RECORDED: Marianne E. Balazs, Sheldon Peck, exhibition catalog (Whitney Museum of American Art, New York, 1975-76), the gentleman is number 13; the woman is catalog number 14. EXHIBITED: Hirschl & Adler Folk, New York, Source and Inspiration, A Continuing Tradition, 1988, pp. 51 no. 27, 34 illus. in color // Hirschl & Adler Galleries, New York, 1991, American Folk Art, Selections from the Hirschl & Adler Collections, no. 48a EX COLLECTION: acquired from descendants of the sitters in Cato, New York; to Mr. and Mrs. Richard Bury; to [William Samaha, Wellesley Hills, Massachusetts]
Sheldon Peck was born in Cornwall, Vermont, one of eleven children of early settlers. It is thought that he received no formal art training, and his works are not signed. However, his portraits are easily identifiable and fall into three distinct stages within his life: Vermont, until about 1827-28; Onondaga County, New York, from 1828 until 1836; and the Chicago, Illinois, area until his death in 1868.
Peck's general portrait style is characterized by rather stiffly posed subjects, a frontal position, prominent staring eyes, and strongly defined facial planes. All his Vermont and New York portraits were painted on wood panels, and most have plain dark backgrounds. This half-length Portrait of a Man was painted while Sheldon Peck was in New York State. This Portrait of a Gentleman from his New York period is one of a group of four family members. Excellent condition…please call or email Dave for more information, 978-597-8084 or drh@aaawt.com (1300-2)
please call or email Dave for more information, 978-597-8084 or drh@aaawt.com
The subject holds an inscribed scroll which is mostly iledgeable, we can read: Captain Ethelbert / September 22, 1834 / Fifth Company…otherwise iledgeable.
John Bradley was active in the New York City area 1832-1847, works from the 1830s depict residents of Staten Island then known as Richmond Island. Bradley, a portrait and miniature painter is listed in city directories as working in the area which became Houston Street. Most of his paintings including this portrait are signed “I. Bradley” [or John Bradley]. A large tear on the subject’s chest was restored, otherwise very good with only typical and minor touches. The stretcher is original with the frame being vintage. (Frame: 28.75" x 36"; view: 26.25" x 33.5")
Finch, who was active 1833 to 1847 painted the likenesses of some of Maine’s elite
during the 1830s and 1840s, especially in the areas of Augusta, Waterville and
Waldoboro. (Frame: 24.5 x 28.5"; view: 19.5 x 23.5")
Additional Information: William Jennys (attributed)
Unsigned bust length neoclassical portrait of a dark-haired young woman wearing a cap
and sheer collar posed in an oval with dark spandrels.
The portraitist painted throughout most of New England and New York. William and
his father, Richard, worked together for seven years. In about 1800, Richard
and William Jennys moved to Massachusetts where they painted portraits in the central
and western part of the state.
Portrait of James Reat (1790-1858) with his body facing almost forward, his gaze toward viewer; his right hand resting on Bible held vertically with spine facing viewer. He wears a black jacket and vest; white shirt and tie. James Reat was born in Maryland in 1790 and died in Illinois in 1858. In 1817, he married Miss Susanna Rodgers in Ohio.
Portrait of Susanna Rodgers Reat (Mrs. James Reat (1796-1868) born in Virginia; died in Illinois; her body facing forward and her gaze directed toward the viewer. She wears a white lace cap tied under her chin; black dress with white lace collar.
Portrait of Miss. Reat, daughter of Mr. and Mrs. James Reat, her body facing forward, her gaze directed toward the viewer. She wears a black dress with a white lace collar and a blue bow. Her dark hair is parted in the middle and two small ringlets frame her face. (There were at least four daughters; "Miss Reat" could be Mary, Hester, Esther, Jemina Ann or Susanna.)
The family is buried in Mound Cemetery, Charleston (Coles Co.) Illinois.
The portraits may be referenced within the Art Inventories Catalog at the Smithsonian American Art Museum. (Extremely minor, about moot bits of in-painting; Mr. Reat' s canvas is unlined and remains of original stretcher; the ladies canvases are lined and mounted on new strainers; all paintings in period ripple-molded frames with gilt-liners; fames may be original; frames: 32.5 by 28", sight-sizes: 28.5 by 23")
(Remnants of newspaper on stretcher dated 1817)
The portrait is in fine conserved condition backed with acid-free board and retaining
some of the original local newspaper backing. There is unnoticeable restoration to a
tear in the upper left corner. (28.5 by 24.75”, view area measures 23 by 19”)
The agreeable subjects seated before a window with view of landscape and house
(She is nearly untouched, the gentleman shows touches to coat, other scatted areas of
minor restoration when views under blacklight. Man: Frame: 30.25 x 35.25"; view:
24.25: x 29.25"' Woman: Frame: 29.5" x 35.25"; view: 23.75" x 29.5")
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")
Oil on canvas in reproduction veneered frames.
A related pair of portraits attributed to Jacob Bailey Moore are in the collection of The Manchester Historical Association, and illustrated in Robert M. Doty, By Good Hands: New Hampshire Folk Art (Manchester, NH, 1989), p. 26, fig. 26-27. Also see Nina Fletcher Little, “William Matthew Prior and Some of His Contemporaries, Maine Antique Digest, April 1976, and David Krashes, “Understanding the Prior-Hamblin School of Artists a Little Better,” Maine Antique Digest, July 2011.
(Frame: 27.75" x 32.75"; view: 21.75 x 26.75")
Please call for full description, and/or enthusiastic discussion.
Soberly yet well-dressed, this couple belonged to the rising middle class in post-Revolutionary America. May have been painted following a wedding or to mark a professional success of the husband. The portraits have been lined on canvas and mounted on newish stretchers, otherwise original condition.
(Frame: 30 x 27.5"; view: 22 x 25")
(The work was lined, re-stretched and remounted; other minor restoration; it is mounted within a bird’s eye maple frame having a gilt liner. Frame: 30.5 by 35.75"; view: 24 by 29")
Portrait of a mother holding her child wearing a white dress featuring blue shoulder bows.
Mother has a red cape draped over her shoulders and wears a lace bonnet, housed in a
gilt frame, the edges of the frame have been painted in yellow ochre, which has also
been painted over the back of the canvas, the varnish is raised in some areas of the
portrait. The painting remains in original condition with no visible damage or in-painting.
(36.5” x 31.5” framed, 29.5” x 24.5”)
Oil on canvas, turned and split column frame, original stenciled decoration
This portrait has been relined and mounted on a new stretcher; some minor in-painting.
(Frame: 28.5 by 32.5"; view: 22.5 by 26.5")
According to a very old label affixed to stretcher, the subject by lineal descent of Timothy Adams was related to Presidents John Adams and John Quincy Adams.
Born, Carlisle, Massachusetts November 4, 1796
Died, Lowell, Massachusetts, September 7, 1847
Simon Adams represented Lowell in the legislature in 1833
(Original condition including stretcher; frame: 25.5 by 31.75”; sight-size: 23.25 by 29.5”)
(Good condition, worked on paper, laid down on canvas, new stretcher and frame; Frame: 24.5 by 19.25", sight-size: 17.5 by 22.75")
$5,200
232-308
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