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Antique Associates at West Townsend

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Folk Art
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Historic Civil War Sketches, Point Lookout Prison,
by John Jacob Ommenhausser
Maryland Prisoner of War Camp, John Jacob Omenhausser (1832-1877)
Date/Period: 1864-1865


Historic Civil War Sketches, Point Lookout Prison, by John Jacob Ommenhausser Maryland Prisoner of War Camp, John Jacob Omenhausser (1832-1877), entire view

Measurement: View: 8.125" x 5.75"

Material: Watercolor and pencil on paper [probably sent by his family]

Condition: Fine, excellent original condition, each displaying strong color

Additional Information: Watercolor sketches attributed to Private John Jacob
Omenhausser, Co. A, 46th Virginia Infantry who was captured near Petersburg in 1864
and transferred to Point Lookout Prison Camp where he remained incarcerated for
nearly one year. Point Lookout was a miserable overpopulated camp offering
inadequate shelter, lacking adequate clothing, blankets, and rations. The guards
perpetrated violence against the prisoners.

The artist is known to have been a candymaker before the war, however his passion
was journalism. He produced watercolor sketches documenting events and daily prison
life as he observed during his yearlong imprisonment. Omenhausser may have traded
his artistic skills… his sketches, as a medium of exchange with Union officers for extra
rations, blankets, and other amenities of survival.

These works, each with annotations describing the scenes present a rare firsthand
glimpse of daily life within the walls of the infamous camps as memorialized by John
Jacob Ommenhausser during is internment. As an example –
Prisoners were allowed to fish the bay to augment meals. See the drawing
depicting “Capt. J. W. BARNES ASST, PROV. MARSHAL” - annotation No. 4,
“Here’s your Mackerell [sic] for your Bread” …5. Here’s your tobacco for your
fish.

These detailed sketches are believed to have originated in one of four sketchbooks.
They were obviously removed from a sketch pad or book.

Literature: Renditions of all but “Tobacco Pedlers” [sic] are published within Point
Lookout Prison Camp For Confederates (1983) by Edwin W. Beitzell and in “I Am Busy
Drawing Pictures”
The Civil War Art and Letters of Private John Jacob Omenhausser,
CSA by Ross Kimmel and Michael Musik. Also, Sketches From Prison: A Confederate
Artist’s Record Of Life at Point Lookout Prisoner-Of-War Camp,
1863-1865 (1990).

Titles:
• STEAM ENGINE MADE BY A CONFEDERATE PRISONER AT POINT
LOOKOUT MARYLAND
• TOBACCO PEDLERS [sic]
• WASHING MACHINES
• Capt. J. W. BARNES ASST, PROV. MARSHAL
• ENTRANCE TO THE PRISONER’S CAMP
• PRISON COOKHOUSE

$9,750.00 LOT OF 6

216-655


Historic Civil War Sketches, Point Lookout Prison, by John Jacob Ommenhausser Maryland Prisoner of War Camp, John Jacob Omenhausser (1832-1877), entire view 2

Historic Civil War Sketches, Point Lookout Prison, by John Jacob Ommenhausser Maryland Prisoner of War Camp, John Jacob Omenhausser (1832-1877), entire view 3

Historic Civil War Sketches, Point Lookout Prison, by John Jacob Ommenhausser Maryland Prisoner of War Camp, John Jacob Omenhausser (1832-1877), entire view 4

Historic Civil War Sketches, Point Lookout Prison, by John Jacob Ommenhausser Maryland Prisoner of War Camp, John Jacob Omenhausser (1832-1877), entire view 5

Historic Civil War Sketches, Point Lookout Prison, by John Jacob Ommenhausser Maryland Prisoner of War Camp, John Jacob Omenhausser (1832-1877), entire view 6

Historic Civil War Sketches, Point Lookout Prison, by John Jacob Ommenhausser Maryland Prisoner of War Camp, John Jacob Omenhausser (1832-1877), detail view

Historic Civil War Sketches, Point Lookout Prison, by John Jacob Ommenhausser Maryland Prisoner of War Camp, John Jacob Omenhausser (1832-1877), book view



Folk Art, Watercolor, Colorful Birds, Flowering Plants
Date/Period: Late 19th century


Folk Art, Watercolor, Colorful Birds, Flowering Plants

Measurement: Frame: 10.5" x 8.5"; view: 7.75" x 5.75"

Material: Watercolor on lined paper

Condition: Very good, strong color

Additional Information: The composition is mounted within a period walnut veneered frame.

