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JeffreyTillou Antiques
Specializing in Fine Americana
JEFFREY TILLOU ANTIQUES
Litchfield, Connecticut
VOLUME 2
39 West Street, On The Green
Litchfield, Connecticut 06759
Tel. (860) 567-9693
Fax (860) 567-8526
email: [email protected]
tillouantiques.com
M E M B E R
We are open Monday, Wednesday through Saturday from 10:30 am to 5 pm
Sunday from 11 am to 4:30 pm
Closed Tuesday
Private appointments available
This catalogue was designed and created by Jeffrey Tillou.
Text & Description
Jeffrey Tillou, Claire Simler and Kelly Susi
Photography
Ellen McDermott, ellenmcdermott.com
Philip M. Dutton, philipduttonphoto.com
Editor
Richard Stevenson
Production
Connect, Thomaston, CT
Printing
Photo Arts Limited, Torrington, CT
Bindery
Connecticut Valley Bindery, New Britain, CT
Show Schedule for 2008
Winter Antiques Show, New York, January 18-27, Preview January 17
The Philadelphia Antiques Show, April 12-15, Preview April 11
The Connecticut Spring Antiques Show, March 8-9
Charleston International Antiques Show, March 14-15, Preview March 13
Litchfield County Antiques Show, June 21-22, Preview June 20
Deerfield Antique Dealers Association Show, October 11-12
CONTENTS
2
FURNITURE: 18TH THROUGH MID-19TH CENTURIES
American Furniture, Formal and High Country,
to include: Highboys, Cupboards, Bureaus, a Blanket Chest
Tables, to include: Tea Tables, Tavern Tables and
Work Tables
Chairs, to include: an Armchair, Windsors and Settees
Mirrors: American and English
29
WORKS OF ART: 17TH THROUGH LATE-19TH CENTURIES
American Paintings and Watercolors
Continental Paintings, Watercolors and Needlework
57
DECORATIVE ARTS: ANCIENT THROUGH 20TH CENTURY
Sculpture, Folk Art, Trade Signs, Weathervanes, Turned Bowls
and Carvings
FOREWORD
Recently I’ve been thinking about what attracts us to collecting and how
to attract future generations of collectors to the field. What should we say
to persuade a new or young would-be collector to begin?
We know this already: collecting and learning about art and antiques
provides lifelong pleasure and continuing intellectual stimulation. It’s
also a great way to invest and to pass along wealth to future generations.
There is another, societally relevant reason to become a collector: in its
own unique way, collecting is good for the environment.
This is certainly not a new idea but it is one that merits more public
discussion. It makes perfect sense – collecting antiques is recycling at its
highest level, an antidote to our throwaway society. Consider, for example,
a handsome American chair made two or even three centuries ago that is
still being used. Imagine the raw materials saved, the energy not expended,
as generations use the chair and it becomes more desirable and more
valuable. Multiply that chair by the thousands and thousands of antiques
that remain useful and beautiful today and you have a positive environmental
impact worth talking about. Antiques are objects of beauty to live with;
they are also an investment to feel good about.
There are affordable levels in the antique market at which many can
participate. In today’s market you frequently see objects selling under
market value, even for less than it would cost to make them today. You
need not be wealthy to collect, just patient and savvy.
Jeffrey Tillou
ABOUT US
Jeffrey Tillou Antiques specializes in American furniture and fine arts,
primarily from the 18th century through the mid-19th century. We offer
a selection of painted furniture, weathervanes, sculpture, Oriental carpets
and related decorative accessories. We occasionally offer distinctive
pieces of European furniture and works of art as well.
Jeffrey Tillou Antiques was established in December 1992. After
purchasing and restoring an historic three-story building in 2003, we
moved the business next door to 39 West Street on The Green in
Litchfield.
The gallery now offers eight rooms of period antiques, fine arts and
related decorative objects. The items included in this catalogue are
representative of the scope and quality of our inventory but are by
no means all-inclusive of what you may see when you visit us.
Although all of the objects pictured here were available from our
inventory during the production of this catalogue, some may have
been sold after its publication.
BUSINESS POLICY
Jeffrey Tillou Antiques guarantees the age, authenticity and condition
of each item sold (based on the description provided). Although we do
not have an immediate buy-back policy, we do have an upgrade policy
to help clients improve their collections. We welcome high-end
consignments, and are always interested in purchasing single items
or entire collections. We also represent clients for authentication and
purchasing purposes. We look forward to welcoming you to our gallery.
FURNITURE
I
CASE PIECES
II
TABLES
III
SEATED FURNITURE
IV
MIRRORS
Jeffrey Tillou Antiques Litchfield, Connecticut
1
2
1
MATCHING QUEEN ANNE
BONNET-TOP HIGH CHEST
AND DRESSING TABLE
Rare Matching Queen Anne
Bonnet-Top High Chest and
Dressing Table with Matching
Carved Shells, Connecticut River
Valley, ca. 1765. Cherry, white pine
secondary. Both retain their original cast pierced brass and bail
handles, central finial and drop
pendants. The varnish finish of
both cases has mellowed to a
warm patina. Among a very few
known surviving sets, this
Connecticut Bonnet-Top High
Chest and Dressing Table have
features that make them stand
alone, notably the carving of the
fans, the applied molding that
conforms to the carved drawer of
the high chest, and the steppedin waist molding. Both pieces
have survived in a wonderful state
of preservation. Provenance:
Descended through a prominent
New England Family.
High Chest Dimensions:
At widest point 38"; upper case
width 34.5"; lower case width
36.75"; depth 19.5"; height 84.25"
Dressing Table Dimensions:
Case width 30"; top 36.5" x 20.75";
height 32.25"
3
2
Step-Back Cupboard
Paint-Decorated Step-Back
Cupboard with Tomb-Stone Glass
Panel Doors above Inset Panel
Doors, Pennsylvania, ca. 1820-1830.
Poplar, poplar with grain paint
and smoke-paint decoration.
Paint decoration is untouched,
including the interior paint. Original
turned pulls. An extraordinary
survivor of time. The cupboard’s
proportions and incredible paint
decoration make it highly desirable.
The quality of the cabinetry
contributes to its fine state of
preservation as well. Originally,
varnish was applied to protect the
painted surface; later applications
continued to preserve it, in turn
becoming part of the history of
the surface but also masking the
vibrancy of the paint. The later
applications of varnish were
successfully removed revealing
the brilliant colors of the original
paint.
84.5"H
55.75"W x 19.45"D at base
59"W x 15"D at top
4
3
Chippendale Desk
Chippendale Serpentine Front
Inlaid Slant-Top Desk,
Connecticut River Valley, ca.
