Measurement: 5.25 x 6 inches; View: 3.75 x 4.5 inches
Material: Pen, ink, and watercolor, paint decorated period frame
Condition: Very Good; sheet is not laid down. discoloration and staining to the sheet, as visible.
There is a tiny hole (approx. 3mm) to the sheet at the lower left border edge.
Additional Information: Most probably New Hampshire. Profile of young man in black
coat detailed with wide lapels and buttons; water colored vest and high cravat...he holds
a book in his right hand.
The face and hand are executed in white watercolor pigment; facial features drawn in
Provenance: David Wheatcroft, Massachusetts, AAAWT, 2009
• An Amos Holbrook (born 1809) appears in the 1870 census in Niagara County,
New York, as a cabinetmaker and another Amos Holbrook (born 1783) appears
in the 1850 census in Norfolk County, Massachusetts, as a farmer. It is
speculated that the artist engaged in his primary occupation during the spring,
summer, and fall, and turned to portraiture to earn money during the winter
Watercolor and pencil
The lady wears a black-on-black puffy sleeve dress and holds a book. The portrait is
mounted in a period painted decorated frame that is possibly original.
(Excellent original condition; frame: 6.5" x 7.5"; view: 3.75" x 4.75")
Young girl wearing dress with red print, coral necklace and holding a rose sprig
The portrait bezel is set within a panel of curly birch and is surrounded by hand-cut
zigzag molding centered by a flat molding joined by corner blocks…the molding features
an inlayed undulating vine. A stepped zigzag molding within applied cockbeaded molding
centers the work. (Three-cracks to the portrait, else fine and original; frame: 8.25" x 6.5"; view: 3.25" x 2.25")
Hollow-cut silhouette of a man in profile to right. Cut paper with hair detail in watercolor; backed with black textile. (We don’t know if the frame is original to the piece; the paper displays strong toning-witness mark conforming to rabbet…it’s just that the back of frame and rabbet display an inconsistent dark surface; let’s assume that the frame is not original, nonetheless a very rare and interesting profile. Frame: 6 x 8"; view: 5 x 3".)
(Good condition; mounted within period frame, Eglomise matt; frame: 5.5 by 4.5”, sight-size: 4 by 3”)
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The artist information and address along with other notes are found on the reverse.
We suspected English School, with the noted information, perhaps Anglo-American.
The work is mounted within a period frame featuring a blonde finish and gilt liner.
(frame: 5.75 x 7"; view: 4.25 x 5.5")
(Jane Anthony, b. 1821, d. 1855)
Watercolor and pencil on paper; mounted within paint decorated frame,
view: 7 5/8 x 5.5”., frame: 9.75 x 7.75”. Condition: Minor toning, water staining at lower edge.
Provenance: Don Walters, Goshen, Indiana, October 26, 1984.
Literature: The Old Print Shop Portfolio, vol. XIX, no. 32, May 1960; exhibition catalog forThree New
England Watercolor Painters, 1974, p. 48; also…Arthur and Sybil Kern, "J.A. Davis: Identity Reviewed,"
The Clarion, Summer 1991, p. 42.
Exhibitions: Three New England Watercolor Painters, The Art Institute of Chicago, Chicago, Illinois,
November 16-December 22, 1974; St. Louis Art Museum, St. Louis, Missouri, January 17-March 2, 1975;
Abby Aldrich Rockefeller Folk Art Collection, Colonial Williamsburg, Williamsburg, Virginia, March 25
-May 11, 1975; Currier Gallery of Art, Manchester, New Hampshire, June 1-September 1, 1975.
Depicting a woman grieving at Urn-topped monument; the monument displaying initials “MG”, and “Died Sept. 18th, 1811”; the reverse featuring hair-work and cutout script initials “MG” that appear to also be rose gold. Painted in grisaille, brown and soft blue-gray; the mourner with skin tone facial pigment. (2 by 1.625")
Inscribed on the gentleman’s undisturbed backboard papers is: Ladys [sic] & Gentn. [sic] May have more Copies without a second sitting---Old shades accurately reproduced & draft’d [sic] in the present taste by Clarke Church (possibly Yard; illegible) – Exeter. Inscribed on the ladies verso: Ladies & Gentn. [sic] may have more Copies with out [sic] the inconvenience of a second sitting.
