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Antique Associates at West Townsend
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Portrait, George Washington After Gilbert Stuart’s Gibbs-Channing-Avery Portrait
Date/Period: Circa 1830


Portrait, George Washington After Gilbert Stuart’s Gibbs-Channing-Avery Portrait, entire view

Measurement: Portrait: 3.25" x 4"; Frame: 6.75" x 7.5"

Material: Oil paint on wood panel

Condition: Excellent, our framer installed the painting it its current frame; we will
include the frame in which it was housed for 100+ years as part of its history.

Additional Information: The Vaughn-type portrait of George Washington is one of
three Washington portrait compositional types painted by Stuart. The other two are the
Athenaeum type, an unfinished head, much replicated notably in a United States
postage stamp, and the Lansdowne type, showing Washington standing with his hand
resting on a table. Along with Emanuel Leutze’s mid-1800’ s genre painting of
Washington crossing the Delaware River, these are the three most famous portrayals of
the paramount American leader. Washington was revered as the “Father of Our
Country”
during his lifetime, and that sentiment persists to the present day. The
Metropolitan Museum of Art’s Gibbs-Channing-Avery portrait is universally considered
the best version of the Vaughn-type Washington portrait. It is one of just a couple to
have the green drapery/landscape background (others have a rust/orange background)
and Stuart is masterful in his capture of Washington’s personality.

This beautifully rendered miniature replica of Gilbert Stuart’s Vaughn-type portrait of
George Washington (Metropolitan Museum of Art) is intriguing for several reasons. One:
it does not show the entire picture field but instead cuts off a substantial portion of the
bottom and the right side of the composition, while replicating the distinctive olive-green
background curtain color and costume details, notably the sawtooth hair bow, and high
collared black velvet jacket. Two: Washington is portrayed at a significantly younger age
than in Stuart’s iconic painting. Three: the pupils of Washington’s eyes are far larger
with a noticeable intense blue color. The original has a “beady-eyed” look. This small
and freely-brushed likeness is thus not an attempt to exactly copy Stuart’s painting but
perhaps an artist’s desire to experiment with improving it. Four: the painting is a
miniature. This suggests that the painter was a professional miniature painter who
would have had access to the original painting as the period of creation is too early to
allow for exact photographic reproduction for use as a model. An engraving of the
Vaughn-type portrait was made around the time of its completion, but this was black
and white and wouldn’t have recorded the color scheme. The miniature is not signed,
and interestingly, neither did Stuart typically sign his work, convinced that the quality of
his painting required no means of official identification. One could speculate that a
talented professional artist with an expertise in miniature painting and a particular
interest in painting Washington created this piece as an exercise rather than a formal
project, as the rendition is thinly painted and freely brushed. This would account for the
lack of a signature.

$3,150.00

1292-8


Portrait, George Washington After Gilbert Stuart’s Gibbs-Channing-Avery Portrait, entire view sans frame

Portrait, George Washington After Gilbert Stuart’s Gibbs-Channing-Avery Portrait, detail view

Portrait, George Washington After Gilbert Stuart’s Gibbs-Channing-Avery Portrait, detail view

Portrait, George Washington After Gilbert Stuart’s Gibbs-Channing-Avery Portrait, back view



George Washington, Marble Bust, Confidently Attributed to Horatio Greenough
Horatio Greenough (1805-1842) Unsigned
Date/Period: Circa 1840s - SOLD


George Washington, Marble Bust, Confidently Attributed to Horatio Greenough Horatio Greenough (1805-1842) Unsigned, entire view

Measurement: Height: 27"

Material: Marble

Condition: Very good, an old fissure under neck (on chest) was expertly restored and is
not visible unless you know it’s there, displays pristine; cleaned and waxed

Additional Information: This handsome marble Neoclassical bust of George
Washington can be securely attributed to the hand of the renowned expatriate American
sculptor Horatio Greenough (1805-1852). The bust dates to the 1840s, just after
Greenough completed his magisterial seated sculpture of our national hero. It was
common for sculptors to create multiple versions of a figure once the initial one was
sold, allowing them to earn a greater profit. Often this was done when patrons placed an
order. This practice accounts for the different versions of the bust, some are draped
while others are not, for instance.

