Oil on pressed board
An agreeable young man wearing a black coat, cravat and a yellow-patterned vest. The
painting is bright and clean with no restoration; original condition retaining its first
over-varnish. The period frame featuring corner blocks joining applied moldings retains
its original surface. The frame bears the label of Montfort Coolidge (1888-1954) of Ogunquit,
Maine, a well-known artist and antiques dealer.
(Overall frame size; 19 by 14.5”, view area measure 13.5 by 9.5”)
Oil on canvas portrait of a young boy wearing a blue jacket, large white collar and black bow tie, painted with a faux mat, period gilded frame, very good condition.
(22.25-inches x 19-inches framed, 17.75-inches x 14.5-inches view.)
As depicted, handsome boy; probably by E.W. Blake of Boston.
Outstanding original condition; mounted within veneered frame.
See: American Naive paintings, National Gallery of Art, active artists of the Prior-Hamblin School, page 308; See Clara Endicott Sears, Some American Primitives, 287, 291; and Nancy Muller, Paintings and Drawings at the Shelburne Museum, number 62.
(Frame: 16.5 x 12.5 inches; view: 13.5 x 9.5 inches.)
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.)
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 frame may be original and features egg and dart carving, gadrooning and more; at top center is a splendid carved fox head; bottom rail displays a leather and chain dog collar; each corner with flower; all relief carved.
(As expected and accepted, very old lining and re-stretching; a few small and extremely minor fills, else fine. frame: 37.5 by 45", sight-size: 29.25 by 36.5")
As published within the Connecticut Historical Society Bulletin, Volume 28, number 4,
October 1963; page 122, no. 178. Checklist of Paintings Attributed to Erastus Salisbury
Field. Compiled by Reginald F. French and Agnes M. Dods*
178. SMITH, MARIA FRANCES (1836-1917) AND SMITH, MARY JANE (1833-
1890). North Amherst, Massachusetts, Children of William Henry Smith, above.
Painted c. 1840. (52 by 34 inches) Owners: Mr. and Mrs. Clifton Hubbard,
*Miss. Dods, from Leverett, Massachusetts, was one of the very first to do research on
Erastus Salisbury Field. She was a field worker doing research for the Historical
Records Survey, Works Progress Administration, Massachusetts, which published American Portraits, 1620-1825, found in Massachusetts, 3 vols., Boston, 1939. She also
wrote articles for The Magazine Antiques and Art in America.
Extremely minor scattered touches, cracklature and fugitive pigments; re-stretched on
new strainer; the portrait is housed within an appropriate paint decorated modern frame.
(Frame: 58 x 38"; view: 52 x 32")
A colorful portrait remaining in very good condition having only minor in-painting; the canvas remains on original stretcher. The artist signed and dated the verso. See American Naive Paintings, National Gallery of Art, Washington by Deborah Chotner, pp. 14, 15, and 16. (Frame: 26 by 30.5"; view: 22 by 26.5")
Oil on canvas, housed in a grain painted frame
Ex-collection: Avis and Rockwell Gardiner, Stamford Connecticut;
Judy Lennett, Ridgefield, Connecticut
(The painting is lined and re-stretched; extremely minor restoration;
frame: 55.5" x 33.75"; view: 48" x 26.25")
A typed sheet of history is affixed to verso; states that the subject is Emma Woodfin Kerr (1851-1914) with family history. (Strong color, relined, mounted on new stretcher within contemporary frame; scattered in-painting/restoration; frame: 31 by 35.5"; view: 25 by 29.5")
This picture was found in the Hudson River Valley and is mounted within a molded frame with gilt liner; the work is lined and stretched on recent strainer; very minor in-painting mostly confined to outermost edges.
Dimensions: 30.75 by 35.75" frame, 24.5 by 29.5" sight-size.
(Purchased mid-20th century in New York State, purportedly portrait of Robie Harlow.) The picture remains in excellent condition; wax lined, new stretcher; minor restoration. (Frame: 34.5 by 28.75"; view: 29.5 by 24")
The artist’s 1838 journal records only one canvas measuring 19 by 16-inches; “Jane Livsey, her daughter from corpse do 16 – 19. See page 17, The Paintings and Journal of Joseph Whiting Stock by Juliette Tomlinson. (Original stretcher, unlined, extremely minor old restoration; Mounted within an appropriate antiques modern frame; Frame: 20 x 23"; view: 19 x 16")
Oil on canvas portrait of a boy identified as Nathaniel B. Fessenden painted by Moses B. Russell (1809 - 1884). The subject wears a red dress with red and white stripped socks and is holding his spaniel Flight. The canvas has Boston and London stencils on the reverse and is signed "M. B. Russell Pinxt. / Boston / 1850" in black...also on the reverse. The work is mounted in a gilt-wood frame; a paper label on the stretcher notes that the painting was cleaned in 2000. This picture purportedly descended in the family of the sitter. (24.5-inches x 29.5-inches view, 31-inches x 36.25-inches framed.)
