Black River Falls, Wisconsin, stored for over a century sealed in a glass display cabinet. As a result it survives in the most exceptional and pristine state of preservation with vibrant colors beautifully retained.
Provenance:
By family descent, Black River Falls, WI; David A. Schorsch and Eileen M. Smiles, 1999; Private collection.
Queen Anne painted armchair
New York Region, circa 1740
Queen Anne painted armchair
New York Region, circa 1740
Maple, old or original brown paint, original split-seat, 49 x 26 ½ x 17 inches
In a fine state of preservation; area of rewoven repair to original splint seat
This is a highly imaginative interpretation of a “Dutch” style armchair with dramatic throne-like proportions and elegantly executed details. Disc-turned finials with baluster-shaped stiles flank the arched crest. The whimsical champhered-edged splat incorporates the extremely rare feature of a pierced heart above a fylfot. The rollover arms of fine profile are elegantly champhered. The chair retains its original split seat, on stylized trumpet turned legs ending in ball-like pad frontal feet, ball-and-reel turned frontal stretcher, cylindrical turned rear legs. A related rush-seated armchair of similar proportions and turnings with a variant heart-pierced splat design is illustrated in an advertisement for Williams Antiques, Old Greenwich, Connecticut in The Magazine Antiques, May 1950, p. 333.
Provenance:
A pioneer Connecticut Americana collection; Lincoln and Jean Sander, Redding, CT; John Keith Russell, South Salem, NY; David A. Schorsch, Greenwich, CT, 1985; Private collection.
Literature:
David A. Schorsch, “Living with antiques, A collection of American folk art in the Midwest,” in The Magazine Antiques, October 1990, p.784, pl. XIII.
WILLIAM MATTHEW PRIOR (1806-1873)
Red haired little girl in a white dress
Possibly Portland, Maine, dated 1832
WILLIAM MATTHEW PRIOR (1806-1873)
Red haired little girl in a white dress
Possibly Portland, Maine, dated 1832
Oil on artist board, 22 x 19 inches
Inscribed in ink on verso: “W.M. Prior / 1832.”
Cleaned and re-varnished, in a reproduction veneered frame
This portrait of a red-haired little girl in a white dress wearing a coral necklace with heart-shaped pendant is signed and dated by William Matthew Prior (1806-1873), one of the most prominent and influential American folk painters of the nineteenth century. Beginning early in his career Prior cleverly adapted his portrait painting style to respond to the taste and budget of his clientele, that ranged from simple and inexpensive “flat” likenesses to highly polished “shaded” portraits in a nearly academic mode. The dramatic clouds in the background of this portrait anticipate the skies of landscapes that Prior painted in his later years
Provenance:
Collection of Marjorie Wyman, St. Louis, MO; Private collection.
Alligator cane
Southern United States, circa 1880-1900
Alligator cane
Southern United States, circa 1880-1900
Maple, original painted decoration, brass ferule
Length 37 inches
Please contact us for full condition report
We consider this to be the finest Southern alligator cane known. While most folk art canes are carved in a shallow-relief, this example features a large and wonderfully stylized and sculpted full-length alligator, fully three dimensionally carved, with bold profile, textured skin, glass eyes, and open mouth with fine metal teeth. It has survived in outstanding condition, the original painted decoration having a dry surface and nice wear to the ball-shaped handle. For examples of the more typical style of alligator cane see George H. Meyer, American Folk Art Canes, Personal Sculpture (Bloomfield Hills, MI, 1992), pp. 38-41.
Diminutive country Chippendale chest of drawers
Rhode Island or Massachusetts, circa 1780
Diminutive country Chippendale chest of drawers
Rhode Island or Massachusetts, circa 1780
Maple, chestnut, white pine, with original hardware, 25 ½ x 30 x 14 ¾ inches
This is a finely miniaturized version of a classic New England tall chest, with split top drawers and bracket feet, and mellow color. The use of wooden-spring “Quaker” drawer locks and chestnut drawer linings are indicative of early case furniture made in Rhode Island and parts of southeastern Massachusetts. The original pierced Chippendale brasses of a rare design add an element of sophistication to this beautifully proportioned little gem.
Slide-lid box with school-girl painted decoration
Western Massachusetts, dated July 4, 1831
Slide-lid box with school-girl painted decoration
Western Massachusetts, dated July 4, 1831
Watercolor and ink on maple with original resin-based finish, replaced bone escutcheon, 3 1/2 x 11 x 7 3/8 inches
Inscribed in ink with verse, “White” and “Green” and “July 4, 1831.” With a later ink inscription on underside: “Mrs. Belle B. Gibbs.”
