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Iconic American Colonial Tavern Tankard . Impressive Size. Remarkable Condition. Noteworthy Provenance.....SOLD

New England, ca. 1750-1780. Cooper-made with pine staves, lid, and base, and what appears to be ash interlocking bands. UNTOUCHED original condition with completely dry surface and natural patina. Clever construction without the use of nails, the handle being part of a narrow stave that is secured tightly in-place by beautifully crafted interlocking bands that were shrunk into position. The severely sloping and tapering lid (the deep angle consistent with the very early date) is joined to the handle by a wooden pin. The enormous scale (about 11 inches tall x 8 diameter at the base) indicates use in a tavern as a sharing vessel rather than for individual drinking. The sidewalls are steeply sloped. The elegance and sophistication of the design combined with the superior craftsmanship are hallmarks of early period work. The condition can be best described as AWESOME! Reference: "Illustrated Encyclopedia of the American Revolution" by George Neumann and Frank Kravic. Provenance: Gifted in the 1950s by Nina Fletcher Little to her close friend Alice Andrews of Winchester, Massachusetts. A SUPERIOR EXAMPLE. Happy to email high res photos.

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SISTER'S BOND. Life-Size Double Portrait by Joseph Goodhue Chandler. 1848

Inscribed on the back: "Painted for Victoria A. and Virginia R. Wilder aged 6 years/by J.G. Chandler February 1848"..... Oil on canvas. The sisters portrayed wearing russet dresses and white pantaloons. Likely in the area of Hubbardston, Massachusetts. This portrait delightfully conveys the bond between the two sisters, embodied by their joined hands and shoulders forming a symbolic heart, in a manner that would be difficult to show as effectively even with the realism afforded by the then emerging availability of photography. And the color certainly could not have been matched by the monochromatic photographic images of the day. Note the sizeable house on the hill behind the girls, (likely their family home), the fishermen on the nearby pond, and the foreground flowers. Impactful scale! Sight size about 56 x 28 inches. Frame size about 66 tall x 39 wide. Paintings by Chandler are in many important antique and folk art collections, both private and institutional, the latter including the Shelburne Museum, the Abby Aldrich Rockefeller Folk Art Center, the New York State Historical Museum at Cooperstown, and the National Gallery of Art...... Provenance includes: Hirschl & Adler; Leigh Keno; pictured and discussed in the Highly Important Americana from the Stanley Paul Sax Collection, Sotheby's, January, 1998; prominent Midwest Collection.

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Oval Paint Decorated Windsor Cricket (Low Stool).....SALE PENDING

New England, ca. 1825. Very pleasing color and form. Canted oval top with scratch-carved and dotted border. Turned legs continuing to tiny turnip and ring turned feet. Hand-planed thick board. Very solid. About 11 1/4 inches long x 7 1/2 wide x 7 tall. Typical minor imperfections. See Nancy Goyne Evans, American Windsor Furniture, Specialized Forms for an extensive discussion of crickets/low stools.

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OUTSTANDING. DIMINUTIVE. Paint Decorated "THE TREE BOX".....SALE PENDING

New England, ca. early 19th century. Pine with DOVETAILED and domed case, the dome joined by unheaded cut nails. Original dry patinated crusty BLUE paint ethereally decorated with wisps of willow trees on all surfaces. Inner dust barrier and till. Structurally superb condition, including undisturbed wire hinges and simple wire latch. Minor early paint wear. Desirable small size at just 9 inches long x 4 1/4 tall x 4 5/8 deep. Purchased in 1994 by Ted and Carole Hayward, and in their collection for years. Ted always believed this box to be decorated by Rufus Porter. For the collector who prizes surface, color, and originality, and small in size with the flexibility of being placed anywhere.

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A RARE GEM: CHILD'S CHIPPENDALE CHEST.

An eye-witness to American Revolution history. In a size AND condition that we will probably not find again! New England, likely Connecticut area, ca. 1780. Cherry primary wood with white pine secondary. Original batwing brasses, and red-pigmented original dry varnish surface. HIGH RES PHOTOS AVAILABLE. Not a miniature, rather made for a child standing about the same height as a candle stand. In period a luxury. Molded top above four thumbnail-molded graduated drawers supported by a notched, square-bracket base. Fully dovetailed case and drawers; deeply chamfered and hand-planed drawer bottoms. Each drawer retains original lock, the presence indicating that the clothing or textiles enclosed within were valuable. Very clean condition inside and out. Back has beautiful dark patina. One very minor repair to one drawer-lip corner. Case width just 24 inches (25 ½ at the base). 27 3/8 inches tall. 11 ½ deep (at the base). Given the small size this chest has the flexibility to be placed almost anywhere, and can function as a lighting stand or side-table. Provenance: Fine private Southern Collection.