As depicted, this child wearing a plaid-dress with ruffled lace collar is seated on a sofa next to an open basket with hammer; the child holds an open primer. The work remains on original stretcher and is mounted within its original mahogany veneer on white pine with blocked-corners frame. There is a tiny puncture above the child's head; three tiny punctures have been repaired with all else fine. (Frame: 29.5 x 34.5 inches; view: 21.25 x 26.25 inches.)
As depicted, handsome lad with his spaniel seated on plush sofa before green drapery. The picture appears to be mounted within its original frame and remains on original stretcher. Joseph Greenleaf Cole was born in Newburyport and worked in Boston and Portland, Maine.
(Frame: 28.75 x 34 inches; view: 24.25 x 29.25 inches.)
This unsigned work, depicting siblings with beautiful eyes; the girl wearing a white dress and a coral bead bracelet, wears a purse on her side depicting a girl and a sheep, possibly the characters of the nursery rhyme. The boy wears a blue dress with a white lace collar and bodice, and coral bead bracelet, and holds a spaniel on his lap. The work is mounted in a period molded wood frame. There is a very small minor smudge to ear of chair. The right and left edges have a thin strip of paper, approximately 5/8" applied to them, and look to be contemporary with the work. They are barely noticeable unless under very close inspection, minor smudge to ear of chair.
(Dimensions: 27.75 by 29.75" frame, 19.5 by 21.5" sight-size.)
This portrait bears a strong relationship to the well-known portrait of Henry Bromfield McCobb painted by Greenleaf in May 1818 in Phippsburg, Massachusetts, see Sotheby's "Important Americana, The Bertram K. Little and Nina Fletcher Little Collection, Part 1," January 29, 1994, lot 277. Although Greenleaf is best known for his reverse paintings on glass depicting three-quarter and profile portraits, a few examples executed on canvas have been recorded. For biographical information on this artist see Arthur B. and Sybil B. Kern, "Benjamin Greenleaf: Nineteenth Century Portrait Painter," The Clarion, spring 1985, pp. 40-47.
Collection Lloyd Goodrich (1898-1987), eminent scholar, author, and curator of American art.
Found in Pennsylvania and recently mounted within period gilt frame. The painting is without restoration and exhibits only minor losses as depicted, ready to hang.
(39.5 by 30.5" frame, 35.5 by 26.5" sight-size)
Handsome half-length portrait of an adolescent boy in a light blue jacket and waistcoat, with delicately rendered cotton cuffs and collar. His competently-painted hand holds a small book and the other is tucked into his waistcoat, giving him a mature and scholarly air. Children in the early to mid-eighteenth century were dressed and expected to behave as miniature adults, and education was a priority for middle and upper-class families. Literacy was necessary among the children of wealthy families, and that our young man’s family would commission a portrait of their son at such an early age shows fondness but also an expectation of greatness. Very minor restoration commensurate with age; re-stretched and lined.
(Frame: 35 by 31.5"; view: 27 by 23.5")
This striking portrait has it all; the extraordinary composition depicts a dashingly handsome boy and his loving dog positioned in landscape. The painting descended in the Albany, New York area. (The painted was conserved some years ago; re-stretched and relined, lightly cleaned and very minor scattered in-painting to small abrasions-all else fine.)
(33 by 40")
Condition: Good original condition, extremely minor shrinkage to ivory which doesn’t
Additional Information: John Carlin was a deaf-mute artist born in Philadelphia; he
graduated in 1825 from the Pennsylvania Institute for the Deaf and Dumb. In 1833-
1834, in Philadelphia, he studied portraiture and drawing. In 1838 he went to London,
studying the past tradition of art in the National Museum. He later went to Paris,
studying with Paul Delaroche, before returning to the United States in 1841, living in
New York City and practicing the profession of miniaturist.
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.
210-104 - SOLD
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