Journal

Figural Burl Frame

02.22.2016

We are constantly on the hunt for quality rustic accessories, so feel rewarded when we find something as fantastic as this frame. It embodies the essence of rustic creativity – transforming natural materials into aesthetically pleasing and functional furnishings.

figural burl frame

The frame dates from an early era of rustic design, circa 1890-1900, and originated in the northeastern United States. It was most likely made in southern New England or New York, as it is similar to other burl-decorated pieces we have found from New York’s Hudson Valley region.

burl deer frame

It has a solid wooden frame backing that is covered in applied root burls and twigs. The burls are slabbed with flat backs so that they fit flush against the frame.

 

Figural Burl Frame

Some of the tendril-like root twigs on the frame are intact with the burls from which they grew. Additional root tendrils are applied over and around the burls to enhance the natural, intertwined appearance of a root mass while lending sculptural interest to the frame.

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Early Canoe Club Sign

11.17.2015

Pequot Canoe Club sign
This circa 1890 sign is a cultural artifact of the historic and hugely appealing (to us and other canoe aficionados) craze for recreational canoeing that swept the nation from the late 1800s into the early decades of the 1900s. The evolution from birch bark to wood and canvas canoes around this time period made canoes more widely available, and canoeing as a sport among the middle and upper classes was born.

Whereas birch bark canoes were largely utilitarian crafts, wood and canvas canoes inspired more sporting and recreational uses. Canoe outings varied from leisurely or romantic paddling jaunts (as depicted on the circa 1910 embroidered pillow from our past inventory) to organized meets for athletic activities such as canoe racing and jousting (as shown in the circa 1920s photos from the Washington Canoe Club).

canoeing pillow

high kneel canoeing

(from washingtoncanoeclub.org)

canoe jousting

(from washingtoncanoeclub.org)

athletic canoe club members

(from washingtoncanoeclub.org)

 

This sign is a product of that era, and of the penchant for canoe enthusiasts to form regional clubs, in this case in southeastern Connecticut. It is a well-made, hefty, double-sided wooden sign (30” wide, 1.5” deep, 22” high) with shaped and chamfered edges and hand-forged hanging rings.

Pequot Canoe Clulb sign

The face of each side of the sign is covered in thick, sanded black paint. The front side has gold lettering with the translucent tone of gilding, while the lettering on the reverse side is in a flatter mustard gold paint. The lettering on each side has an excellent, aged-crazed surface.

webpequotsign9

Pequot Canoe Clulb sign

Pequot canoe club sign

 

webpequotsign5

Back of the sign with mustard gold lettering.

webpequotsign7

This is a quality antique that meets the high standards for collectible folk art signs, but it is the history it evokes that gives it particular meaning within our specialty areas, including sporting art and artifacts (and in this case even with a Native American theme) hailing from the turn-of-the-20th-century rusticator era.

Broad Historical Context

This sign was made not long after the founding of the American Canoe Association (ACA) which occurred as the outcome of a meeting of 23 prominent men – all canoe enthusiasts – on Lake George in upstate New York in 1880. The ACA is still active today, making it “one of the oldest national sports governing bodies in North America” (NYSHA.org). Since its establishment, the ACA has held annual summer encampments or “meets” during which members camp out and participate in races and other events. Since 1903 the ACA meets have been held on its own Sugar Island in the 1000 Islands region of the St. Lawrence River.

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Bountiful Nature Painting

09.23.2015

Birds painting oil on canvasThis detailed and richly colored American oil painting (on canvas laid on wood) depicts flora and fauna in a lush forest understory complete with a small woodland pool. It is housed in a deep, embossed gilt frame that accentuates the quality of the artwork.

gilt frame

Although it is a large painting (21″ x 29″ sight size, 31″ x 39″ framed), it conveys an intimate view of nature, with just a small hint of a more expansive landscape illuminated beyond the trees in the top center of the painting.

