American, circa 1890
Cast iron, tinned iron, original historic paint, 45 x 21 x 4 ¾ inches
On a modern table top base.
Please contact us for a full condition report.
This Fireman’s Helmet and Trumpet weathervane a very rare form, based on illustrated engravings that appear in at least two trade catalogs of New York manufacturers; The 1892 J. L. Mott catalog, plate 82-Q, and 1893 J. W. Fiske catalog, nos. 371-372. A copper vane of this same form was originally installed on the firehouse in Unadilla, Otsego County, New York has been attributed to Fiske.
Provenance:
Allan L. Daniel, New York; Collection of Robert and Betty Marcus, Palm Beach, Fl, by 1983; “Selections from the American Folk Art Collection of Mr. and Mrs. Robert P. Marcus,” Sotheby’s, New York, October 14, 1989, lot 42; Private collection, USA.
Exhibited:
“Two Centuries of American Folk Art: 19th & 20th Century Masterworks from the Collection of Mr. and Mrs. Robert P. Marcus,” Ritter Art Gallery, Florida Atlantic University, Boca Raton, Florida, 1984, traveled to Florida Center for the Arts, Vero Beach, Florida, 1986; Sioux City Art Center, Sioux City, Iowa, 1987.
“Selections of 19th & 20th Century American Weathervanes from the Collection of Chase Manhattan Bank and Mr. & Mrs. Robert P. Marcus,” Ann Norton Sculpture Gardens, West Palm Beach, Florida, 1989.
Published:
David S. Miller and David W. Courtney, Two Centuries of American Folk Art: 19th & 20th Century Masterworks from the Collection of Mr. and Mrs. Robert P. Marcus (Boca Raton, Fl, 1984), p.
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.
Kitty
Spring Valley, Fillmore County, Minnesota, 1950
Pine, original pained decoration with sand and red glass gems, height 19 inches
Please contact us for a full condition report and historical documentation.
Although we are squarely rooted in the well established and classic tradition of eighteenth and nineteenth century American folk art, on certain rare occasions we venture into a special piece made in and reflective of the twentieth century. Such works must possess the quality, spirit, sincerity, and charm that, in our opinion, defy datelines. We consider this carved and painted wooden figure entitled “Kitty” to be just such a piece. Kitty was made by Harold William Ibach, a craftsman, printer, and keeper of an “odds and ends” shop in the town of Spring Valley, Minnesota, population 2479 in 2010. Harold William Ibach was the son of William Ibach (1870-1947) and Mattie Ibach (1868-1943). He was born August 30, 1906 in Spring Valley, Minnesota, and died May 2, 1993, unmarried. He was recorded as a self-employed woodworker with his own shop in the 1930 and 1940 Federal Census. He also operated a printing business, and was a civil defense director for Fillmore County in 1967.
Pennsylvania, circa 1790-1810
Mahogany, mahogany veneer, pine, 18 x 11 x 4 inches
Together with an English silver pair case pocket watch with verge movement by Peter Stockton, Liverpool, circa 1742, with watch paper for Robert Johnston, clock and watch maker, No 132 South Front Street, Philadelphia, 1839-1856
Please contact us for a full condition report.
This watch hutch is a Pennsylvania-German interpretation of the Chippendale style, of a rare large scale and fine carved ornamentation. It is distinguished by a molded broken arch pediment ending in turned colonettes, centering an urn and spire finial above a split-baluster applied plinth, the front panel with small circular aperture with molded edge, the corners with fan-carved quadrants, flanked by block-and- turned columns with carved twisted fluting, with base molding below.
Provenance:
Found in Lehigh County, PA; Steven F. Still, Elizabethtown, PA; David A. Schorsch, Woodbury, CT; The Marvill collection, White Plains, NY, 2004; Private collection, USA.