$425.00

1002-419


Folk Art, Watercolor, Colorful Birds, Flowering Plants

Folk Art, Watercolor, Colorful Birds, Flowering Plants



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



Allegorical Watercolor, Adam and Eve in Garden of Eden,
Folk Art, Apple Tree and Snake
American School
Date/Period: Mid-19th Century


Allegorical Watercolor, Adam and Eve in Garden of Eden, Folk Art, Apple Tree and Snake American School, entire view

Measurement: Frame: 12.75" x 10.75"; view: 9.5" x 7.5"

Material: Watercolor, ink, and pencil on paper

Condition: Excellent, strong color

Additional Information: A very colorful image mounted withing a modern paint
decorated corner block frame.

$2,800.00

1256-103


Allegorical Watercolor, Adam and Eve in Garden of Eden, Folk Art, Apple Tree and Snake American School, entire view 2

Allegorical Watercolor, Adam and Eve in Garden of Eden, Folk Art, Apple Tree and Snake American School, back view



Locomotive, Mixed Media Painting
Hinkley & Dury's Works, Boston and Fitchburg Railroad
American, 19th C., Signed T.F. Ramsay 1877 to 1888 (lr)
Painted pigment, applied gilt foil paper accents and wood rail on academy board


Locomotive, Mixed Media Painting, Hinkley & Dury's Works, Boston
Fitchburg Railroad
American, 19th Century, Signed T.F. Ramsay 1877 to 1888, entire view

Holmes Hinkley and Gardner P. Drury built stationary engines and began building locomotives 1840. According to inscriptions the locomotive was built in 1846, and later rebuilt at the Fitchburg Railroad repair shop in 1866. Period molded wood frame, gilt liner. (Good condition, subtle surface grime and stray marks; Frame: 20.5 by 15.5"; view: 16.5 by 11.5)

$1,725

232-314


Locomotive, Mixed Media Painting, Hinkley & Dury's Works, Boston
Fitchburg Railroad
American, 19th Century, Signed T.F. Ramsay 1877 to 1888, scale view
Locomotive, Mixed Media Painting, Hinkley & Dury's Works, Boston
Fitchburg Railroad
American, 19th Century, Signed T.F. Ramsay 1877 to 1888, detail view 1
Locomotive, Mixed Media Painting, Hinkley & Dury's Works, Boston
Fitchburg Railroad
American, 19th Century, Signed T.F. Ramsay 1877 to 1888, detail view 2
Locomotive, Mixed Media Painting, Hinkley & Dury's Works, Boston
Fitchburg Railroad
American, 19th Century, Signed T.F. Ramsay 1877 to 1888, detail view 3



Watercolor, Lake Erie House, Passing Horse Drawn Carriage
Date/Period: Probably 1892, Signed lower right: O.H.B. .92. / 7. 26


Watercolor, Lake Erie House, Passing Horse Drawn Carriage, entire view

Measurement: Frame: 13" x 10”; view: 10.5" x 7.5"

Material: Watercolor on paper, walnut frame

Condition: Excellent. Not examined out of frame

Additional Information: An easy to view peaceful, bright, and sharp image…a carriage
with passengers passes what is likely a boarding house while a lady in blue dress strolls
a boardwalk.