birds painting

The forest tableau gives an immediate impression of nature’s profusion, largely due to the number and variety of birds represented. There are 15 individual birds in the painting, representing 13 different species including a blue jay, a mockingbird, a hummingbird, a bobolink, a meadowlark, a chestnut-sided warbler, a pair of yellow warblers, and a pair of woodpeckers.

birds painting

birds painting

birds painting

But close examination reveals many additional animals in the verdant scene, including three frogs, a turtle, three beetles, a spider, three butterflies, and a hive of bees.

birds painting

birds painting

birds painting

birds painting

Flora and fungi include violets, trumpet vines, ferns, jack-in-the-pulpit and a patch of inky cap mushrooms.

birds painting

Although the painting depicts some ecological interactions (birds foraging for a spider and bees), some life history details (a bird near its nest with a clutch of eggs), and some appropriate habitat matches (the reptile and amphibians near the pool, the woodpeckers on a tree trunk), the painter was clearly more concerned with aesthetics than with scientific accuracy. The bird and plant species are recognizable, yet they are embellished archetypes rather than exact portraits.

birds painting

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Grenfell Dog Team Hooked Mat

06.18.2015

grenfellsled1

A large (40″ wide x 27″ high) Grenfell dog team mat in excellent condition and mounted for hanging.

There are certain categories of antiques whose creation stories carry as much resonance for us as the masterful products themselves. Grenfell mats, such as this hooked portrayal of a dog team carrying a sled and mushers, constitute one of those categories of antiques whose origins evoke a rich and compelling history.

women hooking Grenfell mats

A mother and daughter hooking Grenfell mats in Labrador, circa 1930(https://www.mun.ca/mha/cw/va114-46-crafts.html)

In the late 1880’s, the people of northern Newfoundland and Labrador were making a subsistence living in isolated fishing communities that were accessible only by boat. When Dr. Wilfred Grenfell arrived from England in 1892, he found persevering, skilled people who were in much need of medical, material and economic assistance.

Dr. Wilfred Grenfell (1865-1940), circa 1910 (From Down to the Sea. New York: Fleming H. Revell Company, 1910)

Grenfell believed that rather than offering only charity to the residents of northern coastal communities, it was best to develop long-term, self-sustaining strategies to help them alleviate their poverty. This led to the establishment of a cottage crafts industry called “the Industrial” as an enterprise of the larger Grenfell Mission, whereby local women could produce goods for supplemental income, or often simply for trade to the Mission in exchange for clothing for their families. (For an excellent overview of Grenfell Mission history and its handicrafts movement, along with photos of stunning Grenfell hooked mats, see the 2005 book Silk Stocking Mats by Paula Laverty, Montreal: McGill-Queen’s University Press.)

Grenfell village

Grenfell Mission community sometime prior to 1921 (http://shaggy-vm.library.mun.ca/qeii/cns/photos/geog1900.php?print=1)

The women of the region had a long-standing tradition of hooking floor mats during the winter months. An American occupational therapist named Jesse Luther whom Grenfell recruited to the Mission in 1906, recognized after a few years of focusing primarily on weaving and woodworking, that it made sense to build upon the women’s existing mat-hooking skills. Thus began decades of Grenfell hooked mat production that peaked in the 1920s-1930s, and declined after WWII.

Grenfell Industry staff and volunteers delivered hooking materials to women by boat and dogsled, and then collected the finished mats on return visits. The materials included burlap (locally called “brin”) for the backing (and sometimes for the hooking fabric), as well as dyed cotton, wool, rayon and most famously, used silk stockings donated by more affluent women in American, Canadian and British cities, for the hooking. The women also received sketches of the patterns to be hooked. Whereas their traditional patterns tended to be floral or geometric, part of the marketing genius of the Grenfell Mission’s employees, volunteers, and even the founder himself, was to create patterns that reflected the unique northern landscape and ways of life in Newfoundland and Labrador.

grenfellsleddetail

The dog team design was likely one of those originally sketched by Dr. Grenfell, based on his experience with using dogs and sleds as a means of winter transportation in the region. Grenfell must have had a special appreciation for dog teams, as in retirement he opened several mission and tea houses in Vermont and Connecticut which he named The Dog Team (the best known became The Dog Team Tavern restaurant in Middlebury, VT).