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A LITTLE MASTERWORK(!!!) PORTRAIT OF A BABY BOY WITH RIDING CROP

New England, ca. 1845. One of the finest Prior-school portraits of this type known. Attributed to William Mathew Prior . Oil on board. The inviting warm color palette complemented by the striking, unique, paint decorated frame. The shape of the lips and eyes, and softness of the face are exceptional. The child centering colorful draped swags with rim lighting. Note red corals at each sleeve of the delicate, lace-trimmed dress, the coral typically worn by children as it was believed to ward off evil. He grasps a riding crop, a device sometimes held in portraits as they were a common gift for boys in this period. Even though way too young to ride a living horse or pony, he could saddle-up with his crop on his rocking horse. The paint decorated frame is a treasure on its own, yet combined with the portrait creates a singular presence. Overall frame size about 18 inches x 13 3/4. Exceptional condition. Provenance: Distinguished private collection for decades. A rare opportunity to acquire an iconic folk art image.

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Vibrant Coach/Sign Painter Double-Sided Game board with Bold Color and First-Rate Surface.....SALE PENDING

New England, ca. 3rd quarter, 19th century. Original bold red, yellow, and black on a thick pine panel with picture-frame molding joined by cut nails. One side rendered with a much more scarce backgammon game, the reverse with checkers/chess decorated with pin-striping. Retains original crackled highly crackled over-varnish, the backgammon side moreso indicating that side has been outward for most of its life. Substantial size at about 19 inches square. Graphic fiery-red color when illuminated by sun or halogen (halogen lighting shown).

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"Hot Soda" Sign Board

American, ca. 1860-1890. Original polychrome paint on pine.....19th-century consumers were enthralled by the supposed healing properties of fizzy water. Grand devices were invented which made brewing and serving fizzy drinks easy. This trade-sign proudly declared that the vendor had fizzy water in the form of hot soda....the bright yellow ground color and bold black lettering with gold shadowing was intentionally obtrusive to attract customers from a distance......Angled corners with molding applied by cut nails. Signed by the maker/artist "Emery". Terrific crackled surface. An unusually energizing sign both in visual impact and in subject. About 72 inches long x 13 tall.

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Scarce Early Trade Sign.....SOLD

New England, ca. 1800-1820. Love this! Mustard and black paint on pine. Pit-sawn back with picture frame molding attached by cut nails. Note the 'long S' in Dress-maker that transitioned to the "S" as we know it after ca. 1800. The comma after the name, and the period at the end of dressmaker are also early conventions. Note how BEAUTIFULLY formed and flowing the lettering was rendered, indicating a very skilled sign painter. Exceptional paint condition with expected craquelure. Structurally sound with inconsequential losses at lower left of the molding resulting from the nailing on of the original cut nails. Small size has flexibilty to be put most anywhere: About 32 inches wide x 13 1/2 tall by 2 at the molding. My other two signs of this form were from NH, this may be as well. Simple. Elegant. Soul-full.

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Important Portrait of Samuel Gore, BOSTON TEA PARTY....PATRIOT and SON OF LIBERTY

Boston, ca. 1796, painted by Christian Gullager (1759-1826). Oil on canvas. As a member of the Sons of Liberty, Gore participated in several well-known events in pre-revolutionary Boston, including that of February, 1770, in which the Sons of Liberty taunted a known Tory and informer to the British: Ebenezer Richardson. They cornered Richardson at his home and hurled insults and garbage. Richardson responded by firing from his doorway, killing eleven year old Christopher Seider, and severely wounding Gore, who was treated by Dr Joseph Warren, a leader of the revolution movement who was killed at the Battle of Bunker Hill. Gore also participated in the Boston Tea Party with Paul Revere and others on Dec. 16, 1773, and the stealing of the canon from the gun-house in Boston. Gore served briefly in the Revolutionary War under General John Hancock. Probably painted circa 1796 after his father's passing to commemorate his new standing as sole owner of his merchant business that provided "colors" and "patterns" to Boston. MUCH MORE BACKGROUND IS AVAILABLE ON SAMUEL GORE.....The artist, Christian Gullager, immigrated to Newburyport, MA in the mid 1780's. By 1789 he is listed as a portrait painter in the Boston directory. From this time to his departure in late 1796 or early 1797 he was known as one of the two best portrait painters in Boston. The Samuel Gore portrait is typical of the artists in this period in Boston period with its dashy impressionistic style. For information see "Christian Gullager, Portrait Painter to Federal America" by Marvin Sadik, 1976, which is the catalogue for an exhibition of his works at the National Portrait Gallery in Washington, DC……Fine condition with minor retouch and is mounted in a ca. 1840 frame.

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