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AMERICAN ORIGINALS
Country Paint
Decorated Box
....SOLD
New England, probably Maine or New Hampshire, ca. 1820–1840.
A striking small box in not-often-found original salmon ground paint with black decoration, on what appears to be boxwood. The surface is untouched, complex, and completely dry, prized by country collectors. The sides are ornamented with large polka-dots framed by black borders, while the subtlety-domed lid features an exuberant crosshatched pattern in alternating salmon and black.
The color is soft for those liking calm and quiet, yet strong enough for those who seek color, it works well for both. The naïve decoration is simple yet compelling.
Never fitted with a lock, joinery by cut nails. No cracks. Wear as expected, especially back right corner. Retains original hinges. About 12 inches long x 5 ¾ tall x 6 5/8 deep.
Provenance includes a long-time Maine collection.
Carved Lollipop
Butter Prints
.....sale pending
Probably Northeast to Mid-Atlantic,
19th century.
The Miniature: Hand carved from what appears to be maple. Triangular field enclosing a radiating sunburst or eye-form above a cross hatched lower section, possibly symbolizing light emerging from darkness, or the Eye of Providence, an early symbol representing divine watchfulness and enlightenment, also adopted in Masonic. Just 4 1/2 inches long x 2 1/8 diameter.
The Larger Double-Sided Carved Lollipop: Classic lollipop form carved from what appears to be poplar. Deeply incised with geometrics on one side, foliate on the reverse. About 7 1/2 inches long x 3 3/8 inch diameter.
Both from a long time Southern collection.
Outstanding William & Mary
Banister Back Chair
Pictured and Described in the Yale University Collection
New England, likely Providence, Rhode Island, ca. 1720-1780.
Maple. Distinguished by a double-arched crest rail, amplified by a beautiful gold border added when the paint was updated in the early to mid-19th century.
Embellished with ball and urn finials, ogee-turned legs, double-arched stay rail, double ball stretcher, and retaining full-height flattened-ball feet and conical rear posts.
About 42 inches tall; seat width 19 3/8; seat depth 14 3/8. Excellent very solid condition, retaining a terrific dry crackly surface and burnished wear from handling. Early rush seat.
Provenance: Recently from the original family where it had been passed down (the Stevens family, Rumford, Rhode Island); noted antiques dealer, researcher, and author Gary Sullivan; Yale University’s famed American Furniture Study Center.
The Red-Dot
Pantry Box
.....sale pending
Outstanding Surface
Northeast, ca. 1820-1840.
Original bone-dry, highly patinated worn paint decoration, of much character, on ash and pine, featuring red dots on a soft mustard ground. Grungy, crusty, complex surface.
Large size at about 10 inches diameter x 5 1/2 tall. For the collector who loves untouched surface, patina, and muted colors. .
Rufus Porter
Portrait Miniatures
Scarce Frontal Views
.....SOLD
Princeton, Worcester County,
Massachusetts, ca. 1830-1835.
Watercolor and graphite on paper. Attributed to Rufus Porter (1792-1884) a celebrated artist, musician, teacher, inventor, and founder of Scientific American magazine. Facing views by Rufus Porter are quite rare, as most by Porter are in profile.
Although not painted at the same time, based on information on the backs of the frames, these portraits portray father and son. Amos Babcock, (1760-1835), and his son Leonard Babcock (1794-1841); frame sizes 5 1/8 inches x 4 ¼, and 5 5/8 x 4 ¾, respectively.
Reference: “Revisiting Rufus Porter” Suzanne and Michael Payne, The MAGAZINE ANTIQUES, January 28, 2020. From a private Pennsylvania collection.
Striking
Parcheesi Gameboard
.....SOLD
Discovered in an estate in Alburgh, Vermont, this 19th-century Parcheesi gameboard captivates with its dramatic design.
Pinwheel corner decorations seem to spin around the central "HOME" field. The lettering, artfully integrated into the ladder spaces, lends a distinctive charm. The color palette—black, green, mustard, white, and red—creates a striking contrast against the unpainted wood edges.
Robust two board construction, with frame joined via large cut nails. About 20 ¾ inches square.
A visually dramatic piece, it has been part of a private collection since 2001.
THE
PUFFY SLEEVE ARTIST
.....SOLD
SCARCE PAIR
of Silhouette Portraits
Pictured in the
Magazine Antiques
Massachusetts, ca. 1830. Hollow-cut silhouettes with gouache on paper.
It’s been 20 years since I last handled a pair by the Puffy Sleeve Artist, who is now believed to be Ezra Wood. Profiles by the Puffy Sleeve Artist are immediately recognizable given characteristics like the distinctive way their bodies are turned toward the front while their heads remain in profile, woman wear the fashionable dress of that period with exaggerated puffy sleaves and iconic little hands at their tiny waists, men have broad chests, and both women and men have hands that are oddly shaped and colored. They often hold books (sometimes date 1830 or 1831) or other accoutrements.
From the Magazine Antiques, July/August 2014 “UNMISTAKEN IDENTITY”, Michael & Suzanne Paine and Sam Herrup: “For Americana and Folk Art collectors, among the most sought after silhouette portraits from the early 19th century are those produced by an individual who has been nicknamed the Puffy Sleeve Silhouette Artist”. The article makes the case that the Puffy Sleeve Artist was Ezra Wood, Buckland, Massachusetts. In that same article is pictured this pair of portraits, page 127, of Harriet and John Wilder, and notes that they are of an unusual larger size for this artist. Harriet has a particularly beautiful profile.
The portraits are in excellent condition with minor toning. The frames are probably original. Frames each about 6 x 5 inches.
Until recently in a long time Maine collection.
In addition to the Magazine Antiques, see “A LOVING LIKENESS”, the collection of Ray Egan, for many more examples and more detailed information on the characteristics that identify portraits by the Puffy Sleeve Artist.
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