Primitive and Country Antiques

1930's Hines Advertising Puppy Paperweight Griswold?. I know some of these were made by Griswold, some Hubley. I also Heard Hines was a flask company. I don't know everyone seems as confused as I am. I know it's 80+ years old, I'm 100% sure. 1.75" tall, very heavy for it's size, original paint.isshelf

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1930's Art Deco Lustre Enamel Finish Cast Iron Woman Fireplace Brush Holder. All heavy cast iron in good condition, the Woman is iron with no cracks, one small flake on her hair.

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1920's Sunshine Dairy Products Stoneware Advertising Cow Mugs Rockingham Glaze.<br>Some glaze wear on both in raised areas, difficult to distinguish from<br>reflections on pics. The worn glaze areas are small both have small chips on<br>footrim. These are great regardless of minor imperfections.

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1920's Antique Flower Basket Doorstop. 10.5" tall x 8" wide. Heavy cast iron likely over 100 years old with no damage.

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1920's 2 Small flower basket doorstops. Selling both, one 7 1/8" tall and one 5<br>5 /8" tall. Both guaranteed early 20th century American doorstops from the<br>1930's or earlier.

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1920's 2 Flower basket doorstops. Selling both one Hubley 256 6.75" tall, one attributed to Albany factory 1924 8 3/8" tall. Both good old doorstops from the early 20th century. The Albany factory one has a few coats of paint, the one under this one is gold.

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1897 Pennsylvania Tramp Art American Folk Art Wall Box Upside down Heart. Very cool, signed and dated, original paint. 7.5" wide x 8.75" tall. Signed top left dated top right. Minor loss to stars.B51

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1870 American Schoolgirl Needlepoint Sampler Jessie Pearson. 18.25" x 19.75" framed.B49

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1865 Dollhouse folk art pottery slip decorated Red clay rocking chair. Great piece 8.75" tall x 4 3/8" wide. Old professional restoration to right wing of chair. Looks to have been broken and professionally restored, but that was long ago, only visible under closed examination. I guarantee it to be of period, not totally sure whether it's American or British as I have seen similar examples from both countries.tw260

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1837 Schoolgirl Sampler with Error. Early antique yarn sampler 19.75" x 23.5" framed. Interestingly it is missing the I in the alphabet. Overall good condition with expected toning, some small holes in the base cloth, recently reframed within the past 20-30 years.

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Antique Shaker Pantry Box Painted by listed Artist Betty Fischer 15.25" wide x<br>7.75" tall<br><br>Mary Elizabeth "Betty" Fischer (1931-2016) Maryland, Folk Artist. Betty Fischer<br>known for her original paintings on antique wood shutters, bird houses, barrel<br>slats and more. www.liveauctioneers.com/item/53924277<br><br>Mary Elizabeth "Betty" Fischer (1931-2016) Maryland, Folk Artist. Betty Fischer<br>known for her original paintings on antique wood shutters, bird houses, barrel<br>slats, and more.<br>Betty was very active and enjoyed gardening, sewing, and playing the piano, but<br>she will be most remembered as an accomplished and talented artist. Although she<br>did not start painting until the age of 43, she picked it up very quickly and<br>established a successful art career. Her paintings have been seen hanging in the<br>University of Maryland, the Cannon Office Building, several restaurants, other<br>professional offices, and the homes of many friends and long-time customers.