Isaac Orr and Mary Johnson Orr Corinth, Vermont, circa 1834 Each, watercolor and pencil on paper, 27 x 23 inches, mounted to museum standards in reproduction veneered frames
This pair of portraits depicting Isaac Orr (1804-1873) and his wife, Mary Johnson Orr (1808-1870) of Corinth, Vermont rank among the most powerful and highly stylized known examples by Dr. Samuel A. Shute. Painted two years before his untimely death at age 33, these extraordinary portraits are notably flamboyant and freely painted in a style unique to Samuel Shute. They were part of a commission that also included a smaller watercolor portrait of their daughter, Atlantis Orr (1831-1860), 17 x 14 inches, inscribed on back: “April, 1834, Atlantis Orr 2 years 7 months” now in a private collection, illustrated in A Sampler of Recent Acquisitions II (David A. Schorsch, New York, 1992).
Watercolor portraits by Samuel A. Shute are rare when compared to the body of work done together with or individually painted by his wife, Ruth W. Shute (1803-1882). An unusual and distinguishing characteristic of Samuel Shute’s most highly stylized portraits are stark white-painted faces exemplified in the portrait of Mary Johnson Orr and “Woman with two canaries” in Jean Lipman and Tom Armstrong, Eds., American Folk Painters of Three Centuries (New York, 1980), p. 165. Additional watercolor portraits by Samuel A. Shute include “Dr. and Mrs. Charles Chandler” of 1829 in Lipman and Armstrong, p. 167; “Gentleman wearing a striped waistcoat and Woman wearing a bonnet with pink ribbons” in Stacy C. Hollander, Ed., American Radiance, The Ralph Esmerian gift to The American Folk Art Museum, p. 54, plate 25a-b, and “Lady with a colored belt” in Marna Anderson, A Loving Likeness, American Folk Portraits of The Nineteenth Century (Princeton, NJ, 1992), p. 38.
Provenance: Found in St. Johnsbury, VT; Collection of Stephen Corrigan and Douglas Jackman, Rockingham, VT; Walters-Benisek, Northampton, MA; Private collection; Stephen Score, Boston, MA; David A. Schorsch and Eileen M. Smiles, Woodbury, CT; Private collection.
American, circa 1840 Watercolor on paper thin ivory, with human hair, in original brass locket, 2 9/16 x 2 5/16 inches, oval
Though similar in quality and style to miniature portraits by Clarissa Peters (Mrs. Moses B. Russell), we attribute this likeness to another hand. This fine miniature portrait depicts a contented little girl with large brown eyes and flaxen hair, half-length, wearing a pink dress and holding a rose, seated in a brown-painted tablet back Windsor armchair. Woven flaxen colored hair from the sitter is preserved on the backside of the locket under glass.
Probably Pennsylvania, circa 1880-1900 Softwood, wire legs, original painted decoration, on a modern museum base, 6 x 14 x 2 inches In a fine state of original preservation
This boldly carved and oversized bird carving has a dynamic and unusual form with unusually long tail feathers, and vibrant original painted decoration in a superb state of preservation. It belongs to a well established tradition of painted bird painted bird carvings made in southern eastern Pennsylvania during the last decades of the nineteenth century, see Richard S. and Rosemarie B. Machmer in Just For Nice, Carving and Whittling Magic of Southeastern Pennsylvania (Reading, Pennsylvania: Berks County Historical Society, 1991).
Probably Massachusetts, circa 1840-1860 Opaque watercolor on paper, 12 5/8 x 17 5/8 inches Cleaned and de-acidified, repair to vertical crease along right side from being previously folded; mounted to museum standards in a period frame
Provenance: Found in Sunderland, MA; Collection of Mr. and Mrs. Kenneth Hammitt, Woodbury, CT; Private collection; Thomas R. Longacre, Marlborough, NH; Frank and Barbara Pollack, Highland Park, IL; David A. Schorsch and Eileen M. Smiles, Woodbury, CT, 2007; Private collection, 2007-2020.
