Old Master Painting, Full Length Portrait of Little Girl Holding a Flower
German, Signed by FG Stolberg (Franz Gebhard Stolberg)
Possibly a Collaboration, Portraitist and Still Life Painter Date/Period: Circa 1650
Measurement: 31.5 by 36.75” frame, 25.5 by 30.5” sight-size
Material: Oil on canvas
Condition: Excellent condition, relined canvas, two tiny trivial areas of in-painting.
Additional Information: Interior with floral still life in the circle of Georg Flegel
(1566 to 1638) Signed FG Stolberg lower left.
$18,000
1310-170
Henry Raeburn, A Scottish Officer, and His Family Date/Period: Circa 1805
Measurement: 86" x 60"
Material: Oil on canvas
Condition: Complete conservation and restoration reports available.
Relined and on original stretcher. Unframed
Literature: McKenzie Annand, “An Officer of the East Yeomanry and His Family, JSAHR LII (1974), pp. 66-67 and plate.
Provenance: with M. Bernard Fine Art, London to 1970; private collection in the
American South to 2011 then to private American collection.
Additional Information: Attributed to Henry Raeburn, RA (1756-1823)
This large and handsome work shows the young family of a dashing officer dressed in
the uniform of the East Lothian Yeomanry Cavalry; an elite volunteer corps composed
of Scottish aristocrats first raised in 1797. His beautiful wife is seated with their
youngest, still an infant, while his eldest daughter gazes directly at the viewer, a rather
unconventional approach. She shares her mother’s beauty and that, coupled with what
clearly must have been a compelling personality, has clearly captivated the artist. Her
portrait stands out among the rest as the central figure. The child playing with her
father’s saber is likely her young brother, still dressed in the unisex gown, the weapon
alone serving to identify sex.
By size and composition, this would have been an extremely expensive
commission—intended to be hung prominently in the great drawing room of some
country estate or city mansion.
Henry Raeburn lived and worked in Edinburgh and was the leading Scottish
portrait painter of his day. Raeburn began his career as a miniaturist. In 1778,
after marrying into comfortable circumstances, he visited
London where he met Sir Joshua Reynolds.
In 1785 he went to Italy, where he remained for two years. On his return to
Edinburgh, he became the most important Scottish painter of the century, his
career in many ways paralleling that of Reynolds. In 1811 he was elected
President of the Royal Society of Artists and in 1815, a Royal Academician. He
was knighted by George IV in 1822, when the King visited Scotland.
$45,000.00
233-36
Portrait of Seated Clergyman, Barrister, European School, Large Scale Date/Period: 1690-1720
Measurement: Frame: 46.75" x 38.5"; view: 38.75" x 30.75"
Material: Oil on canvas
Condition: Lined, scattered retouch, likely the original frame
Additional Information: The aristocratic gentleman wearing squared white bands and black cloak is seated at a
table covered with a fine textile. The subject holds a book and is seated before a landscape as see through a widow.
$4,500.00
997-41
Portrait, Franklin Pierce, American School Date/Period: 1850-1860
Measurement: Frame: 15.25" x 13.25"; view: 4.75" x 6.75"
Material: Oil paint on sheet copper
Condition: Excellent
Additional Information: A handsome images of Franklin Pierce (November 23, 1804 –
October 8, 1869) who was the 14th president of the United States (1853–1857).
$8,350.00
232-437
Ida Waugh (1846-1919), Pair of Portraits, Young Girls Holding Kittens
Signed, Upper Right Date/Period: 1890s
Measurement: Frame: 18.75" x 20.75"; view: 8.75" x 10.75"
Material: Oil on board, period frames possibly original
Condition: Very good
Additional Information: Of Waugh’s popular images of toddlers, these are very rare in depicting African
Americans. Furthermore, they are not caricatural/racist, as most depictions of black children were at that
time, made by artists like E. W. Kemble, A. B. Frost, and Thomas Worth. Instead, these are charming and
humorous. As any cat owner knows, kittens can and will dig in their needle-sharp claws to climb up your
body! The only related Waugh we found is in the Princeton University Art Museum, interestingly depicting
two African American boys. Some of the illustrations in Waugh’s books are of African Americans, although
these are isolated examples.