1775-1795. Cherry, maple and
mixed wood inlays, pine secondary.
Replaced hinges and brass bails,
shrinkage crack filled on the left
side, restoration to the left side of
the base (replacement of left side
base molding above the feet) and
cracks to foot facings restored.
The desk is fully developed with
an inlaid step-down cathedral
interior and a pull out center
compartment housing secret
drawers behind a (possibly
unique) inset panel inlaid desk
lid. The zig-zag inlay patterns on
the drawer faces are also unusual.
Most of these characteristics
are commonly found in the
Connecticut River Valley. The
desk descended down through
the family of Deacon Philo
Wright of Windsor Hill,
Massachusetts. Provenance of the
Wright Family is written on the
underside of an interior drawer;
full provenance of the family is
available.
44"H x 39"W x 23.5"D
5
4
Queen Anne Highboy
Queen Anne Flat-Top Highboy
with Fan Carved Drawer and
Scrolled Apron, Massachusetts,
probably Salem, third quarter of
the 18th century. Maple, white
pine secondary. Fine condition
with original brass, refinished.
The proportions of the projected
cornice and five graduated drawers coupled with the form of the
scrolled apron and graceful cabriole legs make this piece particularly desirable.
71.25"H x 34.75"W at upper case
37.5"W at lower case
20.75"D (furthest point)
6
5
Step-Back Cupboard
A Rare Diminutive Size
Step-Back Painted Cupboard,
with a Fold-Out Writing Surface,
New England, probably
Connecticut, fourth quarter of the
18th century. White pine with
original red wash paint. In a fine
state of preservation, missing only
a few dividers and lobes to the
interior. The divided interior of
the upper section with shaped
lobed valances is the most visually
appealing attribute of the piece.
The cupboard exhibits all the
features we desire: form, surface,
condition, functionality and rarity.
70.5"H x 38"W x 16.75"D
7
6
Queen Anne Highboy
Queen Anne Flat-Top Highboy
with Fan-Carved Drawer,
Massachusetts, third quarter of
the 18th century. Figured maple,
white pine secondary. Brass and
drop finials replaced, retains an
old varnish finish. The highboy's
fan-carved drawer, which is a long
drawer probably used to store
bonnets, is one of its noteworthy
features.
71"H x 39"W at cornice
35.5"W at upper case
37.75"W at lower case
20"D (furthest point)
8
7
Federal Lady’s Desk
Federal Lady’s Secretary Desk
with Tambour Doors, Boston
Area, possibly Seymour School,
ca. 1795-1810. Mahogany,
mahogany veneer with mixed
wood inlays, white pine secondary. The intricate inlay patterns,
the lunette banding and matching
veneers are all strong attributes.
The cabinetry mirrors the quality
of the inlay work, suggesting it
was made in one of the finest
workshops of the period.
43.5"H x 40.5"W
29" desk height
8
Federal Chest
Federal Four-Drawer Inlaid
Chest, probably Vermont, ca.
1800-1815. Cherry, maple inlays
and mahogany banding, white
pine and bass wood secondary.
Minor restoration to some banding
and replaced brass. It was not
uncommon for Vermont furniture
makers to use unusual or unique
inlay patterns, as in the oval inlay
and banding on the top and the
diamond shaped panels on the
drawer faces of this chest.
38"H x 40"W x 19.5"D
9
9
Painted Dower Chest
Painted Dower Chest Inscribed,
“Johannes, Boffert, 1837,”
Pennsylvania. Poplar, polychrome
paint decoration. In a wonderful
state of preservation, original
paint and original glass pulls,
some areas of wear, replaced
hinges. This is a beautifully
simple, understated piece, well
constructed with all dovetailed
joints. It retains a dry, untouched
surface with soft colors that add to
its overall appeal.
27.75"H x 51"W x 22"D
10
10
Bow Front Chest
Transitional Chippendale BowFront Four Drawer Chest with
Carved Ball-and-Claw Feet,
Boston Area, ca. 1775-1790.
Mahogany, white pine secondary.
Excellent condition with original
blocking and original oval brass.
The old refinished surface has
mellowed to a warm patina. It is
rare to find a graduated four drawer
bow-front chest with carved balland-claw feet. The inlays which
enhance the drawer faces and
edge of the top add to its distinction. This chest is understated,
yet exhibits all the qualities of
a fine piece: selection of wood,
form, carving and quality of
cabinetry.
33.25"H x 41"W x 24"D
11
11
Chippendale Pier Table
Chippendale Pier or Silver Table
with Marlboro Legs, Southern
States, ca. 1765-1775. Mahogany,
white oak secondary. The condition
is excellent with only two foot
facings replaced. Old varnish finish,
great figuring to the mahogany.
The one-board, solid mahogany
molded edge top is one of the
most impressive attributes, along
with the quality of the carved
pierced knee returns. A rare form
in American furniture and most
likely derived from a ChineseChippendale design more
commonly found in English
furniture.
31.75"H x 48"W x 24.5"D
12
12
William and Mary
Gateleg Table
William and Mary Gateleg Table
with Oval Drop-Leaves,
Pennsylvania, ca. 1720-40. Cherry,
yellow pine secondary. Extremely
good condition, having a refinished
top with an older varnish finish on
the base. Retains the original
turned feet and strap hinges. The
double drawers and cupid’s bowshaped skirt, coupled with the
earlier Baroque turnings, are the
notable features of this table.
29.5"H x 51.5"W (with leaves up)
16.75"W (leaves dropped)
Each leaf is 16.75" at widest point
13
13
Chippendale Tea Table
Chippendale Tilt-Top Bird-Cage
Tea Table, attributed to Chapin’s
Workshop, Hartford County,
Connecticut, ca. 1775-1795.
Cherry. The base retains an older
varnish finish; top refinished and
latch replaced. The characteristics
of this table which identify its
origin and maker are the threeboard cherry top with an under
beveled edge supported by a
turned, suppressed ball shaft
having the three rings at the base
of the shaft, with three cabriole
legs ending in snake feet.
28.5"H, 34.5" x 36" Diameter
14
14
Chippendale Dish-Top, BirdCage, Tilt-Top Tea Table with
Carved Ball-and-Claw Feet,
Pennsylvania, Philadelphia area,
ca. 1760-1775. Walnut with some
figuring to the wood. Retains an
early 19th century varnish finish,
replaced latch. The table exhibits
great proportions in relation to the
top and cabriole legs, giving it a
well-grounded feel. Provenance:
Israel Sack, 1947, Katherine
Prentise Murphy, Private
Collection.
28.5"H, 34.5" x 36" Diameter
15
15
Federal Shaving Mirror
Rare Inlaid Federal One-Drawer
Shaving Mirror, probably
Kentucky, ca. 1810-1820.
