Edward Mitchell Bannister, Painting, Coastal Scene, Circa 1880s to Early 1890s
Oil on canvas laid on wood board, original gold gilded gesso frame
(Frame: 9.75" x 7.75"; view: 5.75" x 3.75")
This tiny, unsigned and undated painting [perhaps an oil study] displays a brisk and
dynamic New England seascape; subject matter is typical of bannister’s oeuvre.
The lack of unidentifiable topographical or architectural landmarks make it extremely
difficult to pinpoint the exact site of this painting with any certainty, it is likely that it
represents a view towards the mouth of Narragansett Bay, painted either along the
littoral of Connecticut Island or from one of Newport’s southern beaches. Although the
topographical specificity is difficult to establish, the composition, formal concerns, motifs
and narrative of untitled [Coastal Scene] are nevertheless all unequivocally consistent
with Bannister’s works, particularly his Rhode Island studies from the 1880s and early
1890s, and argue strongly for a positive attribution as does the handling of paint and
Beyond, the sea bustles with activity, with further sloops, racing yachts, a full-rigged
ship and a small steamer, identifiable by its curling smoke dotting the water and leading
the eye to the far, misty horizon. The presence of a steamboat supports both
Narragansett Bay as the location of the painting, and the timeframe of the last quarter of
the nineteenth century. Various lines operated steamers in Narragansett Bay during that
period, including the Wickford Railroad & Steamboat Company, the New England
Steamship Company and the Fall River Line. Bannister depicted their steamers within
his seascapes on a number of occasions. Representing the central point and narrative
thrust of the work, two men, possibly African American, stand on the rocky outcrop and
point or signal to the closest vessel, a small shore-bound sloop. The positioning of a
single boat as a compositional focus is idiosyncratic of Bannister’s work and can be in
seen numerous painting. The use of rocks as a weight or frame within the pictorial
structure represents another typical Bannister device.
The figures within Untitled [Rhode Island Coastal Scene] evoke the gentle narrative of
the painting and can be placed easily within Bannister’s imagery. As noted above, he
frequently painted this motif, sketching Rhode Islanders, occasionally his family and
close friends, at ease on the rocky outcrops of Conanicut and Aquidneck Island.
Whilst the details are imprecise to the diminutive size, the sailor or perhaps sailors, as
there may be a second figure in the sloop, appear to be wearing distinctive yellow
oilskin slickers or suits. This was typical nautical wear in mid to late 19th century New
England, referenced in fiction and non-fiction and sailing catalogues, albeit quite heavy
and cumbersome during that period, which may indicate that this is a cool spring or
early autumn scene, rather than midsummer, or that a squall has recently passed,
hence the somewhat turbulent water.
The painting of the sea also closely conforms stylistically to other Bannister seascapes.
A similar application of paint, showing the same close spacing and thick, heavy
realisation of the choppy whitecapped waves, can be seen in, for example, Path to the
Sea (ca.1885-9) [Fig.9], Untitled [Bass Rock, Essex County, Massachusetts] (undated)
[Fig. 10], and Untitled [Men Gathering Seaweed] (undated).( Fig.19] (Ask for full
Finally, the treatment of the sky shares multiple tonal and formal qualities with
Bannister’s landscapes and seascapes. Indeed, one of the most convincing aspects of
the painting regarding a positive authentication, is the effortless and masterly rendering
of the tumbling, windblown clouds and the light coloring the water. Bannister’s subtly
complex skies were frequently compared to those by Constable, whose meteorological
studies (his “skying” campaign of the summers of 1821 and 1822 in Hampstead Heath,
for example) were devoured by American painters, and they form the signature of his
works, more even than a written inscription.
The lack of signature is not unsurprising nor inappropriate in a study of this kind. Many
of Bannister’s paintings were left unsigned for various reasons. This work may have
been unfinished in Bannister’s judgement, or it may have functioned as a preparatory
sketch for another, perhaps larger painting. Equally, paintings which were unexhibited,
unsold, retained in his own collection, or gifted to family, colleagues or friends often
remained unsigned. Sometimes pieces were simply discarded by Bannister, who was
an extremely harsh critic of his own work.
