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American Folk Art - part 6

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Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-5 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 6 of a 21-part post on American Folk Art:

Joshua Johnson (c1763 – c1824)

Joshua Johnson was bi-racial American painter from the Baltimore area. Johnson, often viewed as the first person of colour to make a living as a painter in the United States is known for his portraits of prominent Maryland residents.


It was not until 1939 that the identity of the painter of elite 19th-century Baltimoreans was discovered by art historian and genealogist J. Hall Pleasants, who believed that thirteen portraits were painted by one Joshua Johnson. Johnson’s race, life dates and even his last name (Johnson or Johnston) remained unknown up until the mid-1990s, when the Maryland Historical Society released newly found manuscripts regarding Johnson's life.


Johnson received his freedom in 1782 and began advertising himself as a portrait painter and limner from 1796 on.


1800-02c Letitia Grace McCurdy
oil on canvas 104.1 x 87.6 cm
de Young Fine Arts Museums of San Francisco, CA

1800c Family Group
oil on canvas 88.5 x 136 cm
National Gallery of Art, Washington, DC

1800c Mrs. John Moale (Ellin North) and Ellin North Moale
oil on canvas 103.8 x 89.5 cm

1800c Portrait of a Woman
oil on canvas 85.1 x 74.9 cm
de Young Fine Arts Museums of San Francisco, CA

1803-05 Mrs. Andrew Bedford Bankson and Son, Gunning Bedford Bankson
oil on canvas 81.3 x 71.1 cm
Art Institute of Chicago, IL

1803-05c Portrait of Adelia Ellender
oil on canvas 66.7 x 53.7 cm
Smithsonian American Art Museum, Washington, DC

1804c Grace Allison McCurdy and Her Daughters, Mary Jane and Letitia Grace
oil on canvas 110.8 x 98.7 cm
Corcoran Gallery of Art, Washington, DC

1805-10c Portrait of a Gentleman

1805-10c Portrait of of a Man (Abner Coker)
oil on canvas 70.8 x 55.9 cm
Bowdoin College Museum of Art, Maine

1805c Edward and Sarah Rutter
oil on canvas 91.4 x 81.3 cm
Metropolitan Museum of Art, New York City

1805c Emma Van Name
oil on canvas 73.7 x 58.4 cm
Metropolitan Museum of Art, New York City

1805c Sarah Ogden Gustin
oil on canvas 71.1 x 57.2 cm
National Gallery of Art, Washington, DC

1807c The Westwood Children
oil on canvas
National Gallery of Art, Washington, DC

1808-09c Mrs. Abraham White, Jr. and Daughter Rose
oil on canvas 76.2 x 64.8 cm
Chrysler Museum of Art, Norfolk, VA

1808-10c Hilmer Schumacher
oil on canvas 55.9 x 45.7 cm

1809-10c Benjamin Franklin Yoe and Son
oil on canvas 94 x 74.6 cm
Museum of Early Southern Decorative Arts, Salem, NC

1810-15c Portrait of a Girl
oil on canvas 61 x 50.1 cm

1810c (attributed to) Portrait of a Man
oil on canvas 66.4 x 56 cm
Pennsylvania Academy of the Fine Arts, Philadelphia, PA

1810c (attributed to) Portrait of a Woman
oil on canvas 77.5 x 61 cm
Pennsylvania Academy of the Fine Arts, Philadelphia, PA

1810c Adelina Morton
oil on canvas 61.5 x 51.4 cm
National Gallery of Art, Washington, DC

1810c Girl Wearing a Bonnet
oil on canvas 61.3 x 51.3 cm

1810c Portrait of Edward Aisquith
oil on canvas 57.2 x 46.7 cm
Philadelphia Museum of Art, PA

1810c Portrait of Elisha Stansbury
oil on canvas 76.8 x 55.9 cm

1810c Portrait of Mrs. Barbara Baker Murphy (Wife of Sea Captain)
oil on canvas 55.3 x 44.8 cm
Smithsonian American Art Museum, Washington, DC

1810c Portrait of Sea Captain John Murphy
oil on canvas 54.6 x 44.5 cm
Smithsonian American Art Museum, Washington, DC

1812-15c John Jacob Anderson and Sons, John and Edward
oil on canvas 76.5 x 100.8 cm
Brooklyn Museum, NY

1820c Portrait of an African American Man
oil on panel 48.3 x 34.9 cm
Flint Institute of Arts, MI

1825c Lady on a Red Sofa
oil on canvas 76.8 x 64.8 cm
Smithsonian National Museum. of African Art, Washington, DC

n.d. (attributed to) Portrait of a Boy With Two Dogs
oil on canvas 91.4 x 74.3 cm

n.d. (attributed to) The Children of Clement Cox and Mary Ringgold Cox
oil on canvas 73.7 x 61 cm

n.d. Portrait of Louisa Boggs Emory
oil on canvas 61.3 x 50.8 cm


William Massey Stroud Doyle (1769-1828)


William Doyle was a portrait painter and museum proprietor in Boston, Massachusetts. He oversaw the Columbian Museum on Tremont Street in the early 1800s.


1800-20c Portrait of a Young Woman in a White Dress with Ruffled Collar
pastel on paper 73.7 x 63.5 cm

1810 Portrait of a Gentleman

1810c (attributed to) Hollow Cut Silhouette of a Gentleman
13.3 x 11.4 cm (frame)

1816 (attributed to) Miniature Mourning Portrait of William Smith
painted on ivory 9.5 x 5.7 cm

n.d. William Porter Jr.
Harvard Art Museums
© President and Fellows of Harvard College

Emily Eastman (1804 - )


Emily Eastman apparently worked through the 1820s, based on the dress and hairstyles depicted in her watercolours. Beyond the fact that she was born in Loudon, New Hampshire, and married Dr. Daniel Baker in 1824, little more is known about her. She may be the Emily Eastman who was born to Ruth Carter and David Eastman and died in 1841.


1820-30c Young Woman with Flowers in Her Hair
Terra Foundation, Chicago, IL

1820-40c Woman with Roses in Hair
pen and ink and watercolour on paper 36.5 x 27.7 cm
Smithsonian Institution, Washington, DC

1820c Young Lady in a Gold-Coloured Gown
watercolour and pencil on paper 24.8 x 19 cm

1825c (attributed to) Woman in Veil
watercolour and ink on paper 36.8 x  27 cm
American Folk Art Museum, New York City

n.d (attributed to) Portrait of a Woman in a White Gown
watercolour and ink on paper 35.6 x 26.7 cm

n.d. Lady's Coiffure with Flowers and Jewels
watercolour on paper 43.2 x 34.1 cm
Museum of Fine Arts, Boston, MA

n.d. Lady's Coiffure with Spray of Wheat and Wild Flowers
watercolour on paper 40.8 x 30.5 cm
Museum of FIne Arts, Boston, MA

n.d. Young Girl Bedecked with Flowers
brush and grey wash on paper 45.6 x 35.2 cm
Museum of FIne Arts, Boston, MA

Memorials

1802c Memorial by Elizabeth Dickinson of Amherst, MA
silk, watercolour, metallic threads and velvet on silk 33 x 29.8 cm

1802c Memorial by Sarah Wyman in memory of her sister Abigail
silk, ink and watercolour on silk 44.5 x 38.1 cm

1805c Memorial by Mary Ann Huntingdon aged 16 who died before completing this memorial
silk, ink and watercolour on silk 52.1 x 44.4 cm

1805c Memorial by Mary Lamson in Memory of Jervis Lamson aged 6 years and 5 months 1803
silk, paint and ink on silk 48.3 x 37.5 cm

1806c Memorial by Deborah Keith
silk and watercolour on silk 41.9 x 47.6 cm in original frame

1810c Memorial by Sophia Barney
silk and watercolour on silk

1810c Memorial worked at Abby Wright's School in South Hadley, MA
silk and watercolour on silk 48.3 x 40.6 cm

1811 Memorial to John Allen s
ilk and watercolour on paper on silk 33 x 36.8 cm
Huntingdon Library Art Collections

1815c Memorial by Betsey Ward aged 14 Years
silk, ink and paint on silk 65.4 x 55.9 cm

1820c Memorial signed A.H.
silk and paint on linen with gesso primer 45.1 x 34.9 cm

1827c Memorial by Eliza Lenniman in memory of Mrs, Lucy Churchill
watercolour on paper 27.5 x 31.7 cm

Memorial by Phebe Kissam aged 16c
silk and watercolour on silk 63.5 x 55 cm


American Folk Art - part 7

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Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-6 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 7 of a 21-part post on American Folk Art:

Quilts and textiles:

During the C18th and C19th women of all social levels made quilts and coverlets. Primarily meant to be utilitarian, they were often designed to please the eye as well, and were sometimes imbued with significance far beyond being simple bed covers.

They were often wedding gifts, or made by brides-to-be to take to their future marital home. They were also made to celebrate the birth of a child, and even sometimes in remembrance of the dead.


1790-1810 Hewson-Centre Quilt with Multiple Borders
cotton and possibly linen 217.2 x 193 cm
American Folk Art Museum, New York City

1803c Coverlet made for Phebe Warner (probably) by sarah Furman Warner Williams (b 1764)
262.3  x 229.9 cm
Metropolitan Museum of Art, New York City

1825-45 Appliquéd and Embroidered Pictorial Bedcover
wool, silk, cotton, beads with silk and cotton embroidery 231.1 x 204.5 cm
American Folk Art Museum, New York City

1825-49 Block-Work Stencilled Spread
paint on cotton 223.5 x 193.6 cm
American Folk Art Museum, New York City

1842 Quilt Top by "MTD"
cotton 251.5 x 238.7 cm
American Folk Art Museum, New York City

1843 Album Quilt
cotton and ink with cotton embroidery 236.8 x 241.9 cm
American Folk Art Museum, New York City

1845-50 Baltimore-Style Album Quilt Top
cotton with wool embroidery 213.4 x 208.3 cm
American Folk Art Museum, New York City

Detail of the 1845-50 Baltimore-Style Album Quilt Top (above)

Detail of the 1845-50 Baltimore-Style Album Quilt Top (above)

1848 Quilt by Elsey A. Halstead (1830-1850), Middletown, New York
Folk Art Museum, New York City

1850-60  Feathered Stars Quilt by "ECB"
cotton 242.6 x 194.3 cm
American Folk Art Museum, New York City

1850-1880 Soldier's Quilt: Square within a Square
wool 217.2 x 167.6 cm
Folk Art Museum, New York City

1852 Dunn Album Quilt
cotton and ink with cotton embroidery 254 x 252.1 cm
American Folk Art Museum, New York City

1854-1890 Soldier’s Quilt
wool-melton 170.2 x 168.9 cm
American Folk Art Museum, New York City

1858-63 Bird of Paradise Quilt
cotton, wool, and silk with ink and silk embroidery 214.6 x 176.8 cm
Folk Art Museum, New York City

1861 Cross River Album Quilt
cotton and silk with wool embroidery 231.1 x 190.5 cm
American Folk Art Museum, New York City

1866 Abraham Lincoln Flag Quilt by Lucy Frost
cotton with cotton appliqué and embroidery 154.9 x 190.5 cm
American Folk Art Museum, New York City

1870-80 Floral Medallion Quilt
cotton 218.4 x 177.8 cm
American Folk Art Museum, New York City

1875-95 "Sacret Bibel" Quilt Top
cotton, silk, wool, and ink, with cotton embroidery 224.8 x 182.9 cm
American Folk Art Museum, New York City

1876 Centennial Quilt
cotton with cotton embroidery 209.6 x 189.3 cm
American Folk Art Museum, New York City

1880-1910 Circle in Star Quilt
pierced cotton 198.1 x 193 cm
American Folk Art Museum, New York City

1884-90 Grover Cleveland Quilt
cotton 217.2 x 217.2 cm
American Folk Art Museum, New York City

1885 Masonic Appliqué Quilt
cotton
Folk Art Museum, New York City

1885-90 Cleveland-Hendricks Crazy Quilt
lithographed silk ribbons, silk and wool with cotton fringe and silk and metallic embroidery 190.5 x 195.6 cm
American Folk Art Museum, New York City

1885-95 Crazy Quilt by "S.H.'"
silk, ink, paint and cotton with silk embroidery 190.5 x 188 cm
American Folk Art Museum, New York City

1890-1910 Pine Tree Quilt
pierced cotton 172.7 x 223.5 cm
Private Collection

1890-1910 Vortex Quilt
pierced and appliquéd cotton 203.2 x 208.3 cm
Folk Art Museum, New York City

 c1900s "Close Finish"
hooked rug wool and burlap with cotton binding 82.5 x 116.8 cm
American Folk Art Museum, New York City

1907c Quilt by Carl Klewicke (1835-1913)
silk, faille, taffeta and satin 183.1 x 152.4 cm
Folk Art Museum, New York City


Eunice Griswold Holcombe Pinney (1770-1849)


Eunice Pinney is the earliest known American primitive watercolourist. She was born into a large, wealthy family in Simsbury, Connecticut. Painting fruit and flower still lifes, landscapes, and scenes from history was a popular pastime among refined ladies in nineteenth-century America.

Self-educated before art instruction books became popular, Pinney was free to invent her own style. The variety of her subjects is unusual; she painted memorials and literary scenes, portraits and landscapes. English prints inspired some of her works, such as "The Cotters Saturday Night", which illustrates a poem by eighteenth-century Scottish poet Robert Burns. 

1810 The Cotters Saturday Night
pen and watercolour 30.7 x 37.8 cm
National Gallery of Art, Washington, DC

"Lolotte et Werther" illustrates an episode in the life of the hero of Goethe's enormously popular romantic novel "The Sorrows of Young Werther" (1774).

1810 Lolotte and Werther
watercolour 37.7 x 29.2 cm
National Gallery of Art, Washington, DC

Pinney seems to have started painting around 1809, when she was thirty-nine. Some scholars have noted that her maturity might have allowed her to be bold and confident in her work. Most of her paintings were done in Simsbury or Windsor, Connecticut, where she settled in 1797, marrying Butler Pinney after her first husband drowned. Of her fifty-four recorded works, the majority were painted between 1809 and 1826.


1800-10 Three Women Standing by a Funerary Monument
watercolour and graphite on paper 25.4 x 20.6 cm
Museum of Fine Arts, Boston, MA

1810 (attributed to) Untitled
watercolour 22.2 x 20.9 cm

1810 Two Women
watercolour on paper 25.4 x 30.5 cm

1813 "In Memory of Eunice Pinney"
watercolour and pricking on paper 41.9 x 48.9 cm
Museum of Fine Arts, Boston, MA

1815c (attributed to) Lady Standing in a Landscape
watercolour on paper 28.5 x 22.9 cm

1815c Mother and Child
pen and black ink and watercolour on wove paper 25.2 x 30.1 cm
National Gallery of Art, Washington, DC

1820c Family Group at Piano
watercolour on paper 35.5 x 41 cm
Art Institute of Chicago, IL

1845c Portrait of Two Girls
watercolour and pen and ink on paper

n.d. Children Playing
watercolour 25.4 x 30.5 cm

n.d. Collingwood and Northesk: The Ever to be Lamented Lord Nelson
watercolour on paper 30.5 x 36.8 cm

n.d. Family Register of Butler Pinney
pen and watercolour on paper 38.9 x 26.7 cm
Museum of Fine Arts, Boston, MA

n.d. Hope, Faith, Peace and Charity: Family Register of the Butler Family
watercolour 28.7 x 22.4 cm

n.d. Mother and Daughter
pen and brown ink and watercolour over graphite on laid paper 21.7 x 18.1 cm
National Gallery of Art, Washington, DC

n.d. Shot by Cupid's Arrow
watercolour

n.d. Young Couple in a Landscape
watercolour on paper 19.4 x 15.7 cm
Museum of Fine Arts, Boston, MA

American Folk Art - part 8

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Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-7 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 8 of a 21-part post on American Folk Art:

Jacob Maentel (1763-1863)

Jacob Maentel emigrated from Germany to America in 1805 and made his living as a portrait painter, first in Maryland and then in Lebanon, York and Dauphin Counties in Pennsylvania. He painted more than two hundred portraits of friends and neighbours.


early 1800s Elizabeth Ault
watercolour, pen and ink on paper 24.1 x 19 cm

early 1800s William Ault
watercolour, pen and ink on paper 24.1 x 19 cm

1810-15c (attributed to) Pair of Portraits
watercolour and gouache on paper 18.4 x 15.5 cm

1810-15c (attributed to) Pair of Portraits 
watercolour and gouache on paper 18.4 x 15.5 cm

1815-20 Father and Daughter of Elizabethtown, PA
watercolour, gouache, ink and pencil on paper 27.3 x 21.6 cm

1815-20 Mother and Daughters of Elizabethtown, PA
watercolour, gouache, ink and pencil on paper 27.3 x 21.6 cm

1815-25 Boy Holding a Rooster
watercolour and ink on paper
Winterthur Museum, New Castle County, Delaware

1815-25 Caterina Bickel
watercolour, gouache, ink and pencil on paper 48.3 x 30.5 cm

1815-25 John Bickel
watercolour, gouache, ink and pencil on paper 48.3 x 30.5 cm

1820c Seated Man Holding a Book

1815c Amelia and Eliza Danner by Jacob Maentel
watercolour, gouache, ink and pencil on paper 26.7 x 21.2 cm
American Folk Art Museum, New York City

1815c Portrait of a Young Lady

1820c Mr and Mrs William Kreps

1820c Portrait of a Man Holding a Hat

1821 Portrait of Catherine Carver Bishop of Dauphin Count, PA
watercolour 27.9 x 22.2 cm

1825-30c Dr. Christian Bucher
watercolour, gouache, ink and pencil on paper 41.9 x 26.7 cm
American Folk Art Museum, New York City

1825-30c Mary Valentine Bucher
watercolour, gouache, ink and pencil on paper 41.9 x 25.7 cm
American Folk Art Museum, New York City