Mahogany, maple, yellow pine
secondary. Minor repairs to the
lyre-shaped mirror supports, otherwise in fine condition. An
extremely well thought-out and
designed piece. Intricate design
patterns of inlay complement the
successful form. The swag form of
floral motif inlay with the distinct
bell flower are patterns more
commonly found in Kentucky.
23.75"H x 18.5"W x 10.75" D
16
Chippendale Tilt-Top, Bird-Cage
Tea Table, attributed to The
Shop of Thomas Burling, New
York City, ca. 1765-1775. Mahogany.
Minor patch to the top, otherwise
in fine condition. The table retains
the original finish on the base,
while the top is refinished; classic
form for a New York table with
finely carved ball-and-claw feet.
29.25"H, 34.75" x 34.25" Diameter
16
17
Federal One-Drawer
Serving Table
Rare Diminutive Size Federal
One-Drawer Serving Table,
New England, probably New
Hampshire, first quarter of the
19th century. Bold tiger maple,
pine secondary. The brasses are
early additions, originally had a
center pull, refinished. A handsome,
impressive table that is rare in
size and form; the selection of the
tiger maple wood adds further
drama and distinction.
32"H x 29"W x 16"D
18
Federal Sugar Chest
Rare Federal Sugar Chest with
Scrolled Skirt, probably Kentucky,
ca. 1800-15. Cherry, poplar
secondary. Original condition
throughout, including carved
pulls and retaining an old dry
varnish finish. Great form and
unusually refined with delicately
turned legs.
30.75"H x 28.75"W x 17.25"D.
17
19
Queen Anne Tavern Table
Early Queen Anne One-Drawer,
Turned Leg, Stretcher Base
Tavern Table, New England, ca.
1730-1750. Maple, pine top, pine
secondary. A real survivor of time,
retaining full height to the original
feet, original pull, and with an
early finish. The one-board top
with breadboard ends has never
been reset.
25.5"H x 38.5"W x 24.5"D
20
Queen Anne Dressing Table
Queen Anne One-Drawer
Dressing Table, New England,
probably Connecticut, third quarter
of the 18th century. Cherry, pine
and poplar secondary. Great
condition with original early
etched brass, refinished. This is
a rare form, with an impressive
one-board cherry top above a
drawer and shaped skirt.
30"H x 32.25"W x 22"D
18
21
Queen Anne Oval Top
Tea Table
Queen Anne Oval Top Painted
Tea Table, New England or
possibly New York, late 18th
century. Maple and pine. The
table is in virtually untouched
condition with traces of several
painted surfaces. Great height to
the unusually tall turned feet.
The square nails holding the top
and cleat in place and the form of
the turned legs suggest the table
was made later in the 18th century.
Stylistically, it was not uncommon
to see Queen Anne tables made
late in the period in Northwest
New England and Upper New
York State.
26.25"H x 38.75"W x 26"D
19
22
Windsor Settee
Rare and possibly unique
Diminutive Size Windsor Settee,
probably New York, ca. 1800-1810.
Poplar, ash, hickory. In excellent
condition with a natural old varnish
finish. Found on the border
between Vermont and New York,
this rare form with only a spindle
back and no arms exhibits unique
features for a settee. Illustrated in
Wallace Nutting’s Windsor Chairs.
37"H x 48"W x 15.25"D
18" seat height
20
23
Painted Settee
Rare Fancy Paint-Decorated
and Stenciled Rush-Seat Settee,
New York, ca. 1815-1825. Paint
decoration and stenciling possibly
attributed to Christian Nestell,
New York City. Maple, tiger
maple with painted and stenciled
decoration, painted rush seat.
There are minor repairs to the
arms and applied seat molding.
The paint decoration and stenciling
are original and the piece also
retains the first varnish. Nestell
probably spent the early part of
his career ornamenting fancy
furniture for New York firms. He
moved to Providence, Rhode
Island, by 1822. The stenciling on
the settee closely relates to the
“trophy of music” sketches found
in Nestell's drawing book
(Winterthur Library: Joseph
Downs Collections of Manuscripts
and Printed Ephemera).
34.5"H x 71"W x 17"D
19" seat height
21
24
Pair of Windsor Armchairs
Pair of Sack-Back Windsor
Armchairs, Western Massachusetts,
ca. 1785-1800. Maple, hickory,
ash. Structurally in excellent
condition with full height to the
legs and having evidence of a
painted surface; refinished and
now retaining an older varnish
finish. Generously proportioned
as they are, they have great form.
38.5"H x 21.5"W x 16"D
18" seat height
25
Pair of Windsor Armchairs
Pair of Comb-Back Windsor
Armchairs with Shaped Saddle
Seats, Connecticut, New Haven
area, ca. 1785-1800. Maple, ash,
hickory. Both chairs are in fine
condition, with full height to the
legs and retaining an early red
wash surface. This distinctive
form was called the State House
Windsor, because similar chairs
were made for the Connecticut
State House in Hartford.
38.5"H x 23"W at arms
Seat height 17"
22
26
Heart and Crown Arm Chair
Heart and Crown Arm Chair,
Connecticut, coastal region, ca.
1730-1750. Maple, ash, poplar.
Turned feet and the ends of
the back posts are ended out or
restored, otherwise in fine condition,
old refinish. This group of Queen
Anne heart and crown chairs is
extremely rare and all were made
in Connecticut in the mid-18th
century. The crest, having a
cutout heart below a pierced bow,
is above molded slats and a rush
seat flanked by carved, shaped
arms and turned posts with finials
supported by turned legs and
stretchers. Private Collection,
western New York.
47.5"H x 25.5"W (at arms)
18" seat height
17" seat depth
23
27
Chippendale Mirror
Transitional Chippendale
Parcel-Gilt Mirror, attributed
to Nathan Ruggles, Hartford,
Connecticut, ca. 1805-1815.
Mahogany veneer on white pine,
pine secondary. The mirror has
some replaced sprigs, one
replaced rosette, and minor
restoration to areas of gilt,
otherwise original throughout.
Fully developed for an American
mirror, it has a broken arch top
surmounted by a carved urn with
sprigs and carved foliage on the
sides. Deaccessioned from the
Providence, Rhode Island,
Historical Society.
56"H x 24"W
24
28
Girandole Mirror
Girandole Mirror with
Candlearms, English, ca. 17901810. Pine and gesso with gilt,
pine backboard. Minor restoration
to areas of gilt, restored antlers
and candle-cups. A mirror of
wonderful size with desirable
features including the carved
recumbent deer above the
convex mirror and the original
carved candlearms.