The dimensions are very small for a fully worked Bannister oil painting, so it seems
likely that this was either a preparatory sketch for a larger work, or simply an en plein air
work, made by Bannister on one his many painting trips. Possibly the sloop was indeed
his, and the work was made on a stop around the coast.
Other paintings made on wood board during the second half of Bannister’s career
include Untitled [Fishing Shacks] (Undated, but ca.1880s)20 and Untitled [Park Street
Church, Boston] (ca. 1899).21 (See full description)
There are no signs of damage or restoration; the painting remains in original condition
other than a light cleaning. There are reddish highlights to rocks and figures, which may
become more apparent after cleaning.
This description gleaned from a report authored by Anne Louise Avery, Art Historian,
Bannister expert and author of the Catalog Raisonne, Bannister, Edward Mitchell (1828-
Antique Painting, Hudson River Valley Landscape by James B. Hope (1818-1892)
Lake George, NY from Tongue Mountain, looking northeast to Huletts landing
Oil on canvas, original stretcher and gilt frame
James Hope was born November 29, 1818/19 in Scotland. After moving to the United
States, he became a noted portrait, landscape, and historical genre painter; he served
the Union Army during the Civil War. After living most of his life in Vermont, he moved to
Watkins Glen, New York in 1872 where he built a studio and art gallery; devoting the
last twenty years of his life as artist laureate of the water and wind-hewn geologic
formations found in the vicinity, especially Rainbow Falls. He was also one of the many
artists who painted in the White Mountains of New Hampshire.
(Extremely minor scattered fill; Frame: 49.25" x 35"; sight: 40" x 25.75")
Painting, Old Masters Dutch School, Village Scene
Anonymous, 17th or 18th Century
Oil on canvas
A man walks the lane to a small village
with church steeples in the distance
(Typical relining, 18th century wedged stretcher, scattered in-paint pretty much limited to
sky. Frame: 28.25" x 21.25"; view: 22.75" x 15.75")
Antique, Folk Art Landscapes,
North Litchfield Village, Maine
Litchfield, Kennebec County, Maine
Oil paintings on basswood panel - SOLD
According to an old Kennedy Galleries (NYC) label, the paintings are by Charles
Frederic Dunn; stated is that they are signed on the back. We do not find a signature
surmising that an original frame or backboard was signed.
As stated, Charles Frederik Dunn (1810-1882) was indeed born in Litchfield, he had a
son by the same name born in 1851, he died in 1908.
One of the folky rural scenes is mounted within a period frame,
the other within a modern frame.
(Frame: 17.25" x 25.25"; view: 21" x 13"; Frame: 24" x 17.75"; view: 19.5" x 13.25")
American Folk Art Painting, Picking Pears
Anonymous, circa 1845
Watercolor on brushed cotton (velvet)
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")
Antique Painting, Rural Winter Landscape, Maine Scene, Sarah Jane Prentiss (1823-1877)
Maine [born in Paris, Maine, died and buried in West Paris, Maine]
This painting is signed at lower right, she signed very few of here works
Oil on Canvas, original stretcher, period gilt frame
Displaying a logger, landowner and child with sled; a team of oxen…mountainous view.
The artist was not well known nor prolific. Her works speak to her enjoyment of the
nature that surrounded her; her works were done for enjoyment.
After the death of her mother in 1859, she lived with her aunt in Wakefield,
Massachusetts. Prentiss studied drawing and watercolor under Stephen Salisbury
Tuckerman at the School of Design in Boston. During the Civil War, in 1861, Miss
Prentiss volunteered as a nurse serving at the hospitals of Maryland where she
contracted malaria…. Never fully recovering, (eventually leading to her early death).
After her war service she returned to Paris, Maine to paint; in 1874 she traveled to
Munich and the Bavarian and Italian Alps…again returning home in late 1875, her
health having worsened, she was welcomed at her brothers home, "Elm Bank," in
Bangor, Maine. She died there October 21, 1877.
The picture is in very good condition with scattered minor fill;
two tiny punctures are restored.