Exhibited: “American Folk Art from Connecticut Collections,” Newtown Historical Society, Newtown, CT, 1974. “The Cat in American Folk Art,” The Museum of American Folk Art, New York, 1976.
Published: Bruce Johnson, American Cat-alogue (New York, 1976), no. 28.
White pine, with original painted decoration and brass hinges, 8 ½ X 14 X 7 inches.
Inscribed in original paint: “Charley Boulin / Galesville / November 26 1879,” / “Presented to Charley Boulin By John Mooen” / “Charley Boulin.”
This is an important discovery in Wisconsin painted furniture.
The construction techniques of this miniature chest are indicative of a non professional cabinetmaker, the case butt-joined with square nails and the top carved from an unusually thick board, with a pronounced beveled edge. The carved and painted ornamentation comprised of hearts, flowers, and a variety of pinwheels shows Nordic and Germanic influences characteristic of the painted furniture produced in Wisconsin during this period by immigrant settlers. The painted inscriptions identify John Moen as the maker and Charley Boulin as the recipient. The men lived about eight miles from one another. John Moen is recorded in the Wisconsin State Census as born about 1845 in Norway, living in Ettrick, Trempealeau County, Wisconsin. The 1880 United States Federal Census shows Charles Boulin as born about 1844 in Prussia, a resident of Galesville, Trempealeau County, Wisconsin. .
New England, circa 1830
Ash splint, with original paint and fabric lining, 7 x 16 x 15 ½ inches
Among the numerous early New England baskets that we have sold over many years, this one is a particular favorite. We first owned it in the early 1980s, and were thrilled to reacquire it earlier this year. It is sturdy and solid with a heft and weightiness that make it substantial.
American, circa 1840
Watercolor and ink on paper, in original star-shaped frame, 7 ½ inches x 8 inches.
Likely the work of a child, this charming and small-sized watercolor retains its original and distinctive star-shaped frame. The frame is carved from a single piece of pine and retains its original painted surface.
Figural flower pot in the form of a cat with mouse
American, possibly Pennsylvania or Southern, circa 1850-1880
Redware pottery, with original cold-painted decoration, old chips to tips of ears, 6 7/8 x h 4 x 5 7/8 inches
This redware flower pot in the form of an upright seated cat possessively clutching a mouse in its paws is unique in our experience. The pose is reminiscent of carvings of squirrels by Wilhelm Schimmel made during the same period in Cumberland County, Pennsylvania. This flower pot was said to have been discovered in North Carolina, with remnants of soil in the interior.
Federal Painted Tall-Case Clock Concord, New Hampshire, circa 1810 Birch, white pine, brass works, painted iron face, original brass finials, with original red paint, 92 x 20 x 9 ½ inches Saddle board stamped twice: “T.CHANDLER.”
With its rare original paint and handsome form, this is the finest known examples of a red-painted country Federal tall clock with original works by Major Timothy Chandler, one of the most celebrated New Hampshire clockmakers. It was formerly in the collection of Charles S. Parsons, Jr., a noted scholar of New Hampshire decorative arts, best known for the book The Dunlaps & Their Furniture. In 1976 Parsons described this clock as: “Figure 17… in its original red paint. Although it does not carry quarter columns in the waist, the size of the door adds an attractive appearance of pleasing proportions. The details of construction also indicate an experienced cabinetmaker who added a scrolled skirt and delicate fretwork.”
Provenance: Collection of Charles S. Parsons, Jr.
Published: Charles S. Parsons, Jr. New Hampshire Clocks & Clockmakers (Exeter, NH, 1976), pp. 22-23.
