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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 fr om 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


Carved Wood Portrait Bust, Beautiful Young Lady, Neoclassical, Partial Profile
Likely Late 19th Century
Perhaps inspired by mythological effigies; her sensitive expression calming and serene

(The socle is also wood, outstanding original condition, fantastic patina; height: 16”)



Candle Sconce, Pair, Tinned Sheet Iron, Arched Top, Demilune Base, Single Socket
American, 19th Century

Displaying great color and patina, tall slightly arched domed tops facilitating heat and smoke deflection; tooled reflectors/backs having crimped, and wire reinforced vertical edges above similarly fabr icated crimpe d demilune grease pans each with a single folded rim nozzle. (Fine original condition; 14" x 4" x 3")



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")



Redware Storage Jar, Ovoid
Bristol County, Massachusetts, circa 1790-1830

Successful form with flared rim and slightly projecting foot…decorated with streaky Manganese.
(Very good original condition, minor ware constant with age and use; height: 9.5")



Antique Redware Jug, Very Bulbous,
Tan Glazes, Sprinkling of Manganese Brown
Southern Maine, circa 1800-1825
A lovely form in original fine condition

A lovely form remaining in fine original condition (Height: 8.5")



Large Chinese Export Famille Rose Punch Bowl, Circa 1790

The punch bowl is of great form and scale and features sparse Famille Rose decoration with monogrammed depiction of ‘Hope’ like-figure in cartouche. Possibly made for the American Rhode Island market, as Hope is the primary motif in the state seal. Above the cartouche is found in script, the monogram “MR”. The bowl remains in remarkable original condition with minimal rubbing to gold-work on the rim.
(Height: 6.25"; diameter" 16")



John Bradley, Portrait of Girl, Porthole Format, Signed
John Bradley, N.Y., Active in NYC Environs 1832-1847

Typical of his later works, more academic in spirit, this young child is painted against a clouded blue sky. The frame and matt were fabricated for this painting during the 20th century; canvas remains on original stretcher. Scattered in-painting.
Frame: 26.75" x 30"; view: 15" x 18"



Folk Portrait of a Girl in a Pink Dress Holding a Red Book, Full-length
American School, Painted about 1840
Oil on canvas, housed in a grain painted frame

Ex-collection: Avis and Rockwell Gardiner, Stamford Connecticut; Judy Lennett, Ridgefield, Connecticut (The painting is lined and re-stretched; extremely minor restoration; frame: 55.5" x 33.75"; view: 48" x 26.25")



Engraving, Prêtre de la Virginie...Prêtre de la Virginie...Magicien de la Virginie
Priest and Sorcerer of Virginia, By Bernard Picart (1673-1733)
Engraved Book Page, Dated 1721

Copper-engraved plate with three images, hand colored, probably later. matted, framed and glazed. The Native American sorcerer, or medicine man, stands above a bay or lake, upon which game birds are pursued with bows and arrows on one-page, Bernard Picart grouped two views of the priest with a portrayal of the "Magicien de la Virginie." This portrayal was copied closely from the 1590 engravings in de Bry's America, Part 1. John White depicted two Indian religious figures, an older man…known as a priest; the younger man White called "the flyer ", Theodore de Bry titled the latter "the conjurer." (From Ceremonies et coutumes religieuses de tous les peuples du monde représentées par des figures, avec des explications (Amsterdam, 1723–43; later editions 1810, 1819) The work is housed in a modern gilt frame: 27" x 23.5"; view: 13.5” x 8.5". Strong pigments; not examined out of frame.



Armchair, Ladderback, Four Arched Slats, Sausage Turned
Likely Connecticut or Connecticut River Valley, circa 1730-1750
Ash and maple, old dry surface

Four arched and graduated splats joined by robust sausage turned posts featuring tall finials; carved and scrolled arms joining outstanding front supports. The trapezoidal seat above sausage turned front legs… plain turned rear legs; turned double box stretcher; front stretchers are sausage turned. There are a few working-period honest burn marks caused by tabbed candlestick or betty-lamp hanging from second splat.
(Great condition: 43" x 23.5 x 21")



Period William and Mary Banister Back
Armchair with Carved Prince of Wales Crest
Massachusetts, Circa 1730 - SOLD

A scarcely encountered form in early 19th century black paint Carved maple and ash, old black paint
A banister-back armchair, probably Boston or vicinity displaying carved and pierced crest featuring
C-scrolls and leafage; the crest above block and turned posts centering five turned and split banisters;
scrolled arms above trapezoidal seat…the arms on turned supports continuing to block and turned
legs [square raked rear legs]. The legs are joined by bulbous turned stretchers, the front being massive.
(Extremely minor imperfections are constant with age and use; height: 47.5”, width 24 18”, seat height: 16.5”)



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