SHELDON PECK (1797–1868)
Portraits of a Man and Woman, Painted About 1828
Oil on wood panel,
25"x 19 15/16”
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 firstname.lastname@example.org (1300-2)
please call or email Dave for more information, 978-597-8084 or email@example.com
Micah Williams, Folk Art Portrait of Gentleman, Pastel on Paper
Micah Williams (1782-1837)
New Jersey, Circa 1820
(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”)
American School Folk Portraits, Young Couple
Anonymous, Circa 1830s to 1840s
Oil on canvas, original frames and Stretchers
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")
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")
Antique Folk Art, Pair of Portraits Painted on Board, Husband and Wife
American School, Anonymous, Circa 1830s
The bespectacled woman appears to be holding a snuff box while
the gentleman holds a large open book.
(Frame: 24.25 x 32.25"; view: 20.25 x 28.25")
Antique American Folk Art, ASAHEL LYNDE POWERS, Portrait of Young Man
Probably Vermont, Circa 1825
Oil on poplar board, original frame
The subject is positioned against a brown and mustard background and is seated in a paint decorated windsor chair;
he wears a green coat with prominent brass buttons; underneath the outer coat is a mustard colored waistcoat
with a simple collared shirt turned up under the chin. There is scattered minor retouch to abrasions; nothing significant.
(Frame: 22 by 28.75"; view: 19.5 by 26.5")
Antique Portraits of Older and Younger Sisters, Small Format
On the verso, a statement: Painted by Charles Gruener, Buffalo NY (1852-1854)
Subjects identified as: Lillian, Christine and Elisabeth Burgard
Oil on Canvas, original stretchers
The double portrait displaying sisterly bond; big sister positioned against a fielded and
wooded landscape. Minor restoration by Morton Bradley of Arlington, Massachusetts in 1972.
$2,385.00 the pair
19th Century Folk Portrait, in Script on Frame is Found …Oliver Bourne,
Kennebunkport, Maine, Oliver Bourne (1797-1881)
An agreeable gentleman, the painting in very good original condition
Anonymous, Oil on Canvas, likely original Gilt Frame
(Frame: 30.5 x 30.5”; view: 26 x 26.5”)
Pair of Folk Portraits of a Lady and Gentleman, Attrib. Jacob Bailey Moore
Probably New Hampshire, circa 1845
Jacob Bailey Moore (1815-1893)
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.
Pair of Federal Pendant Portraits, Man and Woman
Anonymous, American School, early 19th century
Oil on canvas
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")
Portrait, Artist with Palette Seated in Side chair, American School
Anonymous, Circa 1820
The subject shown seated in three-quarter view with palate and brushes in hand
(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")
Folk Art Portrait, Mother with Child Holding Watch, New England, Circa 1830
Anonymous, Oil on Canvas, Period Gilt Frame
(Relined and is on a new stretcher; minor fill to craquelure all else fine. The period gilt frame measures 28.5” by 34.25”; view area measures: 21.5 by 27.25”.)
Portrait of Mother and Infant, Belknap, Folk Art
Attributed to Zedekiah Belknap (1781 to 1858)
Oil on Canvas
Portrait of a mother holding her child who is wearing a white dress with blue bows on the shoulder, the 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" by 31.5" framed, 29.5" by 24.5")
Folk Art Portrait of Lady Wearing Bonnet with Yellow Ribbons, Puffy Sleeves
Ruth Whittier Shute
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")
Portraits, Pair of Folk Art Paintings, Haven and Elizabeth Sargent, I.A. Wetherby
Isaac Augustus Wetherby (1819 to 1904)
Boston, 1845 (by August 15, 1844, he was back in Boston)
Canvases signed front and verso, bold back-marks for Hollis & Wheeler, Boston
See the Business of an American Folk Portrait Painter: Isaac Augustus Wetherby by Michael R. Payne and Susan Rudnick Payne; Folk Art, Magazine of the American Folk Art Museum, Winter 2007.
(Each canvas unlined, minor restoration not effecting subjects; original stretcher; the portraits mounted in new and appropriate gilt frames; frames: 28.5 by 33.75", sight-sizes: 24.75 by 30")
Mr. Haven B. Sargent
Painted March 1845
By I.A. Wetherby
Mrs. Elizebeth W. Sargent
By I.A. Wetherby
Portrait, Simon Adams (1796 to 1847), American School
Anonymous, Early 19th Century
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”)
Wild Bill Hickok Portrait, Pastel
Unknown Artist, 19th Century
A handsome composition
(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")
Portraits, Folk Art, Reat Family, Ohio, Lot of Three, Original Frames
Sala Bosworth, Itinerant Portrait Artist along Ohio River (1805 to 1890)
Circa 1845 to 1850
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")
Portrait, Lady Wearing Lace Bonnet
Perhaps Vermont or New York
Oil on panel, 20 by 26-inches
An agreeable lady confidently rendered.
The palate is lovely, the work is beautifully modeled and is without compromise.
Nineteenth Century Folk Portrait of Handsome Young Man, Original Condition
American School, Anonymous, Nineteenth Century
The subject positioned before trees, pillar, tassels and drapes
Oil on Panel
(Frame: 18 by 15.5”, sight-size: 14.75 by 12.5”)
Folk Art Portrait, Woman Wearing Red Beads and Earrings
New England, Within the Circle of John Blunt (1795 to 1835)
Oil on canvas, unframed
(Long ago lined, mounted on original stretcher, restored; 25 by 30”)
Portrait On Panel
Woman Holding Book
Oil on panel
An agreeable bust length portrait of a woman depicted with sloping shoulders wearing a lace collar and bonnet topped with a blue bow, tied with a blue ribbon. The subject holds a copy of The Mother At Home. On the reverse of the board are traces of a sketch in white paint depicting a boy holding a whip, wearing a jacket with two rows of buttons. Two battens on the reverse are original and prevented the panel from serious warping which is so often the case. As depicted, there is a fine craquelure and the expected ever-so-slight bow...no cracks and no apparent restoration to the painting. (23.25-inches x 28.5-inches.)
Interestingly, The Mother At Home or The Principals Of Maternal Duty was written at Worcester, Massachusetts in 1833.