Journal

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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Fabulous Floral Andirons

05.01.2014

floral andirons

This month we are pleased to present a pair of antique floral andirons that infuse as much joy into a room as a gigantic bouquet of actual flowers. These andirons are as functional as they are beautiful, having evolved from a centuries-old tradition establishing andirons as essential fireplace accessories. Ever since humans starting building fires in indoor fireplaces they have used firedogs – a pair of horizontal bars – to hold logs off the hearth, thereby improving air circulation for better burning and less smoke. Upright front guards were then added to the firedogs to prevent flaming logs from rolling forward.

The practical human impulse that led to the creation of andirons eventually led to the artistic human impulse to transform the front guards into beautiful ornaments.  There are endless variations on the shapes of andirons which correspond with major design aesthetics of different historical periods – in America these include the simple but shapely wrought iron andirons of the Colonial period, elegant brass lemon-top andirons of the Federal period, and heavily proportioned andirons of the Arts and Crafts era.

Most decorative andirons are either cast iron, which are shaped with molten iron that is poured into molds, or wrought iron, which are hand shaped by a blacksmith.  Most of the figural andirons we’ve bought and sold have been in the shape of animals, and are usually cast iron.  Figural wrought iron andirons with such an elaborate floral, foliate and spiral tendril design as these are far less common.

wrought iron floral andirons

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Iroquois Beaded Wallet

03.25.2014

Iroquois beaded wallet

This wallet is a fine example of Iroquois Indian beadwork dating from the 1840s.  It was made by a Tuscarora woman whose people comprise the Sixth Nation of the Iroquois Confederacy, and who resettled from their North Carolina homeland to western New York in the early 1700s. The beadwork artistry of the Tuscarora and their fellow Iroquoians (Seneca, Oneida, Cayuga, Onondaga and Mohawk) is described in two excellent books on Indian beadwork by collector and scholar Gerry Biron:  Made of Thunder, Made of Glass: American Indian Beadwork of the Northeast (2006), and A Cherished Curiosity: The Souvenir Beaded Bag In Historic Haudenosaunee (Iroquois) Art (2012). 

Biron traces the history of beaded objects that the Iroquois made to sell to non-native Anglos of the middle and upper classes.  This exchange began during the earliest years of Iroquois contact with Europeans.  Shortly after the first trading post was established in 1608 in Montreal, the Iroquois living in upstate New York were able to obtain cut glass beads imported from Europe. Their traditional arts of adorning hide pouches and clothing with porcupine quills evolved to incorporate the new mediums of beads and fabric.

By the early 1800s, tourism was increasing in the Niagara Falls region near Iroquois lands, with the Tuscarora Reservation being closest to the Falls. This presented an opportunity for the Iroquois to make a subsistence living selling their creations to tourists.

Iroquois at Niagra Falls selling beadwork

Ladies buying beaded bags from Tuscarora women at Niagara Falls
(reprinted in Biron, 2012)

By the early 1840s, the Iroquois had adapted both their beaded designs and the forms of objects they decorated to the Victorian tastes and sensibilities of their customers.  Their traditional geometric and organic decorative motifs – curves, spirals, circles and wavy lines – gave way to floral decoration.  Biron calls this beadwork the “Niagara floral style” because it was developed largely by Iroquois vendors at Niagara Falls.

Iroquois floral beadwork

Based on Biron’s research, we can date this wallet with good certainty to the mid-1840s. This was the earliest period of the Niagara floral style in which the flowers are round rather than elongated, are smaller, and have longer stems than in later floral designs.  Also, the design is bilaterally symmetrical and worked with smaller beads than were used in later designs.  The multiple colors of beads – white, blue, ivory, rose, green and gold – are vibrant against the black velvet background.

iroquois beaded bird

The pictorial imagery of a bird was also introduced during this time period. Contemporary Tuscarora artists call the bird a Carolina Parakeet, after the now extinct bird that was native to their ancestral North Carolina homeland. Biron says the Iroquois beadwork designers most likely took their cue for the bird motif from Euro-American women’s own needlepoint projects in which it was popular to embellish pincushions, purses and the like with bird imagery.

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Bears Hooked Rug

02.25.2014

bears hooked rug

For as long has there has been a market for antique American folk art, hooked rugs have been a strong category within it.  Many excellent examples are documented in the 1985 book American Hooked and Sewn Rugs: Folk Art Underfoot by Joel and Kate Kopp.  Hooked rugs that were made for simple household comfort by women who were not formally trained as artists were nonetheless often imbued with artistic expression. Such rugs have always appealed to us, and we have bought and sold many over the years.

