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September 2018 Maine Antiques Digest Ad
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Circa 1880 to 1890
Wood, tin and paint, tin can hat, carved, very good condition

A black man standing atop the large sperm whale cranks the large propeller shaft as the overseer appears to be raising a switch. The imagery may speak to the system of oppression that evolved within the 19th century whale fishery. Whaling ports were refuge for runaway slaves who sometimes enlisted on a whaling vessel to avoid capture. The Nantucket and New Bedford whale fisheries (Naming just two ports) employed large numbers of sailors of color after slavery was abolished; also Cape Verdeans and Azoreans that arrived on whaling ships from their home ports. Very good original condition, call for details. (Dimensions: 34.5” H by 52” W by 31” D.)

For further information, please contact David Hillier at or 978-597-8084.



Carved and Painted Bird Toothpick Holder, Joseph Romaud Bernier (1873 – 1952)
Biddeford, Maine, Circa 1890
Maine folk art by “Bernier the Lumberman” remaining in original condition - SOLD

(Height: 4.25"; length: 5"; width: 1.75")

707-72 - SOLD

Folk Art Carved and Painted Bird, Joseph Romuald Bernier (1873-1952)
Biddeford, Maine
A scarcely encountered large example perched on carved base - SOLD

Literature: Magazine Antiques, Bernier the Lumberman: The mystery carver of Biddeford, Maine, identified, Leslie Rounds and Jessica Skwire Routhier, Summer 2010
(Very good original condition; H: 9”, L: 10.75”, W: 3.25”)


216-623 - SOLD

Six Chippendale Cross-Eyed Owl Splat Side Chairs, Salem-Marblehead, Massachusetts

Each with a serpentine crest rail having carved ears and a “cross-eyed owl” pierced splat over a trapezoidal shaped slip seat and frame; molded seat rails and splat shoe; frontal pierced brackets on square legs with beaded edge joined by a recessed stretcher. Comprising five matching mahogany examples and a similar cherry example. Excellent condition, very nice color and surface. (Height: 36.5”, seat height: 17”, seat width measured at front: 21.5”)



Figured Walnut Highboy, Original Surface & Engraved Brass Hardware
Boston, Circa 1730 – 1750
Walnut, walnut veneer, herringbone banding, white pine secondary wood

(Excellent original condition; height: 65.75"; bottom case: width: 39.25"; depth: 20.5"; top case: width: 37.75"; depth: 19.75")



Table, Candlestand, Original Surface
18th Century
New York
Gumwood, oak, and poplar

The round two-board top with featuring concentric scratch-beaded edge is pegged to carved cross-cleats receiving the turned column raised on shaped slab-cut feet which are pinned to base with turned drop.
(Dimensions: 27” H, 22” top diameter.)



Matched Pair, Fire Buckets, Keene, New Hampshire, A. Wright, No1 & No2, C. 1820
Adolphus Wright (1785 – 1864) was wig maker and Deacon of the Keene

Congregational Society; he was known to of had the best garden in town.,br> Painted black with brick-red trim and handles, original decoration; other Keene buckets displaying identical decoration are known to exist. Paint is oxidized, varnish has yellowed; it appears that one bucket survived prolonged heat. These buckets retain their original handles; typically, the leather is compromised at “D” rings; this pair is wrapped in electrical tape at “D” ring. We have not examined the leather hidden by tape.
(Height: 14")



Cane, Tenth Anniversary, Tinned Sheet iron, Nineteenth Century
Anonymous - SOLD

A rare, possibly unique tenth anniversary gift; tubular handle above flattened knop-discs centering twisted shaft above the tapered ferrule; great color and patina.
(Fine original condition; length: 30.25")

997-30 - SOLD

Painting, Scripture Painting, Christ Preaching to the Innocents
Probably Hudson Valley Religious School, possibly Dutch Provencal School
Artist Anonymous, Early to Mid-18th Century
Painting on board, frame is molded & painted with carved & gilt decorated liner

The painting recently conserved and in overall good condition. The frame is period to the painting and likely its original frame. The frame with restoration to three tenon on reverse to stabilize mortise and tenon joints and to liner, front right facing.
(Frame: 24.5 by 19.75”, sight-size: 18.5 by 13.75”)



American Pilgrim Century Great Chair, Turned Carver Armchair, Circa 1665
Connecticut or Rhode Island, Possibly Branford Area

Turned stiles featuring large finals joining vertical and horizontal spindles; down swept turned arms; posts joined by trapezoidal rush seat above box stretcher.