1826 Portrait of a Child
(born 13 October 1825)

1826 Portrait of a Child
(born 25 November 1823)

1826 Portrait of a Girl Holding a Rose
(born 22 May 1822)

1827 Young Woman in Blue Dress (Grandmother Hartman)
watercolour, gouache, ink and pencil on paper 24.1 x 15.2 cm

1828c Maria Rex Zimmerman
watercolour, gouache, ink and pencil on paper 43.2 x 26.7 cm
American Folk Art Museum, New York City

1830c Portrait of a Girl with a Rose

1830c Portrait of a Young Lady

1831 (attributed to) Portrait of Samuel Ensminger Jr. and Mrs Samuel Ensminger Jr. (Elizabeth Summy) and Child
watercolour and ink on paper

1834 Portrait of a Man with a Hat and Umbrella

1835 John Martin Titzel

1840c Elizabeth Wallborn
(born 23 April 1833)

1840c Portrait of a Man Holding a Hat

1840c Portrait of a Man Holding a Hat

1850c (attributed to) Red-Roofed Distillery and Out-buildings Nestled in Green Hills
oil on canvas 81.3 x 139.7 cm

n.d Double Portraits of a Young Man and Woman (see below) with their Children and Dog
watercolour, gouache and pencil on paper 29.2 xx 22.9 cm 1

n.d Double Portraits of a Young Man (see Above) and Woman with their Children and Dog 
watercolour, gouache and pencil on paper 29.2 xx 22.9 cm 1

n.d. Elisabeth Scoch of Berks County (born 1811)
watercolour and ink on paper 25.4 x 21.6 cm

n.d. Jacob Scoch of Berks County (born 1807)
watercolour and ink on paper 25.4 x 21.6 cm

n.d. Portrait of a Man at a Writing Desk
watercolour

n.d. John George Kitzmiller and his wife Anna Christina
watercolour 41.3 x 45.7 cm

n.d. Portrait of a Child with a Bird

n.d. Portrait of a Lady Holding a Book

n.d. Portrait of a Man Holding a Hat

n.d. Portrait of a Man Holding a Book

n.d. Portrait of a Woman Holding a Book

n.d. Portrait of a Woman Holding a Rose

n.d. Portrait of a Women in a Red Windsor Chair
watercolour and ink on paper

n.d. Portrait of a Young Woman
watercolour

n.d. Portrait of Hatter John Mays of Schaefferstown
watercolour, gouache, ink and pencil on paper 15.5 x 12.5 cm


1810 Zedekiah Belknap (1781 - 1858)

Also Known as: Zedikiah Belknap, Zebakiah Belknap
Born in Ward, Massachusetts 1781
Died in Weathersfield, Vermont 1858


1810 Child in White with Doll

1813c Wedding Portrait of Nancy Hale
oil on panel 68.6 x 53.3 cm

1813c Wedding Portrait of Obed Hale
oil on panel 68.6 x 53.3 cm

1820c Girl with Doll
oil on panel 60.3 x 43.8 cm

1820s Portrait of a Boy with Toy Sword and Whistle
oil on panel  57.8 x 45.7 cm

1829c Dorman Thodore Warren Born 1827 Townsend, MA
oil on panel 67.3 x 55.9 cm

1830 Sarah Minot Melville
oil on panel 45.7 x 61 cm
Private Collection

1835c Portrait of a Sister and Brother
oil on canvas 68.6 x 87.6 cm

1835c Seated Girl
oil on canvas 47 x 62.5 cm
Detroit Institute of Arts, MI

1835c Portrait of the Farley Children of Groton
oil on canvas
Worcester Art Museum, MA

n.d Portrait of Josiah Gilson Esq. aged 34 D. 1827
oil on wood panel 68.6 x 54.6 cm

n.d. Portrait of Mrs. Vashti Gilson aged 35 D. 1827
oil on wood panel 68.6 x 54.6 cm

n.d Young Woman with a Ruffled Collar

n.d. ( attributed to Girl ) in a White Dress with Cat
oil on canvas 67.3 x 62.2 cm
Private Collection

n.d. ( attributed to ) Portrait of a Young Girl
oil on panel 66 x 55.9 cm

n.d. Pair of Portraits of a Man and Woman ( see below )
oil on wood panel 65.4 x 49.5 cm

n.d. Pair of Portraits of a Man ( see above ) and Woman
oil on wood panel 65.4 x 49.5 cm

n.d. Portrait of a Man
76.2 x 61 cm

n.d. Portrait of a Woman
66 x 50.8 cm

n.d. Portrait of a Woman
oil on canvas 68.3 x 55.6 cm
Smithsonian American Art Museum, Washington, DC

n.d. Portrait of a Woman with a Yellow Shawl
oil on canvas 78.7 x 64.8 cm

n.d. Pair of Portraits of a Man and Wife ( see below )

n.d. Pair of Portraits of a Man ( see above ) and Wife

American Folk Art - part 9

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Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-8 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 9 of a 21-part post on American Folk Art:

Ammi Phillips (1788-1865)


In 1924 a summer fair in Kent, Connecticut, sparked the rediscovery of a major American artist when local residents put several nineteenth-century “ancestor portraits” on display. The strikingly similar canvases depicted graceful women with long slender necks leaning slightly forward within gleaming dark backgrounds and firm men in dark suits, often holding newspapers or books in their hands. The artist, who was then unidentified, was given the appellation “Kent Limner.” It was not until 1965 that Barbara and Larry Holdridge, with the support of Mary C. Black, convincingly demonstrated that the Kent Limner portraits were linked to several other disparate bodies of work and that all, in fact, were painted by a single artist - Ammi Phillips, at different points in his career. For more than fifty years, Phillips—whose biblical name fittingly means “my people” portrayed hundreds, perhaps thousands, of his friends, relatives, and neighbours in New York as far north as Ticonderoga in the Adirondacks, south to Bedford, in Westchester County, and throughout the border areas of Massachusetts, New York, Vermont, and Connecticut.


Phillips was born in Colebrook, Connecticut, in 1788. He was already travelling as an artist by 1809, when he advertised from William Clarke’s tavern in Pittsfield, Massachusetts, that he would paint “correct likenesses.” This promise became a leitmotif of Phillips’s work over more than fifty years, from the early romantic portraits of Harriet Leavens and Harriet Campbell—who appear in the guise of fashion plates replete with Chinese silk parasols and reticules - to his last portraits of the 1860s.

From 1829-1838, Phillips (1788-1865) changed his style to what is now known as his Kent style. Phillips' paintings from 1829-1838 are in a new style, infinitely more languid and more highly stylised than any of the likenesses of 1820 to 1828 or the romantic visions of his Border period" 
(Barbara C. and Lawrence Holdridge, Ammi Phillips: Portrait Painter 1788-1865, 1968).


This is part 1 of 3-part post on the works of Ammi Phillips:

1811c Portrait of a Gentleman
oil on canvas 60.3 x 75.6 cm

1812-13 Portrait of Ashbel Stoddard
87.6 x 76.2 cm

1812-13 Portrait of Patricia Bolles Stoddard
 72.4 x 61 cm

1814c Girl with Cat
63.5 x 76.2 cm
Amon Carter Museum of Art, Fort Worth, Texas

1814c Henrietta Dorr
oil on canvas
Princeton University Art Museum, Princeton, NJ

1815 Mr.Wilbur Sherman
oil on canvas 81.3 x 66 cm
Yale University Art Gallery, New Haven, CT

1815 Mrs. Wilbur (Sarah 'Sally' Stearns) Sherman (1789-1845) and daughter Sarah (1814-1872)
oil on canvas 91.4 x 76.2 cm
Yale University Art Gallery, New Haven, CT

1815 Portrait of Harriet Campbell
oil on canvas 123.2 x 63.5 cm
Sterling and Francine Clark Art Institute, Williamstown, PA
1815c Harriet Leavens
oil on canvas 144.8 x 71.1 cm
Harvard Art Museums, Cambridge, MA

1815-18c Jerusha Rogers Washburn
oil on canvas 64.1 x 47.6 cm

1815c MaryAnn Gale
oil on canvas

1816 Alsa Slade
oil on canvas 102 x 83.8 cm
National Gallery of Art, Washington, DC

1816 Joseph Slade
oil on canvas 102 x 84 cm
National Gallery of Art, Washington, DC

1816c Portrait of Mr. Dilbee of Pine Plains
oil on canvas 97.8 x 80.6 cm

1817c Betsy Beckwith
oil on canvas 77.4 x 62.4 cm
Brooklyn Museum, NY

1817c Colonel Nathan Beckwith
oil on canvas 77.4 x 62,4 cm
Brooklyn Museum, NY

1818c Portrait of a Gentleman with a Snake Cane
oil on canvas 74.9 x 61 cm

1820c Derick Wyncoop and Anna Elting Wyncoop
oil on canvas 74 x 59 cm

1820c General David Robinson
oil on canvas
Bennington Museum, Bennington, VT

1820c Jane Daney Smith
oil on canvas 81.6 x 66 cm
Museum of Fine Arts, Boston, MA

1820c Nancy Caldwell Church Robinson
oil on canvas
Bennington Museum, Bennington, VT

1820c Portrait of Sally Morgan Walbridge
oil on canvas 82.5 x 66.7 cm
Private Collection

1820c Reverend Jonas Coe
oil on canvas 122.2 x 97.1 cm
Museum of Fine Arts, Boston, MA

1821 Portrait of Dr. John McClennan of Livingston, New York inscribed "John McClellan Aged 48 1821/ Painted by A. Phillips."
oil on canvas 77.5 x 62.2 cm

1821-22 Cornelius Allerton
oil on canvas 83.8 x 69.9 cm
Art Institute of Chicago, IL

1821-22 Mrs. Reuben Allerton (Lois Atherton)
oil on canvas 83.8 x 69.9 cm
Art Institute of Chicago, IL

1822 Portrait of Charlotte Newcombe Benedict
oil on canvas 75.6 x 58.7 cm
Springfield Museum of Art, Ohio

1822 Portrait of Dr. Abijah Gilbert Benedict
oil on canvas 75.6 x 58.7 cm
Springfield Museum of Art, Ohio

1824 Hannah Bull Thompson
oil on canvas 76.2 x 61 cm
The Huntingdon Library, Art Collections and Botanical Gardens, San Marino, CA

1825-30 Portrait of James Ketcham
oil on canvas 81.3 x 67.3 cm
Philadelphia Museum of Art, PA

1825-30 Portrait of Lois Belding Ketcham
oil on canvas 81.3 x 67.3 cm
Philadelphia Museum of Art, PA

1825c (possibly Ammi Phillips) Portrait of a Man
oil on canvas 58.4 x 71.1 cm.

1825c (possibly Ammi Phillips) Portrait of a Woman
oil on canvas 58.4 x 71.1 cm

1825c Portrait of a Man with Red Curtain
oil on canvas 74.9 x 59.7 cm

1825c Portrait of Cicero Hinds
oil on canvas 73.7 x 58.4 cm

1825c Portrait of Mr. Warburton of Rockboro, Virginia
oil on canvas 73.3 x 60.5 cm
Philadelphia Museum of Art, PA

1825c Portrait of Mrs Warburton of Rockboro, Virginia
oil on canvas 75.7 x 60.6 cm
Philadelphia Museum of Art, PA
 

1826c Woman Holding a Hymn Book
oil on canvas

1827 Mary Elizabeth Smith
oil on canvas 65.1 x 52.7 cm
Terra Foundation for American Art, Chicago, IL

1830c The Strawberry Girl
oil on canvas 66.3 x 56.3 cm

1828 Portrait of a Young Girl
oil on canvas 61 x 50.2 cm

1828-38 Portrait of Ann Miller Tompkins

American Folk Art - part 10

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0
Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-9 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 10 of a 21-part post on American Folk Art:

Ammi Phillips (1788-1865)
For other works by Ammi Phillips and for biographical notes, see part 9 of the series.
This is part 2 of 3-part post on the works of Ammi Phillips:


1829 Jane Ann Benjamin Powers (Mrs. Charles Westley Powers)
oil on canvas
Dayton Art Institute, OH

1829 Portrait of Abigail Penoyer Reynolds
oil on canvas 78.4 x 63.2 cm
The San Diego Museum of Art, CA

1829 Portrait of George Greenwood Reynolds
oil on canvas 78.1 x 63.5 cm
The San Diego Museum of Art, CA

1829-38c Portrait of a Young Woman Seated on a Painted Chair
oil on canvas 88.9 x 78.7 cm

1829-39c Portrait of a Young Woman
oil on canvas 83.8 x 71.1 cm

1829c Portrait of Mary Margaret Deuel
( Dover Plais, Dutchess County, New York )
oil on canvas 75.6 x 60.3 cm

1830-35 Girl in Red Dress with Cat and Dog
oil on canvas 76.2 x 63.5 cm
American Folk Art Museum, New York City

1835c Girl in a Red Dress
oil on canvas 82.2 x 69.5 cm
Terra Foundation for American Art, Chicago, IL


1830-35c (attributed to) Portrait of a Girl labelled "Caroline Dorr"
63.5 x 53.3 cm

1830-35c Elizabeth Hardenbergh DeWitt
oil on canvas 81.3 x 68.6 cm
"wife of William Cantine DeWitt (1796-1871), a physician with a thriving practice in Saugerties."

1830c Catherine A. May
oil on canvas 79 x 63.4 cm
National Gallery of Art, Washington, DC

1830c Portrait of a Gentleman with a Pamphlet Entitiled "Agriculture"
oil on canvas  78.7 x 66 cm

1830c Portrait of a Lady in a Lace Bonnet
oil on canvas 78.2 x 66 cm

1830c Portrait of Julia Barton Hunting
oil
The Henry Ford Collection

1832c Portrait of a Young Girl in a Pink Dress
oil on canvas 78.7 x 63.5 cm

1834c Old Woman with a BIble
oil on linen 85.1 x 71.1 cm
Memorial Ar Gallery, Rochester, NY

1835-40 Lady in a Gold-Coloured Dress
oil on canvas 85.1 x 71.7 cm
Folk Art Museum, New York City

1835-40 Mrs. Mayer and Daughter
oil on canvas 96.2 x 87 cm
Metropolitan Museum of Art, New York City

1835c (attributed to) Woman with Bonnet
oil on canvas 85.1 x 69.2 cm

1835c A Gentleman Holding a Book on Agriculture
oil on canvas 84.5 x 71.1 cm
Private Collection

1835c Girl with Dog and Strawberries

1835c Jane Storm Teller
oil on canvas 83.7 x 68.5 cm
National Gallery of Art, Washington, DC

1835c Portrait of a Man
oil on canvas 85.1 x 71.1 cm
Philadelphia Museum of Art, PA

1835c Portrait of a Woman
oil on canvas 85.4 x 58.7 cm
Philadelphia Museum of Art, PA

1835c Portrait of John Hughes of Hughesville
oil on canvas 81 x 69 cm

1835c Woman in Black Ruffled Dress
oil on canvas 81.3 x 68.6 cm
Crystal Bridges Art Museum, Bentonville, Arkansas

1836-40c Portrait of a Gentleman Seated in a Painted Chair Holding a Book
oil on canvas 92.7 x 80 cm

1836c Blond Boy with Primer, Peach, and Dog
oil on canvas 122.9 x 76.2 cm
Philadelphia Museum of Art, PA

1836c Portrait of a Young Woman in a White Eyelet Bonnet
oil on canvas 107.9 x 92.8 cm

1837c Portrait of Mary Hoyt
oil on canvas 101.6 x 83.8 cm

1838c Jeannette Woolley, later Mrs. John Vincent Storm
oil on canvas 83.8 x 71 cm
Brooklyn Museum, NY

1838c John Younie Luyster
oil on canvas 116.8 x 77.5 cm
Chrysler Museum of Art, Norfolk, VA

1840c Portrait of a Girl in a Red Dress
oil on canvas 91.4 x 77.5 cm

1840c Portrait of a Lady Wearing White Lace Cap and Collar
oil on canvas  73.7 x 64.8 cm

1841 Portrait of Jeanette Payne
oil on canvas 85.1 x 71.1 cm
Private Collection

1846-47c Pastoral Landscape
oil on panel 42.5 x 54 cm
Private Collection

1850c Maria Rachel Bronson (born in Torrington, Connecticut on April 26, 1819) and son Wilbur born in Winchester, Litchfield, Connecticut on June 9, 1848 (born in Winchester, Litchfield, Connecticut on June 9, 1848)
oil on canvas 88.9 x 89.5 cm

1850c Portrait of a Young Boy in Plaid with Dog
oil on canvas 96.5 x 67.3 cm

1855-57c Portrait of Asa Beckwith
oil on canvas 85.7 x 69.8 cm

1860 Three Children of Henry Joslen Carter
oil on canvas 73 x 95.2 cm
Folk Art Museum, New York City

1862-63 Portrait of Sarah King Dewey and her Daughter, Harriet
oil on canvas 86.4 x 69.9 cm

n.d Portrait of a Gentleman Holding a Book: Agriculture
oil on canvas 85.4 x 71.1 cm

n.d. (attributed to) Portrait of a Gentleman
oil on canvas 67.3 x 59.7 cm

American Folk Art - part 11

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0
Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-10 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 11 of a 21-part post on American Folk Art:

