I do not operate an open shop but prefer instead to treat my interest in Americana in a more relaxed manner. Indeed, my primary preoccupation is teaching at the California Institute of Technology, which affords me the luxury of pursuing a tertiary interest in American history. This feeds my interest in Americana and gives me the flexibility to pursue offering a selection of American country and formal antiques that represent the best of what we might otherwise associate with Back East tastes and design. In fact, after 40+ years of collecting Americana, with the last two and a half decades spent scouring the estate sales and flea markets of Southern California, the time has come to begin letting go. What you’ll find here, then, are things from my personal collection with the occasional addition of some treasure I found in my ongoing compulsive hunting. Needless to say, there’s a full “L.L.Bean-type” no questions asked guarantee on anything I sell. I do make mistakes, but I try not to pass them on to anyone. Tel #s: 818-952-8106; 818-618-7984 (cell). Email address is email@example.com. Want to add that I've just finished a book on experiences, lessons learned, etc, so check out my website at www.ordeshookantiques.com. I warn though that the text is constantly under revision as new lessons and experiences arise.
Here is an absolutely fantastic bit of depression-era American folk art ... a pair of hand carved, hand painted bookends in the form or two boys pushing against the books. Each bookend measures 7 1/2" high x 6 1/2" wide x 3 3/4" deep. I emphasize that the paint is wholly original and untouched.
This is clearly a flag never intended to be flown on a flag pole ... and made with a backing as if it were a quilt. Be that as it may, she measures 46" x 33" and is absolutely all hand stitched ... the hemming as well as the stitching of one stripe to another. The stars themselves are hand embroidered, and so its only the gold fringe that I suspect came from a fabric store as you see it.
Here is an oil on canvass painting of a Midwest homestead signed N.M Thomas and dated 1886. A sod roof outbuilding (see my second picture) offers a symbolic narrative of the pioneering spirit of the early American pioneers. One suspects that the sod building was the original homestead used before the farm house shown in my 3rd picture. The painting is in very good condition though glued down to a sheet of Masonite, and measures 24” by 14”.
Yes, it's lost some height ... I'd guess between 1 to 2" (current seat height is 15 1/2"). BUT, just look at that crest rail ... if it isn't one-of-a-kind, its only because its maker made more than one. All cherry except for the ash or chestnut turned stretchers, so odds are it was never painted. Almost surely New England in origin, but I can't pin it down more than that (although if forced to make a guess, I'd say Connecticut). Seat most likely isn't original, but it's real rush so probably 19th century. As for dimensions, she's 21 1/4" across the front, 15" deep, 44 1/4" high.
Offered here is this Massachusetts (North Shore or Boston) tilt top mahogany candlestand with a serpentine top. She stands 26 3/4" high, with a top that measures 23" diagonal corner to corner (appx 16 3/4" square) with an appx toe-to-toe spread of 16 3/4" to the feet. Beautifully formed with no repairs whatsoever, she bears an early and possibly original surface and is thus in original untouched condition.
Offered here is this wonderful silk on linen sampler by a Miss Sally (or Sarah) Collyer, age 9, worked, as the first line of the sampler says, in Marbelhead (Massachusetts) March 25, 1801. Admittedly, Sally's name at the bottom of the sampler is a tad difficult to read, but becomes apparent under black light. The second and third lines are the alphabet plus numbers 1 to 13. The remaining 10 lines are a verse that, frankly, I've made minimal effort at reading. This is, moreover a rather large sampler, measuring 21" x 16" and is without flaw ... no holes, missing threads, etc.
Not sure, of course, whether this is schoolboy or schoolgirl folk art, but it is unique. A 19th C watercolor that's animated by the pulling of strings. Pull one string in back and the two men will move together or back to their respective houses. Pull another string and the shade to the upper right window rises or falls. And pull a third string and the chimney sweep rises from or drops into the chimney. All obviously hand crafted, drawn and colored. Framed in a ca 1840 mahogany veneered frame it measures 13 1/2" x 12 1/2" with sight dimensions beneath the new matting of 6 1/2" x 5".
Offered here is this late 18th or early 19th century two-candle "table model" adjustable tin table model candle stand. Overall height is 29 1/2", diameter of the weighted cone base is 6 1/2" and spread on the arms of the candle holder is appx 10". Both candle sockets are pushups. The candle holder arms are actually made in 3 pieces ... two arms and a center leather ring that connects to the two arms. It was that leather ring that originally provided the friction that held the arms in place together at whatever height was chosen. Over time, though, that ability, due to wear, was lost, so I inserted an additional felt washer that is invisible but provides the necessary friction so that the candle holder operates as intended. There appears to be some spot soldering repairs, but nothing obtrusive and the candle holder is otherwise wholly original.
here is this absolutely impressive and monumental (32 1/2" long x 10 1/4" wide x 12" high) hand made locomotive made entirely of wood and tin and retaining its original paint throughout. The detail is incredible and I have no doubt conforms to the real thing. Its "signed" on the front with the date 1991 which is when I assume it was made. I have no idea, though, what the Kumquat Lumber Co. is. Insofar as I can tell, there are no apologies whatsoever ... this incredible piece of folk art is 100% right.
Herbert Mills (b. 1878, d. 1948) is buried in the military cemetery in San Antonio Texas and served as a 1st Lt in WWI. These five folk art carvings are all, with the exception of the WWI doughboy, signed "Herbert Mills San Antonio Texas ca 1928". One can presume that the doughboy (9 1/4" h) is Mills himself whereas the largest carving (10 7/8") is Punch from Punch & Judy. The man (10" h) reminds me of those cartoon-like drawings hanging on the walls of various restaurants corresponding to the celebrities who frequented that establishment from time to time. In any event, offered as a set ...
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