41"H x 25.5"W
25
29
Federal Mirror
Transitional Federal Gilt-Wood
and Gesso Mirror with Carved
Panel Above a Looking Glass,
New England, ca. 1815-1825.
White pine with gilt and gesso,
pine secondary. The mirror is
in excellent, untouched original
condition. Rare to find a carved
melon with foliage on the panel.
42"H x 20.5"W x 2.5"D
30
Federal Painted Mirror
Federal Grain-Painted Mirror
with an Eglomise Tablet above
a Looking Glass, New England,
probably Connecticut, ca. 18101820. Pine with grain paint, pine
secondary. The mirror is in
excellent condition, original
throughout. Painted to appear
as mahogany veneer, this country
version is quite sophisticated
and was well suited for a formal
setting.
33"H x 18.5"W x 3"D
26
31
Federal Mirror
Federal Gilt Wood Mirror with
Eglomise Tablet, New England,
probably Massachusetts, ca. 18151820. Pine and gesso with gilt, some
flaking to the reverse painting
with some minor touch-ups to
areas of gilt. The mirror is
imposing in size and retains its
original reverse painting on glass
depicting an important moment
in American History: Commodore
Thomas McDonough’s victory over
the British on Lake Champlain
in 1814.
54.5"H x 31"W x 6.25"D
27
28
WORKS OF ART
I
AMERICAN PAINTINGS AND WATERCOLORS
II
CONTINENTAL PAINTINGS, WATERCOLORS &
NEEDLEWORK
32
Portrait of John Sherman
(1750-1802)
Portrait of John Sherman Seated
at His Desk. The Sherman
Limner, active 1785-1790,
Connecticut active, 1785-1790.
Oil on canvas. Lined on new
stretcher with a few areas of
restoration with scattered inpainting, retains the original frame.
A group of portraits executed
around 1787 by the Sherman
Limner, whose name derives from
these portraits he painted of this
prominent New Haven, Connecticut
family: John Sherman (17501802), the son of Roger Sherman,
John’s daughter Maria (17741857) and his son, David Austin
(1781-1843) whose portrait is
signed on the reverse, “Jany 2d
1787.” The fourth portrait, that of
John’s first wife, Rebecca Austin
Sherman (1753-1830) completes
the group.
Exhibitions:
Stonington, Connecticut, Village
Improvement Society, “Early
American Portraits,” August 20,
1925.
New London, Connecticut,
Lyman Allyn Museum, “Eighty
Eminent Painters of Connecticut,”
March 9-April 20, 1947.
Montclair, New Jersey, Montclair
Art Museum, “The Beardsley
Limner and Some Contemporaries,”
December 17, 1972 - January 28,
1973.
New Haven, Connecticut, New
Haven Colony Historical Society,
“The Beardsley Limner and
Some Contemporaries,”
February 11, 1973 - March 25, 1973.
45.75"H x 42"W framed
30
33
Portrait of Hannah Hurd
Portrait of Hannah Hurd with Her
Pet Squirrel and Squirrel Cage.
The Beardsley Limner, active, ca.
1785-1805, Massachusetts ca.
1790. Oil on Canvas with original
carved gilt, stenciled and painted
frame. In a superb state of preservation. An unusual feature of this
work is the fact the original frame
serves as its canvas support. An
identical frame to this appears on
a number of the surviving portraits
by the Beardsley Limner, including
the portrait of Joseph Wheeler
illustrated in Southeby’s, Ther
Bertram K. and Nina Fletcher
Little Collection, Part I, January
29, 1994, lot. 300. The discovery
of the Hannah Hurd portrait raises
the number to at least sixteen
known examples by The Beardsley
Limner. This example rates as
one of the supreme masterpieces
by this artist. Descended in the
family of the sitter, acquired and
sold by David A. Schorsch
American Antiques, 1997.
33"H x 30"W framed
31
34
Portrait of a Young Boy
Portrait of a Young Boy Seated
with His Dog on a Painted Floor.
Artist unidentified, New England,
ca. 1830-1840. Oil on canvas. Lined
with minor scattered in-painting
to background areas only, in a
period gilt frame.
33"H x 28.5"W framed
32
35
Portrait of
Emma Woodfin Kerr
Portrait of Emma Woodfin
Kerr Wearing a Red Dress with
Her Pet Cat and Dog. Artist
unidentified, Southern States,
on a new stretcher with scattered
in-painting to background areas
and edges, in a contemporary
black painted frame. This portrait
incorporates so many wonderfully
charming folk art attributes. The
artist has successfully captured
that bond between the child and
her pets. Coupled with the strong
composition and brilliant colors, it
has all the desirable elements we
look for in folk portrait painting.
33
36
Pair of Portraits
Pair of Portraits, Husband and
Wife with Child. Artist unidentified,
New England, possibly Vermont,
with minor scattered in-painting,
in contemporary painted frames.
Painted in a wonderful stylized
and flat manner. The pigment of
the faces or the “chalky white
look” is a distinct feature that is
reminiscent of a group of portraits
thought to be by a Vermont artist.
Gentleman:
30.75"H x 27.5"W framed
Woman with Child:
30.75"H x 27.5"W framed
34
37
Portrait of D.E. Lee
Portrait of D.E. Lee Seated on a
Classical Sofa with a Landscape
View in the Background. Inscribed
and signed on verso, “Perison [?]
Painter 1830,” New York. Oil on
canvas. On original stretcher with
virtually no restoration, in a later
black painted frame.
38"H x 33"W framed
35
38
View of Niagara Falls
View of Niagara Falls Depicting
Observation Tower and Platform.
Artist unidentified, probably New
York, ca. 1850-1860. Oil on canvas.
In excellent condition with minor
touch-ups to the edges, in a period
walnut frame. Recently cleaned,
the painting reveals brilliant colors
and a luminosity equal in quality
to the best painters of the period.
40"H x 35"W framed
36
39
Landscape View of a Lake
Landscape View of a Lake with
Rowers and Figures on the
Shoreline. Signed and dated (l.l.)
“E.D.Lewis 1869,” Edmund
Darch Lewis, Philadelphia, PA
(1835-1910). Oil on canvas. Lined,
in excellent condition, retains the
original carved wood and gesso
frame. During the late 1860s
Lewis lived and painted in the
White Mountain region of New
Hampshire. He exhibited at the
PAFA, NAD and Boston
Athenaeum. This painting was
exhibited in 1869 at the PAFA.
37
40
Landscape View of an Inlet
Landscape View of an Inlet
Depicting a Townscape with
Figures and Boats Along the
Shore. Attributed to Thomas
Chambers, probably along the
Hudson, New York. 1860-1870.
Pastel on prepared sand paper.