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An Exceptional Iroquois Bird Effigy Ladle

04.13.2015

Iroquois effigy feast ladle

This stunningly large sculptural object is an eloquent example of an Iroquois feast ladle dating from the late 18th/early 19th century (circa 1780-1820). This would have been used for portioning food into individual bowls from a caldron or large serving bowl, particularly during celebratory or ceremonial feasts.

It is made from a maple burl whose swirls, knots and irregular grain resulted from stunted twig buds that failed to elongate into limbs so grew instead as a round protuberance from a tree trunk. This burl ladle has a burnished patina and edge wear along the right side of the scoop, both attesting to its many years of past use.

Iroquois fest ladle bowl

Front and back of the scoop portion of the ladle showing the burl grain, edge wear and patina.

There is archeological evidence that the earliest Woodlands peoples used eating and serving ladles made of shell and antler, and journals kept by Europeans during their first encounters with Native Americans in the 1600s documented that wooden ladles were commonly used for eating meat stews and cornmeal mush.

While every individual in a tribe had a personal eating ladle, only one feast ladle was needed per clan, so this larger form of effigy ladle is scarce indeed.* In a study of 701 ladles (with and without effigies) in the collection of the Rochester Museum and Science Center, Betty Colt Prisch (1982) notes that the ladles ranged in length from 2”-12”, with the vast majority being 4”-8” long individual eating ladles. Only a few examples of the larger feast ladles in the 12” size range are in the collection, which began being formed over 175 years ago by the museum’s anthropologists.

Iroquois feast ladle

This ladle is 13.5″ long and 8.75″ wide. The photo below showing it next to a personal eating ladle emphasizes the contrast in size, and thereby function, of the two ladles.

Iroquois effigy ladles

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Snow Shoes with Provenance

03.18.2015

Tlingit snow shoes

It is always rewarding to find a quality artifact of the material culture of indigenous peoples (such as the First Nations in Canada and Native Americans in the U.S.), but even better when its provenance is known. More often than not the story behind an antique’s previous owners is lost in time, but in the case of these snow shoes we know quite a bit about their owner and collection history.

Chris Henne's study

The snow shoes on display in Chris Henne’s study, circa 1900.

These snow shoes were acquired by Christian Henne II on a trip to the Klondike in 1897. They were passed down in his family until they were recently sold by his now elderly granddaughter. They are in remarkably good condition, having hung on a wall since they were acquired 118 years ago. Tribal members would reweave their own snow shoes whenever the babiche wore out, but they would reuse the same frames for many years. Since neither the weaving nor frames of these snow shoes show signs of heavy use, they had most likely been recently made when given as a gift to Henne.

What is particularly intriguing about this rare form of snow shoes is that they were made by a cultural group (Tlingit) and within a region (Pacific Northwest Coast) that are not typically associated with snow travel accoutrements. However, the Northwest Coast Tlingit peoples also occupy less temperate regions away from the immediate coast, eastward into the mountainous region of the Yukon, which explains why snow shoes were part of some Tlingit tribes’ tradition.

Tlingit map

The Snow Shoes

Tlingit snow shoes

These snow shoes are a style made by Inland Tlingit, which includes the tribes (called Kwáan) Áa Tlein Ḵwáan of the Atlin Lake area, Deisleen Ḵwáan of the Teslin Lake area, and T’aaku Kwáan of the Taku River basin.

Tlingit groups

(http://www.ankn.uaf.edu)

 

tlingit snow shoes upturned toes

They have two-piece birch frames, bent into rounded, upturned toes where the wood is spliced and lashed together.

tlingit snow shoe toe

The frames are dyed red, and the fine weaving is either babiche (strips of semi-tanned hide) or sinew (dried tendons). The middle of the snowshoe where the foot is placed has wider weave, laced with stronger strips of rawhide.

