Folk Art

Redware Fruit-Shaped Banks

Rare red ware bank in the form of a long, yellow banana - 10 1/2" long.

Redware banks in the forms of an orange and a plum are also available.

All in perfect shape no chips or wear.

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Exuberantly Decorated Connecticut Trinket Box

An exuberantly freehand paint decorated trinket box.  Circa 1840 from Mary Warner estate, Salisbury, CT.

10 1/2" long, 6" deep.

The top decoration is an extravagance of stylized doughnut-shaped flowers, flower petals, buds and vines, three cherries (depicted with a remarkably convincing sense of volume) and an ornate red border.

The front and sides are similarly decorated with primary colored stylized “doughnut” flowers, surrounded by small blue flowers, leaves and pineapples, framed by a hexagonal red border. Its interior is also cheerfully decorated: painted in a bright salmon with white, hand painted alternating bands of hearts and scrolled lines. Square nailed construction, nicely carved bracket feet and  clever, “make-do” wire hinges. All original with a dry, oxidized surface and virtually no signs of wear on outside or inside.   Clearly made with love for someone special.  

10 1/2" long, 6" deep.

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Double Watercolor Portraits

Charming pair of ladies' portraits (mother and daughter? sisters?), matched in size and clearly by the same artist's hand.  One woman wears an intricately detailed lace cap and holds a small leather-bound book.  The other holds a letter bearing a red seal. Both are clad in blue and are wearing white shawls, rendered with remarkable detail (e.g., fringe).Although the artist was clearly not academically trained, the facial features are sensitively rendered, no doubt affording pleasing likenesses as well as testament to each lady's' comeliness. Apparel and accessories date the portraits to around 1840.  Housed in matching period molded gilt wood frames  5 1/2" X 4 1/4" overall.

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Early 19th C Pine Mirror - Original Plate

Measures 11 x 14 1/4;  inside dimensions are: 6 5/8 X 10 and the rabbet is ~ 3/8"

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Small Blue Painted Mirror

Charming small-sized blue-painted mirror measures 7 X 10 1/2 on the outside, 5 X 8 1/2" on the inside with ~ 1/2" rabbet.  

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Decorative Pier Mirror with Vibrant Verre Eglomise

A charming Federal mirror with églomisé panel, American, circa 1810. Features a carved wood frame with exuberant reverse-glass painting of basket with pumpkins on frieze panel above the original mirror.  20" X 10 1/2"

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19th Century Bücherzeichen and Trauschein

Hand-drawn; hand-colored; hand-lettered ink and watercolor fraktur Bucherzeichen (Bookplate). The main text in fraktur and calligraphy script is centered within a pink and green wreath of flowers and buds. An arching arrangement of pink stemmed roses sits below, and a vine of thistle above.   A decorative floral vine border is double framed by black ink and pink watercolor edging.

The text reads: “The Property of Lizzie C. Stauffer, Manor Lancaster County Penna, Holy Bible Book Divine precious tresure thou art mine.”

A pencil notation “1865” was added later beneath the main text, as was an “A” inserted to correct spelling of the word “treasure.”

Wove paper; watercolor; ink.

Sight size 7 ½” x 9 ½”; matted and in period grain-painted frame: 12” x 16”.

Conservation mounted with view-through back displaying Trauschein (marriage certificate) of Lizzie’s marriage to Christian W. Stehman.

“Christian W. Stehman and Lizzie Stauffer were lawfully married January the 25th 1863. By the Rev. C. S. Forney minister of the Gospel.”

The Trauschein is hand-lettered on a printed certificate by W. S. Barnard, which features black and white rose-vine-on-trellis decorated border with wedding scene in oval at the top and pastoral scene with cupid at bottom.

Lizzie died on April 30, 1891 and is buried (Elizabeth Stehman) at Habecker Mennonite Cemetery, Manor Ridge, Lancaster County, PA. Christian followed on December 19, 1905 and is buried together with Lizzie.