In excellent untouched condition,
in a period gilt frame. It is rare to
find works by Thomas Chambers
executed in pastel; so far we
know of only three. The work
itself has all the expected
Chambers characteristics: the
bold use of color, the fanciful way
of painting buildings and terrain,
the foreground with figures, the
sails of the boats and the setting
sun along with the dramatic sky.
These elements contribute to the
very stylized manner in which he
painted and define this particular
work as being by Thomas
Chambers.
22.5"H x 28.5"W framed
38
41
Landscape View
Along the River
Landscape View Along the River
with Boats and Homestead.
Attributed to Thomas Chambers,
New York, ca. 1860-70. Oil on
canvas. Lined, the old varnish
surface was recently removed
revealing no evidence of in-painting,
in a period gilt frame. Chambers
was quite a prolific painter of
daily life along the Hudson River.
His works were painted “en plein
air” or derived from memory or
print sources. Chambers’ works
vary in subject and style but they
all seem to display a fanciful and
dramatic flair. This particular
example includes many techniques
and trademarks of Thomas
Chambers’ work.
26"H x 35"W framed
39
42
Landscape View of Rowers on a
Lake. Signed (l.l.), S. R. Dyke,
American School, ca. 1875. Oil on
canvas. Minor in-painting along
the edges, in the original frame.
Not much is known about Dyke.
He was a Pennsylvania artist and
worked primarily in the Delaware
Valley and Hudson Valley.
30"H x 44"W framed
43
Landscape View of a River
Landscape View of a River with
a Hunter and Figures in a Boat.
Artist unidentified, American
School, probably Mid-Atlantic
States. Oil on canvas. Lined, on
original yellow pine stretcher,
minor scattered in-painting in
sky, retains original frame. This
landscape, executed in a rare
large size, has a serene and
charming feel to it.
35.75"H x 45.75"W framed
40
44
Landscape View of a River
Landscape View of a Fisherman
on the River. Artist unidentified,
American School, probably New
England, fourth quarter of the
19th century. Oil on pine panel.
Retains an early varnish with
minor in-painting to edges, in a
period gilt frame. This landscape
portrays a wonderful subject matter
painted in a bucolic setting.
15.5"H x 19.25"W framed
45
Landscape View
of a Homestead
Landscape View of a Homestead
with Rearing Horse.
Artist unidentified, American
School, probably New York, forth
quarter of the 19th century. Oil
on canvas. Lined, with minor
restoration, in a period gilt frame.
The artist has successfully combined landscape and genre to capture an image of daily life in rural
19th century America.
29.5"H x 41.25"W framed
41
46
Portrait of “The Pioneer”
Passenger Tug Boat. Artist
unidentified, probably coastal
New England, ca. 1865-1875. Oil
on canvas. Excellent condition
with virtually no restoration, in a
period gilt frame. The Pioneer
was active in the mid-19th century
as a passenger tug transporting
people from Portsmouth to The
Isles of Shoals, New Hampshire.
47
Still Life of a Watermelon
Still Life of a Watermelon on a
Platter. Artist unidentified,
American School, probably New
York, third quarter of the 19th
century. Oil on artist board
retaining label on verso, “F.W.
Devoe & Co. New York.” The
painting is in excellent condition
with a dry varnish finish and a
contemporary gilt frame.
22"H x 28"W framed
42
48
Ship, Annie
Portrait of The Ship Annie
Attributed to Thomas Willis
(1850-1925) New York, ca. 1900.
Oil on canvas with stitched fabric
and velvet for the vessel. Excellent
condition, retains original backboards with newspaper lining
identifying the origin to New York.
In a rosewood veneer frame. Willis
worked primarily in the Hudson
Valley area along the river. His
medium alone is perhaps the most
unique feature. This example is
one of Willis’s best quality works
with great attention to the details
of the vessel and rigging. The
detail of the background landscape is another notable feature.
43
49
Harrington Family Record
The Record Depicting an Eagle
and Shield, Flanked by Columns
Above a Church Inscribed,
“George F. Nancey Harrington’s
Family” and signed and dated
(l.r.) Dennis F. Tr...cy [?], 1837.”
Probably New York. Watercolor
on paper with minor staining,
fading and discoloration to some
areas. The piece is in overall fine
condition, in a period bird’s-eye
maple frame.
17.75"H x 14.25"W framed
50
The Property of Tristan
Little 1826
Calligraphy exercise inscribed,
“The Property of Tristan Little
1826.” American. Inscribed on
paper backing, “Tristan Little
Hampstead January 1, 1829.”
Watercolor and ink on paper.
Minor staining and toning, in a
period green painted frame. The
watercolor features illuminated
“Multiplication Table,” “Mariner’s
Compass” and a “Map of America.”
51
Boy with Rifle
Miniature Portrait of “George
King 1842” with His Rifle.
Signed by “B. Louen 1842” (l.c.)
Pennsylvania. Watercolor on paper.
Minor staining and toning, in the
original period frame.
6.75"H x 6"W framed
44
52
Adams Family Record
The “Births and Marriage of
Cornelius and Rebecca Adams.”
Signed on verso, “T Prince.”
Probably Massachusetts, ca. 1804.
Evenly toned, minor staining,
upper left corner missing, in
excellent original condition,
including frame and backboards.
Inscribed on verso, “This Record
is drawn for 10-12 glas I have
been long enough about it, but
every think comes in the right
time excepting Old Maid wedding days and seasonable rains,
For it is very dry at this time June
20th [signed] T Prince.”
13.75"H x 11.75"W framed
45
53
Pennsylvania Railroad
Locomotives and Tenders
Collection of Eleven Pennsylvania
Railroad Locomotives and
Tenders. Signed, “C.H. Caruthers.”
Pennsylvania, probably
Philadelphia, ca. 1860-1865.
Gouache and ink on paper.
Some with minor staining, areas
of wear and loss of paint, in
contemporary distressed frames.
Eight examples are signed, each
numbered with copious ink
inscriptions. On verso, identifying
dates and locations where engines
were built and painted as well as
restored.
A
A. 21.25"H x 20.5"W
B. 21.5"H x 19.75"W
C. 20.75"H x 19.5"W
D. 14.5"H x 15.25"W
All dimensions framed
B
46
C
D
47
54
Townscape
Townscape View of
Cambridgeport, Massachusetts,
ca. 1822-1828. Attributed to
Charles Hovey. Depicting the
Hovey Tavern and a view of the
Universalist Church, corner of
Massachusetts Avenue and Main
Street. Watercolor and ink on
paper. Minor tears restored with
some staining and toning. The
accurate rendering of the drawing,
along with condition of the watercolor, make this piece desirable.
55
Saint John’s Chapel
Landscape View of Saint John’s
Chapel, New York. Signed and
dated (l.r.), “EJ Morgan, 1840.”