Book of school girl drawings
Boston, Massachusetts, 1826
Manufactured sketch book with brown and red marbleized paperboard covers, gold stamped red leather spine and edge, watercolor and graphite on paper, 10 ½ x 7 ½ inches
Title page inscribed: “Elizabeth Lincoln / July 1826 / Boston”
This book of school girl drawings includes thirty five individual pages of pictures comprising seventeen watercolors of flowers, some titled; two watercolors of neoclassical motifs; four watercolors of fruit; two watercolors of still-life compositions, including one having a glass bowl with applied mica chips; seven water landscapes, one torn, and three pencil sketches
Salem, Massachusetts, circa 1760 Walnut, maple, white pine, with original brasses, 69 x 38 x 19 inches
This is a classic example of a flat-top Queen Anne high chest made in Salem, Massachusetts, having the signature attributes of a distinctively scalloped apron with central diamond cut-out, spurred knee returns, and elegantly shaped cabriole legs with pad feet. This particular apron design is one of the most beautiful made in colonial America and occurs on a small number of Salem high chests regarded as the best of kind.
Vermont, circa 1780-1820 White pine, original grain painted, original iron cotter pin hinges andiron lock and key, 23 ½ x 39 ¾ x 17 ½ inches In a fine state of preservation; minor overall wear and usage appropriate to age
This is a classic example of an early New England “six board” blanket chest with scalloped boot-jack ends and original iron cotter pin hinges indicative of late eighteenth century manufacture, likely decorated in the early 19th century with boldly painted black brushwork decoration on an unusual moss-green background.
Provenance: By descent in the Compton family of Vermont; David A. Schorsch, New York, 1992; Private collection.
Published: David A. Schorsch, A Sampler of Recent Acquisitions II (New York, 1992), unpaginated.
Queen Anne black-painted tray top tea table
Queen Anne black-painted tray top tea table
New England, probably Massachusetts or Connecticut, circa 1740-1760
Fireman’s hat and trumpet weathervane
American, circa 1890
Fireman’s hat and trumpet weathervane
American, circa 1890
Cast iron, tinned iron, original historic paint, 45 x 21 x 4 ¾ inches
On a modern table top base.
Please contact us for a full condition report.
This Fireman’s Helmet and Trumpet weathervane a very rare form, based on illustrated engravings that appear in at least two trade catalogs of New York manufacturers; The 1892 J. L. Mott catalog, plate 82-Q, and 1893 J. W. Fiske catalog, nos. 371-372. A copper vane of this same form was originally installed on the firehouse in Unadilla, Otsego County, New York has been attributed to Fiske.
Provenance:
Allan L. Daniel, New York; Collection of Robert and Betty Marcus, Palm Beach, Fl, by 1983; “Selections from the American Folk Art Collection of Mr. and Mrs. Robert P. Marcus,” Sotheby’s, New York, October 14, 1989, lot 42; Private collection, USA.
Exhibited:
“Two Centuries of American Folk Art: 19th & 20th Century Masterworks from the Collection of Mr. and Mrs. Robert P. Marcus,” Ritter Art Gallery, Florida Atlantic University, Boca Raton, Florida, 1984, traveled to Florida Center for the Arts, Vero Beach, Florida, 1986; Sioux City Art Center, Sioux City, Iowa, 1987.
“Selections of 19th & 20th Century American Weathervanes from the Collection of Chase Manhattan Bank and Mr. & Mrs. Robert P. Marcus,” Ann Norton Sculpture Gardens, West Palm Beach, Florida, 1989.
Published:
David S. Miller and David W. Courtney, Two Centuries of American Folk Art: 19th & 20th Century Masterworks from the Collection of Mr. and Mrs. Robert P. Marcus (Boca Raton, Fl, 1984), p.
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.
HAROLD WILLIAM IBACH (1906-1993)
Kitty
Spring Valley, Fillmore County, Minnesota, 1950
HAROLD WILLIAM IBACH (1906-1993)
Kitty
Spring Valley, Fillmore County, Minnesota, 1950
Pine, original pained decoration with sand and red glass gems, height 19 inches
Please contact us for a full condition report and historical documentation.
