SHELDON PECK (1797– 1868) Portraits of a Man and Woman, Painted About 1828
Oil on wood panel, 25 x 19 15/16”
RECORDED: Marianne E. Balazs, Sheldon Peck, exhibition catalog (Whitney Museum of American Art, New York, 1975-76), the gentleman is number 13; the woman is catalog number 14.
EXHIBITED: Hirschl & Adler Folk, New York, Source and Inspiration, A Continuing Tradition, 1988, pp. 51 no. 27, 34 illus. in color // Hirschl & Adler Galleries, New York, 1991, American Folk Art, Selections from the Hirschl & Adler Collections, no. 48a
EX COLLECTION: acquired from descendants of the sitters in Cato, New York; to Mr. and Mrs. Richard Bury; to [William Samaha, Wellesley Hills, Massachusetts]
Sheldon Peck was born in Cornwall, Vermont, one of eleven children of early settlers. It is thought that he received no formal art training, and his works are not signed. However, his portraits are easily identifiable and fall into three distinct stages within his life: Vermont, until about 1827-28; Onondaga County, New York, from 1828 until 1836; and the Chicago, Illinois, area until his death in 1868.
Peck's general portrait style is characterized by rather stiffly posed subjects, a frontal position, prominent staring eyes, and strongly defined facial planes. All his Vermont and New York portraits were painted on wood panels, and most have plain dark backgrounds. This half-length Portrait of a Man was painted while Sheldon Peck was in New York State. This Portrait of a Gentleman from his New York period is one of a group of four family members. Excellent condition; please call or email Dave for more information, 978-597-8084 or email@example.com
Needlework Sampler: Martha Barron Pickering, Portsmouth, New Hampshire, 1828
Wrought by Miss. Martha Barron Pickering, Aged 11 Years, May 27th, 1828
Worked with silk threads and silk floss on linen
The stylistic format of Martha Pickering’s sampler-featuring a distinctive birdhouse and pyramid-shaped trees-was employed in Portsmouth as early as 1810 and continued to be favored until 1840. Works from this group include the month, day, and year that the sampler was embroidered. A picket fence attaches the house to barn; a single bird is usually perched on the gatepost, and a birdhouse (with chimney) is mounted on a pole elevated above the barns roof; there is a bird perched on the roofs peak. Another school tradition is the use of trees, they are always wrought in odd numbers of one, three, or five, depending on available space based on the width of the sampler; foliage is embroidered cross-stitches. Depicted in this work is a bird atop the center tree. This needlework sampler remains in superb original condition and is archivally mounted within an attractive modern frame. (Frame: 21" x 20"; view: 17.5" x 16.5")
Carved and Gilded Fish Mongers Trade Sign and/or Weathervane in the Form of a Bluefish
Unknown Maker, Late 19th CenturySOLD
A full-bodied anatomically correct rendering featuring carved details such as fins, scales and a slightly open mouth. The carving displays a historic surface history. It appears that it was at one time cantilevered, likely surmounting a signboard as evidenced by two filled small apertures [top-to-bottom] that accommodated hardware.
Horse Sculpture, Laminated and Carved, Geometric Puzzle, Precise Anatomy
Likely Vermont, circa 1880-1900
Walnut, butternut and maple
Elaborately carved, stop-and-start groove-carved tail, leather and copper wire bridal;
carved saddle and leather flap, carved stirrups [separated]. The sculpture is mounted on a pierced and carved
base…center section displays a fan carving and the letters “BBQ”.
[BBQ" must be a Quebecois version of Boofaloe Beel Quoidy]
Literature: FOLK SCULPTURE USA, the catalog of a fabulous exhibition at the Brooklyn
Museum and LACMA in 1976. Our horse is illustrated on page 50, as part of the Margaret Woodbury
Strong Museum collection, Rochester, NY.
See: American Folk Sculpture by Robert Bishop, pp. 196-197, figure 361 and Young
America, A Folk Art History by Lipman, Warren and Bishop, page 143. Also, see
Pioneer Couple, in the Peabody Essex Museum Collection, illustrated without oxcart on
page 155 and discussed on page 36, In the American Spirit: Folk Art from The Collection.