Tlingit snow shoes foot section

While men usually made the frames, both men and women wove the netted sections of the shoes.

Native woman weaving snow shoes

(Library of Congress, circa 1900)

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Large-Scale Canoeing Photograph

01.15.2015

canadian pacific photo french river

This is an historic photograph of a canoeist, probably an Ojibwe guide, who is navigating a rapids called Blue Chute on the French River in Ontario. It is housed in its original oak frame that is inscribed “Canadian Pacific” along the bottom. With overall dimensions of 35.5″ wide x 29.5″ high, it has an eye-catching presence.

Canadian Pacific Photo French River

There are several layers of history revealed in this circa 1910 photo. First, it is an artifact of the original era of passenger railway travel across Canada. Second, it captures a place, the French River, that was an important fur trade route. Finally, it conveys something about early 20th century canoeing traditions.

Canadian Pacific Railway

We contacted an archivist with the Canadian Pacific Railway (CPR) who confirmed what we had learned through buying and selling several other CPR photos in the past. These large-format photographs captured iconic Canadian landscape scenes and were hung in CPR stations as “simple, yet stunning and effective, advertising tools for Canadian Pacific and Canada.” Aimed at attracting tourists from within and beyond Canada, the photos captured scenes closely tied to Canadian identity and its proud links to the incredible scenic beauty of the country. The CPR photographs could be found on display until the 1970s when all of the stations eventually closed.

Although we do not have photos of other CPR images we have owned, we do have images from our past inventory of a large-scale photograph from another railway system, the Grand Trunk Railway, which had a similar approach to promoting Canadian rail travel. The Grand Trunk was an important rail system in Canada and the northern U.S. from the 1850s to the 1920s.

Grand Trunk Railway photo

Grand Trunk Railway photo

This early 1900’s photo depicts a romantic scene of a well-dressed couple on an outing in which the man rows the woman who is nestled in the stern facing him. Its captions reads: “McLean Channel Among the 30,000 islands of the Georgian Bay.” Even the location of this particular photo, also in an inscribed oak frame, is not far from the subject of the CPR photo – the French River.

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Historic Boat Maker’s Signs

11.19.2014

arnold trail boats and canoes signs

These two signs once marked a canoe and boat building establishment that was active in Maine during the 1940s. Solon is a town in central Maine through which the Kennebec River flows. The Arnold Trail Boats and Canoes company appears in a list of Maine canoe builders from the 1870’s to the present that was compiled by the Penobscot Marine Museum for their 2001 exhibit “Bark to Canvas: The Evolution of a Maine Canoe.” So far, all that we have been able to find out about this company is its location, the era of its existence, and that its owner built canoes.

The larger sign (80.5″ wide x 2″ deep x 32.5″ high) is single-sided, so most likely hung on the front exterior of the shop. arnold trail boats and canoes sign

It is painted on a clear-finish birch veneer surface and has a molded frame.

arnold trail boats and canoes sign

arnold trail boats and canoes sign

The hand-painted lettering is red with gold outlining.

arnold trail boats and canoes sign

The smaller (34″ wide x .75″ deep x 11″ high), solid wood sign is double-sided, so it either hung on a post at the roadside or perpendicular to the building at its doorway.

arnold trail boats and canoes sign

The background is painted gold, and the chamfered edge and lettering are navy blue.

arnold trail boats and canoes sign atsign11

In both signs, the name Arnold Trail is done in the same script lettering.

arnold trail boats and canoes sign

These signs evoke the history of two distinct time periods. First, they are artifacts of an earlier period of commercial canoe building in Maine which began in the late 1880s. Most likely the canoes made at the Arnold Trail Boats & Canoes shop were crafted of wood and canvas in a traditional Maine design. A classic Maine trip canoe, such as the one made by the E. M. White company pictured below, is characterized by its wide, shallow hull making a stable and large capacity interior suitable for holding packs and paddlers on long canoe trips.

