Condition: Frame and stretcher appear to be original, very minor fill
Additional Information: Ex-Cone-Ansbacher Collection
Exhibited (loaned) The Museum of the City of New York in 1938 (label verso.)
Inventories of American painting and Sculpture, Smithsonian American Art
Museum, Washington, D.C., Control Number: 71771536
Family dossier available; important New York family…business, politics, and military.
Colonial portrait painter Joseph Blackburn was likely born in Great Britain; parentage
and details of his early life are unknown. The earliest record of Blackburn as a painter is
his arrival in Bermuda in 1752. During his two-year stay there he painted at least
Blackburn's whereabouts after leaving Bermuda for the American colonies on the
mainland are well documented; he signed and dated more than half of the more than
one hundred portraits by him that survive. He apparently arrived in Newport, Rhode
Island, in 1754, then continued northward to Boston, where he spent the next few years.
Blackburn found little competition upon his arrival in Boston. John Smibert had died in
1751, Robert Feke had ceased painting there by 1752, and John Greenwood had gone
to Surinam. Only three artists remained: Joseph Badger, Nathaniel Smibert, and John
Singleton Copley [Blackburn’s pupil]. Blackburn quickly capitalized on this artistic
vacuum. Bostonians embraced him enthusiastically and over the next five years
painted several dozen portraits for many leading Boston families.
An agreeable and handsome young man depicted with hand-in-waistcoat [Napoleonic
style]. The porthole picture remains in fine untouched condition, original pine stretcher;
frame also appears to be original and is outstanding.
(Frame: 28.75" x 33.75"; view; 22.75" x 27.75")
Measurement: Frame: 25" x 29"; view: 21.5" x 25.5"
Material: Oil on canvas
Condition: Excellent, no inpainting, relined on original stretcher
Additional Information: This handsome and agreeable fellow by anonymous artist
wears a great double-breasted vest sprigged in yellow and black; and black waistcoat.
The subject is positioned against a column. The portrait is mounted within a custom
frame [old] painted red with trim to match subjects vest, dry flat patina.
See American Folk Portraits, Paintings and Drawings from the Abby Aldrich Rockefeller Folk Art Center, pp. 36, 40, and 41. Also, Folk Art’s Many Faces, Portraits in the New York State Historical Association by Paul D’Ambrosio and Charolotte Emans. Gerald Wertkin published a nice entry on page 27 of the Encyclopedia of American Folk Art in association with the American Folk Art Museum.
An Indian maiden in the forest, balanced on a rockery as she crosses stream.
See The Art of George Winter by Cooke and Ramadhyani (Indiana Historical Society, 1993), in which another version of the Spotted Fawn is illustrated. Winter was fond of the subject, creating several versions. (We have handled one other.)
The canvas and stretcher displays the back-mark of M.F. Reynolds, Artists and painters Warehouse, Buffalo Street, Rochester, N.Y. There are losses to the original gesso and gilt frame; painting remains in excellent original condition.
(Frame: 17.5 by 15.5"; view: 11.5 by 9.5")
The gentleman remains in very good condition with only some toning possibly caused by moisture above his head; it appears that the lady's lips are restored, also water staining beneath right-proper eye and a paper crease above shoulder that travels from left-halfway to right. Actually they are quite attractive on the wall.
Mounted on stretcher (18.25 by 22.25" frame, 11.5 by 15.5" sight-size.)
Simeon Howard was minister of the West Church, Boston, (1767-1775) and defines the importance of West Church in the events leading to the American Revolutionary War. Howard left briefly in 1775 for Nova Scotia, with many of his parishioners, to avoid British retaliation, but returned after a year and a half. Of significant importance is A Sermon Preached to the Ancient and Honorable Artillery-Company, in Boston, New-England, June 7th, 1773. Being the Anniversary of Their Election of Officers, by Simeon Howard, A.M. Pastor of the West Church in Boston. The sermon is regarded as a call to arms justifying the right to take up arms against an oppressor, and Howard is generally touted as one of the big 3 (Adams, Howard, and Paine) when is comes to precursors, proponents, and justifications for our Second Amendment. In modern times, Howard is often cited in NRA literature on the right to bear arms. Howard is a significant figure to Boston, and in the founding of our country.