For a great cognate see, The Collection of Raymond and Susan Egan, Northeast Auction,
August 5, 2006, pp. 114-115, lot 871. This example sold 10 October 2019 achieving
$30,000.00; Sculptural Fantasy, The Important American Folk Art Collection of Stephen
and Petra Levin, lot 106. See the Clarion, Fall 1982, page 37. The published examples were
apparently part of the group of forty figures; a diorama of American
life exhibited in a Vermont country store.
(The work sans carving depicting Cody remains in fine original condition;
horse: height: 17.75"; width: 4.25"; length: 22"; platform: 14.75 x 9")
Tape Loom, Carved from the Solid, Great Patina
New England, circa 1800
Maple; art and utility combined
Pierced demi lune crest above frame; the crest and rails, featuring molded shoulders, and heddles are fabricated from a single solid piece of maple.
(Fine original condition; 8.5" x 9.5")
Ceramic Bust of a Mariner, American, Probably New England, Circa 1875
Original cobalt, iron and manganese colorants resulting in a primarily black glaze; the uniform and glazes suggest an 1875 or earlier dating. A complete analysis of the material and glazes has been performed by Winterthur and is included. (13-page report)
Condition: Please refer to the Scientific Research and Analysis Laboratory Analytical Report from Winterthur dated October 24, 2004. No repairs of restoration, various losses to the earthenware material especially around the bottom rim and to the left side of the coat; various glaze loses and age cracks. Holes at the stem of each arm and in the back are original and consistent to the firing process of such a large and dense piece. (Height: 17.5” , width: 11”)
Turned Bowl in Original Blue Paint, Thin Walled, Turned Rim and Low Foot
New England, 19th Century
Maple - SOLD
A wonderful large example, just the right amount of out-of-round, great surface and overall condition.
(There is a 1.5-inch tight fissure to the rim, else fine; 18"x7")
492-205 - SOLD
Pembroke Tables, Matched Pair with Original Brasses, Rarely Seen Pair
Lower Connecticut River Valley, Perhaps Hartford – Middletown Area
Mahogany, curly maple, poplar and pine, original surface
The drop leaves open to rest on short shaped fly-rails; top rests on plain apron containing single drawer; tapered legs; both tables retaining original brass hardware.
(No restoration; 28.75"; top closed: 29.5" x 19.25"; top open: 29.5" x 38.25")
$2,950 the pair
Cupboard, Canted Step-back, Open Top, Original Surface History
New England, Circa 1800
White Pine; nice small size and great surface
The molded open-top above molded-lower case with single plank door on cutout base.
The original salmon paint was long ago overpainted in light gray; now thinned exposing a wonderful surface and pigment. Ex Mason Stewart collection.
(Height: 71.5"; base height: 35.75"; width: 48"; base depth: 16"; shelve depths: 11.75"-10.25")
Cupboard-Wall; Chippendale, Pine, Red Wash, Step-Back, Glazed Doors, Hing ed Writing Surface
New England, circa 1800 (Purchased many decades ago at the venerable Russell Carrel flea market)
Original dark red surface and crazed varnish
Step-back pine cupboard in original red wash; rectangular molded cornice above a pair of glazed six-panel glazed cupboard doors opening to four tiers of valanced compartments, stepped back on the lower case fitted with a hinged writing lid and lopers above a pair of raised panel cupboard doors, raised on bracket feet with shaped returns. (Two lobes missing, all else in fine original condition; 70.5" high by 38" wide by 17.5" deep) Ex Betty and Tim Trace Collection.
Step Back Glazed Cupboard, North Carolina, Original Paint, Wallpapered Interior
Piedmont Region, Circa 1840 to 1860
This item just in, more information to follow, please call if interested
(Very good original condition; H: 80”, W: 42”, top case H: 39”, top case D: 11.25”, bottom case H: 41”, bottom case D: 19.25”)