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Pure Little Country Gameboard
Probably New England, ca. 1820-1860.
Original black and golden/mustard paint on white pine. The dry painted surface gorgeously patinated and crackled. The picture-frame molding applied with “square” nails. Untouched. So pure that it has never even been fitted with a hanger. Just about 12 ¼ inches square, and 1 inch thick. Feels good in hand. A charming pure Americana survivor.
The harmony of that surface and small size make it special.
Vibrant
Parcheesi Gameboard
American, likely Illinois, ca. early 20th century.
A unique polychrome folk art parcheesi expression, subtly inspired by conventional designs, with strong colors in an unusual palette. The colors enclosed within incised lines.
Made from two boards, the boards joined by baton’s stapled from the back and nailed from the front. Some of the paint colors have a dry surface; others a soft sheen. Pencil inscription on the back from Belleville, Illinois.
About 19 inches square. From a fine Southern collection.
Remarkable Carved
Presentation Case/ Watch Hutch
.....SOLD
Probably Northeast, possibly Hudson River Valley to New Jersey, ca. 18th to early 19th century.
Original black paint and thin crackled varnish on a hardwood that appears to be maple. Skillfully and profusely chip carved, tapered and canted. It is punctuated with pinwheels, hearts, half-round “sunburst” drops or hangers, as well as being footed or finialed depending upon the orientation. The front board attached via tiny wooden pegs. The hearts, combined with the effort taken to create such a piece, along with the initials “I.R.” carved into the front, indicate this case was made as a special gift for an event like engagement or wedding.
Although likely intended to display a watch, alternatively this case or “hutch” may have been crafted to display a medal, portrait miniature, jewelry, or even a miniature textile. Whatever the intention it was important to them.
Intriguingly, although this piece at first view one would expect to stand with the broader end of the taper down, in that orientation it rests on the half-round sunburst which drops further than the back feet, so the back feet would have had no use. Also in that orientation the initial “R” would be upside down. Further, the hanging hole of the broader end clearly shows wear from being used… So, I believe that although it has undoubtedly stood for maybe much of its life with the broad end down, it was originally made to hang with the broad end at the top. Either way, hung or standing, it is outstanding. I have shown it both ways in the images.
Exceptional condition, no damage, robust and hefty. About 5 ½ inches tall x 3 wide x 2 deep.
Small, Sweet
Folk Art Portrait
of a Blue-Eyed Girl
.....SOLD
Andrew Carlin (1816-1871).
Deaf Mute Artist
Philadelphia, ca. 1840-1850. Oil on canvas. The pretty young girl with huge blue eyes in green dress with lace edging and puffy sleeves. Signed lower right AB Carlin (and more unreadable as partially under the frame).
From the National Park Service: Andrew Carlin was deaf from infancy, he signed his paintings as “AB Carlin/a Mute” (the latter presumable what is obscured under this frame). When the Civil War broke out, Andrew wanted to join the Union Army. At that time, total deafness was an exclusion for military service. However, people with hearing loss determined to fight for their country could sometimes find a recruiter willing to accept soldiers who could fake a level of hearing when questioned. Andrew wasn’t able to pull this off, but he still followed William T. Sherman’s army closely. His most known painting became “Sherman’s March Through Georgia, 1864.”
In fine condition, unlined, with craquelure and minor touchup, the back of the canvas retaining the stamp of the canvas preparers "Ashton and Browning 204 Chest St. Philadelphia". The perimeter of the canvas strip-lined to give edges strength. Original stretcher. Bold period gilt frame, frame dimensions about 22 inches tall x 19 wide.
Early Painted
Tabletop Lighting Stand.
Rare Octagonal Base
.....SOLD
New England, ca. 18th century.
Skillfully turned from what appears to be chestnut, retaining the original very dry brown paint, the color presenting as reddish-brown in sunlight. The design features a rare form-slightly domed-octagonal base-the facets with “lambs tongue” crests. The base supports a baluster-turned lower section leading to hand-cut threads to allow raising and lowering the candle arm. The two-light candle arm echoes the baluster-turning on the column. Interesting to note that the figure (rings) of the wood are remarkably tight together due to the wood being from an old-growth tree having grown very slowly.
At just 21 inches tall, this lighting stand was not for the floor, rather would have been carried from room to room and placed on a table or chest. Terrific condition. Provenance includes Sam Forsythe and a private Midwest collection.
Bellarmine Jug
With Rare
Heart-in-Jug Medallion
.....SOLD
German, ca. 17th century. Archaeological excavations at colonial sites in New England, Jamestown, and the Chesapeake region show these jugs had extensive use in Colonial America.
Bellarmine stoneware jugs got their nickname because they were mostly used to store and drink alcohol, while the Catholic Cardinal Bellarmine opposed alcohol. The malevolent-looking "bearded face" was a way to mock Cardinal Bellarmine. Some Bellarmine jugs were also used as "witches bottles". The jug was filled with various objects such as human urine, hair and magical charms, which were believed to ward off witches.
Highly-ovoid form with narrow base, long neck, applied handle, decorated with the raised bearded man at the neck and a rare heart-within-a-jug at the midsection. The surface was dipped in brown slip and covered in a light salt glaze.
Expected minor chipping around base and spout.
About 9 inches tall. From a private Midwest collection, acquired years ago from Hollis Broderick, NH.
Dramatic
Portrait Miniature
New England, ca. 1820-1830. Watercolor on paper.
The folk art portrait shows the fashionably dressed gentleman in three-quarter length profile, with unusual foliage representations about the perimeter that add drama and interest.
Presented in a period frame that is likely original despite later nails securing the carved backboard. Frame size about 6 ¾ inches x 5 ¼.
Ship Portrait of the Isaac Webb
Black Ball Line
At Castle Garden
New York
19th century. Signed lower left L.A. Brigg. Dated [18]51. Watercolor and pencil on paper, showing the Isaac Webb leaving the New York City harbor, with side-winder paddle-wheelers in the background, as well as buildings and other tall ships near Castle Garden in an unusual vignette. Prominent display of American flags aboard ship and at the harbor.
The Black Ball Packet Line was founded in 1817 at New York City by shipbuilder William H. Webb, who owned 1/16 share of the ship named after his father Isaac. From 1851 to 1879, the Isaac Webb, which was 185 feet long weighing 1,359 tons, traveled between NYC and Liverpool, England 4 times per year, taking typically 37 days to cross. The Webb was captured by a Confederate ship, the Florida in June, 1863. After paying a $40,000 ransom (about $1,600,000 now) the ship was released. In December 1866, while heading west to New York, the Webb encountered a gale so cold that it killed three crew members with several others badly frostbitten. The captain was killed during a fierce gale on the same route two years later.
In a period gilt frame that may be original. Frame size 26 inches x 20; sight size 21 inches x 15. From a fine private Midwestern collection.