Although we are squarely rooted in the well established and classic tradition of eighteenth and nineteenth century American folk art, on certain rare occasions we venture into a special piece made in and reflective of the twentieth century. Such works must possess the quality, spirit, sincerity, and charm that, in our opinion, defy datelines. We consider this carved and painted wooden figure entitled “Kitty” to be just such a piece. Kitty was made by Harold William Ibach, a craftsman, printer, and keeper of an “odds and ends” shop in the town of Spring Valley, Minnesota, population 2479 in 2010. Harold William Ibach was the son of William Ibach (1870-1947) and Mattie Ibach (1868-1943). He was born August 30, 1906 in Spring Valley, Minnesota, and died May 2, 1993, unmarried. He was recorded as a self-employed woodworker with his own shop in the 1930 and 1940 Federal Census. He also operated a printing business, and was a civil defense director for Fillmore County in 1967.
Watch hutch
Pennsylvania, circa 1790-1810
Watch hutch
Pennsylvania, circa 1790-1810
Mahogany, mahogany veneer, pine, 18 x 11 x 4 inches
Together with an English silver pair case pocket watch with verge movement by Peter Stockton, Liverpool, circa 1742, with watch paper for Robert Johnston, clock and watch maker, No 132 South Front Street, Philadelphia, 1839-1856
Please contact us for a full condition report.
This watch hutch is a Pennsylvania-German interpretation of the Chippendale style, of a rare large scale and fine carved ornamentation. It is distinguished by a molded broken arch pediment ending in turned colonettes, centering an urn and spire finial above a split-baluster applied plinth, the front panel with small circular aperture with molded edge, the corners with fan-carved quadrants, flanked by block-and- turned columns with carved twisted fluting, with base molding below.
Provenance:
Found in Lehigh County, PA; Steven F. Still, Elizabethtown, PA; David A. Schorsch, Woodbury, CT; The Marvill collection, White Plains, NY, 2004; Private collection, USA.
DR. SAMUEL A. SHUTE (1803-1836)
Isaac Orr and Mary Johnson Orr
Corinth, Vermont, circa 1834
DR. SAMUEL A. SHUTE (1803-1836)
Isaac Orr and Mary Johnson Orr
Corinth, Vermont, circa 1834
Each, watercolor and pencil on paper, 27 x 23 inches, mounted to museum standards in reproduction veneered frames
This pair of portraits depicting Isaac Orr (1804-1873) and his wife, Mary Johnson Orr (1808-1870) of Corinth, Vermont rank among the most powerful and highly stylized known examples by Dr. Samuel A. Shute. Painted two years before his untimely death at age 33, these extraordinary portraits are notably flamboyant and freely painted in a style unique to Samuel Shute. They were part of a commission that also included a smaller watercolor portrait of their daughter, Atlantis Orr (1831-1860), 17 x 14 inches, inscribed on back: “April, 1834, Atlantis Orr 2 years 7 months” now in a private collection, illustrated in A Sampler of Recent Acquisitions II (David A. Schorsch, New York, 1992).
Watercolor portraits by Samuel A. Shute are rare when compared to the body of work done together with or individually painted by his wife, Ruth W. Shute (1803-1882). An unusual and distinguishing characteristic of Samuel Shute’s most highly stylized portraits are stark white-painted faces exemplified in the portrait of Mary Johnson Orr and “Woman with two canaries” in Jean Lipman and Tom Armstrong, Eds., American Folk Painters of Three Centuries (New York, 1980), p. 165. Additional watercolor portraits by Samuel A. Shute include “Dr. and Mrs. Charles Chandler” of 1829 in Lipman and Armstrong, p. 167; “Gentleman wearing a striped waistcoat and Woman wearing a bonnet with pink ribbons” in Stacy C. Hollander, Ed., American Radiance, The Ralph Esmerian gift to The American Folk Art Museum, p. 54, plate 25a-b, and “Lady with a colored belt” in Marna Anderson, A Loving Likeness, American Folk Portraits of The Nineteenth Century (Princeton, NJ, 1992), p. 38.