Provenance: Bernard & S. Dean Levy, New York (with copy of receipt dated 1987); the William & Elizabeth Hayden Museum of American Art, Paris, Texas; Private Texas Collection. (Overall excellent condition; replaced rush seat; top rail has a notch as depicted; some loss of height: height: 41"; seat height: 16.5"; width: 24"; depth: 17.5")



Queen Anne Easy Chair, Likely Coastal Virginia, Probably Norfolk Area, C.1745
American walnut, live oak, mulberry and red pine by analysis

The easy chair frame is in very good structural condition with only trivial minor repairs. In May of 1990 Alan Miller harvested 11 small wood samples for microscopic examination by Harry Alden, wood anatomist, who at the time was employed by the Winterthur Museum. (Now in private practice, the go-to lab) The three-page report supports American manufacture [report is available to interested parties]. From a design point of view, if construction details are not considered, considering known American easy chairs; this example most resembles chairs from New York or the area from Virginia to South Carolina. To make a regional attribution with any hope of accuracy, the chairs design, construction and wood species details must be considered and reconciled. Two of the hardwoods in this chair, black walnut and live oak, are of unquestionably American origin; collective range is from Northern Virginia south. (Please call or email Dave to discuss other wood species used in this chair and/or to receive a three-page report. The chairs quirky construction is likely the product of a rural or small village shop. It is possible that this chair is from a previously unknown shop in New York and the live oak came north on coastal shipping; if this were the case, the spruce and/or red pine could be either local or imported (Unlikely that a rural shop had access to imported woods). While this theory is certainly possible, a fair amount of documented New York furniture is known and none of it resembles this chair in terms of construction mentality. Maryland or Charlestown were possibilities yet have been rejected for similar reasons. As for regional attribution, coastal Virginia or North Carolina, especially Virginia is favored and logical. Even with this regional attribution we must patiently wait for a similar chair with known history to present itself, however, the attribution is reasonable and plausible. In any case, this is a charming and pure, rare American chair displaying great individual character.

The chair is clearly an 18th century American antique made in what can be broadly described as the Anglo-American woodworking tradition with construction details and wood use choices common to no other style center. It is a product of a professional chairmaker or makers, however the workmanship habits do not correspond to those of any known urban center and display individualistic mentality which is internally consistent and, in a way, rational - although very quirky and idiosyncratic compared to the product of someone with standard apprenticeship training. The chairs frame, in several aspects, is the easy chair reinvented; its form realized and approximated in novel ways. The aforementioned suggests a rural, or at least, enclaved, origin for this chair; its maker could have arrived at his own solutions to the problems of chair frame construction without pressure to conform to more standard local practices. If there were no standard local practices, then this pressure would not exist suggesting that the chairmaker with professional skills but without firsthand easy chair frame making would logically have invented his own methods to arrive at his idea of the current chairs joinery and form. Two other general explanations seem possible; the first is that there existed a shop or regional tradition for technically making chairs like this. However, if this were so, more chairs made like this should exist and may one day be published. The second is an extrapolation of the first idea; if a chairmaker were trained to make chairs using this technique, he could have traveled to a new area and set up shop making products according to his habit and training.

See, Joseph Downs, American Furniture – Queen Anne and Chippendale Periods; plate 83 for an easy chair of similar design, circa 1745 – 1755, probably Virginia.

See, Southern Furniture 1680 – 1830, The Colonial Williamsburg Collection by Ronald Hurst and Jonathan Prown, pp. 71 and 72, number 9; a roundabout chair, Tidewater, Virginia, circa 1740 – 1750, made of walnut; related cabriole leg and turned pad feet. (Rear feet of our chair are shoed as often found in Virginia)

The Henry Francis Du Pont Winterthur Museum Decorative Arts Photographic Collection. 66.935 [closely related front and back legs/feet] Photograph of side chair; Albemarle County, Virginia, 18th Century

• Photographs of frame pre-upholstery are available. • Authentication by Alan Miller • Microscopic Wood Identification by Harry Alden, Winterthur Museum


Purchased by James Kilvington [1983] at Wilson’s Auction (Lincoln, Delaware) from the Dashiell family sale, they settled in Gloucester County, Virginia in the mid-17th century; members of this family later moved to Dorchester and Wicomico Counties, Maryland. To Ronald Pook in 1990, to our consignor, a private Virginia collector.


Height to top rail: 44.25”, height to armrest at cone: 25.5”, seat height: 16” without cushion, seat depth: 17.5”, width of top rail: 25.5”, width measured at front of wings: 29”, armrest with measured at outside of cones: 36.5”.



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