Characteristic of Greenough’s hand is the sensitively modeled, naturalistic bust of
Washington, the carved marble yielding a sensation of living flesh. The deeply carved,
rippled, volumetric hair is a distinctive and easily recognized feature of Greenough’s art
and is evident in other Washington busts by him in the collections of the Metropolitan
Museum of Art and the Museum of Fine Arts Boston. The eyes are also typical in
Greenough’s choice of a blank eye surface, conveying a timeless, classical appearance.
Classical also and employed in most of Greenough’s portraits of great historical
personages, is the draped toga. A dignified heroic image of the first president.

SOLD

1121-71


George Washington, Marble Bust, Confidently Attributed to Horatio Greenough Horatio Greenough (1805-1842) Unsigned, entire view 2

George Washington, Marble Bust, Confidently Attributed to Horatio Greenough Horatio Greenough (1805-1842) Unsigned, entire view 3

George Washington, Marble Bust, Confidently Attributed to Horatio Greenough Horatio Greenough (1805-1842) Unsigned, entire view 4

George Washington, Marble Bust, Confidently Attributed to Horatio Greenough Horatio Greenough (1805-1842) Unsigned, entire view 5

George Washington, Marble Bust, Confidently Attributed to Horatio Greenough Horatio Greenough (1805-1842) Unsigned, entire view 6

George Washington, Marble Bust, Confidently Attributed to Horatio Greenough Horatio Greenough (1805-1842) Unsigned, entire view 7



Historical Ribbon, George Washington’s 1832 Birth Centennial Silk Ribbon
Date/Period: 1832


Historical Ribbon, George Washington’s 1832 Birth Centennial Silk Ribbon, entire view

Measurement: 8.25" x 2"

Material: Silk ribbon is faded cyan-color with black ink

Condition: Good…commensurate with age, use, and material; trivial loss at upper left

Additional Information: George Washington: 1832 printed birth centennial silk ribbon
displaying eagle, a scrolled banner imprinted WASHINGTON; portrait of
GW…surmounted with cartouche bearing inscription "Centennial CELEBRATION”.

$335.00

1121-51




Folk Painting of George Washington by Michigan Barber Cyrus T. Fuery
Exhibited at the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg, 1976
Date/Period: Dated 1917


Folk Painting of George Washington by Michigan Barber Cyrus T. Fuery Exhibited at the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg, 1976, entire view

Measurement: Frame: 36.75" x 47.5"; view: 29.75" x 40.5"

Material: Oil on canvas over the original wooden strainer, modern gilded frame.

Condition: Excellent…There are tiny, patched repairs.

Additional Information: If George Washington were painted by Andy Warhol for a
Campbell Soup can, he might look a good deal like this modernistic, 1917 interpretation
by Cyrus T. Fuery, a barber from Parma, Michigan. Dated 1917 (the first year of U.S.
involvement in WWI) and signed on the reverse.

Fuery’ s oversized canvas (30 x 40.5 inches) shows the hand of an accomplished folk
artist. His treatment of the angular facial features, serpentine brow, and hair are
whimsical, bold, and appealing.

One other work by Feury is known, a portrait of Abraham Lincoln, which is said to have
hung in his barbershop. The whereabouts of the Lincoln portrait are currently unknown.

Provenance: This work was exhibited at the Abby Aldrich Rockefeller Folk Art Museum
in Colonial Williamsburg in a special patriotic exhibit for the 1976 Bicentennial curated
by then-curator Don Walters, the esteemed folk-art expert and long-time antiques
dealer.

$17,750.00

362-18


Folk Painting of George Washington by Michigan Barber Cyrus T. Fuery Exhibited at the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg, 1976, sans frame

Folk Painting of George Washington by Michigan Barber Cyrus T. Fuery Exhibited at the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg, 1976, detail view

Folk Painting of George Washington by Michigan Barber Cyrus T. Fuery Exhibited at the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg, 1976, back view 1

Folk Painting of George Washington by Michigan Barber Cyrus T. Fuery Exhibited at the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg, 1976, dave for scale

Folk Painting of George Washington by Michigan Barber Cyrus T. Fuery Exhibited at the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg, 1976, detail view 2

Folk Painting of George Washington by Michigan Barber Cyrus T. Fuery Exhibited at the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg, 1976, back view 2



Creamware Jug, George Washington Within Chain of 15 States, Parcel Gilt
Herculaneum, Liverpool, England
Date/Period: 1792-1805


Creamware Jug, George Washington Within Chain of 15 States, Parcel Gilt Herculaneum, Liverpool, England, entire view

Measurement: Height: 11"

Material: Creamware, black transfer printed, polychrome enameling, and gold gilt

Condition: Excellent original condition

Reference: See Arman, Anglo American Ceramics, page 202, W 29; McCauley,
numbers 57 and 158.