Provenance:
Found in St. Johnsbury, VT; Collection of Stephen Corrigan and Douglas Jackman, Rockingham, VT; Walters-Benisek, Northampton, MA; Private collection; Stephen Score, Boston, MA; David A. Schorsch and Eileen M. Smiles, Woodbury, CT; Private collection.
Miniature portrait of a little girl in pink
American, circa 1840
Miniature portrait of a little girl in pink
American, circa 1840
Watercolor on paper thin ivory, with human hair, in original brass locket, 2 9/16 x 2 5/16 inches, oval
Though similar in quality and style to miniature portraits by Clarissa Peters (Mrs. Moses B. Russell), we attribute this likeness to another hand. This fine miniature portrait depicts a contented little girl with large brown eyes and flaxen hair, half-length, wearing a pink dress and holding a rose, seated in a brown-painted tablet back Windsor armchair. Woven flaxen colored hair from the sitter is preserved on the backside of the locket under glass.
Exotic bird with long tail feathers
Probably Pennsylvania, circa 1880-1900
Exotic bird with long tail feathers
Probably Pennsylvania, circa 1880-1900
Softwood, wire legs, original painted decoration, on a modern museum base, 6 x 14 x 2 inches
In a fine state of original preservation
This boldly carved and oversized bird carving has a dynamic and unusual form with unusually long tail feathers, and vibrant original painted decoration in a superb state of preservation. It belongs to a well established tradition of painted bird painted bird carvings made in southern eastern Pennsylvania during the last decades of the nineteenth century, see Richard S. and Rosemarie B. Machmer in Just For Nice, Carving and Whittling Magic of Southeastern Pennsylvania (Reading, Pennsylvania: Berks County Historical Society, 1991).
Gray and white cat with mouse
Probably Massachusetts, circa 1840-1860
Gray and white cat with mouse
Probably Massachusetts, circa 1840-1860
Opaque watercolor on paper, 12 5/8 x 17 5/8 inches
Cleaned and de-acidified, repair to vertical crease along right side from being previously folded; mounted to museum standards in a period frame
Provenance:
Found in Sunderland, MA; Collection of Mr. and Mrs. Kenneth Hammitt, Woodbury, CT; Private collection; Thomas R. Longacre, Marlborough, NH; Frank and Barbara Pollack, Highland Park, IL; David A. Schorsch and Eileen M. Smiles, Woodbury, CT, 2007; Private collection, 2007-2020.
Exhibited:
“American Folk Art from Connecticut Collections,” Newtown Historical Society, Newtown, CT, 1974.
“The Cat in American Folk Art,” The Museum of American Folk Art, New York, 1976.
Published:
Bruce Johnson, American Cat-alogue (New York, 1976), no. 28.
JOHN MOEN
JOHN MOEN
MARCIA P. BARTON (1820-1898)
Painted mirror with watercolor memorial
MARCIA P. BARTON (1820-1898)
Painted mirror with watercolor memorial
Mushroom-gray painted square work basket
New England, circa 1830
Mushroom-gray painted square work basket
New England, circa 1830
Ash splint, with original paint and fabric lining, 7 x 16 x 15 ½ inches
Among the numerous early New England baskets that we have sold over many years, this one is a particular favorite. We first owned it in the early 1980s, and were thrilled to reacquire it earlier this year. It is sturdy and solid with a heft and weightiness that make it substantial.
Bird on a branch with cherries
American, circa 1840
Bird on a branch with cherries
American, circa 1840
Watercolor and ink on paper, in original star-shaped frame, 7 ½ inches x 8 inches.
Likely the work of a child, this charming and small-sized watercolor retains its original and distinctive star-shaped frame. The frame is carved from a single piece of pine and retains its original painted surface.