Ammi Phillips (1788-1865)
For other works by Ammi Phillips and for biographical notes, see parts 9 and 10 of the series.
This is part 3 of 3-part post on the works of Ammi Phillips:


n.d. ( attributed to ) Portrait of a Lady Holding a Rose
oil on canvas 91.4 x 71.1 cm

n.d. ( attributed to ) Portrait of a Lady
oil on canvas 57.1 x 45.1 cm

n.d. ( attributed to ) Portrait of a Young Boy
oil on canvas mounted on board 83.2 x 67.9 cm

n.d. ( attributed to ) Portrait of a Young Girl
oil on canvas 76.2 x 63.5 cm

n.d. Arabs on Horseback
oil on canvas 61 x 91.4 cm

n.d. Child in Pink with Her Spaniel
oil on canvas 80 x 63.5 cm Private Collection

n.d. Deacon Elisha Holbrook
oil on canvas 76.2 x 63.5 cm
Private Collection

n.d. Sarah Thayer Holbrook
oil on canvas 76.2 x 63.5 cm
Private Collection


n.d. Deacon John Guernsey and his wife, Mercy
oil on canvas 78.7 x 63.5 cm each

n.d. Deacon John Guernsey holding a "Holy Bible"
oil on canvas 78.7 x 63.5 cm

n.d. Fashionable Lady with Shawl and Book
oil on canvas 75.9 x 61 cm

n.d. Florence Maria Carter ( 1859-1905 )
oil on canvas 87 x 69.2 cm

n.d. Henry Sisson
oil on canvas 87 x 69.8 cm

n.d. Lucy A. Howe Sisson
oil on canvas 84.7 x 69.8 cm

n.d. Maria Cooper ( 1787-1868 )
oil on canvas 86.4 x 71.1 cm

n.d. Tunis Cooper ( 1787-1868 )
oil on canvas 86.4 x 71.1 cm


n.d. Mrs. Lyman of West Stockbridge, Massachusetts
oil on canvas 85.1 x 69.8 cm

n.d. Portrait of a Dark-Haired Gentleman
oil on canvas 64.8 x 54.9 cm

n.d. Portrait of a Gentleman
( paired with portrait below )
83.8 x 71.1 cm

n.d. Portrait of a Woman
( paired with portrait above )
83.8 x 71.1 cm


n.d. Portrait of a Gentleman from Dover Plains, New York
oil on canvas 81.3 x 68.6 cm

n.d. Portrait of a Lady from Dover Plains, New York
oil on canvas 81.3 x 68.6 cm


n.d. Portrait of a Gentleman
oil on canvas 76.2 x 55.9 cm

n.d. Portrait of a Gentleman
oil on canvas 87 x 69.2 cm

n.d. Portrait of a Gentleman Sitting in a Yellow Chair
oil on canvas 75.6 x 72 cm

n.d. Portrait of a Lady in an Elaborate Lace Bonnet

n.d. Portrait of a Little Girl and Her Dog
oil on canvas

n.d. Portrait of a Man Holding the "Telegraph"
oil on canvas 81.3 x 69.2 cm

n.d. Portrait of a Man Holding "The Cultivator"
oil on canvas 85.1 x 69.2 cm
Private Collection

n.d. Portrait of a Man with "Boyer's Dictionary"
 oil on canvas mounted on masonite 72.4 x 59.3 cm

n.d. Portrait of a Woman
oil on canvas 85.1 x 69.2 cm
Private Collection

n.d. Portrait of a Woman
oil on canvas 85.7 x 69.2 cm

n.d. Portrait of a Young Woman
oil on canvas 78.7 x 63.5 cm

n.d. Portrait of Cyrus Chipman MD
oil on canvas 76.2 x 64.1 cm

n.d. Portrait of David R. Arnell, M.D.
oil on canvas mounted on board 76.2 x 61 cm
( Dr. David R. Arnell ( 1770-1826 ) was a highly trained and well-respected physician who lived and worked in Orange County, NY. )

n.d. Portrait of Elizabeth Buckley of Sheffield, Massachusetts
oil on canvas 81.3 x 69.2 cm

n.d. Portrait of Mr. Doane of Dover Plains
oil on canvas 84.4 x 69.8 cm

n.d. Portrait of Mrs Calvin Gay ( Phoebe Doud )
oil 83.8 x 71.1 cm
Sharon Historical Society, Sharon, CT

n.d. Portrait of Polly Smith Husted
oil on canvas mounted on masonite 97.8 x 80 cm

n.d. Woman with Pink Ribbons
oil on canvas

American Folk Art - part 12

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0
Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-11 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 12 of a 21-part post on American Folk Art:


Deacon Robert Peckham (1785-1877)


Deacon Robert Peckham

Peckham began his artistic career as an ornamental and sign painter. With only a few months training in portraiture, he carved out a long and successful career as a portrait artist. He lived and worked in Westminster, Massachusetts, and produced numerous vivid likenesses - more than 50 are attributed to him - of people from the town and nearby centres.  


1817c The Peckham-Sawyer Family
oil on canvas 67.6 x 82.5 cm
Museum of Fine Arts, Boston, MA

1819 Portrait of Betsey Baker Thurston Davis
oil on panel 67.9 x 57.1 cm

1830c Portrait of a Young Child in a White Dress and Red Shoes with Peach and Dog
pastel on paper 63.5 x 52.1 cm

1838c The Raymond Children
oil on canvas 140.3 x 99 cm
Metropolitan Museum of Art, New York City

1839 Portrait of Phebe Brown inscribed "Mrs. Phebe Brown Age 44 years 1839 Now the wife of Prescott Esq. R. Peckam"
 oil on canvas 76.2 x 62.9 cm

1840c ( attributed to ) Portrait of Rosa Heywood
oil on canvas 113 x 74.3 cm

1840c The Hobby Horse
oil on canvas 103.5 x 101.6 cm
National Gallery of Art, Washington, DC

1841 ( attributed to ) The Farwell Children
oil on canvas 133.4 x 100.4 cm

n.d. ( attributed to ) Portrait of a Boy
oil on canvas 59.7 x 55.9 cm

n.d. Portrait of Charles A. Norton
oil on canvas 59 x 48.9 cm

n.d. Portrait of Sally Puffer Sanderson



Sheldon Peck (1797-1868)


Sheldon Peck

Sheldon Peck (August 26, 1797 - March 19, 1869) was a folk artist, abolitonist, and social activist as well as an advocate for temperance, women’s rights, racial equality, public education, and pacifism. Peck’s portraiture – with its distinctive style - is a prime example of 19th century American folk art. While working as an artist, Peck was a conductor on the underground railway.

Peck was born in Cornwall, Vermont, the ninth son of Jacob and Elizabeth Peck. Peck's ancestors were among the founders of New Haven Colony; his father worked as a blacksmith and served as a private in the Revolutionary War.


No records exist to indicate that Peck received any formal art education. His work may have been influenced by William Jennys, a primitive portrait painter who was active in Vermont around the time Peck lived there. Peck also would have had access to art instruction texts that were housed in the library of the Cornwall Young Gentleman’s Society.


1820-25 Mrs. Murry
oil on panel 70.5 x 57.5 cm
Flint Institute of Arts, MI

1820-25c Mr. Murry
oil on panel 69.2 x 55.6 cm
Flint Institute of Arts, MI

1820-28c ( attributed to ) Portrait of a Man ( Possibly Member of the Van Vechten Family )
oil on wood panel 32.1 x 26.3 cm
Folk Art Museum, New York City

1820-28c ( attributed to ) Portrait of a Woman ( Possibly Member of the Van Vechten Family )
oil on wood panel 32.1 x 26.3 cm
Folk Art Museum, New York City

1820c ( attributed to ) John Jackson
oil on wood panel 54.6 x 38.7 cm
Folk Art Museum, New York City

1820c ( attributed to ) Nancy G. Jackson
oil on wood panel 54.6 x 38.7 cm
Folk Art Museum, New York City

1825 Portrait of a Woman

1825c Elizabeth Ann Ferris Preston

1825c Portrait of a Child in White Dress Holding a Rose
oil on panel 61 x 49.5 cm

1825c Young Girl in Blue Dress Holding an Egg

1830c Girl with a Rose

1837c William W. Welch inscribed "Wm. W, Welch Born A.D. 1777"

1845 The John G. Wagner Family
oil on canvas 85.1 x 105.4 cm
Aurura Historical Museum, IL

1845c Anna Gould Crane and Granddaughter Janette
oil on canvas 90.2 x 115.6 cm
Folk Art Museum, New York City

1845c David and Catherine Stolp Crane
oil on canvas 90.6 x 110.8 cm
Folk Art Museum, New York City

Ellis J. Pratt "Born Aug the 21 1828"

n.d. Phebe Welch inscribed "Phebe Welch Born AD 1793"

n.d. Portrait of a Gentleman
oil on panel 68.6 x 55.9 cm

n.d. Portrait of a Girl

n.d. Portrait of a Man
oil on canvas 63.5 x 55.9 cm

n.d. Portrait of a Woman
oil on canvas 63.5 x 55.9 cm

n.d. Portrait of Miss Dodge

n.d. Samuel and Eunice Judkins of Ulster County, New York
oil on panel 56.5 x 76.8 cm

n.d. Woman Holding a Book


Joseph H. Davis (active 1832–1837) 

Jospeph H. Davis was an itinerant American portrait painter. Over a period of only five years, from 1832–37, Davis painted about 150 watercolour portraits of residents of Maine and New Hampshire. The body of work he left behind is highly regarded for its calligraphic line, miniaturising delicacy, and decorative stylisation. His pictures are in many important collections, including those of the American Folk Art Museum, New York; The Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston; and the National Gallery of Art, Washington, DC.


1822 inscribed "Charles Bartlett, Roberts. Born May 21st 1822. - Painted at the Age of 13 years"
pencil and watercolour on paper 19.1 x 15.9 cm
Museum of Fine Arts, Boston, MA

1833 inscribed "Achsah Stanton. Aged 18 years 1833"
pencil and watercolour on paper 25.1 x 19.7 cm
Museum of FIne Arts, Boston, MA

1834 inscribed "Samuel G. Vickery. Age 59 Years. 1834
Mary Vickery. Age 51 Years. 1834"
pen and ink and watercolour on paper

1835 inscribed "Elizabeth A. Fall. Aged 21 years. 1835"
pencil and watercolour on paper 25.9 x 17.9 cm
Museum of Fine Arts, Boston, MA

1835 inscribed "Joseph C. Wentworth. Aged 33 Years. and 10 months 1835 - Tryphena B. Wentworth. Aged 33 and 4 months 1835"
watercolour 36.8 x 44.4 cm

1835 inscribed "Susan Elizabeth Wentworth. AGE. 3 Years and 6 months 1835"
watercolour 17.1 x 14.6 cm

1836 inscribed " John Montgomery. Aged 36 March 6th
Abigail Montgomery Aged 52 Septem' 26th"
pen and ink and watercolour on paper 22.2 x 35.3 cm
National Gallery of Art, Washington, DC

1836 inscribed "Alfred Tailor. Aged 24 Years. July 5 1836
Sally S. Tailor. Aged 20 Years. June 27 -"
pen and ink and watercolour

1836 inscribed "Everett Caverly. Aged 11 Years, Octr 31st 1836.
 Jhn Hoit Caverly, Aged 8 Years. Octbr 17th 1836"
20.6 x 30.6 cm
Museum of Fine Arts, Boston, MA

1836 inscribed "John P. Demeritt. Aged 32 Feby 26, 1836"
pen and ink, pencil and watercolour on paper 24.6 x 27.9 cm

1836 inscribed "Sylvanus C. Foss. Painted at the age of 19
Mary Jane Foss. Painted at the age of 25. May 6 1836"
watercolour, pencil and ink on paper 27.3 x 38.1 cm
American Folk Art Museum, New York City

1837 inscribed "Betsey Dowst. Aged 69 Years. Aug 27th 1837"
 watercolour, ink and pencil on paper 35.9 x 30.5 cm
American Folk Art Museum, New York City

1837 inscrbed "Sewell Marden. Aged 43 Years, Septmbr 18th, 1837. Painted January 1837.
Sally Marden. Aged 43 Years, November 12th, 1837."
 watercolour, pencil and ink on paper 24.1 x 34.3 cm

1837 inscribed " Delia Varney. Aged 35, October 26. 1837. Painted July 8th 1837."
pencil and watercolour on paper 25.6 x 19.5 cm
Museum of Fine Arts, Boston, MA

1837 inscribed "Andrew J. Wiggins Aged 21 years March 15 1837"
watercolour and ink on paper 24.1 x 19 cm

1837 inscribed "Catharine T. Dockum Aged 14 December 18th 1837"
watercolour and ink on paper 25.4 x 20.3 cm

1837 inscribed "David S. Glidden. Aged 16 Years December 23 1837"

1837 inscribed "Eunice E.C. Marden. Aged 6, Octbr 11th, 1837.
 Lurana G. Marden. Aged 2 Years, April 28th, 1837."
watercolour, pencil and ink on paper 17.9 x 22.9 cm

1837 inscribed "William Sumner Jordan/ Aged 3 May 26 1837"
 watercolour and ink on paper 14 x 9.5 cm

1865 inscribed "Mary Antoinette Lorania Pike.
Sarah Adeline Pike"
watercolour, pencil and ink on paper
American Folk Art Museum, New York City

n.d Man with a Top Hat
watercolour on paper 24.1 x 15.9 cm

n.d. ( attributed to ) Parlour Scene
watercolour and gouache on paper 24.1 x 51.4 cm

n.d. ( attributed to ) Woman and Child
watercolour on paper 24.8 x 27.9 cm

n.d. Family Group
pencil and watercolour on paper 24.8 x 41 cm
Museum of Fine Arts, Boston, MA

n.d. Family Group with Child, Cat and Vase
pencil and watercolour on paper 27.9 x 42.7 cm
Museum of Fine Arts, Boston

n.d. Man with a Top Hat
watercolour on paper 29.4 x 24.1 cm

n.d. Portrait of John and Hannah Butler of Berwick, Maine
pen and ink, pencil and watercolour on paper 26 x 38.1 cm

n.d. Seated Couple
pencil and watercolour on paper 25.2 x 34.3 cm
Museum of Fine Arts, Boston, MA

American Folk Art - part 13

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0
Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-12 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 13 of a 21-part post on American Folk Art:


Erastus Salisbury Field (1805-1900)


Erastus Salisbury Field, 1840s.
Daguerrotype coloured by the artist

Erastus Salisbury Field and his twin sister, Salome, were born in Leverett, Massachusetts, on 19 May 1805. Erastus Field showed an early talent for sketching portraits, and in 1824 the aspiring artist travelled to New York City to study with Samuel F. B. Morse. Field's instruction was cut short by the death of Morse's wife in 1825, and it is not evident what Field learned. In 1831 he married Phebe Gilmur in Ware, Massachusetts, and their only child was born the next year. His career apparently prospered during the 1830s, for the artist produced a multitude of rapidly executed portraits, often completed in one day, which commanded fair prices. Field's best portraits date from around 1836 - the year he returned to Leverett from Ware - to about 1840.

After traveling to Brattleboro, Vermont, in 1839, the artist and his wife moved back to Ware, Massachusetts. By 1841, however, they were in New York City. Field remained there for about seven years and exhibited several works. In 1848 he was called home to manage his father's farm in Sunderland, Massachusetts, and a newspaper account reported that he remained there for "some four years in the practice of his art." By around 1847 Field had begun executing landscape and history paintings, perhaps because the daguerreotype, introduced in America in 1839, was beginning to replace painted portraits. Always resourceful, however, Field took advantage of the camera, using it to make photographs of his sitters, which he would later copy on canvas.


Between 1852 and his wife's death in 1859, Field moved frequently between Sunderland, Palmer, and North Amherst, Massachusetts. When Phebe Field died, the artist and his daughter moved to Plumtrees, a settlement now in Sunderland that was occupied by the Cooley and Hubbard families, whom Field had known since childhood. Field, who would spend the rest of his life there, built a modest studio and painted some elaborate compositions of exotic landscapes and biblical scenes, relying on his imagination as well as on printed illustrations by artists such as John Martin.



Field died at Plumtrees in 1900, leaving a legacy of over three hundred paintings attributed to his hand. Just before his death a newspaper article praised his portraits, saying that they were "as nearly correct as can well be made in oil, and give to posterity faithful ideas of the personal appearance of their ancestors." Field's career exemplified that of the enterprising itinerant who created distinctive, quickly executed yet insightful likenesses to meet the growing demands of America's middle-class patrons.