The portrait remains in generally excellent condition on original stretcher; lightly cleaned and stabilized. (Frame: 28.25 x 33.25 inches; view: 24.25 x 29.25 inches)
These paintings were purportedly found in southern Rhode Island; based on the consignors receipt...what we can guarantee is that they are without compromise. Stylistically the sitters clothing falls within the period that Kennedy worked at New Bedford, Massachusetts that borders Rhode Island. In the flat style with characteristics common to Kennedy's1 hand...bright eyed, pristine skin-tones and general attitude. The paintings are mounted in appropriate gilt frames of the period that measure 25 by 21-inches.
1There are less than twenty signed examples of Kennedy's portraits extant-approximately 40 others have been found that closely resemble the documented works. Stylistically, Kennedy's crisp, flat likenesses strongly resemble the Prior and Hamblen portraits. His likenesses are distinguished by consistent portrayal of his sitters with steeply sloping shoulders, squared noses, and small, pursed lips. Characteristic of his portrait-painting style is excessive shading around the nose and a single dark line between the lips.
A delightful portrait of two boys depicted within landscape before a mountainous vista...one child dressed in a white off the shoulder gown, the other in a green suit. The siblings hold a bouquet together in their left hands, the older boy's right hand rests on the younger boys shoulder while the younger boy reaches into a basket of fruit beside him-a depiction of unity and childhood innocence. The background is in muted earth tones and is unsigned; the date "1836" is inscribed on the reverse in black paint. The work is mounted within its original molded gilt gesso frame with an arched mat. The picture descended in the Diman family of Bristol, Rhode Island and remains in very good original condition. (48-inches x 38.75-inches framed.)
A pastel portrait of a handsome and agreeable Daniel Doughty Smith Jr., 1783-1820, inscribed on back of original backboard "Daniel Doughty Smith Jr. / Born 4 mo 10th 1783 / Died 7 mo 14th 1820 / Painter Unknown, original frame and backboard, not examined out of frame, no apparent in-painting; some slight mildewing; glass is original; frame has some slight chipping.
James Martin is listed on page 426 of The New York Historical Society's Dictionary of Artists 1564-1860 as a miniaturist and portraitist who worked in pastel and crayon. He arrived in the United States in 1794, advertising himself as "late of Fleet Street, London". He advertised himself in New Jersey from 1795 and is known to have worked in New York City and New Jersey until 1820. (. (See Sotheby's, sale 6527, Fine Americana, lot 948, January 1994; Also, Keno Auctions, May 2010, lot 414.)
(Frame: 20 by 26.25"; view: 17.5 by 23.5")
A beautifully rendered portrait of a Sea Captain that was engaged in the China clipper trade for 30-years. Tradition purports that this portrait depicts Captain Symmes who was born August 19, 1802 in Kingston, Massachusetts; he died November 6, 1884. The painting descended in the Lee Higginson family, Beverly, Massachusetts; to Harry Arons Antiques in 1945. (See, The Jamesons in America, 1647-1900; Captain Symmes is discussed on page 224.) The Symmes Family arrived in Charlestown, Massachusetts in the 1620's.
The painting is in excellent as found, original condition.
(Overall: 27 5/8 by 33-inches.)
Charming image of youth, for which Brown is known, seated on wood block and playing a tune. A top seems to have fallen out of his pocket. Signed [J.G Brown – N.A]. Rare medium for artist.
(Frame H: 17.5”, W: 15”; View: 10.5”, W: 7.5”)
The paintings perfectly display Belknap’s stylistic style as seen within his oeuvre.
(Woman: restoration to chest limited to chest area between upper neck and lace; gentleman displays cracklature; lady, frame: 23.25 x 29.25"; view: 19.5 x 25.5"; man: frame: 23.5 x 29.5"; view: 19.5 x 25.5")
556-69 - SOLD
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