Additional Information: A large example retaining most of its overglaze gold gilt with
fine black highlights enhancing sprigging, the shield, and top/bottom borders. The liberty
cap displayed within the Washington with chain of fifteen states transfer is trimmed with
gold gilt. Under the spout is the owner’s name: Samuel Brintnall within a lush wreath
picked-out-in-gilt. Beneath the wreath is a powerful “Great Seal of America” … the
shield displays alternating stripes of red and gold gilt. The reverse shows a barque
flying her American colors and featuring underglaze polychrome enameling.

$2,700.00

1213-30 / 130


Creamware Jug, George Washington Within Chain of 15 States, Parcel Gilt Herculaneum, Liverpool, England, detail view 1

Creamware Jug, George Washington Within Chain of 15 States, Parcel Gilt Herculaneum, Liverpool, England, entire view 2

Creamware Jug, George Washington Within Chain of 15 States, Parcel Gilt Herculaneum, Liverpool, England, entire view 3

Creamware Jug, George Washington Within Chain of 15 States, Parcel Gilt Herculaneum, Liverpool, England, detail view 2

Creamware Jug, George Washington Within Chain of 15 States, Parcel Gilt Herculaneum, Liverpool, England, entire view 4

Creamware Jug, George Washington Within Chain of 15 States, Parcel Gilt Herculaneum, Liverpool, England, detail view 3

Creamware Jug, George Washington Within Chain of 15 States, Parcel Gilt Herculaneum, Liverpool, England, entire view 5



Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware
Museum exhibit title card on verso
Date/Period: 1880-1895


Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, entire view

Measurement: Frame: 30.75 x 20.5"; view: 17.5 x 28’; Almost without exception
surviving watercolors are 28-inches wide, (The Clarion, Fall 1983, p. 41)

Material: Watercolor on paper

Condition: Fine, modern frame; backboard retains exhibition label

Literature: Detail from this watercolor is published in Art in America (No. 4, 1959)
P. 64

Also, exhibition catalog, Panoramas for the People, Munson-Williams-
Proctor Institute, Utica, New York, March 2-May 20, 1984, cat. no. 55. (pp 50, 51;
discussed: page 22, no. 2 – inscriptions, family history; ownership and recollections of
Peter Tillou [1974 & 1981] among others.

The Clarion, America’s Folk Art Magazine, The Museum of American Folk Art, New
York City, Fall 1983. Who Was The Utica Artist by Paul D. Schweizer and Barbara
Polowy, pp 38-43.

Exhibition: Panoramas for the People, Munson-Williams-Proctor Institute, Utica, New
York, March 2-May 20, 1984, cat. no. 55. The Arthur & Sybil Kern Collection of
American Folk Art.
2. Washington Crossing the Delaware – although ultimately based on E. Leutze’s
famous painting, the fact that the watercolor depicts Washington facing in the opposite
direction as the original painting suggests that the watercolor was probably copied from
an engraving which in turn was copied from the 1853 engraving made by Paul Girardet
for Goupil, Vibert & Co., where Washington is facing to the left as in the original
painting.

Additional Information: Works by this 19th century artist, Lawrence W. Ladd, have
been known since the 1930s. Three sets of watercolors were discovered by pioneering
folk art collectors J. Stuart Halladay and Herrel G. Thomas sometime between 1932 and
1939-40. Included in the collection of works by Ladd is a watercolor depicting the Utica
Academy School Building [see Panoramas For The People, catalog no. 38 – suggesting
or giving credibility that these works were painted in Utica, New York according to an
employee of the institution. The Utica Academy watercolor is the strongest evidence
that these pictures were created in Utica. 1. There is evidence of two, now lost, typed
labels that at one time were attached to cat. Nos. 33 and 34 of Panoramas for the
People
- both read: “Watercolor by L. Ladd 1876, Boys School Utica Academy, N.Y.,
From the Halladay Collection.”
Two other watercolors (catalog Nos. 31, 32) have pencil
inscriptions that read: “Said to be painted in 1876 by a boy named Ladd at Augusta
Academy, Utica, N.Y.”
(The Augusta Academy was in Augusta, N.Y., not in Utica)
Virtually nothing is known about Ladd, the location of Ladd’s birth is subjective, see pp.
22, 23, no. 2 of Panoramas For The People for detailed information.