E.M. White canoe

E. M. White canoe, circa 1920 (Bert Lincoln Call photo)

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Large Carved Caribou Lamp

09.17.2014

Dube caribou lamp

Animal sculptures and carvings are traditional accents for rustic homes where they complement decorative schemes that are rich in organic textures and natural elements. An attractive animal carving that also fulfills the necessary function of lighting is all the better.

This lamp (26″ wide, 9″ deep, 32″ high) is a dramatically scaled carving of a caribou, created and signed by the artisan Arthur Dubé.

Dube caribou lamp

He was a member of a family of accomplished carvers from the Saint-Jean-Port-Joli region of Quebec (on the eastern shore of the St. Lawrence River about an hour northeast of Quebec City) which has been known for its tradition of folk carving since the early 1900s. Over the years we’ve had a number of lamps carved in the 1930s-1970s by the Dubé brothers Arthur, Clement and André, most often in the forms of moose, bear, squirrels, deer, rams and dogs. Caribou lamps are uncommon, as are any of their carved animal table lamps of such large dimensions.

Dube caribou lamp

This lamp is carved from butternut, which is one of the softer hardwoods that carves readily. The caribou, tree and base are carved from one piece of wood, and the removable antlers are carved separately.

Dube caribou lamp

The shade is also handmade, with alternating wood slats of butternut and cedar joined with lashing.

cariboulamp5

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Native American Basket Forms

07.07.2014

Native American basket molds

These intriguing sculptural objects are Native American basket-making tools. Specifically, they are forms around which ash splint “fancy baskets” were woven. They turned up recently in Maine, where they would have been owned and used by a Penobscot or Passamaquoddy basket maker during the early 1900s.

Native Americans in Maine have made ash splint baskets for over two hundred years.* During the 18th and 19th centuries, men made rugged work baskets with thick, wide ash splints, and traveled to towns as itinerant peddlers to sell the baskets. Indian families also made covered storage baskets and handled gathering baskets with finer, dyed splints for their own use as well as for sale.

But beginning in the 1870s when developers were building seaside and lakeside lodges, inns and resorts to attract rusticators from urban areas outside of Maine, a whole new market and means of selling opened up for Maine’s Native American craftspeople. Whereas formerly they would have to travel from town to town to sell their wares, basket makers now settled into summer Indian encampments near the new resort areas where potential customers congregated, joining families from other tribes and reservations.

Maine Indian encampment

Maine Indian encampment near Bar Harbor in 1889 (Maine Historic Preservation Commission photo)

They would arrive with a stockpile of crafts that they had made all winter, as well as with raw materials such as ash splint for making crafts to sell all summer.

During these years the tribes readily adapted their crafts to the Victorian tastes of well-to-do rusticators, ushering in the era of “fancy basket” making. Distinct from utilitarian ash splint baskets made by men which had previously been the mainstay of the Indian basket trade, the fancy baskets were typically made by women and were small, lightweight, intricate and extremely varied in form.

The women expertly rendered ash splint versions of popular Victorian goods that were made of leather, wood, ceramic or sliver, such as glove boxes, collar boxes, sewing baskets, scissors cases, candy trays, napkin rings, comb boxes and wall pockets. To suit the tastes of their customers, these objects were adorned with embellishments such as sweet grass and colorfully dyed, thin splint curlicues.

Penobscot fancy baskets

Penobscot fancy baskets: button basket, scissors case, glove box (Hudson Museum, University of Maine)

Tools to Facilitate Production

Producing uniform fancy baskets in great numbers for the tourist trade required two essential tools:  basket gauges and basket forms. Basket gauges are wooden hand tools with cutting edges (often razor blades) set at measured intervals for slicing strands of ash splint into regular sizes. Whereas the wider, rougher splints of work baskets were typically hand cut with a knife, basket gauges made it possible to efficiently make a stock of evenly-sized splints of narrow widths for fancy baskets.

Indian basket gauges

Basket gauges (Cherry Gallery sold archives)

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