Figural flower pot in the form of a cat with mouse
American, circa 1850-1880
Figural flower pot in the form of a cat with mouse
American, possibly Pennsylvania or Southern, circa 1850-1880
Redware pottery, with original cold-painted decoration, old chips to tips of ears, 6 7/8 x h 4 x 5 7/8 inches
This redware flower pot in the form of an upright seated cat possessively clutching a mouse in its paws is unique in our experience. The pose is reminiscent of carvings of squirrels by Wilhelm Schimmel made during the same period in Cumberland County, Pennsylvania. This flower pot was said to have been discovered in North Carolina, with remnants of soil in the interior.
MAJOR TIMOTHY CHANDLER (1762-1848)
Federal Painted Tall-Case Clock
Concord, New Hampshire, circa 1810
MAJOR TIMOTHY CHANDLER (1762-1848)
Federal Painted Tall-Case Clock
Concord, New Hampshire, circa 1810
Birch, white pine, brass works, painted iron face, original brass finials, with original red paint, 92 x 20 x 9 ½ inches
Saddle board stamped twice: “T.CHANDLER.”
With its rare original paint and handsome form, this is the finest known examples of a red-painted country Federal tall clock with original works by Major Timothy Chandler, one of the most celebrated New Hampshire clockmakers. It was formerly in the collection of Charles S. Parsons, Jr., a noted scholar of New Hampshire decorative arts, best known for the book The Dunlaps & Their Furniture. In 1976 Parsons described this clock as: “Figure 17… in its original red paint. Although it does not carry quarter columns in the waist, the size of the door adds an attractive appearance of pleasing proportions. The details of construction also indicate an experienced cabinetmaker who added a scrolled skirt and delicate fretwork.”
Provenance:
Collection of Charles S. Parsons, Jr.
Published:
Charles S. Parsons, Jr. New Hampshire Clocks & Clockmakers (Exeter, NH, 1976), pp. 22-23.
ELIZABETH LINCOLN
Book of school girl drawings
Boston, Massachusetts, 1826
ELIZABETH LINCOLN
Book of school girl drawings
Boston, Massachusetts, 1826
Manufactured sketch book with brown and red marbleized paperboard covers, gold stamped red leather spine and edge, watercolor and graphite on paper, 10 ½ x 7 ½ inches
Title page inscribed: “Elizabeth Lincoln / July 1826 / Boston”
This book of school girl drawings includes thirty five individual pages of pictures comprising seventeen watercolors of flowers, some titled; two watercolors of neoclassical motifs; four watercolors of fruit; two watercolors of still-life compositions, including one having a glass bowl with applied mica chips; seven water landscapes, one torn, and three pencil sketches
Queen Anne flat-top high chest
Salem, Massachusetts, circa 1760
Queen Anne flat-top high chest
Salem, Massachusetts, circa 1760
Walnut, maple, white pine, with original brasses, 69 x 38 x 19 inches
This is a classic example of a flat-top Queen Anne high chest made in Salem, Massachusetts, having the signature attributes of a distinctively scalloped apron with central diamond cut-out, spurred knee returns, and elegantly shaped cabriole legs with pad feet. This particular apron design is one of the most beautiful made in colonial America and occurs on a small number of Salem high chests regarded as the best of kind.
Grain-painted lift-top chest
Vermont, circa 1780-1820
Grain-painted lift-top chest
Vermont, circa 1780-1820
White pine, original grain painted, original iron cotter pin hinges andiron lock and key, 23 ½ x 39 ¾ x 17 ½ inches
In a fine state of preservation; minor overall wear and usage appropriate to age
This is a classic example of an early New England “six board” blanket chest with scalloped boot-jack ends and original iron cotter pin hinges indicative of late eighteenth century manufacture, likely decorated in the early 19th century with boldly painted black brushwork decoration on an unusual moss-green background.
Provenance:
By descent in the Compton family of Vermont; David A. Schorsch, New York, 1992; Private collection.
Published:
David A. Schorsch, A Sampler of Recent Acquisitions II (New York, 1992), unpaginated.