$850.00

928-133


Watercolor, Lake Erie House, Passing Horse Drawn Carriage, entire view sans frame

Watercolor, Lake Erie House, Passing Horse Drawn Carriage, signature view

Watercolor, Lake Erie House, Passing Horse Drawn Carriage, back view



William Goodall, Ornithological Watercolors,
Red Crested Cockatoo, Strike
William Goodall (British, 1757-1844)
Date/Period: 1790-1820


William Goodall, Ornithological Watercolors, Red Crested Cockatoo, Strike William Goodall (British, 1757-1844), pair view

Measurement: 13.25" x 8.25"

Material: Watercolor and ink on paper

Condition: Fine, strong color

Reference: See Locke, M., and Collins, J.V. (2001) “Who was W. Goodall?” In: The
Linnean; Newsletter and Proceedings of The Linnean Society of London
, 17: 28-47.

Additional Information: Signed "W. Goodall" lower center margin, headed with class
and genus at top and identified by species underneath the subject.

William Goodall was educated at Eton and became an ordained priest of the Church of
England. He served as absentee rector at All Saints Church, Marsham, near Aylsham in
Norfolk from 1787-1844. In 1788 he married the sole heiress of Dinton Hall,
Buckinghamshire, making him lord of the manor and a Justice of the Peace for Bucks.

His painting became a lifelong hobby, and he did many works of animals, birds, and
plants.

$1,350.00 the pair

1245-40


William Goodall, Ornithological Watercolors, Red Crested Cockatoo, Strike William Goodall (British, 1757-1844), entire view 1

William Goodall, Ornithological Watercolors, Red Crested Cockatoo, Strike William Goodall (British, 1757-1844), detail view 1

William Goodall, Ornithological Watercolors, Red Crested Cockatoo, Strike William Goodall (British, 1757-1844), entire view 2

William Goodall, Ornithological Watercolors, Red Crested Cockatoo, Strike William Goodall (British, 1757-1844), detail view 2



Folk Art, Watercolor, Garden Scene, Man, Three Women, Dog
Date/Period: 1754


Folk Art, Watercolor, Garden Scene, Man, Three Women, Dog, entire view

Measurement: Frame: 6.75" x 8.5"; view: 5" x 6.5"

Material: Watercolor on laid paper, mounted in a period frame

Condition: Strong color

Additional Information: Anonymous, unknown script; Continental
A gentleman suitor pursuing a relationship while the ladies sisters observe…we do not
know! The verso displays two paragraphs of cursive script and is dated 1754. We
endeavor to translate and will update as we learn more.

$1,250.00

290-80


Folk Art, Watercolor, Garden Scene, Man, Three Women, Dog, entire view sans frame

Folk Art, Watercolor, Garden Scene, Man, Three Women, Dog, detail view

Folk Art, Watercolor, Garden Scene, Man, Three Women, Dog, back view

Folk Art, Watercolor, Garden Scene, Man, Three Women, Dog, back detail



18th Century Watercolor, English Farm
England, Late 18th Century


18th Century Watercolor, English Farm
England, Late 18th Century, entire view

Farmers at fire with caldron, a dog lays under cart; sheep, cows, and a horse.
The work is mounted within an appropriate frame by Perry Hoph.
(Fine condition; frame: 20.75" x 16"; view: 18" x 13.25")


18th Century Watercolor, English Farm
England, Late 18th Century, back view

$1,075.00

786-15




Schoolgirl Folk Art, Collecting Firewood, Painting on Velvet
Date/Period: 19th Century - SOLD


Schoolgirl Folk Art, Collecting Firewood, Painting on Velvet, entire view

Measurement: Frame: 27.25" x 24.25"; view: 19.75" x 16"

Material: Watercolor on velvet

Condition: Quite good, strong color; minor toning limited to lowest hillock

Additional Information: EX Old Print Shop, NYC; label on verso

SOLD

659-226


Schoolgirl Folk Art, Collecting Firewood, Painting on Velvet, detail view

Schoolgirl Folk Art, Collecting Firewood, Painting on Velvet, back view



Mourning Picture, Watercolor on Velvet, Foster Family
Date/Period: 1815


Mourning Picture, Watercolor on Velvet, Foster Family, entire view

Measurement: Frame: 18.75" x 13.75"; view: 16.5" x 11.5"

Material: Watercolor on velvet, mounted in oak frame

Condition: Toning and foxing

Additional Information: To the memory of Joseph Foster who died Nov. 1815 / Age 46
yrs. – Joseph Foster Jr. died December 8th 1815 / Age 21 yrs. Added in 1855: Lucy
Foster Webster died [illegible] _ _ _ 1855 / Age 80 years.