In excellent condition, minor
toning, in what appears to be the
original frame. Label on verso
from Kennedy Galleries, NY.
Saint John’s Chapel was considered
the most beautiful church in
downtown Manhattan.
17.25"H x 23.75"W framed
48
56
Landscape View
of the Hudson
Landscape View of the Hudson
Valley Depicting an Inlet with
Townscape. Artist unidentified,
probably New York, ca. 18601880. Charcoal on sandpaper.
Excellent untouched condition
retaining original frame and
backboards.
49
57
Calligraphy Drawings
Calligraphy Drawings, One of An
Eagle, signed, “John V.
Montgomery, Upper Leacock
Township, Lancaster County,
Penna,” the other inscribed,
“Procede, dum juvenis.”
Circus Performers, signed, “JV
Montgomery” Pennsylvania, ca.
1875-1885. Watercolor and ink on
paper. Excellent condition, few
minor abrasions, frames of a later
date. Calligraphy exercises were
mostly executed in a monochromatic style. Examples displaying
color, such as the ones shown
here, are rare and obviously more
desirable.
Eagle: 20.5"H x 14.75"W framed
Circus: 20.5"H x 18.25"W framed
50
58
Ship, Pico of Boston
Portrait of a Ship Inscribed, “Bark
Pico of Boston Captain J. Edward
Scott Entering The Sound, drawn
by J. Petersen, 1845.” Jacob
Petersen (1774-1845), Danish.
Watercolor and ink on paper. There
is restoration to the upper center
section due to some water damage,
otherwise in fine condition. Retains
the original carved gilt and gesso
frame. Peterson was among the
finest port painters during the
second half of the 19th century.
His superb rendering of ships
show great attention to detail. For
similar examples see illustrations
in, “Marine Paintings and
Drawings in the Peabody
Museum,” pgs. 247-248, plates
1070-1077.
51
59
Portrait of a Woman
Portrait of a Woman Wearing
a Silk Green Dress. Artist
unidentified, Austrian School, ca.
1840-1850. Oil on canvas. Lined
with minor scattered in-painting,
otherwise in fine condition,
frame of a later date. The sitter
is said to be Frau Theresia
Schenkel, by descent to the
present owner, The George
Waechter Family, Geneva,
Switzerland.
52
60
Portrait of a Barrister
Portrait of a Barrister Wearing a
Wig Sitting in His Chambers.
Artist unidentified, English
School, fourth quarter of the 18th
century. Oil on canvas. Some areas
with heavy craqueleure, minor
patches to a few abrasions, in the
original carved and gilt frame.
57"H x 47"W framed
53
61
China Trade Ship
Portrait of a Danish Ship, China
Trade. Artist unidentified, Chinese,
ca. 1850. The house flag identifies
this ship to Capt. Foster, Salem,
Massachusetts. Merchants often
bought into other China Trade
Shipping Companies. Oil on
canvas. Excellent condition with
minor patches to a few abrasions,
retaining original frame.
21.75"H x 27.25"W framed
62
Still Life
Trompe l'oeil Still Life, “Help
Yourself” signed, “Chr. Schmidt,
ca. 1850-1865.” Christian Schmidt
English School, ca. 1840-1860.
Oil on panel. Fine condition, frame
of a later date. Superbly executed
and thoughtfully arranged, Schmidt
has proven himself to be among
the finest trompe l'oeil painters of
his day in England.
24.5"H x 26.25"W framed
54
63
Landscape
Landscape View of a Town,
Bridge and Rowers on a River,
presumably Oxbridge. Artist
unidentified, English School,
first quarter of the 19th century.
Oil on canvas. Lined with some
in- painting to areas of craqueleure,
appears to be in the original
painted frame. Wonderful charming
townscape and genre in a
sophisticated folky manner.
55
64
Stage Coach
Portrait of a Passenger Stagecoach
from London to Portsmouth.
Possibly attributed to T. York,
(inscribed on old paper backing),
Gouache on paper. Minor tears
restored with some scattered
in-painting, in what appears to
be the original frame. The detail
of the stagecoach and figures,
coupled with the finely executed
landscape in the background, are
signatures of an accomplished artist.
21"H x 31"W framed
65
Needlework and Stumpwork
Depicting a Woman Standing
Among Creatures with Flowers
and Tendrils. Artist unidentified,
Embroidered wool on silk,
metallic thread, watercolor, stump
secondary. In a remarkable state
of preservation retaining the
original frame and backing,
customary wear and loss to wool
from oxidation. The fine details
of the woman’s face and the use
of metallic threads for her dress
are the most notable features.
13"H x 14"W framed
56
DECORATIVE ART
I
TRADE SIGNS
II
WEATHERVANES
III
CARVINGS AND BOWLS
IV
POTTERY AND SCULPTURE
58
66
The Scout
Cast Indian Figure, “The Scout,”
with plaque “W. Demuth & Co.,
Manuf’rs 501 Broadway, New
York,” New York, ca. 1873. Cast
zinc with traces of some paint.
Originally polychrome painted.
The plaque on the back assigns
this figure to M.J. Seelig & Co.
in 1873. Moritz J. Seelig, a German
immigrant to America in 1851, was
responsible for casting most single
figures for both William Demuth
and J.W. Fiske. Seelig established
his zinc statuary business in 1851
on Maujer St., Brooklyn, New York.
The plant was destroyed by a fire
in 1891. These cast figures were
meant to take the place of the
carved wood tobacco figures and
other advertisement figures. In
an 1871 advertisement, Demuth
claims he was the first in the
country to introduce "metal show
figures." (Smithsonian). Casting
zinc in the 19th century was an
art unto itself. It was costly, time
consuming and in some cases
dangerous; therefore production
was limited.
64"H, 76.75"H with base
16"W x 16"D base
59
67
Tavern Sign, S. Chapin
60
Double-Sided Tavern Sign,
S. Chapin (Sumner Chapin),
Chicopee Parish, Massachusetts,
ca. 1830-1850. Pine with polychrome paint, textured surface
below with gilt paint lettering. The
iron strap hangers were reproduced
at Colonial Williamsburg to match
the originals. The sign retains all
the original paint and has survived
in an amazing state of preservation.
Colonel Abel Chapin and his sons,
Sumner and Abel, specialized in
raising cattle for the New York
and Brighton markets. They
garnered many awards and national
recognition for raising oxen of
exceptional size. Their success is
documented in many articles and
advertisements found throughout
the period. Following Abel
Senior’s death in 1831, his sons
took over the family business.
Ultimately Sumner became the
new head of the household and
chief operator of the farm. We
assume the tavern sign was made
during this period of transition.