(Frame: 21" x 17.5"; view: 17.25" x 13.75")
Folk Art Painting on Panel, Pond & Meandering Brook Within Woodland Landscape
American School, Second Half 19th Century
Oil on whitewood panel, beautiful vista, sky and trees
(There is no frame…it looks great as-is; we work with dealers of antique frames and
craftsman that fabricate great and appropriate frames-we will be pleased assist. The
picture has been cleaned; extremely minor fill; 37" x 30.75" x 1".
Antique Painting, Fishing Party on the Upper Hudson, Thomas Doughty
Attributed to Thomas Doughty (1793-after 1860)
A fine example of the Hudson River School artists work. Two men on a cliff
overlooking the water observe fishermen in a dory; typical of Doughty is the red
jacket and the silver streak in the sky
Oil on canvas
Thomas Doughty was born in Philadelphia, he was the first American artist to work
exclusively as a successful landscapist; he is credited along with Thomas Cole and
Asher B. Durand as founders of the Hudson River School of landscape painting
He was known for his quiet, often atmospheric landscapes of the rivers and mountains
of Pennsylvania, New York and especially the Hudson River Valley, and New England.
The picture remains in a high degree of originality with one small repair in lower section
and very minor scattered retouch.
(Frame: 29.5" x 25.5" view: 23.5" x 19.5")
Antique American Folk Art, Painting, Lake George, New York, Ralph Redpath
Signed, Redpath 1867
A vibrant, and unusually artful large-scaled folk-art painting of Lake George; signed and
dated by the mid-19th century New York artist Ralph Redpath who worked in
the Mohawk and Hudson River valleys. A work identified as Redpath is in the collection of
the National Gallery of Art, Washington, a Gift of Edgar William and Bernice Chrysler Garbish in 1955.
(Period walnut frame with gilt liner; original stretcher; 41.25 ” x 30.5” framed)
Painting, Lake George, Hudson River Valley School
Anonymous, circa 160-1870
Oil on canvas
Late summer scene, sidewheeler, sail boats and village in the distance
(Wax lined, extremely minor in-painting; housed within gilt frame;
frame: 27.25" x 19.25"; view: 21.75" x 13.75")
George Lafayette Clough, (1824-1901) Waiting for the Catch, Painting
Auburn, New York,
Oil on canvas
George Lafayette Clough was a notable landscape painter of the 19th Century; he was born in Auburn, New York. He was essentially self-taught but studied under Charles Loring Elliott from whom he received much training. Clough traveled to Europe to study and spent time in Italy, Holland, and Germany during the 1850s. John Lafayette Clough was a member of the Brooklyn Brush and Palette Club and exhibited at the National Academy, Buffalo Fine Arts Academy, Brooklyn Art Association, Boston Art Club, The Cosmopolitan Art Association and others. (The painting is lined; mounted on new stretcher; frame: 43.5 x 41.5"; view: 24 x 36")
NEW LINE BETWEEN BOSTON & NEW YORK –
VIA NEWPORT AND FALL RIVER
COMPOSTED OF THE NEW STEAMERS
BAY STATE & EMPIRE STATE
EACH OF 1600 TONS BURTHEN
BUILT EXPRESSLY FOR THE OUTSIDE ROUTE &
IN EVERY RESPECT SEA GOING STEAMERS
Pained BY W. MARSH ESQRE. N.Y.
LITH. BY F. & S. PALMER, 34 ANN ST. N.Y.
Lithograph mounted within modern gold frame, not examined out-of-frame so let us
assume it is mounted. (Frame: 40.75" x 29.25"; view: 38.25" x 26.75")
Vintage Pastel on Paper, Summer Sailboats – Tidal Landscape
Unsigned, Early 20th Century
(Frame: 18" x 14"; view: 11.25" x 7.5")
Folk Art Painting, Bucolic Scene, Family at Campfire, Castle in Landscape
Anonymous, 19th Century
Seen in the foreground of the mountainous vista is a water-view castle within landscape…a caldron boils over open-fire, mother is seated with baby on her knee, at the fire is another woman, dog and child; a gentleman tends the horse and wagon.
