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Brilliant Watercolor Theorem, Mary Scott, August 20, 1821. Likely by the Same Hand as another at COLONIAL WILLIAMSBURG......SOLD

New England, likely Conway, Massachusetts, based on the history of the Colonial Williamsburg painting. Paint/watercolor on wove paper. Unusually delicately rendered bouquet of flowers with a light and airy presence, the still strong color palette features oranges, indigo blue, red, mustard, and greens. Note the stylized design of the base. The sawtooth border is a rare feature, also found on the Colonial Williamsburg example. Excellent condition with just a barely perceptible short tear. The 14 1/4 inch square dark-brown painted frame (and wavy glass} is period and likely original. The design, as per Colonial Williamsburg, is "reminiscent of overmantel decorations found in Massachusetts wall stenciling of the early nineteenth century." See AMERICAN FOLK PAINTING, Paintings and Drawings Other Than Portraits from the Abby Aldrich Rockefeller Folk Art Center, Colonial Williamsburg, Beatrix Rumford, figure 113, for reference. Bright colorful paintings like this, created in the early 19th century, were an expression of optimism and happiness in American's new country coming out of the darkness and extreme hardships endured during of the 18th century and the Revolution. A treasure worthy of a museum or home seeking the exceptional.

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WINDS FROM THE SEA. BEST Early Fish Weathervane.

Likely the J. W. Fiske Company, New York City, ca. 1870. Form. Surface. Size. .....Copper, with a complex weathered surface that has taken on a beautiful verdigris color while retaining a good amount of gilding and sizing. As weathervanes were of critical importance for centuries to foretell changes in weather, they also become an important American sculptural art form. The best examples, like this scarce full-bodied fish, have appealing sculptural design AND retain an authentic surface that reflects the environmental conditions that led to the aesthetic. Note the balance of top and bottom fins, the graceful flowing lines of the body into the flared and corrugated tail, the repousse eyes, and that dramatic mouth, rimmed with copper molding, that is downswept against the flat bottom jaw. The presence is strong and confident. About 31 1/2 inches long x 13 tall (including stand) x 5 deep. Superb condition; just a few filled or open bullet holes and minor imperfections. See: The Art of the Weathervane, Steve Miller, page 79 for a similar example.

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Special Portrait by the artist known as "Mr Willson" (ex Garbish Collection).....SOLD

Likely New Hampshire, appears to be dated 1811 at the bottom. Watercolor on paper. Attributed to the artist known as "Mr Willson". Yet research now shows that Willson was an alias, his real name being Lyman Parks, who was a counterfeiter of bank notes!!! Similar portraits are in the collection of the New York State Historical Society, Museum of Fine Arts (Boston); Currier Art Gallery; the Shelburne Museum and in private collections. Subjects in Mr. Willson portraits are bust-length, three quarter view turned to the right, against a neutral background. Facial features have the profile of the nose, upper eyelid and mouth delineated as a single line. This portrait shows a stylishly dressed, most pleasingly handsome young man with blue eyes and reddish hair. Early tears were professionally paper-conserved long ago, likely when framed by the Philadelphia Print Shop. Scattered foxing and toning. Frame size about 24 1/2 inches x 20 inches; sight size about 19 inches x 14. See A Loving Likeness, American Folk Portraits of the Nineteenth Century, The Gallery at Bristol-Myers Squibb, Susan and Ray Egan; and Folk Art's Many Faces, Portraits in the New York State Historical Association, for reference. Also see the newest research: "Mr Willson Of NH And His Remarkable Watercolors" by Deborah Child. Provenance: Private collectors including the important collection of Edgar William and Bernice Chrysler Garbisch, Cambridge, MD.

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IMPORTANT HISTORIC ANTIQUE SIGNBOARD. PATRIOTIC EAGLE AND SHIELD. SYMBOLS OF AMERICA

AMONG THE FINEST OF PATRIOTIC IMAGES KNOWN. Masterpiece folk art interpretation of the Great Seal of the United States of America centering rare signage for a US Marshal. Powerful. Dramatic. Confident. Inspiring. Brilliantly composed, rich with the visual vocabulary of America, like an illustrated time-capsule, revealing the deep pride and gratitude of early American's in their young country. Lansingburgh, New York, ca. 1853. Signed by the artist J. Follett. Painted on wood panel, for the appointment of John Mott as United States Marshall for the Northern District of NY State by U.S. President Franklin Pierce. The visual is glorious. The majestic eagle's talons firmly hold the bold red, white, and blue shield against his breast. E PLURIBUS UNUM is affirmed by his intense gaze as he supports the blue ribbon in his powerful beak. The roiling sun-filled clouds are a perfect backdrop to make the arrows (birth in warfare) and olive branches (hope for a prosperous, peaceful nation) stand out. Likewise, the gray-blue clouds, and dark wings contrast and frame the eagle's white head. The artist effectively rendered the US Marshal message, in gilt lettering against a sage ground, subordinate to and without competing with the eagle and shield. A thrilling signboard at the pinnacle of early American folk art. About 34 inches tall x 22 wide x 1/2 thick, with beveled edge. Condition: Unweathered as always presented indoors. Touch-up to scratches and lightly cleaned. .