Ida Waugh was the daughter of Samuel Bell Waugh and his first wife – Sarah Lendenhall. Samuel was a
well-known Philadelphia portrait and genre artist who had pursued art study abroad and exhibited
frequently in New York City and Philadelphia. Frederic, Ida’s half-brother, became a well-known marine
painter. Ida’s step-mother--Frederick’s mother--was Mary Eliza Young Waugh, a miniaturist. With a
pedigree and family like that, it was little wonder Ida became an artist.
Ida was born in 1846 (not in 1819 as is commonly stated on the web). Her father was her first teacher. She
was a student in the first “Ladies Life Class” at the Pennsylvania Academy of the Fine Arts in 1868 – a
class also attended by Emily Sartain and Catherine Ann Drinker. This was an era when lady artists were
often relegated to more lady-like subjects and painting men or models that were unclothed was frowned
upon. This class would lead to a virtual revolution in the art world that opened-up life classes to women
artists in America. The classes were still, however, restricted to “ladies” classes and often clothed models.
It was a time that the art world was only beginning to accept that women were entering the profession and
not simply dabbling in the arts until marriage. Waugh later travelled abroad, studying art at the Academy
Julian and the Academy Delecluse in Paris
While still living at home with her parents, Waugh first met Amy Blanchard. Amy was hired to be young
Frederick Waugh’s tutor. Ida and Amy would become fast friends. They would work together, play together,
live together and in the end, were only separated by Ida’s death in 1919. Along the way Ida and Amy
published a small library of children’s books. Amy often wrote the text and Ida provided the wonderful
illustrations. Ida also published several of her own books, featuring sweet-faced infants and children often
with little else in the illustration. Though she would never marry or have children, she could capture the look
of pure love that often passes between mothers and their children perfectly. She would also include flowers
and a few animal drawings to further adorn the pages.
Ida Waugh was not only an illustrator of children’s books, but she was also an award-winning painter. Her
most famous work, Hagar, and Ishmael, was shown in the French Salon in 1888. Her portrait of Dr. Paul J.
Sartain won the 1896 Norman W. Dodge prize at the National Academy of Design and was also exhibited
in the 1901 Pan American Exposition. Her work was also exhibited in Philadelphia (Pennsylvania Academy
of the Fine Arts), Cincinnati, Chicago (Art Institute) and New York (National Academy of Design).
Louis Prang, who published greeting cards, held an annual contest and Ida Waugh was listed among the
winners. In the late 1890s, several her illustrations from When Mother Was a Little Girl were made into
chromolithographic postcards, which are highly collectible today. She was also employed by the New York
publishing firm McLoughlin Brothers.
$28,500.00 the pair
1292-5
Portrait of a Writing Master, American School
Inscribed (at lower left): Penmanship Cl[ass] / Taught By Date/Period: About 1845
Measurement: Frame: 39.25" x 45.75"; view: 29.25" x 35.5"
Material: Oil on canvas, lined, gilt frame.
Condition: Excellent, miniscule fill at bottom right; image taken under blacklight
available.
Additional Information: The subject, a handsome and agreeable gentleman is seated
at a table holding a quill pen
$28,500.00
1300-4
Julius Brutus Stearns (1810-1885) Family Group Portrait Within Domestic Interior
Signed, dated, and inscribed (at lower left): J.B. Stearns N.Y. 1850 Date/Period: 1850
Measurement: Frame: 52.25" x 64.5"; view: 44.25" x 57.25"
Material: Oil on canvas
Condition: Re-stretched and lined, very minor inpaint
Recorded:Whitney Museum of Art History Purpose and Activities with a Complete List
of Works in its Permanent Collection to June 1937, page 23; Mario Amayo, “Art: The
Family Together-Paintings of Life at Home,” in Architectural Digest (December 1977),
page 116, illus. in color.
Exhibited: Society of the Four Arts, Palm Beach, Florida, 1976, At Home.
Ex collection: Whitney Museum of Art, New York.
Additional Information: An unknown affluent family within a well-appointed room, eight
children, mother, father, and mother-in-law. Most of the well-dressed children are posed
with a prop. The oldest girl holds a fan, the young lady to her right holds’ flowers; the
child positioned before her father listens to a pocket watch. The younger brother
watches his sibling sketching…they are flanked by the girl in pink dress holding a hoop
while her sister holds a whip-like staff to which is attached a ribbon displaying the colors
of the American flag.