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Portrait of Anna H. Crampton Bulla - Attributed to Rufus Porter (American, 1792-1884)

Portrait of Anna H. Crampton Bulla. Unsigned. The sitter is identified in an inscription on the reverse reading "Anna H. Crampton Bulla painted at the age of seventeen-1845 in Richmond, In [signed] A. H. C. Bulla November 15, 1904."

A genealogical search reveals that Anna H. Crampton was born in March, 1828, married John Hoover Bulla, a farmer and had eleven children. (

Watercolor on paper, 1845, depicting seated profile portrait of the young Anna Bulla wearing a black dress trimmed with deep lace and blue ribbon at collar and with flat white embroidered sleeve cuffs. She rests her hands, gloved in netted fingerless mitts, in her lap, with her right hand appearing to hold a white lace handkerchief. Her dark hair is center parted and pulled back into a period chignon with a curl visible behind her right ear.

The portrait bears several key hallmarks of Rufus Porter's technique, including:

  • Ear: Gray interior of ear that forms a ‘C’; heart shape form of the lower interior back of the ear. 
  • Eyes: Eyelashes are straight out from lid and mid tone in color; eyeball on profile is football shaped and the pupil is a straight slash down not a dot.
  • Lips:Brown red line delineating lip separation. 

Sight sizes 7” x 9”, in period frame. Condition: Visible edge (from earlier framing?) some foxing, minor toning. 

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Watercolor Portrait Attributed to J. A. Davis

Watercolor and pencil on paper, c. 1835, depicting a seated young woman wearing a black dress with lace trimmed collar and cuffs and wearing a coral cameo on black ribbon. Unsigned, but very likely by Jane Anthony Davis (1821-1855).  The sitter is exceptionally pretty and is delicately rendered.  Like most of Davis' subjects she is costumed in black with only spare use of color to highlight the penciled facial features, such as the bluish coloring of the eyelids and pink lips; as well as other objects in the composition, such as her necklace, the chair visible behind her, and the small table with tall blue flower beside her. Also typical of Davis’ portraits is the exaggerated negative space between arms and body. Almost all of Davis’ subjects were residents of the Norwich or Providence-Warwick areas, so the origin of this small portrait is likely Rhode Island.

Sight-size: 5” by 7”. (6" x 8" including period frame).

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Jane Anthony Davis: Portrait of Roxanne Wilcox

Pencil and watercolor on paper portrait of Roxanne Wilcox by Jane A. Davis (1821-1855).  Unsigned. 

Conservation mounted in grain painted period frame. 7 ¼” X 8 ½”

Condition: Excellent with very minor spotting

Documentation: Two notes found with the painting (pictured), indicate that Roxanne Wilcox was born October 11, 1821 in South Kingstown, RI, married Benjamin Northrop Rose, died on April 11, 1871 and is buried in Roses Cemetery on Roses Hill between Peacedale and Norrisfield.  A genealogical search reveals that Roxanne (Roxanna) Wilcox Rose died on March 28, 1855.  An image of her gravestone is attached.

Biographical note on artist
: Jane Anthony Davis was born in Rhode Island in 1821, married Edward Nelson Davis of Connecticut in 1841 and died in Rhode Island in 1855. Until 1981, based on research by Arthur and Sybil Kern, it was thought that J.A. Davis was a man and a different person than Jane Anthony Davis. Prior to that time there was very little information that had been found about Davis.

Davis' work is quite uncommon, highly sought after by collectors of naïve American art, and is in the collections of many folk art museums.

Related Literature: Arthur and Sybil Kern, "J.A. Davis: Identity Reviewed," The Clarion, Summer 1991, p. 46. 

Carved and Painted Goldfinch

Charming carved  and faithfully painted goldfinch.

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PA Watercolor with Robin

Vivid Pennsylvania watercolor features thistle blossoms and robin.

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