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.
Material: Watercolor, pencil, and gum Arabic; mounted within a period gilt frame.
Additional Information: The known portraits by Mary A. Fowler Da Lee, wife of Justus
Da Lee are less developed, less elegant of those of her husband, Richard, or Aaron
Da Lee; her oeuvre displaying fully outlined eyes, chins receding or set back from the
line of the upper face. Mary Da Lee’s profiles of women feature long necks and
elongated torsos; her faces lack the wash of facial color employed by other family
members. The subject wears a tortoise shell comb in her hair, gold earrings and brooch,
and a neck ribbon…she holds a colorful book. There are notes on the verso.
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")
Now mounted under eglomise matt within recently painted gold frame measuring 7.5 x 5"; view: 6 x 3.5"
809-72 - SOLD
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