Artists and propagandists during the late 18th and early 19th centuries were often inspired by standard iconic images, figures, and symbols displaying revolutionary ideology and republican values. This famous work represents an outstanding example of the integration of these symbols combined within a single, allegorical image.
In this work is the beautiful Lady Liberty as the Goddess of Youth Hebe, wearing a flowing Classical robe, she offers a cup, sustenance to the American eagle whom has descended from the sky; a sunburst illuminating his wings and Liberty. Liberty is attracting light to a darkened world; note that she is positioned before a nearly obscured Doric column; artists were not shy when connecting the new Republican age to the Classical period. Under Lady Liberty’s right foot are symbols of the era's revolutionary sentiments: a key, a royal garter, a broken scepter and chains, this vignette signifying the destruction of the tyrannical bonds that had long given the British monarchy power over Americans. The port of Boston, location of the legendary Tea Party is shown behind Liberty…Boston was also the target of many "Intolerable Acts." The artist included dramatic bolts of lightning reaching from the skies roiling clouds, suggesting the future storm that would cause revolutionary winds of change for Boston and the entire Young Republic. Surmounting the image is the American flag, displaying fifteen stars, flying from a pole crowned with a liberty cap which is seen in many contemporary, revolutionary images.
Literature: A similar Chinese export reverse painting on glass is illustrated in The Decorative Arts of the China Trade,by Carl L. Crossman, The Antique Collector's Club, publishers, p. 217, plate 122.
View area: 23.5-inches by 1/2 x 17.5-inches; Frame: 19.25 x 25.75-inches.
Uncle Sam tied to a tree, humiliated by several men in Western garb. The men are well known late 19th - early 20th century business tycoons portrayed as robbers by the artist. The illustration signed James Montgomery Flagg in the lower right corner. The work is mounted within an ornate gilt frame. There are a few specks of paint loss and in-painting in the upper right corner; toning to the board, otherwise in very good to excellent condition. (41 by 29" framed, view area approximately 35.5 by 23.5")
232-303 - SOLD
Nineteenth Century Watercolor, Adam & Eve, The Temptation, After John Landis
Anonymous, the original is in the collection of the National Gallery of Art [1828]
Pennsylvania Date/Period: 1830-1880 - SOLD
Measurement: Frame: 17.75" x 11.75"; view: 16" x 10"
Material: Watercolor on laid paper, mounted within a 19th century red painted frame
Condition: Margins appear to have been reduced else very good; although not original
the frame is period and displays a wonderful painted surface.
Additional Information: It is possible that this picture is by the same John Landis who
painted the nearly identical image in the National Gallery of Art. We have consulted with
one of the nation’s leading Fraktur scholars and hope to soon have a firm attribution to
Landis or a follower. Landis is known for his biblical scenes.
Adam and Eve center the fruited tree with coiled serpent within a work of potted flowers, animals; trees and angels beneath crowns...all within a scalloped floral border. (Frame: 19 x 18.25 inches; view: 16.5 x 15.75 inches.)
324-27 - SOLD
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![Nineteenth Century Watercolor, Adam & Eve, The Temptation, After John Landis Anonymous, the original is in the collection of the National Gallery of Art [1828] Pennsylvania, entire view](https://www.aaawt.com/images_comp/1409-4_1_Watercolor,-Adam-&-Eve,-Attr-to-J-Landis.webp)