$495.00

984-26


Mourning Picture, Watercolor on Velvet, Foster Family, detail view 1

Mourning Picture, Watercolor on Velvet, Foster Family, detail view 2

Mourning Picture, Watercolor on Velvet, Foster Family, back view



Folk Art, Watercolor, The Side Show, Siamese Twins,
Lawrence Ladd the Utica Master
The Side Show: Siamese twins, Eng and Chang and the Blind Rope makers
Date/Period: 1880-1895


Folk Art, Watercolor, The Side Show, Siamese Twins, Lawrence Ladd the Utica Master The Side Show: Siamese twins, Eng and Chang and the Blind Rope makers, entire view

Measurement: Frame: 32.25" x 21"; view: 18 by 28”

Material: Watercolor on paper

Condition: Fine, modern frame

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

Literature: Panoramas for the People, Munson-Williams-Proctor Institute, Utica,
New York, March 2-May 20, 1984, cat. no. 67.

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.

Additional Information: 1. The Sideshow: The Siamese Twins, Eng and Chang and
the Blin Ropemakers, Sybil B. and Arthur B. Kern, Providence, R.I. Illus. s cat. No. 23 in
American Folk Art (exhibition catalog, M. Shoemaker & Co., Utica, N.Y., February 26-
March 31, 1982, and in The Clarion (Fall, 1983), 38-39. The death of Siamese twins in
1874 prompted a renewed interest in the lives and habits of one of P.T. Barnum’s most
popular and profitable “freaks of nature.” They are shown in this watercolor standing on
stage.

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.


Folk Art Watercolor, The Side Show, Siamese Twins by the Utica Master
Lawrence Ladd, Utica, New York, Late 19th Century
Museum exhibit title cards on verso, watercolor on paper, detail view 1

Folk Art Watercolor, The Side Show, Siamese Twins by the Utica Master
Lawrence Ladd, Utica, New York, Late 19th Century
Museum exhibit title cards on verso, watercolor on paper, detail view 2

Folk Art Watercolor, The Side Show, Siamese Twins by the Utica Master
Lawrence Ladd, Utica, New York, Late 19th Century
Museum exhibit title cards on verso, watercolor on paper, detail view 3

Folk Art Watercolor, The Side Show, Siamese Twins by the Utica Master
Lawrence Ladd, Utica, New York, Late 19th Century
Museum exhibit title cards on verso, watercolor on paper, back view

Folk Art Watercolor, The Side Show, Siamese Twins by the Utica Master
Lawrence Ladd, Utica, New York, Late 19th Century
Museum exhibit title cards on verso, watercolor on paper, back detail view

$4,750.00

859-15




American Folk Art Painting, Picking Pears
Anonymous, circa 1845
Watercolor on brushed cotton (velvet) - SOLD


American Folk Art Painting, Picking Pears
Anonymous, circa 1845
Watercolor on brushed cotton (velvet), entire view

Two girls under an old pear tree laden with ripe yellow fruits, one of the girls fills her
apron with drops while the other savors a pear. A hat lays on the hillock, behind which is
a cottage. The pigments are bright, overall condition is outstanding. EX Park Bernet and
The Old Print Shop, New York City. The work is matted and mounted within a gilt frame.
(Frame: 27" x 23"; view: 19.25" x 16.25")


American Folk Art Painting, Picking Pears
Anonymous, circa 1845
Watercolor on brushed cotton (velvet), entire view sans frame

American Folk Art Painting, Picking Pears
Anonymous, circa 1845
Watercolor on brushed cotton (velvet), back view

SOLD

659-210





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