Stearns, a Vermont native, was born Lucius Sawyer however, after a falling-out with his
father who disapproved of his artistic endeavors, he changed his name. He was
recognized by the public when he submitted the Millennium to the National Academy of
Design in 1838. By 1840 Sterns was accepted and embraced by the New York art
community. The artist created a serious of paintings inspired by the life of George
Washington of which many were sold as prints…the popularity of these prints, other
paintings depicting historic scenes and the mastery he developed and conveyed in his
paintings gained him much attention and respect on the American stage. He was
elected associate member of the national Academy of Design in 1848; elevated to full
academician in 1849; served as the academy’s recording secretary 1851-1865.
Stearns traveled in Europe during the late 1840s, during the 1850s focused on
domestic genre paintings, portraits, and sporting pictures. His works are held by such
noted institutions as the Virginia Museum of Fine Arts, Butler Institute of American Art,
and New-York Historical Society. Sterns was killed in a carriage accident near his home
in Brooklyn in 1885.
$18,000.00
1125-62
Portrait, Lady in Blue
Attributed to Joseph Blackburn (Active 1752 through 1777)
The appeal of Blackburn's work is apparent in this half-length portrait of a stylish young lady with fashionably rouged cheeks rendered in an elegant pose; a pinned ribbon ornaments her bodice and meticulously rendered lace is featured on her sleeves and the square-cut neck of her dress. The subjects outstretched arms and hands are typical of Blackburn's oeuvre. The canvas was long ago re-stretched; there is extremely minor scattered in-painting.
(Dimensions: 27.75 by 35.75".)
$19,500
786-7
Portraits of Laura Burr Lacey Second Cousin to Aaron Burr and David Lacey, David Lacey (born December 4, 1785)
married Laura Burr (born April 25, 1793)
Remained in Family by Descent, to AAAWT
Attributed to Ezra Ames (1768-1836)
(Excellent original condition, extremely minor fill; original frame and stretcher, lined; frame: 16.25" x 13.75"; view: 13" x 10.5")
$10,500.00
1291-1
A Fine Historic Profile Portrait, John Quincy Adams
Anonymous Date/Period: 1820’s
Measurement: Frame: 9" x 11"; view: 7" x 9"
Material: Pastel on paper, gilt frame
Condition: Excellent, not examined out of frame
Additional Information: John Quincy Adams (1767-1848) American Statesman,
Diplomat, lawyer, and 6th president of the United States; son of John and Abigail
Adams.
$8,200.00
1121-65
Portrait, George Washington After Gilbert Stuart’s Gibbs-Channing-Avery Portrait Date/Period: Circa 1830
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
CARL GABRIEL WADELL (1865 – 1909)
Portrait of King Gustav V (r. 1907 – 1950)
Oil on canvas, dated 1908
Painted about a year after his accession to the Swedish throne, Wadell shows Gustav in his army General’s uniform. Probably painted after an existing photograph, medals have been added and removed. Though images of the new king were available to the mass market following the advent of early photography, painted portraits were desirable because of their vibrant colors. Minimal restoration on lower edge of sash. (Frame Height: 36” Width: 27.5”; View Height: 29 Width: 20.5”)
$6,000.00
281-85
Portrait, Mrs. Paul Baugh by William J. Edmonson (1868-1966)
Verso Inscribed: Portrait Sketch of Mrs. Paul Baugh 1905 Date/Period: 1920s
Measurement: Frame: 24.75" x 31"; view: 15.5" x 21.5"
Material: Oil on canvas
Condition: Fine original condition including stretcher; gilt frame is modern
Additional Information: A beautiful composition displaying the artists abundant use of
color and remarkable patterns of light and dark.
Mrs. Paul Baugh (nee Josephine Fay Glasser, 1879-1926)
wife of Paul Baugh (1879-1938) of Philadelphia, son of the wealthy Daniel Baugh (1836-
1921), a chemical magnate who devoted his time to civic and philanthropic ventures.