Continued
In 1785, Colonel Abel Chapin
(1756-1831) built a large home
on Chicopee Street bordering the
Connecticut River. His home and
farm were strategically located on
the main thoroughfare, just north
of the Jones Ferry that shuttled
people, cattle and other cargo
across the Great River. According
to an account published in 1899
by a town antiquarian, the building
served as a tavern and headquarters
for Chapin’s large farm and cattle
fattening operation: “…hanging
out under the old elm tree the
sign…told of good cheer and
hospitality within. This sign, still
in existence, shows on one side
haystacks and sheaves of grain,
on the other an ox and sheep with
the name, S. Chapin, in large
letters underneath.” [1] The
home is memorialized in a postcard that illustrates a late 19th
century view of the house and its
then-owner, probably Sumner
Chapin (1798-1881) or Abel
Chapin (1791-1870), sons of
Colonel Abel Chapin and second
generation owners of the family
homestead. The postcard is
entitled “OLD STAGE TAVERN /
Built in 1785 by Col. Abel
Chapin.” The building was torn
down in 1934. [2]
38.75"H x 44.5"H
[1] Clara Skeele Palmer, Annals of
Chicopee Street (Springfield, MA:
Henry R. Johnson, 1899), p. 46.
[2] The house is illustrated in Palmer
and Stephen R. Jendrysik’s Postcard
History Series: Chicopee (Portsmouth,
NH: Arcadia Publishing, 2005), p. 10.
61
68
Trade Sign
Tea Shop Trade Sign, probably
New England, fourth quarter of
the 19th century. Pine with painted
surface. There are a few repairs to
the handle, otherwise in excellent
condition with an untouched
painted surface. Some loss to the
paint due to weathering. In the
form of a teapot, we assume the
business sold tea and teapots. The
sign was found in Maine.
40.5"H x 31"W
69
Pocket Knife Trade Sign
Pocket Knife Trade Sign, probably
New England, fourth quarter of
the 19th century. Carved pine with
a painted surface, the blade is
covered with tin and the handle
has a brass plaque. The piece is
in untouched condition with
expected wear and oxidation from
natural elements. Having all the
attractive features for a trade sign
collector: size, form, surface and
condition.
88"L
62
70
Carved Indian
Rare Carved Counter-Top Indian
Tobacconist Figure with Plume
and Quiver with Arrows, American,
possibly New York or New England,
third quarter of the 19th century.
Carved pine with a polychrome
painted surface. The figure retains
the original paint and varnish
finish with some wear and loss
from natural elements. Carved
from solid pine with the support
being separate from the figure, it
has remained in excellent condition
and stands on the original base.
Great attention given to the carved
and painted boots and plume.
39.5"H x 13.5"W x 11.5"D
63
71
Spoon Rack
Rare Hanging Spoon Rack with
a Covered Wall Box, probably
Hudson Valley, New York,
possibly Connecticut, ca. 17301750. Gum wood with painted
surface. The original paint color
appears to be green with the red
paint applied in the late 18th or
early 19th century. The hinges
may have been replaced at this
time. Overall, the spoon rack is in
excellent condition. The form of
the back with the molded side
edges, the molding details on the
spoon supports and the inclusion of
the covered box are the desirable
and rare features of the piece.
Spoon racks like this are seldom
found in the market.
26"H x 13"W x 6.25"D
64
72
Index Horse
Index Horse Weathervane,
attributed to J. Howard &
Company, Bridgewater,
Massachusetts, ca. 1860-1875.
Molded copper, cast zinc, wrought
iron base bar. There are traces
of a painted surface, now worn
showing an oxidized surface from
natural weathering. Complete
with the original supporting bar
at the base. Excellent condition
with original verdigris surface.
These horses were among the
earlier forms manufactured by
J. Howard & Company, the only
manufacturers who did not offer
a catalogue promoting their
products, which may be why
fewer of them exist today. This
horse has a most successful and
well-defined cast head and overall
exhibits excellent form. It is the
best of its type in terms of quality,
form, condition and surface.
19.25"H x 24"L without stand
20.25"H with stand
65
73
Cow
Cow Weathervane, probably
Cushing and White, Waltham,
Massachusetts, ca. 1875-1890.
Molded copper with a cast zinc
head and painted surface. The
yellow paint appears to be
original, blending with the natural
oxidation of the copper. The ears
are restored and there are minor
repairs to the front of the support
bar. The form and surface of the
cow are its most appealing features.
The earlier models, such as this
one, tend to be more stylized in
form and flattened in design.
17.5"H x 28"L
74
Dexter Horse
Dexter Horse Weathervane,
attributed to Cushing and White,
Waltham, Massachusetts, ca.
1880-1890. Molded copper with
a cast zinc head and gilt surface.
The horse remains in untouched
original condition and retains
most of the original gilt surface.
This incredible survivor of
time is also desirable for its
small size.
12"H x 26"L
66
75
Eagle
Large Eagle Weathervane,
possibly by Fiske and Company,
New York, ca. 1880-1895. Molded
copper with a cast zinc arrow head
and feet. The eagle has traces of
an earlier gilt surface and white
paint blending with a natural
verdigris surface. Of a stately size,
the full body eagle with outstretched wings is perched on a
ball and arrow. This example
shows great definition to the body
and to the underside of the wings.
30"H on stand x 29.5" wingspan x
30"L arrow
67
76
Arrow
Arrow Weathervane, probably
Inscribed with gilder’s name and
dated 1883. Purportedly this
molded copper weathervane
was removed from a building in
Providence, Rhode Island. The
arrow is in excellent condition
with the original verdigris surface.
The slightly over-sized full body
arrowhead and the cut of the
feathers make this piece rare
and possibly unique.
18.5"H x 37"L
77
Eagle
Eagle Weathervane with Cast
Head, probably Fiske and
Company, New York, ca. 18801890. Molded copper with a cast
zinc head and arrowhead. The
eagle retains some traces of the
original gilt surface and is in
untouched condition. The most
notable feature is the quality and
definition of the eagle’s cast head.
18.5"H x 22" wingspan x 21.25"
depth with stand
68
78
Rooster
Rooster Weathervane, probably
New York or New England, ca.
1880-1890. Molded copper with
polychrome paint. The paint
decoration, highlighting the
comb, beak, wattle and feet,
appears to be original. The
untouched nature of the piece
is the most desirable feature.
The form of the rooster’s head
with the tall comb, coupled with
the yellow-painted surface, are
also visually appealing.
24"H x 21.75"W without stand
69
79
Eagle
Eagle Ornamentation, American,
possibly Fiske and Co., New
York, ca. 1875-1900. Molded zinc.