1825-50c Portrait of a Woman with a Shawl
oil on canvas 89.5 x 66 cm
Smithsonian American Art Museum, Washington, DC

1825c Elizabeth Billings Ashley
oil on canvas 62.2 x 57.1 cm
Michele and Donald D'Amour Museum of Fine Arts, Springfield, MA

1829c Gentleman of Squire Williams House
oil on canvas 81.3 x 61.6 cm
Smithsonian American Art Museum, Washington, DC

1829c Lady of Squire Williams House
oil on canvas 81.3 x 61.6 cm
Smithsonian American Art Museum, Washington, DC

1829c Mary Werner Bangs
oil on canvas 149.2 x 76.8 cm
Metropolitan Museum of Art, New York City

1830c Dwarfed Boy in Red Dress Holding Rattle
oil  on canvas 30.5 x 22.9 cm
Private Collection

1830c Julia Tuttle Bangs
oil on canvas

1830c Phineas Field ( younger brother of the artist )
oil on canvas 80 x 67.3 cm
Private Collection

1830c Portrait of a Young Lady
oil on canvas 30.5 x 22.9 cm
Portland Art Museum, Oregon

1833-34 Augusta Mason Doten
oil on canvas 86.7 x 69.2 cm
Montgomery Museum of Fine Arts, Alabama

1833c Elizabeth Camilla Jillson
oil on canvas 121.9 x 73.7 cm
Connecticut Historical Society, Hartford, CT

1833c Harriet Sophia Jones
oil on canvas 111.8 x 72.4 cm
Chrysler Museum of Art, Norfolk, VA

1835 Portrait of Sarah Elizabeth Ball
oil on canvas
Joseph Allen Skinner Museum, Mt Holyoke College, South Hadley, MA

1835 Thankful Field
oil on canvas 79.4 x 65.1 cm
Museum of Fine Arts, Springfield, MA

1835-38 Mrs. Paul Smith Palmer and Her Twins
oil on canvas 97.8 x 86.3 cm
National Gallery of Art, Washington, DC

1835-38 Paul Smith Palmer
oil on canvas 86.4 x 73.4 cm
National Gallery of Art, Washington, DC

1835-38c Man Holding a Quill
oil on canvas 76.2 x 66 cm
Folk Art Museum, New York City

1835-38c Woman Holding Red Book
oil on canvas 76.2 x 66 cm
Folk Art Museum, New York City

1835c Woman Holding a Book
oil on canvas 75.7 x 60.5 cm
National Gallery of Art, Washington, DC

1835c Young Girl in Pink Dress
oil on canvas 86.4 x 66 cm
Private Collection

1836 Austin Marsh
oil on canvas
Private Collection

1836 Henry Carlton Hulbert
oil on canvas 75.6 x 64.8 cm
Private Collection

1836 Maryette Field Marsh
oil on canvas 88.9 x 73.7 cm
National Portrait Gallery, Washington, DC

1836 Nathaniel Bassett
oil on canvas 88.9 x 72.7 cm 
Smith College of Art, Northampton, MA

1836c Amos Geer Hulbert
oil on canvas 87 x 73.7 cm
Private Collection

1836c Bethiah Smith Bassett
oil on canvas 88.9 x 73.3 cm
Smith College of Art, Northampton, MA

1836c Henry Thomas Robbins
oil on canvas 87 x 81.92 cm
Private Collection

1837 Dolly Floyd Wiley
oil on canvas 88.9 x 73.7 cm
Michele and Donald D'Amour Museum of Fine Arts, Springfield, MA

1837 Eleazer Cowles
oil on canvas 76.5 x 66.4 cm
Worcester Art Museum, MA

1837 Loisa Cowles
oil on canvas 76.5 x 66.4 cm
Worcester Art Museum, MA

1837 Maria Cowles
oil on canvas 76.5 x 66.4 cm
Worcester Art Museum, MA

1838 Josiah Goddard
oil on canvas
Brown University Portrait Collection, Providence, RI

1838 Lucy H. Mills Ball
oil on canvas 103.5 x 92.1 cm
Michele and Donald D'Amour Museum of Fine Arts, Springfield, MA

1838 Mr. Pearce
oil on canvas 76.2 x 66 cm
Abby Aldrich Rockefeller Folk Art Centre, Williamsburg, VA

1838 Mrs. Pearce
oil on canvas 76.2 x 66 cm
Abby Aldrich Rockefeller Folk Art Centre, Williamsburg, VA

1838 Reverend Dyer Ball
oil on canvas 13.5 x 92.1 cm
Michele and Donald D'Amour Museum of Fine Arts, Springfield, MA

1838 Woman with a Green Book
oil on canvas 88.9 x 74.3 cm
Art Institute of Chicago, IL

1838-39c Portrait of a Young Man
oil on canvas 74.9 x 63.5 cm
Folk Art Museum, New York City

1838c ( attributed to ) Josiah B. Woods Jr. ( posthumous portrait )
oil on linen 129.5 x 81.9 cm
Princeton University Art Museum, Princeton, NJ

1838c Man with a Tune Book: Possibly Mr. Cook
oil on canvas 89.1 x 73.8 cm
National Gallery of Art, Washington, DC

1838c Sarah Elizabeth Ball
oil on canvas 89.2 74.3 cm
Mount Holyoke College Art Museum, South Hadley, MA

1839c Joseph Moore and His Family
oil on canvas 209.2 x 237.2 cm
Museum of Fine Arts, Boston, MA

1839c Louisa ( Clarissa? ) Gallond Cook
oil on canvas 86.4 x 71.1 cm
Shelburne Museum, VT

1840-49c Julius Norton
oil on canvas 88.9 x 73.7 cm
Bennington Museum, VT

1844c The Embarkation of Ulysses
oil on canvas 87.6 x 115.6 cm
Michele and Donald D'Amour Museum of Fine Arts, Springfield, MA

1845c Margaret Gilmore
oil on canvas 137.5 x 86.7 cm
Museum of Fine Arts, Boston, MA

1848c Girl of the Bangs-Phelps Family
oil on canvas 149.2 x 76.8 cm
Metropolitan Museum of Art, New York City

n.d. Susanne Tilinghast of Connecticut
oil on canvas 73.7 x 64.1 cm
Private Collection

1850c The Taj Mahal
oil on canvas 61.6 x 86.7 cm
Flint Institute of Arts, MI

1855c Rattlesnake Gutter
oil on canvas 109.2 x 94 cm
Private Collection

1860-1880c The Taj Mahal
oil on canvas 88.7 x 116.7 cm
National Gallery of Art, Washington, DC

1860c The Garden of Eden
oil on canvas 63.5 x 105.4 cm
Shelburne Museum, VT

1860c The Garden of Eden
oil on canvas 88.3 x 116.5 cm
National Gallery of Art, Washington, DC

1865-80 Egyptian Scene ( possibly Moses and Zipporah )
oil on canvas 88.9 x 116.8 cm
Metropolitan Museum of Art, New York City

1865-80c "He Turned Their Waters into Blood"
oil on canvas 76.5 x 102.9 cm
National Gallery of Art, Washington, DC

1865-80c Burial of the First Born of Egypt
oil on canvas 84.5 x 99.7 cm
Michele and Donald D'Amour Museum of Fine Arts, Springfield, MA

1865-80c Death of the First Born
oil on canvas 88.6 x 88.9 cm
Abby Aldrich Rockefeller Folk Art Centre, Williamsburg, VA

1865-80c Death of the First Born
oil on canvas 88.9 x 116.8 cm
Metropolitan Museum of Art, New York City

1865-80c The Last Supper
oil on canvas 88.9 x 116.8 cm
Chrysler Museum of Art, Norfolk, VA

1865-1880c Ark of the Covenant
oil on canvas 50.8 x 61.3 cm
National Gallery of Art, Washington, DC

1865-1880c Pharaoh's Army Marching
oil on canvas 89 x 116.8 cm
National Gallery of Art, Washington, DC

1867c Historical Monument of the American Republic
oil on canvas 281.9 x 398.8 cm
Michele and Donald D'Amour Museum of Fine Arts, Springfield, MA

1869 The Fairy Grotto
oil on canvas 71.1 x 101.6 cm
Private Collection

1881 Lincoln with Washington and His Generals
oil on canvas 81.3 x 100.3 cm
Michele and Donald D'Amour Museum of Fine Arts, Springfield, MA


American Folk Art - part 14

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0
Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-13 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 14 of a 21-part post on American Folk Art:



William Matthew Prior (1806-1873)


1825 The Artist as a Young Man: Self-Portrait
oil on canvas 79.1 x 68.4 cm
Fenimore Art Museum, Cooperstown, NY

William Matthew Prior was one of the most complex and influential 19th-century portrait painters. He was a follower of the religious leader William Miller (who prophesied the end of the world in 1843) and was an ardent opponent of the institution of slavery in the United States. 
Prior also claimed to have clairvoyant powers that allowed him to paint portraits of departed persons he had never seen. He is best known today for the development of a price scale whereby one could buy a large quickly painted, inexpensive portrait, or a more carefully painted example for more money. 
Prior's influence on other artists was extensive; he led the Prior-Hamblin school, a group of portrait painters bound by family ties and partnerships, who painted in his style.


1829 Portrait of a Man
oil on canvas 67 x 56 cm
Philadelphia Museum of Art, PA

1830-40c Girl in Grey Dress

1833 Child with a Hammer
oil on board
New Britain Museum of American Art, CT

1835-40c Portrait of a Young Girl in a Plaid Dress Holding a Bouquet of Flowers
oil on board 35.6 cm x 43.2 cm

1835c ( attributed to ) William Whipper
oil on canvas 62.9 x 50.8 cm
Fenimore Art Museum, Cooperstown, NY

1835c Young Girl with Blue Dress

1838c Woman with Spectacles
oil on canvas 81.3 x 71.1 cm
Harvard Art Museums, Cambridge, MA

1840 ( attributed to ) Baby in Blue

1840 ( attributed to ) Schoolgirl with Doll

1840c Little Janey in Pink and White Dress
oil on canvas 61.6 x 51.4 cm
Flint Institute of Arts, Michigan

1840c Portrait of a Baby in Blue
oil on artist board 38.1 x 27.3 cm

1840c Portrait of a Man
69.8 x 55.9 cm

1840c Portrait of a Man

1840c Young Girl with Her Doll

1842 Portrait of a Boy with a Bow Tie
oil on board 35.9 x 26 cm
Inscribed "Painted by Wm M. Prior-of Boston. formerly of Portland Me.-Painted in Lynn Mass-March 12 1842."

1842c Portrait of a Child with Long Blonde Hair
oil on paper board43.2 x 29.8 cm

1843 Nancy Lawson
oil on canvas 76.2 x 63.5 cm
Shelburne Museum, VT

1843 William Allen
oil on canvas 81.9 x 101.9 cm
Museum of Fine Arts, Boston, MA

1844 Mr. G. Brightman
oil on cardboard 36.2 x 26 cm
Fenimore Art Museum, Cooperstown, NY

1844 Mrs. G. Brightman
oil on cardboard 36.2 x 26 cm
Fenimore Art Museum, Cooperstown, NY

1845-50c ( attributed to ) Mr. George Dresser of Plainville, Connecticut
oil on canvas 76.3 x 63.5 cm
Princeton University Art Museum, Princeton, NJ

1845-50c ( attributed to ) Mrs. George Dresser of Plainville, Connecticut
oil on canvas 76.5 x 65 cm
Princeton University Art Museum, Princeton, NJ

1845-55 ( attributed to ) Portrait of a Man in a Hat
oil on canvas 68.6 x 55.9 cm
Fenimore Art Museum, Cooperstown, NY

1845c Baby in Blue
oil on paper mounted on wood 60.3 x 43.2 cm
National Gallery of Art, Washington, DC

1845c Boy with a Dog

1845c Boy with a Rattle

1845c Boy with Toy Horse and Wagon
oil on canvas 77 x 63.7 cm
National Gallery of Art, Washington, DC

1845c Isaac Josiah and William Mulford Hand
oil on canvas mounted on hardboard 75.6 x 65.1 cm
de Young/Fine Arts Museums of San Francisco, CA

1845c Young Girl in a Black Dress

1846 Eliza C. Allen

1846-73c Child with Straw Hat
oil on canvas 76.5 x 60.5 cm
National Gallery of Art, Washington, DC

1846c Nat Todd
oil on artist board 41.3 x 30.1 cm
Private Collection

1848 Child in Blue with Dog, probably East Boston, MA
oil on canvas 90.5 x 71.1 cm
Fenimore Art Museum, Cooperstown, NY

1848 Portrait of a Boy in a Red Dress with His Toy Wagon
oil on canvas 74.9 x 64.1 cm

1848 Portrait of a Young Girl in a Pink Dress Holding Roses
oil on canvas 56.5 x 41.3 cm

1848 Portrait of Mary Lewis
oil on canvas 66 x 54 cm

1848c Portrait of a Boy Holding a Riding Whip
oil on artist board 35.6 x 25.4 cm

1850 Little Miss Fairfield
oil on canvas 61 x 50.9 cm
National Gallery of Art, Washington, DC

1850 Master Cleeves
aqueous medium on cardboard 41.3 x 30.3 cm
National Gallery of Art, Washington, DC

1850-60c Landscape
oil on canvas 51.4 x 65.4
Fenimore Art Museum, Cooperstown, NY

1850c ( attributed to )
Portrait of a Young Woman
76.2 x 63.5 cm

1850c ( attributed to ) Man with Gold Pencil
oil on canvas 69.1 x 56.6 cm
Smithsonian American Art Museum, Washington, DC

1850c ( attributed to ) Woman with Gold Necklace
oil on canvas 69 x 56.5 cm
Smithsonian American Art Museum, Washington, DC

1850c Mr Dudley
oil on canvas 89.2 x 76.8 cm
Detroit Institute of Arts, MI

1850c Portrait of Ardelle Clementine Taylor
oil on paperboard 36.8 x 26.7 cm

1851 "The House That Jack Built," Manor by the Sea
oil on artist board 48.9 x 58.4 cm

1851 Portrait of Two Children with a Dove
inscribed "Two of David's Children...by W.M. Prior-Boston MA- June 1851" on the reverse
oil on canvas 58.4 x 68.6 cm

1852 ( attributed to ) Young Girl in a Blue Dress

1853c Portrait of Alice Whitman Pickett, Age 2 Years 6 Months
 oil on canvas 81.3 x 61 cm

1854 The Burnish Sisters
oil on canvas 90.2 x 101.8 cm
The National Gallery of Art, Washington, DC

1854 Three Sisters of the Copeland Family
oil on canvas 68.3 x 92.7 cm
Museum of Fine Arts, Boston, MA

1860-73c ( attributed to ) Abraham Lincoln
reverse painting on oil on glass 59.7 x 43.8 cm
Folk Art Museum, New York City

1860c George Washington
reverse painting on glass
de Young / Fine Arts Museums of San Francisco, CA

n.d. ( attributed to ) Portrait of a Student
oil on canvas 60.3 x 50.2 cm

n.d. ( attributed to ) Portrait of a Woman in a Green Dress
oil on artist board 34.3 x 24.1 cm

n.d. ( attributed to ) Laura Ann Wood aged 9 and Mary Ellen Wood aged 7

n.d. Portrait of a Baby Wearing a White Dress
oil on artist board 36.2 x 26 cm

n.d. Portrait of a Bearded Young Man
oil on canvas 34.3 x 24.8 cm

n.d. Portrait of a Child in a Blue Dress Holding a Riding Crop
oil on board 34.3 x 24.8 cm

n.d. Portrait of a Child in a Red Dress Holding a Floral Sprig
oil on board 30.5 x 24.8 cm

n.d. Portrait of a Girl in a Salmon-coloured Dress Holding a Book
oil on card 35.6 x 25.4 cm

n.d. Portrait of a Man with an Earring in Front of a Window
oil on canvas 68.6 x 55.9 cm

n.d. Portrait of a Woman in a Gown with Lace Collar and Gold Pendant
oil on artist board44.4 x 34.3 cm

n.d. Portrait of a Woman with a White Bonnet
oil on board 34.3 x 23.6 cm

n.d. Portrait of a Young Girl

n.d. Portrait of a Young Woman in a Black Dress in Front of a Window
oil on card 36.2 x 26.7 cm

n.d. Portrait of Ruth Nickerson
oil on artist board 35.9 x 25.4 cm

n.d. Woman with a Brooch



American Folk Art - part 15

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Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-14 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 15 of a 21-part post on American Folk Art:


John Sherburne Blunt (1798 – 1835)



John Sherburne Blunt was born in the Portsmouth, New Hampshire area. His brief career consisted of portraiture, landscapes, and marine art. He also produced ship ornaments and miniatures in his early years. He married in 1821, and in 1825 he opened an art instruction school in Portsmouth. He moved to Boston in 1831.


1828 Winter Scene
oil on canvas mounted on Masonite 60.6 x 69.8 cm
Museum of FIne Arts, Boston, MA

1829-30c Portrait of a Child
oil on canvas 68.2 x 58.4 cm

1830-31c ( attributed to ) Portrait of a Country Squire
oil on canvas 76.2 x 63.5 cm

1830-31c ( attributed to ) Portrait of a Country Squire's Wife
oil on canvas 76.2 x 63.5 cm

1830-33 ( attributed to ) Miss Frances A. Motley
oil on canvas 89.8 x 74.3 cm
American Folk Art Museum, New York City

1830-35c ( attributed to ) Mary Beth Steward

1830c Portrait of a Lady
oil on canvas 76.2 x 63.5 cm

1831c Gentleman fron Providence, RI
oil on canvas 66 x 55.9 cm

1831c Lady on Red Sofa
oil on canvas 84.4 x 71.7 cm
Folk Art Museum, New York City

1835 Boston Harbour
oil on panel 52.1 x 71.4 cm
Museum of Fine Arts, Boston, MA

1835c Portrait of a Gentleman
oil on canvas 83.8 x 68.6 cm

n.d. Portrait of a Gentleman
oil on canvas 75.6 x 62.9 cm

n.d. Portrait of a Lady in a Black Dress
oil on canvas 83.8 x 71.1 cm

n.d. Portrait of a Lady
oil on canvas 75.6 x 62.9 cm

n.d. Portrait of a Young Girl
oil on canvas

n.d. Portrait of a Young Woman
oil on canvas 66 x 55.9 cm

n.d. Portrait of the Wife of Rufus Kendall
oil on canvas 77.5 x 63.5 cm

Samuel Addison Shute (1803-1836) and 
Ruth Whittier Shute (1803-1882)


Helen and Steven Kellogg's entry in "American Radiance" for Samuel Addison and Ruth Whittier Shute note that they "were an unusually talented, prolific and enterprising pair of artists who married in Sommerworth, New Hampshire, on October 16, 1827. Ruth was born in Dover, New Hampshire, on Octover 3, 1802, the eighth of nine children; Samuel was born on September 24 of the same year. He attended the Governer Dummer Academy in Byfield, Massachusetts, and went on to study medicine at Dartmouth College.

After his marriage, Dr. Shute's focus shifted away from medicine, and he joined his wife in an artistic partnership that took the couple through the hamlets and small cities of northern New England and New York State, selling their services as itinerant portrait painters. Their efforts met with considerable success until Samuel's untimely death in Champlain, New York, in 1836, at the age of 32.

The Shutes employed a highly unusual method of painting, in that they simultaneously directed their creative energies to the same portrait. Although the great majority of their works are unsigned, a number of them are inscribed on the reverse “Painted by R.W. Shute and S.A. Shute”. In several, their contributions are more specifically documented as having been “Drawn by R.W. Shute and Painted by S.A. Shute”.


By September 1833, Ruth alone was signing paintings. For four years after her husband's death, Ruth continued to travel the region and paint, before marrying Alpha Tarbell and moving to Lexington, Kentucky. Her last known portrait is of her granddaughter, dated 1874.