Among the surviving works, only three are inscribed with the name Ladd.

Several of Ladd’s watercolors were exhibited (1976) in the Museum of American Folk
Art’s exhibition, “The Paper of the State,” however they were described as the work of
“the students of the Utica Academy.” Three years later, when Robert Bishop published
Folk Painters of America, he identified the painter of these watercolors as the “Utica
Artist.”


The artist’s oeuvre features heavy outlining of figures, exaggerated facial expressions,
quickly rendered lines and cross-hatching modeling forms. The artist’s compositions are
highly individualized displaying a bold aesthetic; a simple bright/colorful range of
technique lacking color gradations. The artist’s works were connected, illuminated, and
meant to be viewed as a continuous narrated panorama. Ladd’s collection of works is of
the few extant nineteenth century American panoramas.

Works by the Utica Master are within important private collections and many museum
collections including but not limited to: Smithsonian American Art Museum, the
American Folk Art Museum, the Reading Public Museum, the Library of Congress, and
the Abby Aldrich Rockefeller Folk Art Museum.

$3,950.00

431-91

1 & 2. Exhibition: Panoramas for the People, Munson-Williams-Proctor Institute, Utica,
New York, March 2-May 20, 1984, cat. no. 67. The Arthur & Sybil Kern Collection of
American Folk Art.


Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, scale view

Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, entire view sans frame

Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, detail view 1

Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, detail view 2

Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, detail view 3

Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, detail view 4

Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, back view

Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, back detail

Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, book scan 1

Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, book scan 2

Folk Art, The Utica Master, Lawrence Ladd, Washington Crossing the Delaware Museum exhibit title card on verso, book scan 3



George Washington, A Superb Large Portrait
by Philadelphia Artist Robert Street
After Gilbert Stuart
Date/Period: Early 19th Century - SOLD


George Washington, A Superb Large Portrait by Philadelphia Artist Robert Street After Gilbert Stuart, entire view

Measurement: Frame: 27" x 31"; view: 19" x 22.75"

Material: Oil on canvas

Condition: Excellent with only negligible… extremely minor trivial retouching by Tom
Yost. The canvas has been relined; The current frame and mat housing the portrait
were fabricated for this painting are of the fine finest quality.

Additional Information: Attributed, Robert Street (1796-1865) Although painted in the
manner of Gilbert Stuart, the portrait is in a unique, distinctive style and, seen in person,
exudes a quality which might best be described as luminous. It is certainly a fine portrait
of this Founding Father. A nearly identical portrait by Street is in the collection of the
Pennsylvania Academy of the Fine Arts.

A highly respected and popular portraitist of his time, Robert Street also created
historical and Biblical scenes. Nothing is known of his life before 1815 when he first
exhibited at the Pennsylvania Academy except that he was born in Germantown,
Pennsylvania. He continued to exhibit at the Academy in 1817, 1818, and 1822. In 1824
he showed three historical paintings in Washington, D.C., in the same year he painted a
portrait of Andrew Jackson, which later hung in the White House. In 1834, he painted
Joseph Bonaparte, the oldest brother of Napoleon, who was living on an estate in
Bordentown, New Jersey. In 1840 a major exhibition of his work was held at the Artists
Fund Hall in Philadelphia. The show was catalogued and included 172 works by Street
and fifty paintings by past artists. He also participated in group shows at the Artists
Guild until 1845; at the Franklin Institute in 1847 and 1851; at the Pennsylvania
Academy of the Fine Arts until 1861; and at the Apollo Association in New York in 1838
and 1839. Interestingly, four of his children, by three different wives, also became
artists.