(Frame: 23" x 17.75"; view: 19" x 13.75")
Over-Mantel Landscape Painting, Eighteenth Century, Anonymous
Oil on canvas
Offering a perspective view…figures in landscape, water view, mountains, courting swans; the man and woman tending cows and sheep
(Lined, frame: 55.5 x 34.25"; view: 52 x 30.75")
Painting, Westchester Marshes, George Henry Smillie (1840 – 1921)
Oil on canvas, circa 1870 – 1880
Painterly depiction of a cottage by a river, from the perspective of the opposite shore. Smillie would sometimes write the location of his landscapes following his signature, and the inscription [N.Y.] follows with the title Westchester Marshes. The title, artist’s name, and partial address [650 Madison St] is written on a label affixed to the rear surface of the stretcher.
(Very good condition; view: 19.5” x 30”; Frame: 23.5” x 33.5”)
Folky Painting, White Waterfront Mill Buildings,
Swans and Lone Mallard Drake
Anonymous artist, oil on canvas, third-quarter 19th century
A peaceful composition within period frame…displaying good color
Original stretcher, small repair at top-center just under frame; couple fly spec size fills, else fine and original;
(frame: 28" x 23.25"; view: 23.5" x 18.25)
Folky Painting, Mountainous River Scene, Monor Bridge, 1882
Signed Fawn Coman [unknown]
The painting displays lovely shades of blue and green, a wonderful palate; the work features a building, a woman in red dress; man walking across bridge, a paddle wheeler and sailboats. Overall great condition.
(Frame: 29.25" x 25.5"; view: 23" x 19.5)
American School House Portrait Within Landscape
Reynolds’s Bristolboard Blind Stamp at Upper Right Recto
Anonymous Artist, Likely 1880’s
Pencil and watercolor within period gilt frame
(Excellent condition, not examined out of frame
(Frame: 23 x 19"; view: 20 x 15.5")
Winter Scene, Children at Play
Wilhelm Meyerheim (1815 to 1882)
Oil on canvas
Wilhelm Meyerheim was born in Danzig, Germany (now Gdansk, Poland); eventually settling in Berlin, working there until his death. His father, a talented portrait painter, provided him with his early training before he studied in Danzig, eventually continuing his education at the Academy in Berlin. His works suggest that he spent time sketching the peasantry in the countryside's of Hesse and Tyrol. The artist soon became popular painter - creating scenes of everyday outdoor life, simple activities which often included his favorite subject's, children and horses; winter scenes, often with the same old tree as depicted herein-silhouetted against the winter sky. The work has be lined and stretched on a modern strainer and is mounted within a period frame. Extremely minor fill mostly confined to outermost edges. Dimensions: 25.5 by 31.75: framed; 21 by 27.5" sight-size.
American School Folk Art, Landscape, Residence of Mrs. Hoover, Federal
Watercolor, pencil, and Gouache, Indistinct Signature
A house portrait, "The Residence of Mrs. Hoover, Benevola, Maryland", a blue Federal home having a white picket fence and outbuildings with family and carriage in the foreground, signed indistinctly on the lower right.
(Dimensions: 21.25 by 27.5" frame, 12.25 by 18.5" sight-size.)
Painting, Daniel Charles Grose (1838 to 1900)
Orientalist View of an Indian Palace with Shipping and Distant Hills
Oil on canvas (Frame: 18 by 14"; view: 11.5 by 7.5")
Daniel Grose was born in England; he lived in Canada during the 1860s and in Washington DC in the 1870s and 1880s. His uncle was the well-known English landscape painter Francis Grose; it is assumed that Daniel settled in Canada whereas so many of his romantic landscapes are in Canadian museum collections. The painting remains in fine original condition and is mounted on original stretcher; frame is original and has old and minor restoration and/or imperfections.
Primitive House Farm Portrait
Found in Ohio
Circa 1900 - SOLD
Oil on pressed board, fine condition (Frame: 28 by 20.25"; view: 22.5 by 14.75")