1828 Mary Ann Russell
graphite, watercolour, gouache, ink and gum arabic on paper 25.3 x 20.8 cm

1830-35c ( attributed to ) Child with Blue Shoes
graphite, watercolour and gouache on wove paper 58.1 x 50.2 cm

1830c ( attributed to ) Miniature Portrait of A Young Lady
watercolour on paper in original frame 5.4 x 6.7 cm

1830c Double Portrait of a Young Boy and a Baby
graphite and watercolour on paper 73 x 48.9 cm

1830c Miniature Portrait of a Young Boy
watercolour on paper in original frame 5.4 x 6.7 cm

1830c Portrait of a Little Girl
graphite, watercolour, gouache and ink on paper 67.3 x 43.2 cm

1830c Portrait of a Young Boy in a Blue Dress
graphite, charcoal and watercolour on paper 70 x 48.3 cm

1830c Portrait of a Young Man Holding a Book
graphite and watercolour on paper mounted on cardboard 64.8 x 49.5 cm

1830c Portrait of Miss Adeline Bartlett of Lowell, MA
graphite and watercolour on paper 13.3 x 12.1 cm

1831-32c Abigail S. Burnham
graphite, watercolour, gouache, ink and gold foil on paper 34.3 x 24.1 cm
Folk Art Museum, New York City

1831-32c Master Burnham
graphite, watercolour, gouache and ink on paper 69.8 x 48.3 cm
Folk Art Museum, New York City

1831c Frederick Buxton
graphite, watercolour, gouache and ink on paper 46.3 x 38.7 cm

1831c Portrait of Two Children
watercolour, pen and ink on paper

1832 inscribed "This is portrait of Electa Pierce, sister of my grand-mother Marshall, who was Mary Bowers Pierce, lived in Dunstable and Hudson, N.H."
watercolour and pencil on paper with gold foil 59.7 x 47 cm

1832 Miss Emeline Parker of Lowell, MA
graphite, watercolour, gouache, gum arabic and gold foil on heavy white wove paper 60 x 47.3 cm
Metropolitan Museum of Art, New York City

1832 Portrait of Eliza Parker Townsend of Lowell, MA
graphite and watercolour on paper 61 x 50.8 cm

1832c Portrait of Jeremiah H. Emerson
graphite, watercolour, gouache, ink and gold foil on paper 74.3 x 48.3 cm

1833c Eliza Gordon ( Mrs Zophar Willard Brooks )
watercolour and gouache on paper with applied gold paper 62.6 x 48.3 cm
Folk Art Museum, New York City

1833c Portrait of a Standing Little Girl
watercolour on paper 66 x 54 cm

1834 Portrait of a Child
graphite, watercolour, pen and ink on paper 41.3 x 36.8 cm

1835 Portrait of Mrs. David Stevens of St. Albans, VT by Ruth Whittier Shute
oil on canvas 76.2 x 61.6 cm

1840c ( attributed to ) Elderly Lady Seated in a Chair
watercolour on paper 48.8 x 38.7 cm

n.d. Portrait of a Woman in Blue
watercolour and ink on paper 50 x 40 cm

n.d. Portrait of a Woman
watercolour and pencil with gold foil55.9 x 45.7 cm

n.d. Portrait of a Woman with Tortoiseshell Comb
oil on canvas 69.5 x 61 cm

n.d. Portrait of a Young Boy
graphite. watercolour, pen and ink on paper

n.d. Portrait of John and hannah Maria Pickett
graphite and watercolour on paper 74.3 x 54 cm


Asahel Lynde Powers (1813-1843)


Asahel Lynde Powers was born in Springfield, Vermont in1813. He began his career as an itinerant artist at an early age; the first portrait attributed to him is from 1831. Several portraits from the mid-1830s were painted in Springfield, indicating that Powers returned there periodically from his travels through Vermont, Massachusetts, and New Hampshire. Powers' paintings from the 1830s are considered his strongest portraits due to their intensity, crispness, and decorative quality.


In the early 1840s the artist moved to Olney, Illinois. A number of likenesses dated 1840 and painted in the area of Plattsburgh, New York. While in New York Powers evidently gave painting tuition as well. Landscape and still life painter Daniel Folger Bigelow (1823-1910) of Peru, New York, wrote that he acquired his first instruction from Powers, to whose influence he owed his own "delicacy of coloring and treatment."



There are no known works, however, from the artist's Illinois residency. An 1844 document from Clinton County, the only evidence of Powers' marriage, orders Elizabeth M. Powers, his widow, to make an inventory of the deceased's possessions, suggesting that she may not have accompanied him to Illinois, where he died in 1843.



1826? Mrs. Patrick Henry ( Dorothea Dandridge )
oil on canvas 85.1 x 60.3 cm
Museum of Fine Arts, Boston, MA

1826? Patrick Henry
oil on canvas
Shelburne Museum, Vermont

1830c Portrait of Eliza Ann Farrar inscribed "Eliza Ann Farrar daughter of Jacob and Achsah Fisk Farrar born May 6 1814 painted by Asahel Powers Springfield Vermont circa 1830"
83.8 x 62.9 cm
Private Collection

1831c possibly William Sheldon
oil on wood 104.4 x 78.7 cm
National Gallery of Art, Washington, DC

1833 Hannah Fisher Stedman
oil on wood 91.5 x 63 cm
National Gallery of Art, Washington, DC

1835c ( attributed to ) Portrait of Abel Fisk Farrar Worcester, Massachusetts
oil on canvas 87.6 x 64.8 cm
Private Collection

1835c Portrait of a Young Man
oil on panel


Pair of wedding portraits of Colonel Butterfield and his wife Octavia. The Colonel wears the uniform of the 26th Regiment of Vermont Militia. One dated 1836 on reverse:

1836c Colonel Butterfield
oil on canvas 50 .8 x 48.9 cm
Private Collection

1836c Mrs Butterfield
oil on canvas 50 .8 x 48.9 cm
Private Collection

1839c Portrait of a Young Gentleman
oil on poplar panel

n.d. ( attributed to ) "Carson Dana Gifford Miller, born Vermont 1812, died Rochester, NY, April 30, 1891"
 oil on paperboard 20.3 x 35.6 cm

n.d. ( attributed to ) Carson Dana Miller or her Sister (1897-1881)
oil on paperboard 20.3 x 35.6 cm

n.d. ( attributed to ) Hemon Miller (1897-1881)
oil on paperboard 20.3 x 35.6 cm

n.d. ( attributed to ) Woman Wearing a Golden Brown Dress and Gold Jewellery

n.d. Azuba Allen Carpenter, Wife of Dr. Henry Gray

n.d. Charles Mortimer French


American Folk Art - part 16

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Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-15 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 16 of a 21-part post on American Folk Art:


“Puffy Sleeve Artist” (active 1830 – 1831)


We don’t know who the Puffy Sleeve Artist was, but he or she left behind a legacy of unique naïve silhouettes with hollow-cut heads on watercolour bodies. The dresses are always painted, usually in blue or black. Women always face left, and men to the right. Books often bear the initials or age of the sitter, and a date.

1830 Portrait of a Woman Holding a Flower Sprig hollow-cut silhouette head with watercolour painted body
inscribed "Sarah Jackson - My grandmother taken when she was eighteen / just the head - the body was put on to make a more complete picture / 1829 18yrs old / Abby Elizabeth Kelly Carroll / nana's niece"
8.9 x 6.7 cm

1830-31 Double hollow-cut Silhouette of Mr. and Mrs. Coombs
ink and ink wash on paper 8.9 x 14.9 cm

1830-31c Portrait of a Woman Holding a Book
inscribed "DW"

1830-31c Portrait of a Woman Wearing a Blue Scarf and Holding a Book
hollow-cut with watercolour, gouache and ink in period red-washed frame 11.1 x 7.62 cm

1830-31c Portrait of Henrietta Wakefield wearing a Red Gown and holding a Fan
hollow-cut with watercolour, gouache and ink 10.8 x 8.9 cm

1830-35c ( attributed to ) Silhouette in Brilliant Teal Dress
hollow-cut with watercolour on paper over black fabric backing 13 x 11.1 cm

1830c Portrait of a Gentleman
hollow-cut with watercolour and pen

1830c Portrait of Eliza Carter in a Red Dress and Holding Flowershollow-cut with watercolour and pen

1831 Portrait of a Woman in Holding a Book inscribed "Aged 29 1831 H.R."hollow-cut with watercolour and pen

n.d. Portrait of a Woman holding Three Roses
hollow-cut with watercolour and pen

n.d. Portrait of a Woman in a Bonnet, holding a Floral Bouquethollow-cut with watercolour and pen

n.d. Portrait of a Woman in Black with White Lace Collar and Red Ribbons, holding a Sprig of Mosshollow-cut with watercolour and pen

Portrait of a Man Holding a Walking Canehollow-cut with watercolour and pen

Portrait of a Gentlemanhollow-cut with watercolour and pen

Portrait of a Woman with a Blue Dresshollow-cut with watercolour and pen 13.3 x 11.3 cm


Silhouettes by other artists:


1800s ( attributed to E. Howard )
hollow-cut silhouette of a gentleman with curlicue cut-outs

1800s ( attributed to William Chamberlain 1790-1860 )
hollow-cut silhouette

1800s Hollow-cut silhouette of a gentleman on black silk with watercolour body

1838 Silhouette by James Hosley Whitcomb (1806-1849)
inscribed "June The 5 1838, Jonathan L. Stone aged 39 Was Born The 25 1799"

Everet Howard ( attributed to) ( 1797-1833 )
Portrait of a Girl

Everet Howard
Portrait of a Gentleman inscribed "Liennel Tucker"

James Hosley Whitcomb ( attributed to ) ( 1806-184 9)
Silhouette of a Gentleman

James Hosley Whitcomb (1806-1849)
Silhouette of a Gentleman

n.d. Hollow-cut Portrait of a Woman
black silk with watercolour body

W.H. Brown ( attributed to ) Elizabeth Osgood Holt
hollow-cut silhouette10.8 x 8.2 cm

W.H. Brown ( attributed to ) Jeremiah T. Holt
hollow-cut silhouette 14 x 12.1 cm
Horace Bundy (1814-1883)


Horace Bundy was an untrained painter born in Hardwick, Vermont, 22 July 1814. He received his introduction to painting as a decorator of sleighs. In 1837, while residing in Lowell, Massachusetts, he married Louisa Lockwood. By 1841 the Bundys had moved into a house in North Springfield, Vermont, built for the couple by Louisa's father. They had eight children.


Bundy almost always signed and dated his portraits, often including a place of execution, thereby providing a record of his travels. His itinerancy was likely as much a result of his religious calling as of his artistic one. In 1842 he converted to the Advent faith and thereafter spent an increasing amount of time preaching throughout New England. By 1850 he was painting, and certainly speaking as well, in Townshend, Vermont; Hancock, Nashua, and Fitzwilliam, New Hampshire; and Winchendon, Massachusetts. He accepted portrait commissions through at least 1859 and was listed as a painter in the 1860 census of Springfield, Vermont. In 1863 Bundy was appointed pastor of the Second Advent Church, Lakeport, New Hampshire, where he was recorded as an important leader.


In 1883 Bundy journeyed to Jamaica, where he is reported to have executed several paintings for a wealthy planter and to have made studies of tropical scenery. He died of typhus shortly after his return to the United States in the same year.


1830c A Gentleman with a Horn
oil on canvas 71.1 x 59.7 cm

1835c ( attributed to ) Portrait of a Young Girl Holding a Doll
oil on canvas 74.9 x 61.6 cm

1839 A Portrait of Stephen Edgell, Age 2
oil on canvas

1840c Portrait of a Gentleman
oil on canvas 78.7 x 61 cm

1840c Portrait of a Lady 
oil on canvas 78.7 x 61 cm

1840c ( attributed to ) Memorial Portrait of a Young Girl
oil on canvas 53.3 x 43.2 cm

1841 A Vermont Lawyer
oil on canvas 111.8 x 90.3 cm
National Gallery of Art, Washington, DC

1845 Portrait of a Ludlow, Vermont, Gentleman
oil on canvas 71.1 x 61 cm

1846 Portrait of a Gentleman
oil on canvas 711.1 x 61 cm

1848 Portrait of Ellen Delight
oil on canvas 95.2 x 82.5 cm framed

1849 Portrait of Abbie and Adah Clay
oil on canvas 76.2 x 81.6 cm

1850 Portrait of a Young Brother and Sister
oil on canvas 84.7 x 73 cm

1852 Girl with a Dog
oil on canvas 91.8 x 74 cm
Smith College of Art, Northampton, MA

1852 Portrait of George Henry ( 1848-1937 ) and Charles Albert Whitcomb ( 1851-1935 )
oil on canvas 74.9 x 61 cm

1852 Portrait of Young Ellen Fairbank of Winchendon, Massachusetts
oil on canvas 73.7 x 59.7 cm

1854 Portrait of a Preacher, Whitehall, New York
oil on canvas 77.5 x 63.5 cm

1857 Portrait of a Woman in a Lace Bonnet
oil on canvas 86.4 x 69.2 cm

n.d. Portrait of a Young Gentleman
85.1 x 72.4 cm

n.d. ( attributed to ) Portrait of a Baby Girl Wearing a White Gown and Holding a Pink Rose
oil on canvas 55.9 x 45.7 cm

n.d. Portrait of a Lady

n.d. Portrait of a Young Child
oil on canvas mounted on panel 49.5 x 34.3 cm



American Folk Art - part 17

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Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-16 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 17 of a 21-part post on American Folk Art:


Noah North (1809-1880)

Noah North was a sign, ornamental, and portrait painter active in Ohio in the 1830s. He was born in 1809 in Alexander, Genessee County, New York. He was painting portraits there probably under the tutelage of Milton W. Hopkins (also featured in this post). Both were in western New York in the mid-1930s, and both headed into Ohio at about the same time.

He was back in New York State by 1841, when he married and settled in Livingston County. From 1845 to 1847 he operated a daguerreotype studio in Mount Morris, then worked as an ornamental painter for a while. He took up farming, and died in Attica, New York in 1880.

1830c ( attributed to: possibly by Milton W. Hopkins )
Portrait of a Man oil on poplar panel 69.8 x 56.5 cm

1830c ( attributed too: possibly by Milton W. Hopkins )
Portrait of a Woman oil on poplar panel 69.8 x 56.5 cm

1833 Portrait of a Woman
oil on canvas 69.8 x 61 cm

1834 Eunice Eggleston Darrow Spafford, Holley, NY
oil on panel 71.1 x 59.7 cm

1835-36c Gracie Beardsley Jefferson Jackman and her Daughter
 oil on panel 72.4 x 60 cm
Flint Institute of Arts, MI

1835-40 ( attributed to ) Portrait of a Lady
oil on canvas 69.8 x 59 cm

1839-36 Major J. R. Jackman
oil on panel 71.4 x 60.3 cm
Flint Institute of Arts, MI

n.d. ( attributed to ) Portrait of a Woman in a Lace Cap
graphite on paper 34.3 x 26.7 cm

n.d. ( attributed to ) Portrait of a Woman in a Lace Cap detail

n.d. Portrait of a Young Boy with Belted Coat
oil on board

n.d. Portrait of a Young Lady
oil on canvas 71.1 x 61 cm


Milton W. Hopkins (1789-1844)

Milton W. Hopkins was born in 1789 in Harwinton, Connecticut. In 1800 the family moved to Clinton, New York. In 1807 he returned to Connecticut, soon marrying Abigail Pollard of Guildford. After Abigail's death in 1817, he married Almira Adkins and moved to Evans Mill, New York.
By September 1824, when he advertised in the "Newport Patriot," Hopkins was engaged in house and sign painting supplies. The previous year he and his family had moved to Newport, renamed Albion in 1826. For a short time in 1828 he served as Captain on an Albion canal oat, but by December of that year he was in Richmond, Virginia.
His advertisement in the Richmond "Constitutional Whig" in December 1828 indicates that he was an instructor of women in Poonah, or theorem painting, and it is probable that he also assisted a Miss Turner, who ran an academy foe drawing, penmanship, "Music, Painting on Velvet, Wood and Paper, and Fancy Work."
Hopkins returned to Albion in the autumn of 1829, and in 1833 he advertised his services as both a teacher and a portrait painter. Although Hopkins may never have painted portraits before 1833, no earlier works have been discovered. The first documented portrait dates from that year.
There remains much confusion between the portraiture of Hopkins and that of the better-known painter Noah North, who was active in the same geographic areas of New York State and Ohio during the same years.

1833c Aphia Salisbury Rich and Baby Edward
oil on wood 75.8 x 61.6 cm
National Gallery of Art, Washington, DC

1835-36 Eliza Pixley Lacey
oil on canvas 76.2 x 63.5 cm
Memorial Art Gallery, Rochester, NY

1835-36 Pierrepont Edward Lacey and His Dog, Gun
oil on canvas 106.7 x 76.5 cm
Memorial Art Gallery, Rochester, NY

1835-40c ( attributed to ) Woman in Black Dress
 66 x 55.9 cm
Smithsonian American Art Museum, Washington, DC

1835c Portrait of a Woman Wearing a Fancy Yellow-Ribboned Lace Bonnet
oil on canvas 71.1 x 57.1 cm

1835c Portrait of a Young Woman
oil on canvas 71.7 x 57.1 cm

n.d. ( attributed to ) Samuel Warren Holland, Aged Two Years
66.5 x 556.1 cm
Smithsonian American Art Museum, Washington, DC

n.d. Portrait of Marietta Ryan
oil on board 53.3 x 44.4 cm

Sturtevant J. Hamblin  (1817-1884)


Sturtevant J. Hamblin, son of Almery and Sally Clark Hamblin, listed his profession as a portrait painter between 1841 and 1856. He came from a family of artisans, which included his grandfather, George Hamblin, who was a painter and glazier, his father, and his brothers Nathaniel, Joseph G., and Eli. Sturtevant's sister Rosamund married the itinerant portrait painter William Matthew Prior in 1928, and Sturtevant may have become his brother-in-law's pupil.