SOLD

1121-56


George Washington, A Superb Large Portrait by Philadelphia Artist Robert Street After Gilbert Stuart, detail view

George Washington, A Superb Large Portrait by Philadelphia Artist Robert Street After Gilbert Stuart, back view



Portrait, George Washington
Date/Period: 1790-1800


Portrait, George Washington, entire view

Measurement: Frame: 13 x 15.75"; view: 10 x 13"

Material: Oil on early canvas, modern frame

Condition: Very good

Additional Information: An early porthole format portrait bust of Washington atypical of
later compositions commonly found.

$2,450.00

232-397


Portrait, George Washington, entire view ruler

Portrait, George Washington, entire view sans frame

Portrait, George Washington, back view

Portrait, George Washington, back detail



Folk Art, Carved & Painted Trade Figure of George Washington in Uniform
A relaxed and confident portrait displaying great attitude and surface
Anonymous
Date/Period: Beginning of 20th Century.


Folk Art, Carved & Painted Trade Figure of George Washington in Uniform A relaxed and confident portrait displaying great attitude and surface Anonymous, entire view 1

Measurement: 65.5”

Material: Carved wood, polychrome, vibrant, displays very well

Condition: Excellent

Additional Information: American, beginning of the 20th Century. The flat back figure,
almost life size, shows Washington with his sword…wearing his high black boots with
spurs, ivory pants, and vest; ruffled jabot and sleaves; blue coat with brass-colored
buttons. His tricorne “cocked hat” ornamented with a red, white, and orange cockade.
May have been originally displayed at a Philadelphia theater.

$26,500.00

1121-37


Folk Art, Carved & Painted Trade Figure of George Washington in Uniform A relaxed and confident portrait displaying great attitude and surface Anonymous, entire view 2

Folk Art, Carved & Painted Trade Figure of George Washington in Uniform A relaxed and confident portrait displaying great attitude and surface Anonymous, entire view 3

Folk Art, Carved & Painted Trade Figure of George Washington in Uniform A relaxed and confident portrait displaying great attitude and surface Anonymous, back view

Folk Art, Carved & Painted Trade Figure of George Washington in Uniform A relaxed and confident portrait displaying great attitude and surface Anonymous, scale view



Federal Mirror, Mourning of George Washington, Eglomise Tablet
Date/Period: Circa 1810-1825


Federal Mirror, Mourning of George Washington, Eglomise Tablet, entire view

Measurement: 41.25" x 23.25"

Material: Gilded wood, gesso, and eglomise

Condition: Excellent, gilt surface looks to have been refreshed many years ago.

Additional Information: George Washington’s death compelled a long farewell, a
mourning period that lasted several years…embroidered pictures, needlework’s,
mourning jewelry, samplers with mourning scenes and domestic decorative arts such as
this mirror. The reverse painted tablet prominently displays a portrait of Washington
within gilt oval flanked by cenotaph urns on monuments [plinths], weeping trees, and
sunset sky. These artistic devices speak to the iconographic vocabulary of mourn art
during the period. Stepped-out architectural cornice above turned and split columns;
stiles and rails joined by corner blocks. This looking glass has been in a Worcester,
Massachusetts family for many generations, thence by family decent to current owner.

$3,850.00

1213-3


Federal Mirror, Mourning of George Washington, Eglomise Tablet, detail view 1

Federal Mirror, Mourning of George Washington, Eglomise Tablet, detail view 2

Federal Mirror, Mourning of George Washington, Eglomise Tablet, back view



Carved & Painted Folk Art Carving, George Washington, Fragment
Date/Period: 19th Century


Carved & Painted Folk Art Carving, George Washington, Fragment, entire view 1

Measurement: 11.75" x 9" x 3"

Material: Appears to be maple, polychrome

Condition: Very good as fragments go! Missing foot & coattails, else fine

Additional Information: General George Washington in uniform holding chapeau in
position to be astride his horse. Great and original surface.

Literature: Frances McQueeney-Jones Mascolo, “Beyond Tradition: A Folk Art
Collection in New Hampshire,”
Antiques & Fine Arts, vol. VII, Issue 2, Summer/Autumn 2006, p. 138.