William John Edmondson studied at the Academie des Beaux-Arts of Philadelphia and
then in Paris at Academie Julian with the noted classical figural painters Adophe William
Bouguereau, Jean-Paul Laurens, Tony Robert-Fleury, and Jules Lefebvre. Edmondson
studied primarily with Lefebvre but would have received lessons with the Adolphe
Bouguereau as well.
He also studied with Impressionist painter Edmond Aman-Jean. Afterward, he studied at
the Pennsylvania Academy of Fine Arts with National Academicians Robert Vonnoh and
William Merritt Chase.
He later settled in Cleveland where he joined the Society of Artists of Cleveland and
remained there most of his life. Western Reserve University, Society for Savings,
Municipal Collection of Cleveland, Federal Reserve Bank, Cleveland Chamber of
Commerce and the State House in Columbus all have work(s) of his in their collections.
MUSEUM COLLECTIONS
Pennsylvania Academy of Fine Art Museum; Delgado Museum, New Orleans, LA;
Columbus Museum of Art; Monterey Museum of Art, Western Reserve University
Museum; Cheekwood Museum, Nashville, TN.
EXHIBITIONS:
Pennsylvania Academy of Fine Art: 1890-1895, 1906, 1912-19, 1925-29 (Toppan prize, 1890).
Art Institute of Chicago: 1896, 1917-19
Corcoran (Washington, D.C.): 1912, 1916, 1919, 1930, 1932
Pan-Pacific International Exhibition, 1915
Cleveland Museum of Art: 1919 (medal, First prize), 1923 (prize).
$4,750.00
1125-68
Portrait of Lieutenant William Hindman Campbell, of the United States Navy
Attributed to William James Hubard (1807-1862) Date/Period: Circa 1826
Measurement: Frame: 24.25" x 18.5: view; 20" x 14.25"
Material: Oil on mahogany panel (an early 19th century door panel), within a period
carved and gilded frame
Condition: Very good, minor restoration; images taken under blacklight available
Additional Information: Portrait of Baltimore native William Hindman Campbell (1795-
1839) in his dress uniform as a lieutenant in the U.S. Navy, probably to celebrate his
promotion to that rank in 1826. Campbell was appointed Midshipman on 30 May 1816
however his promising career was cut short when he died on 5 September 1839; he
was buried in Brooklyn, New York.
William James Hubard, a noted British-born artist, came to the United States as a
young man. Already well-known as a silhouette artist, he studied under Thomas Sully
and Gilbert Stuart and established a studio in Baltimore, where he became one of the
leading artists in that city. His portraits of Jackson, Calhoun, Clay, Marshall, John
Carroll, and others are known to survive in institutions and private collections.
Another portrait of Lt. William Hindman Campbell by Hubard is in the Maryland
Historical Society, as are his papers.
Provenance: Harry D. Berry, Jr. Collection to 1970’s; private collection.
$4,600.00
233-29
Porcelain Portrait Plaque, Abraham Lincoln, KPM Type, Signed O.W. Walther
C. M. Hutschenreuther Blank, Berlin, Germany (Impressed mark) Date/Period: Circa 1890
Measurement: Frame: 12.5" x 15.5"; view: 8.5" x 11.5"
Material: Porcelain, carved wood frame
Condition: Fine
Additional Information: A fine portrait plaque…The reverse is impressed with
the “CMHR” crown and shield factory mark for C.M. Hutschenreuther; shield with initials
“CMHR” surmounted with crown. During late 19th and early 20th century, the
Hutschenreuther porcelain factory was the primary provider of blank porcelain plaques.
$2,850.00
232-428
Eighteenth Century Portrait of Dr. Thomas Drummons
Anonymous, Likely Scottish or English
Oil on panel, appropriately framed by Perry Hoph
The gentleman is seated before beautifully bound books and a green curtain with gold
trim; he wears neckbands; formal neckwear worn by clergy, academics, and lawyers.
The verso displays the sitters name; Dr Tho. Drummons above “Gul R. R.”
A colorful composition with the most minor fill.