Sturtevant resided for several years with the Priors; he is recorded for the first time as living "at Wm. Prior's" in 1837, the date used by scholars as his beginning active date, despite the fact that his first signed work dates from 1841. About three years later both families moved to Boston. In 1841 Sturtevant Hamblin and William Prior are recorded living in Nathaniel Hamblin's house on 12 Chambers Street. The following year they moved to Marion Street in East Boston; they lived there together until 1844.

Three of the Hamblins advertised as house, sign and fancy painters, and Sturtevant probably earned part of his living in this manner. By 1846 William Prior established his own residence on Trenton Street, East Boston, where he lived until his death in 1873. While the Hamblins continued working in the painting business, only Sturtevant is known to have considered himself a portrait painter. By 1856, however, he evidently became dissatisfied with his painting career and entered into a partnership in "Gent's Furnishings" with his brother Joseph.

Because Sturtevant Hamblin rarely signed his paintings, and his brother-in-law was such a prolific and popular artist, many works attributed to Prior may have been executed by Hamblin. Careful stylistic comparison of Prior-Hamblin portraits with existing signed Hamblins has more firmly established the artist's individual style and illuminated a larger portion of his oeuvre.


1830c Portrait of a Young Girl Holding a Bouquet of Flowers
oil on paperboard 35.6 x 25.4 cm

1840 Portrait of Ellen
oil on canvas 69.9 x 56.6 cm

1840c ( attributed to ) Little Girl with an Apple
oil on canvas 54 x 43.8 cm
Private Collection

1840c Boy with a Hoop

1840c Double Portrait of a Little Girl with Toy Bird and a Boy with a Whip

1840c Little Girl Holding an Apple
oil on canvas 57.2 x 46.7 cm
National Gallery of Art, Washington, DC

1840c Portrait of a Girl with an Apple
oil on academy board 33.5 x 23.5 cm

1840s Lady with Black Hair
oil on canvas 55.9 x 42.5 cm
Museum of Fine Arts, Boston, MA

1845c ( attributed to ) Sea Captain
oil on canvas 68.9 x 56.5 cm
American Folk Art Museum, New York City

1845c ( attributed to ) Standing Boy with a Book
oil on canvas 91.4 x 60.3 cm
Private Collection

1845c Family Group
oil on canvas 76.2 x 91.4 cm
Museum of FIne Arts, Boston, MA

1845c Portrait of a Baby
oil on canvas 69.2 x 56.5 cm
Museum of FIne Arts, Boston, MA

1845c Portrait of a Boy with a Whip
oil on artists board35.6 x 25.4 cm

1848 Mother and Child
oil on canvas 68.9 x 56.2 cm
Museum of Fine Arts, Boston, MA

1850c Emma Thompson

1850c Portrait of Three Girls
oil on canvas 55.4 x 67.9 cm
Philadelphia Museum of Art, PA

1850c The Younger Generation
oil on canvas 55.5 x 68.2 cm
National Gallery of Art, Washington, DC

1850c Young Boy in Grey with Flowers
oil on canvas 68.6 x 54.9 cm

1851 Charles C. Henry
oil on canvas 91.4 x 73.7 cm
Fenimore Art Museum, Cooperstown, NY
1853 Silver Cloud - Capt. Thos. W. Lewis ( see below )
63.5 x 76.2 cm

1853c Portrait of Captain Thomas W. Lewis
oil on artist board 76.2 x 33 cm

Label on the backboard: Capt. Thomas W. Lewis Owner and Skipper of Silver Cloud joined Masonic Order at Cape of Good Hope / father of Sarah E. Lewis who was wife of George B. Lawton, parents of Edna B. and Ida M. Lawton / Aunt Edna died 2. 77

n.d Portrait of a Boy and Girl

n.d. ( attributed to ) Portrait of a Lady
oil on board 32.4 x 24.2 cm

n.d. Portrait of a Dark-Haired Young Woman
oil on academy board 33 x 23.5 cm

n.d. Portrait of a Girl with a Fan

n.d. Portrait of a Small Child

n.d. Portrait of a Small Child with a Bugle

n.d. Portrait of a Small Child with a Dog

n.d. Portrait of a Small Child

n.d. Portrait of a Young Man

n.d. Portrait of Young Girl Seated in a Rocking Chair with her Dog
oil on canvas 68.6 x 50.8 cm

n.d. Portrait of a Young Boy and Girl

American Folk Art - part 18

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Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-17 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 18 of a 21-part post on American Folk Art:



Ruby Devol Finch (1804 – 1866)



Few women during the early nineteenth century practiced as professional artists, yet many were engaged in artistic activities they had begun as schoolgirls. A number of portraits by Ruby Devol Finch have been known for some years, including portraits of friends and neighbours in the community of Westport and Westport Point, Massachusetts. Finch was active between 1830c and 1843.

1830-35c ( attributed to ) Portrait of Elijah and Hannah Robinson
graphite, watercolour, gouache and ink on paper 17.8 x 22.9 cm
Abby Aldrich Folk Art Museum, The Colonial Williamsburg Foundation, VA

1830-35c The Podigal Son
 graphite, watercolour, gouache and ink on paper 31.4 x 35.6 cm
Folk Art Museum, New York City
photo © John Bigelow Taylor, New York

1830-35c The Prodigal Son Returns: The Celebration
watercolour, gouache and ink on paper 14.9 x 19 cm
Private Collection

1830c Portrait of Ann Potter
watercolour, gouache and ink on paper 27.9 x 22.9 cm framed

1831 Kirby Family Record
watercolour and ink on paper 52.1 x 41.3 cm
Abby Aldrich Folk Art Museum, The Colonial Williamsburg Foundation, VA

1836c ( attributed to ) Memorial Portrait of Tillinghast Tripp
watercolour, gouache and ink on paper 20.3 x 13.3 cm

1836c ( attributed to ) Portrait of Susannah Tripp
graphite, watercolour, gouache and ink on paper 18.4 x 13.3 cm

1838 Federal Style House

1843 ( attributed to ) Memorial Portrait of Sally Allen
watercolour, gouache and ink on paper 18.4 x 13.3 cm
New Bedford Whaling Museum

1930-35c ( attributed to ) Portrait of Abner Davis
watercolour, gouache and ink on paper mounted on panel 33.6 x 20.3 cm

1930-35c ( attributed to ) Portrait of Betty Davis
watercolour, gouache and ink on paper mounted on panel 33.6 x 20.3 cm

n.d. ( 1830s ) An Equestrian Figure 


Ruth Henshaw Bascom ( 1772 - 1848 )


1829 Self-Portrait
Ruth Henshaw Bascom, also known as Aunt Ruth, was an American folk artist who produced over 1,400 portraits. She was the daughter of Colonel William Henshaw and Phebe Swan of Leicester, Massachusetts, and a schoolteacher from 1791 to 1801. Bascom married first, at about 32 years of age, to Dr. Asa Miles, but he died a year or more after their marriage. She married a second time for about 35 years to Reverend Ezekial Lysander Bascom. Bascom didn't give birth to children of her own, but she had a stepson from her first marriage, stepdaughter from her second marriage, and a niece and nephew that she raised. She documented the daily activities of her life in diaries beginning at the age of 17, which included records of the portraits that she made.

While married Bascom fulfilled the role of a minister's wife, was a teacher, and was active at the local library and in temperance societies. She made her first portrait in 1801, but she did not begin creating portraits regularly until after 1818. Bascom worked with a variety of materials, including pastels, pencils, cut paper, and foil. Some of her initial works were layered pieces of paper that represented the head and neck, clothing, and accessories placed over a background. She also made pastel portraits on one sheet of paper in the latter part of her career.


1829 inscribed "Elizabeth Cummings Low-Boston July 1829 by Mrs. Bascom, Ashby"
 40.6 x 28.9 cm

1830 Frances Knowlton
pastel and pencil on paper 49.5 x 36.8 cm

1831c ( attributed to ) Mr. Kendall
pastel, black paint and graphite on cut paper attached to blue paper

1831c ( attributed to ) Mrs. Kendall
pastel, black paint and graphite on cut paper attached to blue paper

1832 Portrait of Charles Mann of Fitchburg, MA
pastel on paper, cut to profile with appliquèd gold foil necklace 45.6 x 34.3 cm

1834 Portrait of a Helen Mann ( Rugg ) of Fitchburg, MA
43.8 x 33.6 cm

n.d. ( attributed to ) Portrait of Cornelia T. Newell Miller
pastel and pencil with fold foil accents on paper 43.8 x 31.1 cm

n.d. Portrait of a Young Woman
pastel and pencil on cut paper mounted on gilt foil 38.7 x 29.8 cm

n.d. Portrait of Lydia Luana Thompson of Phillipston, MA
cut paper with pastel and pencil mounted on coloured paper 39.4 x 29.2 cm

n.d. Profile Portrait of a Woman
mixed media 45.7 x 33 cm

n.d. Profile Portrait of a Boy in a High Collar
pastel and pencil on paper 43.2 x 33 cm

n.d. Profile Portrait of a Young Boy
cut-out paper with pastel, pen and ink, on tinted blue paper ground 39.4 x 29.2 cm

n.d. Profile Portrait of a Young Boy in a Ruffled Collar
pastel and pencil on paper 40.6 x 30.5 cm


Royall Brewster Smith (1801 - 1855)


Born in Buxton, Maine, 7 August 1801, the artist was probably named after the Smith family's physician, Dr. Royal Brewster. As the eleventh of fourteen children of John McCurdy and Elizabeth McLellan Smith, Royall successfully survived a childhood of limited financial means and some illness to become a successful artisan.

Between 1830 and 1837, Royall Brewster Smith executed some three dozen portraits of residents of southern Maine. As an itinerant, he painted subjects from such towns as Limington, Gorham, and Saco, all located within twenty-five miles of each other. Many of these sitters were from related families, some of them connected to Smith's own. There is no indication that Smith ever received formal training. Generally his works are three-quarter, half-length views on simple but brightly coloured backgrounds. The careful lettering of inscriptions on his paintings suggest that Smith may have worked as a sign painter as well as an artist.

In 1840 he married Roxana Gowen in the town of Gorham. By 1843 the couple had moved to Bangor, where Smith worked as a carpenter and painter until his death in December 1855.


1833 Eliza R. Read
oil on canvas 79.7 x 64.6 cm
National Gallery of Art, Washington, DC

1833 John G. Read
oil on canvas 79.7 x 64.5 cm
National Gallery of Art, Washington, DC

1834c Abner Chase Stockin, Age Three, of Monmouth, Maine
oil on canvas 83.8 x 67.9 cm

1837 ( Standish, Maine ) Miriam McDonald
90.2 x 76.2 cm
painted a year before their marriage ( see below )

1837 ( Standish, Maine ) Nathaniel Richardson
90.2 x 76.2 cm painted a year before their marriage ( see above )

n.d. ( attributed to ) Portrait of a Man
oil on canvas 83.8 x 73.7 cm

n.d. Hannah Ayer

Joseph Goodhue Chandler ( 1813 – 1884 )


Chandler was born in South Hadley, Massachusetts. He trained first as a cabinetmaker; later, at some time between the ages of 14 and 19, he travelled to Albany, New York, where he studied painting with William Collins. His earliest known portraits date from 1835c and are mainly of family members. Following his father's death, he bought his brother's share of the family farm and supplemented his income by land management. In 1840 Chandler married Lucretia Ann Waite, an established painter from Hubbardston, Massachusetts. A descendant reported that Lucretia "finished up" her husband's paintings, and the two artists probably collaborated on several portraits. Soon after his marriage, Chandler began his career as an itinerant painter, traveling principally in northwestern Massachusetts until he established a studio in Boston in 1852. In 1860 the Chandlers returned to Hubbardston, where they spent the rest of their lives. Chandler died in 1884, and is buried in the Greenwood Cemetery.
1835c ( attributed to ) The Slater Children
oil on canvas 88.9 x 118.1 cm

1836-38c Girl with Kitten
oil on canvas 122 x 70.5 cm
National Gallery of Art, Washington, DC

1837-1845c Young Girl Holding a Cluster of Grapes with Her Dog at Her Feet
oil on canvas 98.7 x 67.9 cm

1840c Portrait of Two Children
oil on canvas 106.7 x 76.2 cm

1845-50c ( attributed to ) Portrait of a Man
oil on canvas mounted on hardboard 71.8 x 65.1 cm
The Barnes Foundation, Philadelphia, PA

1845c Two Boys with Bow and Fishing Pole
oil on canvas 142.2 x 114.3 cm

1846 Portrait of Miss Annis S. Griffen
oil on canvas 127 x 73.2 cm

1847 Captain Charles Parsons of Conway, Franklin County, MA
oil on canvas 90.2 x 73 cm

1847 Daniel Stowell
oil on canvas 74.9 x 61 cm

1847 Pamela Stowell
oil on canvas 74.9 x 61 cm

1847 Persis Stowell
oil on canvas 74.9 x 61 cm

n.d. ( probably 1847 ) Portrait of a Boy with His Dog and Riding Crop ( James Henry Stowell )
oil on canvas 109.2 x 60.3 cm

1847 Sylvia Parsons of Conway, Franklin County, MA
oil on canvas 90.2 x 73 cm

1850 Charles H. Sisson
oil on canvas 122.2 x 63.7 cm
National Gallery of Art, Washington, DC

1850 Miss Mary S. Gardner aged 3 Years
oil on canvas

1861c ( attributed to ) Hugh and Wright Carpenter
Bennington Museum, Bennington, Vermont

1866c Still Life with Fruit
oil on canvas 63.5 x 76.5 cm
Museum of Fine Arts, Boston, MA

1871 Portrait of a Boy
oil on canvas 91.4 x 73.7 cm

before 1879 George Washington
oil on canvas 76.2 x 61 cm

Frederick Eugene Bennet

Mary Elizabeth Bennet

n.d. ( attributed to ) Portrait of a Young Boy with his Dog
oil on panel 123.2 x 93.3 cm

n.d. ( possible attribution ) The Drummer Boy
oil on canvas 116.8 x 78.7 cm

n.d. ( attributed to ) Double Portrait of a Girl and Boy
oil on canvas 165.7 x 116.2 cm

n.d. ( attributed to ) Portrait of a Boy Holding a Sword Accompanied by His Dog
oil on canvas 101.6 x 76.2 cm

n.d. ( attributed to ) Portrait of Charles W. Allen, Age 9
oil on canvas 86.4 x 71.1 cm

n.d. Melinda Prouty Lamson with son Nathaniel

n.d. Portrait of a Boy with His Dog
oil on canvas 147.3 x 91.4 cm

n.d. Whiting and Joseph Griswold

American Folk Art - part 19

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Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-18 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 19 of a 21-part post on American Folk Art:



Joseph Whiting Stock (1815-1855)


1843c Self-Portrait
oil on artists board
Connecticut Valley Historical Museum, Springfield, MA

Joseph Whiting Stock was a painter known for his portraits, miniatures, and landscape paintings, many of which he did on commission. He was born in 1815 in Springfield, Massachusetts.

When Stock was eleven years old, an oxcart fell on him and he was paraplegic for the rest of his life. After this accident, he began to study painting under Franklin White, a pupil of the painter Chester Harding on the advice of his physician, and was commissioned to do a series of anatomical drawings by Dr. James Swan in 1834. That year, Dr. Swan constructed a wheelchair that enabled Stock to paint large canvasses and be lifted on trains so as to travel for commissions. For the next two decades Stock accepted commissions for portraits around New England, working in Warren and Bristol, Rhode Island, New Bedford, Massachusetts, and Middletown, Goshen, and Port Jervis, New York.His studios were located in his hometown of Springfield throughout this time. In 1855, Stock died of tuberculosis in Springfield. He was forty years old.

He also sold boxes, clocks, and frames ornamented with shells, and toward the end of his career he copied daguerreotypes. His journal records that from 1832 to 1846 he executed over 912 paintings and left an additional 85 to 95 among his possessions at his death.


1830s Girl with a Doll

late 1830s Portrait of a Man
oil on canvas 84.1 x 69.2 cm
Museum of Fine Arts, Boston, MA

late 1830s Portrait of a Woman
oil on canvas 83.8 x 69.2 cm
Museum of Fine Arts, Boston, MA

1830s Mary Jane Smith

1840c Portrait of Daniel Plumb Jr.
91.4 x 63.5 cm

1840 Miss Perkins
oil on canvas 73.7 x 61 cm
Museum of Arts and Sciences, Daytona Beach, FL

1840 Thomas Henry and Wilbur Fisk
116.8 x 91.4 cm
Springfield Museums, MA

1840-45c Full length Portrait of a Young Boy with His Dog
( thought to be Porter Whipple aged 5 )
oil on canvas 119.4 x 96.5 cm

1840c Baby in a Wicker Basket
oil on canvas 77.4 x 66.3 cm
National Gallery of Art, Washington, DC

1840c Girl with Reticule and Rose
oil on canvas 118.6 x 75 cm
National Gallery of Art, Washington, DC

1840s ( attributed to ) Girl in a Blue Dress with Her Pet Dog
oil on canvas 76.2 x 63.5 cm


1844 Jane Henrietta Russell, Springfield, MA
oil on canvas 121.9 x 92.1 cm
Shelburne Museum, Vermont

1845 ( attributed to ) Portrait of a Young Girl
oil on canvas 66 x 56.5 cm

1845 John and Louisa Stock
oil on canvas 127.6 x 101.6 cm
Metropolitan Museum of Art, New York City

1845 Mary and Francis Wilcox
oil on canvas 122 x 101.6 cm
National Gallery of Art, Washington, DC

1845 Portrait of Francis Wilcox
oil on canvas mounted on board 63.5 x 51.4 cm

1845 Portrait of Mary Wilcox
oil on canvas mounted on board 63.5 x 51.4 cm

1847c ( attributed to ) Portrait of a Sea Captain of New Bedford, MA
oil on canvas 90.8 x 75.6 cm

1850 ( attributed to)  Mary Caroline and Otis Hubbard Cooley
oil on canvas 95.9 x 105.4 cm

1850c ( attributed to ) Portrait of Two Children
oil on canvas 106.7 x 86.4 cm

1850c ( attributed to ) Young Girl in a White Dress
oil on canvas 94.6 x 74.3 cm

n.d. ( attributed to ) Child in a Green Dress
oil on canvas

n.d. ( attributed to ) Portrait of a Small Child

n.d. ( attributed to ) Portrait of Amy Philpot in a Blue Dress with Doll and Goldfish
oil on canvas 109.8 x 84.4 cm

n.d. Boy with a Dog

n.d. Double Portrait of a Young Boy with a Whip and His Sister with a Bouquet of Flowers
121.9 x 92.1 cm

n.d. Portrait of a Child
oil on canvas 67.3 x 54.6

n.d. Portrait of a Girl

n.d. Portrait of Elijah Wales at age 6

n.d. Portrait of William James Coffin in a Blue Dress with a Small White Dog
oil on canvas 78.7 x 91.4 cm

Oliver Tarbell Eddy (1799 – 1868)



Oliver Tarbell Eddy was born in Greenbush, Vermont, the eldest son of inventor, printer and engraver Isaac Eddy. Although his father taught him how to engrave on copper he seems to have been primarily self-taught. By 1826 Eddy was in New York City working as a portrait and miniature painter. The following year he exhibited a portrait at the National Academy of Design.
He moved to Elizabeth, New Jersey in  1831 until 1835, when he settled in Newark. Eddy was pastor of the First Presbyterian Church there. He was extremely successful in Newark and painted at least thirteen portraits of members of the family of William Rankin, a hat manufacturer.