There is minor re-soldering along
the seam of the tail, otherwise in
fine condition. The surface has
naturally oxidized. The imposing
size of the eagle, perched on a
ball with outstretched wings,
gives it great presence. The
eagle likely adorned the top
of a building or was used as
an architectural element.
34"H x 42.25" wingspan x 23"D
70
80
Lion
Lion Garden Figure, probably
English, first quarter of the 19th
century. Cast iron with a painted
surface. The figure is in untouched
condition with original paint. It
appears the figure was originally
anchored down into stone. Lion
figures were used as guardians of
estates and often came in pairs.
This early example has great
sculptural appeal.
24"H x 36"L without base
43.5"H x 42"L with base
71
81
Arrow
Large Arrow Weathervane,
American, ca. 1880-1890. Copper
with a zinc-coated iron arrowhead.
It retains a wonderful verdigris
surface with traces of a later paint.
The arrow is impressive in size
and scale, the strongest feature
being the cast iron arrowhead.
31.50"H on stand x 61.50"L
82
Airplane
Rare Airplane Weathervane,
American, ca. 1920-1930. Sheet
metal, copper tubing, iron. The
plane is in fine condition with
good oxidation to the surface.
This single wing, single propeller
plane weathervane was probably
handcrafted, either made on commission or for personal use. It is
possibly a unique piece.
18.75"H on stand x 24" wingspan
x 27.5"L
72
83
Swordfish
Carved Swordfish Weathervane,
White pine with a painted surface.
The condition is excellent with
the original painted and varnish
surface. Originally found in Maine,
we assume it was made somewhere
close to the coast. It appears to
have been made by an independent
craftsman.
16"H x 74"L x 4"D
84
Pike
Carved Pike, American, ca. 19001920. Originally found in Michigan
and thought to be from a local
tackle shop. Carved laminated
pine with tin fins and polychrome
paint. The condition of the piece
is excellent, missing only a few fins.
The painted surface is original.
The body is made of laminated
wood dowelled together and then
carved, giving it form. Certainly
built to withstand weathering, it
was probably used as an exterior
trade sign.
32"L x 4"W x 17.5"H on stand
73
85
Eagle
Carved Eagle with outstretched
wings, probably American, ca.
1800-1820. Pine with a gilt surface.
The base and bottom carved
portion below the eagle are of a
later date. The gilt appears to be
original with some minor touch-ups.
The carving quality is as impressive
as the scale of the piece.
20.5"H x 24"W x 9"D
86
Harvest Bowl
Extremely Large Turned Harvest
Bowl, probably Pennsylvania,
second quarter of the 19th century.
Maple with a red painted surface.
The bowl has an early tin repair
and remains in excellent condition
with an original red painted surface.
Made as a utilitarian object, the
bowl has survived to become a
piece of sculpture.
28.5" diameter
74
87
Walrus Tusk
Carved and Scrimshaw-Decorated
Walrus Tusk Inscribed on the
verso, “Taken in the Artic [sic]
Ocean June 8th A.D. 1851.”
Appears to be in excellent condition
with light discoloration. Carved
with an eagle’s head at the tip,
the tusk is highly decorated,
depicting a whale, sailor with
harpoon, and a three-masted ship
surrounded by foliage. From the
collection of Virginia B. Lowry,
Gladwyne, Pennsylvania.
11.5"L
75
88
Eagle Plaque
Carved Eagle Plaque, Inscribed,
“Sacred To The Memory of
Departed Heroes, Robert
Wellford, Philadelphia.”
Pennsylvania, ca. 1790-1810.
Commemorating the soldiers
who fought during the War of
1812. Carved pine and applied
gesso with an early varnish finish.
There is an old break to the
eagle’s head and small areas of
missing gesso. Only a few of
these mantle pieces have survived
intact. Taken from the center
section of a Wellford Mantel,
this relic has survived in good
condition.
13.75"H x 23"W
89
Burl Bowl
Rare Large Turned Burl Bowl,
probably American, second half of
the 18th century. Burl elm or ash.
The bowl has a crack at the rim
which has been stabilized and
there is evidence that it once
had handles. The expected wear
and natural patina amplify its
aesthetics; with its steep sides,
cylindrical form and swirling
wood grain the bowl becomes
a piece of sculpture.
9.75"H x 21.5"H diameter
76
90
Jug
Commemorative Jug Depicting
the Landing of Columbus in
America, attributed to the White
Pottery Company, Utica, New
York, ca. 1875-1885. Stoneware
pottery with a polychrome glaze.
The five gallon jug or cooler
probably had a cover and is
missing the spout. The incised
decoration is well executed with
meandering foliage on the verso.
In celebration of the Centennial
Year many companies produced
symbolic works of art depicting
key moments in the country’s
history to demonstrate their
patriotism. The arrival of
Columbus in America was one
such moment.
16"H x 12" diameter
77
91
Bodhisattva
Head of a Bodhisattva,
Gandhara, fourth century. Clay
with polychrome paint. The
condition is remarkably good
and much of the original paint
is retained. The face bears the
serene expression of an enlightened
being. The term Gandhara is
synonymous with both an artist
school and a geographic region.
In ancient times, Gandhara
encompassed an area now
occupied by mostly Pakistan,
Afghanistan and Northwest India.
19"H
78
92
The Vine
Nude Model Posing with a Vine,
inscribed on the rim of the base,
“Harriet W. Frishmuth (dated)
1921, (foundry’s mark) Gorham
and Co. Founders/OBWS.”
Bronze. Harriet Whitney Fishmuth
(1880-1980) worked mostly in
New York. The figure is in
excellent condition, retaining the
original soft-toned brown patina.
The model for the vine figure was
the dancer Desha and the pose is
said to have been inspired by her
dance, “Modernistic Tango.”
Acquired from the original
owner, 1929.
12"H with base
79
Claire Simler, Jeffrey Tillou, Kelly Susi
39 West Street, on The Green
Litchfield, Connecticut 06759
Tel. (860)567-9693 Fax (860)567-8526
[email protected]
Open Monday, Wednesday through Saturday from
10:30 a.m. to 5 p.m., Sunday from 11 a.m. to 4:30 p.m.
Closed Tuesday. Private appointments available.
Member Antiques Council and ADA
tillouantiques.com
39 West Street, On The Green in Litchfield, Connecticut 06759
Tel. (860)567-9693 Fax (860)567-8526
[email protected]
Open Monday and Wednesday through Saturday 10:30 a.m. to 5 p.m., Sunday 11 a.m. to 4:30 p.m. Closed Tuesday.
Private appointments available.
Member Antiques Council and ADA
tillouantiques.com

JeffreyTillouAntiques JeffreyTillouAntiques

Transcription

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