In a fine state of preservation with original painted decoration
Executed in transparent watercolor and ink on a dovetailed maple box with original resin based finish having a warm golden brown patina. This box is remarkable for the clarity and vibrancy of its well preserved landscape decoration painted from life and print sources. The scenes of local New England landscapes include: mountains, red-roofed Federal houses, outbuildings, fences, gardens, and row boat. The vignettes taken from print sources depict pastoral scenes with stone thatched roof cottages, fences, trees, and a castle ruin. The front of the box with a diamond-shaped bone escutcheon and steel lock, is flanked by a poetic verse in tiny block lettering above the names of the artists “White” and Green” and the date “July 4, 1831” in ornamental calligraphic lettering. The underside of the lid is inscribed in script: “This work is trifling, yet my friend, Perhaps to you ’twill sometimes End / A memory of those days that’s past, When joy, and pleasure fleeted past.” It has been suggested that this box may honor President James Monroe who died on July 4 1831. Monroe was popular in his day, overwhelmingly elected president in 1816 and 1820, during a period of increased nationalism after the War of 1812 known as the “Era of Good Feelings” between 1815 and 1825.
Charles F. Montgomery observed that “A little before 1800, ornamental painting became a part of the curriculum in girls’ schools in the United States; and as early as 1812 this was extended to include the painting of tables and work boxes. In Reminiscences of a Nonagenarian, the author writing of Newburyport, comments that in 1812 “Miss Mary Ann Colman was a good teacher of water color painting; the fruit and flower pieces executed at her school were natural and well done. She also taught painting on wood; several work boxes and work-stands, painted under her instruction, are still to be seen in the residences of some of our older citizens.” (American Furniture, The Federal Period…, p. 462.) Dean A. Fales, Jr., noted that “fond parents often obtained from cabinetmakers boxes or tables on which their daughters could demonstrate their newly acquired proficiencies.” (American Painted Furniture…, p. 177). For references to this genre see Charles F. Montgomery, American Furniture, The Federal Period in the Henry Francis du Pont Winterthur Museum (New York, 1969), figs 478-481; Dean A. Fales, Jr., American Painted Furniture 1660-1880 (New York, 1972), figs 284-286, 290-293; C. Kurt Dewhurst, Betty MacDowell and Marsha MacDowell, Artists in Aprons, Folk Art by American Women, (New York, 1979), figs 58-59; Nina Fletcher Little, Neat and Tidy: Boxes and Their Contents Used in Early American Households (New York, 1980), fig 70 and pl. 20; Cynthia V. A. Schaffner and Susan Klein, American Painted Furniture (New York, 1997), figs 1.37-1.43, and Stacy C. Hollander, Ed., American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum (New York, 2001), figs 248 and 250.
Provenance:
Owned by Isabella B. Gibbs (1826-1902), a music teacher from Russell, Massachusetts, a town near Springfield; Nathan Liverant & Son, Colchester, CT.
Small Paint-Decorated Oval Box
Probably Massachusetts, circa 1830
Small Paint-Decorated Oval Box
Probably Massachusetts, circa 1830
Sycamore and white pine, iron tacks and wooden pins, original painted decoration,1 ¾ x 5 x 4 inches, in a fine state of preservation, with minor in-paint to small areas of loss.
Please contact us for a full condition report.
With exceptionally fine floral, vine and striped decoration in shades of red and blue on a mustard yellow ground, this fine New England pantry box is elevated to the highest level of American folk decoration. It clearly evidences the hand of an accomplished ornamental painter. It is one of the very best examples of its type known to us.
GEORGE GASSNER (1811-1861)
Child holding a peach
New England, circa 1845
GEORGE GASSNER (1811-1861)
Child holding a peach
New England, circa 1845
Oil on canvas, 30 x 25 inches, with original gilt frame
Cleaned and lined, one repaired tear, with minor scattered in-painting to small areas of loss.
Please contact us for full condition report.
This portrait is an important discovery among the small known group of full-length child portraits by George Gassner. For biographical information on Gassner see David A. Schorsch, “The Myth of G. Gustemer and the Recognition of George Gassner,” Antiques & Fine Art, Anniversary issue 2015.
Provenance:
Robert L. Foster Auction Co., Newcastle, ME; September 3-4, 2016;
New England private collection
Rooster
Wisconsin, circa 1880
Rooster
Wisconsin, circa 1880
White pine, iron wire legs, with original paint, height 5 ½ inches
In a remarkable state of preservation
Please contact us for full condition report
This rooster shares common authorship with a small group of bird sculptures from rural Wisconsin circa 1880. Oral tradition maintains that the maker was a deaf-mute farm worker. This rooster was discovered in Black River Falls, Wisconsin, stored for over a century sealed in a glass display cabinet. As a result it survives in the most exceptional and pristine state of preservation with vibrant colors beautifully retained.
Provenance:
By family descent, Black River Falls, WI; David A. Schorsch and Eileen M. Smiles, 1999; Private collection.