Eddy lived in Baltimore between 1842 and 1850, painting portraits and inventing a precursor of the typewriter. He lived in Philadelphia from 1850 until his death in 1868.


1838 Portrait of the Four Youngest Children of William Rankin
oil on canvas
Newark Museum, NJ

1838c Portrait of a Young Girl
oil on panel
102.9 x 76.2 cm

1839c The Alling Children
oil on canvas 119.7 x 159.7 cm
Metropolitan Museum of Art, New York City

William Thompson Bartoll (1817 – 1859)


William Thompson Bartoll was the son of John and Rebecca Bartoll and was baptised in Marblehead, Massachusetts on June 22, 1817. He married Sally L. Selman in April of 1835. Bartoll, like his father, uncle and brother, was a house painter, as well as a portraitist and mural painter. He is known to have exhibited at the Boston Athenaeum between 1841 and 1855 and he died in 1859 in Marblehead.


1838 inscribed "Mary Farra, age 19 months, 1838"
oil on panel 50.8 x 44.5 cm

1840c ( attributed to ) Portrait of a Child Wearing a Blue Dress, Holding a Tinware Toy Pump
(Elizabeth Snow of Marblehead, MA)
oil on canvas 113.7 x 95.9 cm

1841-42c Harriette Briggs Stoddard
( Mrs. David Tappan Stoddard ) ( 1821-1848 )
oil on canvas 68.3 x 55.9 cm
Harvard Art Museums, Cambridge, MA

1845c Boy with Toy Drum
oil on canvas
New York Historical Society

Girl in Orange Dress with Cat

Girl with a Cat

n.d. Portrait of Treat Paine Jr
oil on canvas 58.4 x 50.8 cm
George G. Hartwell (1815 – 1901)


George G. Hartwell was associated with the Prior-Hamblin group of painters. He was related to William Matthew Prior by marriage, and he painted signs and portraits in Bridgewater, Massachusetts and Auburn, Maine. His flat style of painting is very close to that Prior (see part 14) and Sturtevant Hamblin (see part 17). The majority of these works are credited to him by attribution because he didn’t sign his works.


1830-40c ( attributed to ) Portrait of a Young Lady
oil on canvas 80.3 x 67.6 cm

1840c Anna M. Wilcox
oil on academy board 36.2 x 26.1 cm

1840c ( attributed to ) Little Girl in Pink with Book and Rose
oil on canvas 66 x 53.3 cm
Private Collection

1840c ( attributed to ) Portrait of an Unknown Man
oil on canvas 69.8 x 54.6 cm
Private Collection

1840c ( attributed to ) Portrait of an Unknown Woman
oil on canvas 68.6 x 54 cm
Private Collection

1840c Portrait of a Gentleman Holding a Book
oil on canvas 87.6 x 74.3 cm

1845c ( attributed to ) Child Holding a Doll and a Shoe
oil on canvas 67.9 x 55.2 cm
Folk Art Museum, New York City

1850 Triple Portrait
oil on canvas 76.8 x 76.2 cm

n.d ( attributed to ) Boy in BLue with Recorder
oil on paper

n.d. ( attributed to ) Girl with a Rose

n.d. Pair of Portraits of a Gentleman and Lady
oil on canvas and oil on cardboard respectively 35.6 x 25.7 cm

American Folk Art - part 20

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Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-19 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 20 of a 21-part post on American Folk Art:



James Bard (1815 – 1877)


James Bard was a marine artist known for his paintings of watercraft, particularly of steamboats. His works are sometimes characterised as naïve art. Although Bard died poor and almost forgotten, his works have since become valuable. Bard had a twin brother, John (1815–1856) and they collaborated on earlier works.


James Bard and John Bard were born in 1815 in New York City. Their father was Joseph Bard, who had been born in England. Their mother was Nellie Purvis Bard, who had been born in Scotland. They had at least two brothers (Joseph and George), two older sisters (Ellen and Mary) and one younger sister, Margaret. Sometime before 1843, Bard married Harriet DeGroot, who was six years older than he was. They had six children, but between 1843 and 1856 five of them died. Only their daughter Ellen survived.

Harriet's brother, Albert DeGroot, later became a steamboat captain and a wealthy man, who commissioned a number of works by James Bard.


During his life, Bard painted or made drawings of at least 3,000 vessels, including probably every steamer built at New York during his active life as an artist. Bard's works included common features intended to please patrons. Sailboats were shown underway with all sails up. Steamboats likewise were shown underway, with numerous flags flying, including a large one bearing the vessel's name. There would often be inscriptions about the ship and its owner.


Although principally a marine artist I did come across one painting by James Bard of a horse;  a commission by the look of it:

1871 Horse Jack of Woodbridge, NJ
inscribed "This Picture The Property of Charles Drake, Presented by James Bard the Artist. NY. 1871"
oil and ink on paperboard 21.4 x 30 cm
Folk Art Museum, New York City

1831 "Fanny"
watercolour on paper 48.3 x 81.3 cm
Mariners Museum, Newport News, VA

1837 "Illinois"
watercolour on paper 56.5 x 99.1 cm
Mariners Museum, Newport News, VA

1837 "Telegraph"
watercolour on paper 47.6 x 81.6 cm
Mariners Museum, Newport News, VA

1845 "Trojan"
oil on canvas 63.5 x 96.5 cm
Mariners Museum, Newport News, VA

1846 "Thomas Powell"
oil on canvas 77.5 x 135.9 cm
Private Collection

1847 "C. Vanderbilt" ( Cornelius Vanderbilt )
oil on canvas 71.1 x 119.4 cm
Shelburne Museum, VT

1850 "Confidence"
oil on canvas 76.2 x 127 cm
Private Collection

1850 "Reindeer"
oil on canvas 76.2 x 129.5 cm
Private Collection

1851 "America"
oil on canvas 111.1 x 160.7 cm
Abby Aldrich Rockefeller Folk Art Centre, Williamsburg, VA

1851 "Thomas E. Hulse"
oil on canvas 75.6 x 127 cm
New York Historical Society, New York City

1852 "Niagara"
oil on canvas 87 x 142.9 cm
New York State Historical Association, Cooperstown, NY

1852 "North Star"
oil on canvas 106.7 x 162.6 cm
Private Collection

1853 "Austin"
oil on canvas 76.2 x 132.1 cm
National Museum of American History, Washington, DC

1854 "Lewis R. Mackey"
oil on canvas 85.1 x 132.1 cm
New York Historical Society, New York City

1854 "Young America"
oil on canvas 76.2 x 127 cm
Private Collection

1855 "Metamora"
oil on canvas 73 x 124.5 cm
Mariners Museum, Newport News, VA

1857 "Commodore"
oil on canvas 86.4 x 142.2 cm
Mariners Museum, Newport, VA

1857 "James A. Stevens"
oil on canvas 76.2 x 128.3 cm

1858 "Broadway"
oil on canvas 83.8 x 142.2 cm
New York Historical Society, New York City

1858 "Norma"
oil on canvas 76.2 x 132.1 xm
Private Collection

1858 "P. Crary" ( Peter Crary )
oil on canvas 76.2 x 127 cm
Mariners Museum, Newport News, VA

1859 "Metamora"
oil on canvas 73 x 124.5 cm
Mariners Museum, Newport News, VA

1859 "Victoria"
oil on canvas 76.2 x 127 cm
Private collection

1860 "William Bayles"
oil on canvas 81.3 x 137.2 cm
Private Collection

1861 "Isaac Smith"
oil on canvas 76.2 x 132.1 cm
Private Collection

1863 "Fanny"
oil on canvas 76.2 x 127 cm
Mariners Museum, Newport News, VA

1864 "A. Fletcher" ( Andrew Fletcher )
 oil on canvas 40.6 x 66 cm
Museum of the City of New York

1864 "Martha Washington"
oil on canvas 76.2 x 127 cm
Mariners Museum, Newport News, VA

1868 "A.G. Lawson"
oil on canvas 86.4 x 109.2 cm
Private Collection

1871 "Tidal Wave"
oil on canvas 81.3 x 121.9 cm
Private Collection

1874 "Daniel Drew"
oil on canvas 64.1 x 101.6 cm
Private Collection

1874 "San Rafael"
watercolour on paper 47 x 101.6 cm
Private Collection

1880 "Rip van Winkle"
oil on canvas 78.7 x 137.2 cm
Private Collection

1880 "Southampton"
oil on canvas 66 x 96.5 cm
New York Historical Society, New York City

1881 "Saratoga"
watercolour on paper 72.4 x 132.1 cm
New York Historical Society, New York City

1882 "Albertina"
watercolour on paper 52.7 x 101 cm
Marniers Museum, Newport News, Virginia

1882 "Crystal Stream"
watercolour on paper 62.2 x 100 cm
Mariners Museum, Newport News, VA

n.d. "Amanda Winants"
oil on canvas 75.6 x 127 cm
Mariners Museum, Newport News, Virginia


n.d. "Cayuga"
oil on canvas 91.4 x 142.2 cm
Private Collection

n.d. "Commonwealth"
oil on canvas 90.8 x 146.7 cm
Private Collection


American Folk Art - part 21

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Concluding a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 11-20 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 21 of a 21-part post on American Folk Art:

In this final part of the series I'm featuring a number of artists where I could only find a few examples of their work - all in single figures and some with only one example, but a fitting cross-section with which to end the series.

Mary B. Tucker (1784 - 1853)


1840-44c Learning the ABCs
graphite and watercolour on paper 23.5 x 58.4 cm
Folk Art Museum, New York City

1840-50c Girl in Calico
watercolour, brush and brown ink, and graphite on cream wove paper 61.3 x 48 cm
Princeton University Art Museum, NJ

1840c ( attributed to ) Two Children in Blue
watercolour and graphite on paper

1843 Portrait of a Boy Holding an Orange
watercolour and pencil on paper 55.9 x 46.3 cm

n.d. Portrait of a Young Boy in a Blue Coat
watercolour and ink on paper  66 x 47.6 cm

n.d. Portrait of a Young Girl
watercolour and ink on paper 48.3 x 36.2 cm

Samuel Miller (1807 - 1853)


1840-50 ( attributed to ) Picking Flowers
oil 114.3 x 71.1 cm

1840c Portrait of Cynthia Osborn

1850c Portrait of Phoebe Francis Ricker
oil on canvas 89.5 x 72.4 cm

1850c Young Boy with a Dog
oil on canvas
de Young / Fine Arts Museums of San Francisco, CA

1850c Young Girl with Flowers
oil on canvas
de Young / Fine Arts Museums of San Francisco, CA

1852 Emily Moulton
oil on canvas 103.5 x 70.2 cm
Currier Museum of Art, Manchester, NH

n.d. Girl Teasing a Cat

William W. Kennedy (1818 - after 1870)


1840-45c Portrait of a Young Woman
oil on board 41.3 x 31.1

1840c Little Girl with Her Black Cat
oil on canvas 81.3 x 68.6 cm

1845 Captain David Worth aged 72 (1773-1855)
oil on board 40.6 x 30.5 cm

1845 Portrait of a Young Lady
50.8 x 36.8 cm

1846 Portrait of a Woman Wearing a White Ruffled Bonnet
oil on canvas 61 x 50.8 cm

n.d. ( attributed to ) Portrait of a Child Wearing a Pink Dress and Holding a Hairbrush
oil on canvas 76.2 x 63.5 cm

n.d. ( attributed to ) Portrait of a Girl
oil on canvas 70 x 56.2 cm

n.d. ( attributed to ) Portrait of Child in Blue with a Cane
oil on board

n.d. Portrait of a Young Boy
oil on canvas 50.2 x 40 cm

Jacob Bailey Moore (1797 - 1853)


1840 ( possibly by Jacob Bailey Moore )
Portrait of a Young Girl in a Red Dress o
il on mattress ticking 62.2 x 48.3 cm

1845c Portrait of a Gentleman
oil on canvas 68.7 x 56.2 cm

1845c Portrait of a Lady
oil on canvas 68.7 x 56.2 cm

William Jr. Lydston (1813 - )


1847 Portrait of a Young Boy
oil on canvas 105.4 x 87.6 cm

Charles V. Bond ( 1825c - 1864c )


1856 Still Life: Fruit, Bird, and Dwarf Pear Tree
oil on canvas 63.5 x 76.5 cm
National Gallery of Art, Washington, DC

1860c Julie Tevis
oil on canvas 88.9 x 71.1 cm
Filson Historical Society, Louisville, KT

1860c Reverend John Tevis
oil on canvas 88.9 x 71.1 cm
Filson Historical Society, Louisville, KT

Frederick Elmore Cohen (dates not found)


1846c Near Old Post Office, Detroit
oil on canvas mounted on board 50.2 x 60.3 cm
Private Collection

1850c Portrait of Two Children and Their Bloodhound
109.2 x 96.5 cm

1857c Bentley Simons Runyan Family of Mansfield, Ohio
oil 96.5 x 114.3 cm
Allen Memorial Art Museum, Oberlin, Ohio

n.d. Self-Portrait
71.1 x 61 cm

Lambert Sachs (1818 - 1903)


Lambert Sachs


Self-Portrait


1850c Portrait of a Young Boy and Girl
oil on canvas 124.5 x 101.6 cm

1857 The Herbert Children
oil on canvas 63.3 x 80.3 cm
National Gallery of Art, Washington, DC

1887 Dark-Haired Girl Sitting in a Garden
40.6 x 33 cm

n.d. George Washington in Prayer at Valley Forge


Daniel McDowell (1809 - 1880)


1860-80c Watermelon Wedges on a White Cloth
oil on canvas 43.2 x 62.2 cm
Private Collection

Joe Miller, Linn Co., Oregon (dates not found)


1870c Our Country Is Free!
watercolour and gouache on paper 34.3 x 24.2 cm

J.W. Bradshaw (active 1875c - 1900)


1875-1900 Plains Indian
oil on canvas 51 x 40 8 cm
National Gallery of Art, Washington, DC

W.H. Brown (active 1886 - 1887)


1886 Bareback Riders
oil on cardboard mounted on wood 47 x 62.2 cm
National Gallery of Art, Washington, DC


Charles C. Hofmann (1820 - 1882) and 
John Rasmussen (1828 - 1895)

Charles C. Hofmann was born in Germany around 1820, and emigrated to America in 1860. In subsequent years he lived in several communities along Pennsylvania's Schuylkill River, sometimes as a resident/patient of the public poorhouses. He is the best-known of the three so-called "Pennsylvania Almshouse Painters," the other two being Louis Mader and John Rasmussen.

The Berks County institution in Reading was the one which the artist entered with the greatest frequency; its records list his reason for admittance as "intemperance." His stays there do not seem to have been rehabilitative--one source reported that "it was his wont on visiting days, to approach visitors and beg a few pennies to 'help put something in his bottle' for which he will paint for you, a pretty picture." Most of Hofmann's known works, however, were painted for staff members and officers of the institutions depicted.
In addition to the almshouse views painted throughout the 1870s, Hofmann produced at least six other landscapes. In November 1881 Hofmann was admitted to the Berks County Almshouse with a broken arm. He died there five months later and was buried in the indigent's graveyard.

John Rasmussen was born in Germany in 1828 and arrived in America in 1865. He is listed as a painter and "fresco painter" in the Reading, Pennsylvania, business directories during the years 1867 to 1879. Widowed and suffering from chronic drinking problems and rheumatism, Rasmussen was committed to the Berks County almshouse on June 5, 1879. He arrived roughly three years before the death of painter Charles Hofman, a fellow inmate. 


Possibly inspired by the attention Hofmann had received for his painted landscapes and views of the institution, or perhaps as a result of a comaraderie between the two painters, Rasmussen produced almshouse views and other landscapes similar in composition to those of the elder Hofmann during the period of their joint residency. Rasmussen is known to have painted a wider range of subjects than did Hofmann, including portraits, still lifes, various landscapes, baptismal certificates, and, beginning in 1880, at least six views of the almshouse. In all of these, Rasmussen closely followed Hofmann's 1878 composition of the institution, which hung in one of the administrative buildings of the complex.