(5 by 4”)
Plumed or crowned figure with extended sword directed towards a lion (England) and wearing red and white striped dress; the date "1776" is displayed on her chest. The work is centered by flags, that which is on the right is emblazoned with "US". The piece was worked on what appears to be ledger paper and is mounted within a red painted frame. We have examined the verso finding no useful information.
Overall very good condition, paper is floating in frame; should be properly mounted.
Frame: 7.25 by 9", sight-size: 4.5 by 6.75")
This sensitive rendering, a full-length portrait depicting Master Ellison standing within a garden path; holding a whip in one hand and his cap in the other, is conservation mounted within a period frame which may be original. (View area: 8.75 by 7")
Martha Ann created these fascinating masterpiece silhouettes despite being born without the use of hands, using only her mouth and scissors as tools of creation. A most exceptional accomplishment.
Silhouette signed on obverse, with "Cut by M. Huneywell with the astounding mouth" typewritten on verso.
Attractive eglomaise frame.
Overall dimensions: 4.75 by 5.5".
This chestnut-red colored horse with white stockings, black tack and a lively eye is shown standing on a brick red floor with white crosshatching. The artist trimmed the outside edges in yellow with fine black border. The frame with beaded liner was long ago over-painted black...whitish yellow paint is seen through the thinning black paint.
(Frame: 6.25 by 8.25-inches; view: 4 by 6-inches.)
Brown was a renowned silhouette artist, surviving profiles are quite scarce.
This example, full length, cut free-hand, is dated and signed on the lower left edge; now hidden by frame. The work is dated and identified on the verso. The lithograph featuring a possible vista of Charleston and a framed picture of Washington's tomb has light scattered foxing and some toning at lower left within carpet. The backboard has a partial label advertising John S. Bird, Fancy Goods and instruments, "The Cheapest Goods in Charleston."
(Frame: 12 by 15.75"; view: 10.5 by 14.25")
A letter in the collection of The American Folk Art Museum from Justus Dalee to his brother Richard dated May 8, 1843, states in part that "I went to Palmyra, as I wrote John and made $50 in less than 3 weeks, all money. Mary and I started again April 11 and visited Palmyra a second time, made 50 to 60 dol's more, but instead of money it was mostly trade."
A closely related portrait of a standing girl in a red dress was formerly in the Barry Cohen collection and is illustrated in David A. Schorsch, The Barry Cohen Collection (New York: America Hurrah and David A. Schorsch, 1990), pp. 64-65, and Stacy C. Hollander, Stacy C. Hollander, Ed American Radiance, The Ralph Esmerian Gift to The American Folk Art Museum (New York: American Folk Art Museum and Abrams, 2001), p. 73.
For a thorough examination of this artist and his work see Michael and Suzanne Payne, "To Please the Eye, Justus Da Lee and His Family," Folk Art Magazine, Winter 2004/2005, pp. 46-57.
Watercolor, pencil and ink on paper, 4.75 by 2 7/8 inches, in the original gilt frame.
Inscribed in ink at lower center in block lettering: "Delineated in Palmyra, March, 1843"
Cleaned of some background foxing and de-acidified, refitted into its original frame to museum standards.
A possibly unique rendering depicting a seated couple within landscape of trees, flowers and monument. The gentleman offering a flower to the lady with both subjects holding a book. The ladies hat and collar and the gentleman's shirt are pinpricked adding texture to the work; colors remain strong. The work is mounted within a grain-painted frame of the period that measures 11 by 13.5-inches; the dimensions of view area are 8 by 10.75-inches.
A charming pair of oval three-quarter profile busts by Sharples, showing his characteristic subdued color palette and crisp, precise lines despite the delicate nature of the medium. He and his family toured the United States from 1794 to 1801, selling his series of American political figures and taking portrait commissions, as seen here. The works are mounted within gilt frames; not examined out of frames. (Frame: 12” by 10”; View: 8.5” by 6.5”)
Hollow-cut silhouette of a man in profile to left. Cut paper with hair and clothing details in watercolor or ink wash. Backed with black textile. The work mounted in period gilt frame. (Frame: .25 x 5"; view: 2.5 x 3")