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Weathervanes, hooked rugs, toleware and gameboards were made as functional objects for the home. Bailey Moore was born in Candia, NH in 1815 and worked as an itinerant painter throughout New England. Moore is known to have executed portraits of three members of the Cass family in the 1830s. The hole pattern and weathering on the rear indicate that it was mountedoutdoors. Carved into the lid is a Mariner’s star enclosing another star, enclosing a pentagram, associated with good luck.

Purchased in 1941 By Doris Stockman from Roger Bacon, this portrait was exhibited at the Museum of Fine Arts in Boston in 1971. Sight size is 9½” x 13½”; framed dimensions are 17½” x 21½”. luminist landscape that gives North Conway’s Intervale a velvety glow separating this canvas from the work of Cole, Champney and Kensett. Everything in this sampler revolves around his nibs—paired peacocks flanking a church, a pair of enormous butterflies, one of whom appears to have narrowly escaped being trapped in the border, fanciful flowering plants and, above the cat a speckled heart. Jane starts well with a fine capital J, but then wholly loses track of her stitching and her name turns into an endearing riot of mis-matched letters. In 1870 the Ocean Queen spent part of a year in Gloucester, MA, a fact noted on the bottom of this ditty box by Charles Wiley, who was 21 at the time.

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This reverse-on-glass panel was undoubtedly salvaged from a damaged Lemuel Curtis banjo clock, either made in Concord or between 18 when he worked in partnership with his former apprentice, Joseph Dunning, in Burlington, VT. Full mariner’s compass designs span every corner and on the lid semicircular motifs highlight a compass-drawn starflower. Which makes sense because the box is said to have been made by an American sailor. table mat with serpentine border surrounding early cotton on cotton appliqued brown and indigo whales with embroidered eyes and tongues, riding on simulated waves, classically Hawaiian indigo and white corner frond motifs, and a central decoration with an ancient and traditional central X design reminiscent of a bird in flight. The applique stitching is tiny, fine and about 8-10 per inch. The banner is tinned sheet iron in early dove grey paint over gold gilt.

The box itself is made from the fine light mahogany referred to by sailors as “island wood” in the 19th C. A beautifully planned design and the color rhythms seem almost inevitable. Spectacular large 4-color crib quilt in an unusual variation of the Bethlehem Star pattern. This table mat has its origin in an 1820s visit to Hawaii by a group of NH missionaries led by a Boston minister named “Hale.” Made in Hawaii, the ground fabric would have been tapas cloth. schoolgirl Hudson River painting of Newburgh, NY done in watercolor on white velvet. Several points of the starflower are detached from the banner.

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