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Pictorial Paint Decorated Folk Art Box.....SALE PENDING

Likely Maine, ca. 1820. Untouched original paint, with vignettes that appear to tell the story of the artist's travels or imagination, with a mix of northern trees amongst others that would be of southern origin, like palms (and what I thought were cacti I now think are much more likely flowering thistle). Birds and deer appear amongst the trees, flowers, and plants, many of them potted, implying perhaps a gardener, during a period when gardening was a luxury as so much time was consumed by unrelenting chores. This work has the feel of early New England wall painting and reflects the popularity of white ground decorated furniture in Maine during that period. Structurally excellent condition, noting the loss of the lock hasp very long ago. Expected wear, craquelure, and patination to the paint. About 16 inches long x 9 1/2 deep x 6 tall. Purchased in the 90's by Walters/Benisek from the very important personal collection of Joy Piscopo, the collection focusing on pieces of Maine origin. Amongst my favorite painted pieces I have ever offered!

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CUT AND WRITTEN WITHOUT HANDS. Remarkable Rare and Historically Important Cutwork

Signed M.A. (Martha Ann) Honeywell (b. 1786 Boston). Ink, with gold foil and paper applique on paper. Dated 1846. Martha was born without hands or forearms, and had only three toes on one foot; all of her art was created using her mouth and toes. She made her living cutting silhouettes and performing her skills at appearances from Salem, to Charleston, Louisville, Richmond and others, and even England and Europe. In the 19th century calligraphy artists sought to impress with their ability to write in an EXTREMELY small hand, the subject of which was often the Lord's Prayer. This cutting features the Lord's Prayer written within a circle a bit smaller than a DIME! Martha took the art of tiny calligraphy to a level that astonished her peers and the public given her physical limitations. The central roundrel is encircled with an area of flowers enhanced by pin pricks, leading to a hex-shaped flower with red ground and foil appliques, including a tiny bird silhouette upper right! The artwork is in exceptional condition, colors are rich and unfaded, with minor paper toning. There is rubbing to a portion of the prayer. Presented in a period gilt frame of about 11 inches square. In a nicely lit room the gilt from the frame contrasted against the colors of the artwork creates an impressive presence. A similar paper cutout by Honeywell, also featuring the Lord's Prayer, is in the collection of the Metropolitan Museum of Art.

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Brilliant American Flag Snuffbox.....SOLD

Northeast, ca. 1820. Paint on black-lacquered papier-mache. Reflecting the pride in early Americans in their young country. Possibly Hudson River school, perhaps representing an area near New York City. The patriotic meaning not in doubt, the flag boldly centering a harbor scene. Superb color and condition, the thin over-varnish finely crackled. About 2 7/8 inches diameter x ¾ thick. Special!

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Soulful. Distinctive. "Drapery Swag with Tassels" Paint Decorated Box.....SOLD

This is for the collector who looks for the "art" in antiques, loves dry authentic surfaces, and appreciates how the surface tells the story of how it was used and how it has witnessed history. New England, ca. 1825, in a superior dry original surface. The blue Swag and Tassels front-panel decoration is rare for a painted wooden box, more often seen above and flanking portraits of the period. It effectively shows from across a room even in low light against the soft, patinated buff-colored painted ground, enhanced by starbursts and vines, and by cherubs on each end panel. The domed top shows traces of the initials of the owner and holes from a long-gone bale handle. One of the most special boxes oI have had. Real and honest and quiet and comforting, it is the essence of what is desirable in an exceptional antique. Measures about 14 ½ inches long x 6 high x 7 ½ deep. Provenance upon request. High resolution photos easily emailed.

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One of the Finest Surviving Early American Volunteer Militia Knapsacks. Published. Best Provenance.....SOLD

Massachusetts, ca. 1800-1825. Original paint on hand-stitched canvas, with what appears to be linen backcloth. The brick-red painted canvas flap inscribed LIBERTY against a blue ground bordered in mustard, surmounted by 13 white stars representing the original colonies. The lower body with the script initials "MM" (likely for the Massachusetts Militia) within a vibrant mustard oval. The entire with black border. Remarkably the original leather straps and canvas shoulder straps are intact and without compromise! About 13 1/4 inches square. Having great pride in their units, militias invested considerable attention on their appearance. Although typically wearing personal clothing (not uniforms) every accoutrement surface was carefully considered and put to a vote, as these objects and their decorations were a common identity. This knapsack with the notable LIBERTY and 13 stars speaks to the freshness of the memory Americans had with British rule such that liberty and patriotism were treasured and honored. Provenance: Roland B. Hammond (North Andover, MA), William H. Guthman (prominent scholar and dealer in historical and military Americana-Westport, CT). Literature: Illustrated and Discussed, The Magazine Antiques, July 1984, page 124, plate I; Decorated American Militia Equipment by William H. Guthman.

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Prior-Hamblin School Portrait of a Blue-Eyed Little Boy in Butterscotch Dress with Riding Crop.....SOLD

Attributed to STURTEVANT J. HAMBLIN (active 1837 to 1856) Portland, Maine or Boston, Massachusetts. Oil on board. Classic coveted folk art portrait with flat rendering employing minimal modeling or shadowing, elevated considerably in rarity and desirability by the subject being a young child. Detailed patterned dress with lace collar. Basis for the attribution to Hamblin includes his characteristic long tapered fingers, the pattern of the collar, and lip shape which closes matches that of another Hamblin portrait in the National Gallery of Art. Well presented in a period red-grain painted frame. Frame size about 16 1/2 inches x 12 3/4. Condition is superb. See Sotheby's, January 21, 2007 and Skinners, June 11, 2000 for a remarkably similar portrait by Hamblin, probably this sitter's brother, in the same dress. Provenance: Private Northeast collection. VERY FAVORABLE PRICE ON REQUEST.

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