Provenance: Billy Pearson, California

Sotheby’s, Important American Folk Art from the Ralph, and Susanne Katz
collection. January 21, 2017. Lot 5065

$2,250.00

1287-5


Carved & Painted Folk Art Carving, George Washington, Fragment, entire view 2

Carved & Painted Folk Art Carving, George Washington, Fragment, entire view 3

Carved & Painted Folk Art Carving, George Washington, Fragment, entire view 4

Carved & Painted Folk Art Carving, George Washington, Fragment, entire view 5

Carved & Painted Folk Art Carving, George Washington, Fragment, detail view 1

Carved & Painted Folk Art Carving, George Washington, Fragment, detail view 2



George Washington: Fine, Portrait Attributed to Philadelphia Artist Robert Street
Date/Period: (1796-1865)


George Washington: Fine, Portrait Attributed to Philadelphia Artist Robert Street (1796-1865), entire view

Measurement: view: 23.5” x 19.625” frame: 27.5” x 31”

Material: Oil on Canvas

Price on Request

1121




Staffordshire Pottery, Bust of George Washington
Date/Period: Early 19th Century - SOLD


Staffordshire Pottery, Bust of George Washington, entire view 1

Measurement: Height: 8"

Material: Pottery

Condition: Excellent original condition

Additional Information: Pottery bust of George Washington wearing a rich cobalt blue
jacket, floral patterned vest, and black cravat…the figure raised on a simulated marble
plinth.

SOLD

492-236


Staffordshire Pottery, Bust of George Washington, entire view 2

Staffordshire Pottery, Bust of George Washington, detail view

Staffordshire Pottery, Bust of George Washington, entire view 3

Staffordshire Pottery, Bust of George Washington, bottom view



Inaugural Button, George Washington, 1789,
LONG LIVE THE PRESIDENT, Albert 11A
Extremely Fine Condition, Golden Patina, Hard Smooth Surfaces


Inagural Button, George Washington, 1789, Long LIve the President

Long Live the President-GW within recessed oval, the variety with narrow spacing between G
and W. 34mm diameter (1.33858-inches)


Inagural Button, George Washington, 1789, Long LIve the President back_
$4,895.00

849-82



Berlin Needlework Portrait
Full Standing Figure of Washington
Multicolored cotton
Circa 1850
American


Berlin Needlework Portrait  Full Standing Figure of Washington  Multicolored cotton  Circa 1850, sans frame
General Washington is posed before his horse with compromised canon and cavalryman while in the background is Continental soldiers and our 13-star flags.
The patterns were imported from Berlin as was the worsted wool used for working needlepoint and/or cross-stitch pictures on canvas throughout the Victorian era. Frame: 45.5 by 56.25"; Sight Size: 38.75 by 49.5".
$1,300
335-110


Berlin Needlework Portrait  Full Standing Figure of Washington Multicolored cotton Circa 1850, scale view
Berlin Needlework Portrait  Full Standing Figure of Washington Multicolored cotton Circa 1850, detail view 1
Berlin Needlework Portrait  Full Standing Figure of Washington Multicolored cotton Circa 1850, detail view 2
Berlin Needlework Portrait  Full Standing Figure of Washington  Multicolored cotton  Circa 1850, detail view 3


Many more George Washington Medals Available
On Our Medals and Tokens Page


Keep Scrolling for more George Washington


Antique Straight Razor, General George Washington
Manufactured by Wade & Butcher, Sheffield
19th Century


Antique Straight Razor, General George Washington
Manufactured by Wade & Butcher, Sheffield
19th Century, razor and case view

Ox horn scales impressed “General Washington” beneath Washington’s profile portrait.
Brothers William & Samuel Butcher founded the company in 1820. The signed blade
and scales remain in fine original condition, likely the original unsharpened edge. Case
is embossed with makers name and mark; paper loss to lid edge (.75-inch)
(Length closed: 6.25")


Antique Straight Razor, General George Washington
Manufactured by Wade & Butcher, Sheffield
19th Century, address detail

Antique Straight Razor, General George Washington
Manufactured by Wade & Butcher, Sheffield
19th Century, case view

Antique Straight Razor, General George Washington
Manufactured by Wade & Butcher, Sheffield
19th Century, case detail

Antique Straight Razor, General George Washington
Manufactured by Wade & Butcher, Sheffield
19th Century, horn view

$425.00

110-971





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