(Frame: 11.25 x 14.25"; view: 10.25 x 7.25")
$1,800.00
786-19
KPM Porcelain Oval Plaque, Finely Painted
Scene of Young Lady Praying
Germany
Circa 1875 to 1900
KPM stamp on verso
A beautiful hand-painted plaque depicting a veiled young woman in
three-quarter right profile with bouquet of flowers (Oval format; 5 1/8 by 6.75")
$1,350.00
643-10
Portrait Miniature of Unknown Early 20th Century Army Officer by C. Bernard Pereira
US Army Officers Tunic, Artillery Insignia, Captains bars & Light Artillery Cannons on Collar, WWI
Signed C.B. Pereira [Bernard, 1850-1920] Active and lived in New York (3 x 4-inches)
$785.00
281-74
Eighteenth Century Portrait of a Beautiful Woman in Scarlet
English School
Date/Period: 18th Century - SOLD
Measurement: Frame: 32" x 37"; view: 24" x 29"
Material: Oil on Canvas
Condition: Excellent, lined. Reproduction frame. Pictures taken under blacklight available.
Additional Information: Three quarter length portrait, painted spandrels…beautiful.
SOLD
659-236
George Esten Cooke, Portrait of Stephen Girard, Financier-Philanthropist
George Cooke (American, 1793-1849), signed 'G. Cooke' on lower left corner Date/Period: Circa 1825 - SOLD
Measurement: Frame: 20.5" x 25.25"; view: 17.25" x 21.75"
Material: Oil on canvas
Condition: Mounted within period frame, original stretcher, cleaned; revarnished,
Trivial inpainting of small areas of loss…full report available.
Provenance: purchased prior to 1956 in Richmond, Virginia by the Patton family of
Tulsa, Oklahoma.
Additional Information: Stephen Girard (1750-1831) was born in Bordeaux, France
and first came to Philadelphia in 1776 by chance when the ship that he captained took
refuge in that port and adopted it as his new home and became a naturalized citizen of
the United States. Having lost the sight of his right eye at age 8 and possessing little
formal education, he was hard-working and driven and by the 1790’ s, operated a
successful mercantile establishment supplied by his own small fleet of vessels that
traded in Europe, the Far East, and the Americas. By the following decade, he was
Philadelphia's wealthiest citizen and one of its greatest benefactors, making charitable
contributions to numerous civic causes, from the care of orphaned children to public
education. Girard lived modestly and could be found working "hands-on" on his farm,
as well as in his mercantile, banking, and charitable endeavors, until his final days. "My
deeds must be my life", he once said, and "When I am dead, my actions must speak for
me." It is calculated that he was the fourth richest American in history, based on the
ratio of his estate's value against the contemporary GDP. The bulk of his estate was
dedicated to the public good and its benefits are still evident today.
Stephen Girard's likeness has been perpetuated on bank notes and in history books
by engravings made from a post-mortem portrait by Bass Otis. Done from personal
recollection and a death mask, the portrait shows the financier-philanthropist as he
appeared in later life, with bald pate and blind right eye. This little-known life portrait by
Maryland-born artist George Cooke was probably done in the mid-1820’ s. Girard's
facial features in this portrait compare favorably with those in Otis's later work, but
Girard is wearing a short wig or "toupee" to hide his baldness, although his blind eye is
still apparent. The "tie in the portrait is identical to the one worn by Girard in a portrait
reproduced in the "History of Philadelphia" by Ellis Paxson Oberholtzer Vol. II p. 16."
Cooke, who left a career in business to pursue one in the arts, became an itinerant
portrait and landscape painter during the 1820’ s, mostly working in Virginia and
Washington, DC (where he studied briefly under Charles Bird King). After a six-year
study tour of Europe, he returned to the United States and exhibited with success. He
traveled throughout the South, primarily Virginia, Alabama, and Georgia and although
his mainstay of employment was portraiture, he produced some highly accomplished
landscape and history paintings.
Original correspondence and photographs, an early 19th engraving of the Otis
portrait of Girard, and a conservation report accompany the painting.
SOLD
233-37
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![Portrait of a Writing Master, American School Inscribed (at lower left): Penmanship Cl[ass] / Taught By, entire view](https://www.aaawt.com/images_comp/1300-4_1_Portrait,-Gentleman,-Penmanship,-1845_entire.webp)
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![Portrait of a Writing Master, American School Inscribed (at lower left): Penmanship Cl[ass] / Taught By, back view](https://www.aaawt.com/images_comp/1300-4_4_Portrait,-Gentleman,-Penmanship,-1845_back.webp)