The types of hooked rugs we’ve owned fit within three general categories of design: floral, geometric, and figural – meaning that they depict objects such as animals, houses or landscapes. Each category can be further divided as originating from a pattern or from the hooker’s own design.

floral hooked rug

Floral hooked rug

 

geometric hooked rug

Geometric hooked rug

 

owls hooked rug

Figural hooked rug

The two bears rug which we are currently offering for sale is an example of an original design figural hooked rug.  It is made of wool fabric strips, measures 53″ wide by 25″ high, and has been mounted on a frame for hanging.

bears hooked rug

The scene shows two bears, an adult and a cub, exploring a fallen tree in the forefront of a hilly landscape at sunrise.  Given how the bears seem to be intently focused on the tree stump, perhaps the creator imagined them raiding a bee hive within it.  The larger bear’s honey-colored, lolling tongue reinforces this impression.

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Old Hickory One-Drawer Stand

01.27.2014

Every so often we still acquire a piece of hickory furniture that we had seen pictured in vintage catalogs, but had yet to find on the market.  This little stand had caught our eye in the 1935 Old Hickory Furniture Company catalog because it is one of just a few Old Hickory end and side table designs that included a drawer.  We are pleased to finally have an example of this particular form to offer for sale.

Old HIckory one-drawer stand

This stand was produced within a special series of furniture introduced in 1935 that mixed hickory pole frames with distressed pine which, as the catalog relates, “lends its mellow charm to most cases and tables.” To increase the pine’s mellow surface character, workers at the Old Hickory factory distressed (or “antiqued”) the soft wood using chains and nails to impart the impression of a history of use.

Old Hickory one-drawer stand

The physical design of the pine and hickory furniture series also had a historical character, reflecting consumers’ interest in Colonial revival forms during the 1930s.  An entertaining sales pitch and aesthetic rationale for these designs was spelled out in the introduction to the 1935 Old Hickory catalog:

The files of Early Americana and a wide observation in the peasant districts of Europe have afforded many inspirations for the quaint, authentic and ‘true to type’ patterns shown in Old Hickory’s new groupings of rustic furniture…The details of a century-gone craftsmanship, the homely old materials, rope, leather, pine, square-headed nails, have all been faithfully used…There is, in these new patterns, relief from the jangle of cities and the standardized forms of today so wearisome to nerves and eyes.  They carry you back to wind-swept prairies, deep primeval forests, and last and best of all, the men and women who faced this wilderness, axe in hand, with which to new a home.

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Owl Bookends

12.30.2013

owl bookends

These bookends fit within several categories of collectibles, each with its own world of variation:  figural cast iron, bookends, and owls.  For our audience interested in rustic décor, it is more likely the owl form that will have primary appeal, with their value as uncommon vintage cast iron figures in excellent condition, as well as their usefulness as bookends, being secondary attractions.

owl bookends

For collectors of figural cast iron such as bookends and door stops, condition and rarity are important attributes. These bookends (6” high, 4.25” wide, 2.25” deep) retain their pristine original surface, painted in shades of yellow, green, brown, silver and black.

owl bookends

 The form is a stylized owl rather than a portrayal of a particular species – it captures the essence of owl anatomy including large, forward-facing eyes, a facial disk with shortened feathers, and an upright posture.

owls

(Barred owl photo from adenabrook.org)

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Rare Indiana Hickory Steamer Chair

11.25.2013

Hickory steamer chairThis hickory chair evokes the leisure lounging of passengers on the deck of a steamship, yet it is much sturdier than traditional steamer chairs which typically had light open cane weave or flat slats on the seat and back, and thin, collapsible mahogany frames.  In contrast, this chair has a sturdy hickory pole frame with solid double stretchers along its length, and a tight herringbone weave rattan cane seat and back.  It does, however, have the basic shape of a steamer chair with a long leg rest and a slightly inclined back rest, as seen in this vintage photo of passengers relaxing aboard a steamship.

passengers in steamer chairs

Photo postcard available on eBay

Despite Indiana’s proximity to the Great Lakes where passenger steamers were a popular means of transportation from the 1890s through the 1940s, these heavy hickory chairs would not have been manufactured with steamships in mind.  This circa 1930 ad for an Old Hickory steamer chair indicates that a more likely target audience for these chairs was institutions such as sanitariums, hospitals, hotels and resorts.

ohadweb

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