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18" c1890 Elgin Wind and Power Rainbow Tail Rooster Windmill weight. This is<br>directly from the Estate of Milt Simpson the author of the book shown, I'm<br>including the first edition copy of the Windmill Weights book with dust jacket<br>shown. Also including the custom stand shown. Measures about 18.5" x 17" and<br>weighs about 60 pounds.. I'll be offering one more weight also from his estate.<br><br><br>Milton Simpson (1911-2023)<br>Milton – also known by his friends and acquaintances as Milt - was born and<br>raised in Brooklyn, New York City and raised his family in Millburn, New Jersey.<br>He attended the New York School of Industrial Art (SIA), now the School of Art<br>and Design. He then worked for Incorporated Ideas Advertising Agency in New<br>Jersey before joining the United States Army, serving in Korea.<br>After his discharge from the Army, Milt attended The Workshop School of<br>Advertising & Editorial Art. Upon completion of his studies there, he became the<br>Art Director of The American Baby Magazine in New York, Assistant Art Director<br>at Lewin, Williams & Saylor in New Jersey, and then Art Director of Kenyon-Baker<br>Advertising & Baker Printing Company, (both of which were under one roof) in New<br>Jersey. (He left there because the promised air conditioner was never<br>installed!)<br>He then worked as a freelance graphic designer and illustrator for several<br>years.<br>In 1964, he and business partner Don Johnson founded the firm of Johnson &<br>Simpson Graphic Designers with Milt as president. They were based in a townhouse<br>in beautiful downtown Newark, New Jersey and specialized in corporate<br>communications. The design projects they took in included annual reports,<br>corporate magazines, capability brochures, posters, museum catalogs, trademarks<br>and books. Their clients included Conoco, Johnson & Johnson, New Jersey Bell,<br>Hoffmann-La Roche, The Newark Museum and Singer Corporation.<br>The firm was featured in every major design publication, was recognized by over<br>350 graphic design awards and he and Don were inducted into the New Jersey Ad<br>Club's Advertising Hall of Fame in 1991.<br>Milt also served on the Advisory Board of The Greater Newark Chamber of Commerce<br>and was an Adjunct Professor (Publication Design) at Montclair State College.<br>The New Jersey Art Directors Club voted Milt Art Director of the Year in 1972.<br>Books were his passion. He couldn't seem to get them out of his system and<br>didn't try to. For many years he produced and self-published a series of<br>Artists' Books using several print-on-demand platforms. Milt was always a<br>student and appreciator of quirky, eccentric and irrational human behavior.<br>These Artists' Books were very much influenced by his observations and<br>obsessions.<br>Among many others too numerous to mention, he wrote "Windmill Weights" which was<br>self-published and "Folk a" published by HarperCollins.<br><br>If it weren’t for its folk art appeal, the windmill counterbalance weight<br>probably would not be as highly collectible as it is today. But the windmill<br>weight is more than just a pretty face: It’s a key component of the vaneless<br>windmill produced in the late 1800s.<br><br>Vintage farm-style windmills that pumped water came in two basic varieties.<br>Vaned windmills used a tail, or vane, to guide the wheel into the wind. Vaneless<br>mills depended on a counterbalance weight, perched at the end of a wood beam, to<br>perform that function.<br><br>Counterbalance weights represented a short-lived but stylish variation of tail<br>technology in windmill production. The Halladay Standard windmill, manufactured<br>by the U.S. Wind Engine & Pump Co., (USWE), Batavia, Ill., was the first<br>manufacturer to employ a patented self-regulating wheel that would place itself<br>in or out of sail depending on the strength of the wind. This “folding” mill was<br>first developed with a wooden vane in 1854. Early catalogs from various windmill<br>manufacturers show mills with wood tails.<br><br>In the 1880s, USWE introduced a vaneless version of the Halladay Standard. The<br>Vaneless Standard, as it was called, utilized a star-shaped counterbalance<br>weight instead of a tail. This mill was produced until 1916; other companies<br>produced their own versions with different styles of weights into the 1930s. As<br>a general rule, counterbalance weights were used only on folding wheel<br>windmills, while tails were used on both early folding wheel and later solid, or<br>fixed, wheel windmills. “Once they came up with a light, sturdy metal for the<br>windmill tail,” explains collector Bob Popeck, “it was a whole new ball game.”<br><br>Weights not only served as a counterbalance but also as a marketing device,<br>identifying the mill’s manufacturer in a recognizable manner. “But basically,<br>the windmill weight just kept the wheel directed into the wind and prevented the<br>whole thing from tipping over,” Bob says. Today, these weights are prized by<br>windmill enthusiasts, such as the Popecks, and collectors of folk art.

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4 are pushups, 2 side pushups, the two miniature ones may have had pushups but none are there. The other pair are marked England therefore made after 1891 but I think they are still turn of the century as they have a nice patina. There's a few dings and bends but overall good condition. I think all the pushups are frozen with wax.

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Nice Heavy forged iron betty lamp. 3 1/8" x 4.25" x 10.25" to tip of hanger fully extended. Some expected pitting but all here with no holes. This early betty lamp burned grease for lighting in the 19th century.It is called a 'betty lamp' which comes from the word 'besser' in German (meaning better). Far superior to the rushlight or splint lamp, it evolved from the crusie lamp with the addition of a cover and a wick support which ensured that any oil/grease drippings from the wick flowed back into the reservoir. The betty lamp was probably the most widely used means of lighting among people of middle or lower income until refined whale oil became common.It burned any fat or oil that was available virtually without smell or smoke, using a twisted cotton wick.B70

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c1730's 18th Century Brass Candlesticks. Exceptional pair of extremely heavy<br>brass candlesticks from the first half of the 18th century. 9 1/8" tall x 5 1/8"<br>wide at base, Very solid with very old stable repairs to base on both<br>candlesticks not easily detectable from above.<br>isshelf

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18th Century Heavy Brass Candlesticks Pair. 9.25" high One is 926 Grams, other is 969 Grams. Very heavy candlesticks guaranteed over 200 years old with a nice patina and no significant issues. One has old thread on the threads to tighen it when screwed together which is common.tw84

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17th Century Brass candlestick. 6" tall x 5.5" square base, slight wobble,<br>otherwise sturdy, offering a similar candlestick from the same period/estate<br>separately.

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17th Century Brass candlestick. 5.25" tall x 4.5" square base, slight wobble, otherwise sturdy, offering a similar candlestick from the same period/estate separately.tw232

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