Charles C. Hofmann: Berks County Almshouse, 1878
oil on zinc 82.5 x 99.6 cm
National Gallery of Art, Washington, DC

John Rasmussen 1880c: View of Buildings and Surroundings of the Berks County Alamshouse
oil and gold paint on zinc panel 81.9 x 101.6 cm

John Rasmussen 1881:  Berks County Almshouse
oil 66.9 x 116.8 cm
Fenimore Art Museum

John Rasmussen: Berks County Farm-scape
oil on zinc-plated tin 66.9 x 89.8 cm

Mark Rothko - part 1

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1936 Rothko with Pipe by Milton Avery
drypoint on paper 18.3 x 17.2 cm
Smithsonian American Art Museum, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016
Mark Rothko was born Marcus Rothkowitz in Dvinsk, Russia in 1903. At the age of ten, Rothko and his mother and sister immigrated to America to join his father and brothers, who had previously settled in Portland, Oregon. From 1921 to 1923 Rothko attended Yale University on a full scholarship and then moved to New York City. In 1924 he enrolled in the Art Students League, studying with George Bridgman and Max Weber, in whose class he befriended Louis Harris. In 1929 Rothko began teaching children at the Centre Academy of the Brooklyn Jewish Centre, a position he retained for more than twenty years.
He was given his first one-man exhibition in 1933 at the Museum of Art in Portland and his first in New York a few months later at the Contemporary Arts Gallery. The New York exhibition included landscapes, nudes, portraits, and city scenes. At the end of 1934 Rothko participated in an exhibition at the Gallery Secession, whose members included Louis Harris, Adolph Gottlieb, Ilya Bolotowsky and Joseph Solman; several months later they left the Secession to form their own group, the Ten, which exhibited together eight times between 1935 and 1939. Rothko's paintings in the Ten's exhibitions were expressionist in style. During this period he was employed by the WPA, (Works Progress Administration), where he produced many subway scenes emphasising the isolation of the riders.

From the later 1930s to 1946 Rothko's oil and watercolour paintings reflected his interest in Greek mythology, primitive art, and Christian tragedy. In 1940, Rothko, along with his colleagues Gottlieb, Bolotowsky and Harris, broke with the American Artists' Congress on political grounds and became founding members of the Federation of Modern Painters and Sculptors. He was given, in 1945, a one-man exhibition at Peggy Guggenheim's gallery Art of This Century, which featured his surrealist works. At the end of the year he was included in the Whitney Museum of America Art's “Annual Exhibition of Contemporary American Painting.”In 1948 he joined William Baziotes, David Hare, and Robert Motherwell in founding an art school, the Subjects of the Artist, which closed within a year.

By 1947 Rothko had eliminated all elements of surrealism or mythic imagery from his works, and non-objective compositions of indeterminate shapes emerged. Within three years he reached his signature format, painting two or three soft-edged, luminescent rectangles, stacked weightlessly on top of one another, floating horizontally against a ground. Now a recognised artist of the New York School, he was given, in 1954, a one-man exhibition by the Art Institute of Chicago. In 1958 Rothko accepted his first commission for a series of paintings for the Four Seasons restaurant. He received his second commission for murals in 1961 for the Holyoke Centre at Harvard University. From 1964 to 1967 Rothko worked on his third and last commission, a Roman Catholic chapel in Houston, now interdenominational, creating fourteen canvases, numerically corresponding to the Stations of the Cross. From 1968 on, he worked in acrylic on canvas and paper, reducing his palette to brown, grey, and black.


Rothko was elected to the National Institute of Arts and Letters in 1968. The following year Yale University awarded him an honorary Doctor of Fine Arts degree. In 1970 Rothko committed suicide in his studio.Biographical notes from “Painting a Place in America: Jewish Artists in New York 1900-1945” National Gallery of Art, Washington, DC



This is part 1 of a 6 - part post on the works of Mark Rothko:


n.d. Seated Man Holding a Cigarette
Philadelphia Museum of Art, PA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

n.d. Seated Woman Holding a Stringed Instrument
Philadelphia Museum of Art, PA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

n.d. Untitled
Philadelphia Museum of Art, PA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1933-34 Untitled (Three Nudes)
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1934-35 Untitled ( Man with Green Face )
oil on canvas
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1934-35 Untitled ( Woman with Sculpture )
oil on linen 35.5 x 60.9 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1934c Untitled ( Water Scene )
watercolour on paper 38.1 x 48.3 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1936 Interior
oil on hardboard 60.6 x 46.4 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1936 Rural Scene
oil on canvas 68.5 x 96.8 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1936-37 Street Scene
oil on canvas
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1937 Subway
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1937-38 Untitled ( Reclining Nude )
oil on canvas
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1937-38 Untitled
oil on canvas 60.7 x 46.3 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1937c Street Scene
oil on canvas 73.5 x 101.4 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1937c Untitled
oil on canvas 101.6 x 76.2 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1938 Entrance to Subway
oil on canvas 86.4 x 117.5 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1938 Untitled
oil on canvas 127 x 94 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1939 Untitled
oil on canvas 101.6 x 76.5 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1940 Underground Fantasy
oil on canvas 87.3 x 118.2 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1940 Untitled
watercolour and tempera 73.7 x 53.6 cm
The Phillips Collection, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1940c Untitled ( Man and Two Women in a Pastoral Setting )
graphite and oil on canvas 72.4 x 91.4 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1941-42 Crucifix
oil on canvas 68.6 x 63.8 cm
Washburn Gallery, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1941-42 Heads
oil on canvas 50.8 x 71.1 cm
Washburn Gallery, New York City
© Kate Rothko Prizel and Christopher Rothko-DACS 2016

1941-42 In Limbo
oil on canvas 81.3 x 61 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1941-42 Untitled
graphite and oil on linen 61 x 81 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1941-42 Untitled
oil on canvas 76 x 91.3 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1941-42 Untitled
oil on canvas 91 x 60.6 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1941c Antigone
oil and charcoal on canvas 86.4 x 116.2 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1942 Sacrifice of Iphigenia
oil on canvas127 x 93.7 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1942 Untitled
oil on canvas 71.3 x 92 cm
Guggenheim, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1942 Untitled
oil on canvas
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1942 Untitled
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1943 No.7599 Untitled (1280)
watercolour on paper 57.1 x 39.4 cm
Museum of Contemporary Art, Los Angeles, CA
© Kate Rothko Prizel and Christopher Rothko-DACS 2016

1944 Agitation of the Archaic
oil on canvas 89.7 x 137.8 cm
Whitney Museum of American Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944 Aubade
gouache 64.1 x 48.3 cm
The Phillips Collection, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944 Gethsemane
oil and charcoal on canvas 138.1 x 90.3 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944 Gyrations on Four Planes
oil on canvas
Philadelphia Museum of Art, PA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944 Hierarchical Birds
oil on canvas 100.7 x 80.5 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944 Primaeval Landscape
oil on canvas 128 x 88.9 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944 Slow Swirl at the Edge of the Sea
oil on canvas 215.2 x 191.4 cm
Museum of Modern Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944 Untitled 2
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944 Untitled 3
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

Note: Follow me on Twitter for notice of updates @poulwebb



Mark Rothko - part 2

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1936 Self-Portrait
oil on canvas 81.9 x 65.4 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016
Mark Rothko (1903 – 1970) was an American artist of Russian Jewish descent. Although Rothko himself refused to adhere to any art movement, he is generally identified as an abstract expressionist. Along with Jackson Pollock and Willem de Kooning, he is one of most famous American post-war artists. 
For more biographical notes, and for earlier works, see part 1 also. This is part 2 of 6-part post on the works of Mark Rothko:

1944 Untitled
chalk, watercolour, pen and ink on paper 66 x 99.3 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944 Untitled
watercolour with tempera and graphite on white wove paper 51.8 x 69.8 cm
Art Institute of Chicago, IL
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944-45 Omen
watercolour and gouache with brush and black ink on paper 99.4 x 63.8 cm
The Ulla and Heiner Pietzsch Collection, Berlin, Germany
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944-45 Untitled
graphite, watercolour, tempera and ink on paper 53.5 x 66.8 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944-45 Untitled
watercolour on paper 75.9 x 5.3 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944-45 Untitled
watercolour on paper 76.2 x 55.9 cm
Metropolitan Museum of Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944-46 Untitled
watercolour on paper 79.4 x 57.2 cm
Metropolitan Museum of Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944-46c Untitled
watercolour and ink on paper 38.1 x 53.7 cm
Metropolitan Museum of Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1944c Untitled
watercolour and ink o paper 53.5 x 35.6 cm
Tate, London
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945 Archaic Idol
pen and ink, wash, and gouache on paper 55.6 x 76.2 cm
Museum of Modern Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945 Baptismal Scene
graphite and watercolour on paper 52.1 x 36.8 cm
Whitney Museum of American Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945 Fantasy
oil on canvas 134.9 x 98.7 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945 Rites of Lilith
oil and charcoal on canvas 208.3 x 270.8 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945 Sacrificial Moment
oil on canvas 97.8 x 71.1 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 201

1945 Untitiled 2
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945 Untitled
oil on canvas
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945-46 Gesture (?)
oil on canvas 79.7 x 100.7 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945-46 Untitled
oil and tempera on canvas 87.6 x 110.5 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945-46 Untitled
watercolour and ink on paper 103.5 x 69.9 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945-46 Untitled
watercolour and ink on paper 1102.9 x 68.3 cm
Metropolitan Museum of Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945-46 Untitled
watercolour
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945-46c Tentacles of Memory
watercolour and ink on paper 55.2 x 76.2 cm
San Francisco Museum of Modern Art, CA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945-46c Untitled
watercolour, gouache, ink and graphite on paper 54 x 38.7 cm
Metropolitan Museum of Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1945c Untitled
gouache on paper 239.9 x 120.7 cm
Tel Aviv Museum of Art, Israel
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946 Aquatic Drama© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946 Entombment, I
opaque watercolour and ink on paper 52.4 x 66 cm
Whitney Museum of American Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946 Geologic Reverie
watercolour and gouache on paper 55.2 x 75.6 cm
Los Angeles County Museum of Art, CA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946 No.18
oil on canvas 155 x 110 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946 Personage 2
oil on canvas 142 x 82 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946 Sacrifice
watercolour, gouache and india ink on paper 100.2 x 65.8 cm
Guggenheim, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946 Untitled
oil on canvas 99.9 x 69.9 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946 Untitled
watercolour on paper 98.8 x 64.8 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946 Vessels of Magic
watercolour on paper 98.4 x 65.4 cm
Brooklyn Museum, New York
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946 Vision at End of Day
oil on canvas 101.6 x 127.1 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946-47 Untitled
oil on canvas 1000 x 70 cm
Tate, London
© Kate Rothko Prizel and Christopher Rothko-DACS 2016

1946c Personages
watercolour and pastel on paper 55.9 x 75.9 cm
Addison Gallery of American Art, Andover, MA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946c Untitled ( Votive Mood )
watercolour and gouache on paper 49.2 x 65.7 cm
Addison Gallery of American Art, Andover, MA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1946c Untitled
watercolour and gouache on paper 49.2 x 65.7 cm
Addison Gallery of American Art, Andover, MA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1947 No.2© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1947 No.9© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1947 Number 26
oil on canvas 99.7 x 137.5 cm
Dallas Museum of Art, Texas
© Kate Rothko Prizel and Christopher Rothko-DACS 2016

1947 Untitled 1© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1947 Untitled 2© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1947 Untitled
acrylic and oil on canvas 122.2 x 101.9 cm
San Francisco Museum of Modern Art, CA
© Kate Rothko Prizel and Christopher Rothko-DACS 2016

1947 Untitled
oil on canvas 96.2 x 53 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1947 Untitled
oil on canvas 96.2 x 116.4 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1947 Untitled
oil on canvas 97.8 x 91.4 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016
Note: Follow me on Twitter for notice of updates @poulwebb


Mark Rothko - part 3

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Mark Rothko 1952
photographed by Kay Bell Reynal
 Smithsonian Archives of American Art

Mark Rothko (1903 – 1970) was an American artist of Russian Jewish descent. Although Rothko himself refused to adhere to any art movement, he is generally identified as an abstract expressionist. Along with Jackson Pollock and Willem de Kooning, he is one of most famous American post-war artists. 
For more biographical notes, and for earlier works, see parts 1 and 2 also. This is part 3 of 6-part post on the works of Mark Rothko:



1947 Yellow, Cherry, Orange
oil on canvas 173 x 107 cm
Museo Tamayo Arte Contemporáneo, Buenos Aires, Argentina
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 Multiform
oil on canvas 155 x 118.7 cm
National Gallery of Australia, Canberra
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 No1 ( No.18 1948 )
oil on canvas
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 No.1
oil on canvas 270.2 x 297.8 cm
Museum of Modern Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 No.5 / No.24
oil on canvas 86.1 x 127.6 cm
Museum of Modern Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 No.9
oil and mixed media on canvas 134.6 x 118.4 cm
National Gallery of Art, Washington, DC

1948 No.10
oil on canvas 164 x 108 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 Untitled 1
oil on canvas
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 Untitled
oil on canvas 114 x 85.4 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 Untitled
oil on canvas 127.6 x 109.9 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 Untitled
oil on canvas 134.6 x 119.4 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 Untitled
oil on canvas 152.5 x 126.5 cm
Fondation Beyeler, Riehen
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 Untitled
oil on canvas 172.7 x 87.6 cm
de Young / Legion of Honour FIne Arts Museums of San Francisco, CA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948 Untitled
oil on canvas 226.1 x 165.1 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1948-49 No.1 ( No.18 )
oil on canvas 171.8 x 142.6 cm
The Frances Lehman Loeb Art Centre Vassar College, Poughleepsie, NY
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 No 7 - No.11
oil on canvas 173 x 111 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 No.1
oil on canvas
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 No.5
oil on canvas 215.9 x 160 cm
The Chrysler Museum of Art, Norfolk, VA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 No.8
oil and mixed media on canvas 228.3 x 167.3 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 No.19
oil on canvas 172.8 x 101.8 cm
Art Institute of Chicago, IL
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 No.21
oil on canvas 101.6 x 76.5 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 No.24
oil on canvas 224 x 146.1 cm
Hirshhorn Art Collection, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 Untitled 2
oil on canvas
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 Untitled (Violet, Black, Orange, Yellow on White and Red)
 oil on canvas 207 x 167.6 cm
Guggenheim, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 Untitled
oil and acrylic with powdered pigments on canvas 142.2 x 83.8 cm
Metropolitan Museum of Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 Untitled
oil on canvas 162.6 x 109.2 cm
Akron Art Museum, Ohio
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 Untitled
oil on canvas 204.2 x 168.3 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 Untitled
watercolour on paper 104.1 x 69.2 cm
National Gallery of Art, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1949 Yellow and Orange
oil on canvas 140.6 x 111.8 cm
Museum of Contemporary Art, Los Angeles, CA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1950 Magenta, Black, Green on Orange
oil on canvas 216.5 x 164.8 cm
Museum of Modern Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1950 No.5 ( No.22 )
oil on canvas 297.2 x 272.1 cm
Museum of Modern Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1950 No.10
oil on canvas 229.2 x 146.4 cm
Museum of Modern Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1950 Untitled ( Orange, Plum, Yellow )
oil on canvas 176.9 x 101.6 cm
Reina Sofia National Museum, Madrid, Spain
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1950 Untitled
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1950 White Centre
205.8 x 141 cm
The Royal Family of Qatar © Kate Rothko Prizel and Christopher Rothko/DACS 2016

1950-52 Untitled
oil on canvas 190 x 101.1 cm
Tate, London
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1951 No.6 ( Violet, Green and Red )
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1951 No.18
oil on canvas 207 x 177.5 cm
Munson Williams Proctor Arts Institute, Utica
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1951 No.24 ( Untitled )
oil on canvas 236.9 x 120.7 cm
Tel Aviv Museum of Art, Israel
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1951 No.25
oil on canvas 295 x 232.4 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1951 Untitled
oil on canvas 188.6 x 101 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1952 Blue, Green, and Brown
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1952 No.10
oil on canvas 207.6 x 108 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko-DACS 2016

1952 No.15
oil on canvas 233.3 x 203.2 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1952 Untitled
oil on canvas 248.3 x 170.8 cm
Dallas Museum of Art, Texas
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1952 Untitled
oil on canvas 261 x 211.5 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1952-53 Untitled
oil on canvas 299.5 x 442.5 cm
Guggenheim Bilbao, Spain
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1953 Green and Maroon
oil on canvas 231.4 x 139.4 cm
The Phillips Collection, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1953 No.3
oil on canvas 137.8 x 172.7 cm
Metropolitan Museum of Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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Mark Rothko - part 4

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Mark Rothko, California School of Fine Arts
 William Heick 1949-50

Mark Rothko (1903 – 1970) was an American artist of Russian Jewish descent. Although Rothko himself refused to adhere to any art movement, he is generally identified as an abstract expressionist. Along with Jackson Pollock and Willem de Kooning, he is one of most famous American post-war artists. 
For more biographical notes, and for earlier works, see parts 1 to 3 also. This is part 4 of 6-part post on the works of Mark Rothko:



1953 No.4 ( Untitled )
oil on canvas 268.4 x 128.9 cm
Whitney Museum of American Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1953 No.61 ( Rust and Blue ) [ Brown Blue, Brown on Blue ]
294 x 232.4 cm Museum of Contemporary Art, Los Angeles, CA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1953 Untitled ( Purple White and Red )
oil on canvas 197.5 x 207.7 cm
Art Institute of Chicago, IL
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1953 Untitled
mixed media on canvas 195 x 172.1
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1953 Untitled
oil on canvas 166.1 x 143.8 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1953 Untitled
oil on canvas 238.4 x 121.6 cm
Walker Art Centre, Minneapolis, Minnesota
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1953 Untitled
tempera on paper mounted on board 100.3 x 67.3 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016


1953 White, Orange and Yellow
tempera on paper mounted on board 100.7 x 67.3 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1953-54 Untitled
oil on canvas 265.1 x 298.1 cm
Art Institute of Chicago, IL
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1953c Red and Pink on Pink
tempera on paper mounted on panel with acrylic 100.6 x 64.1 cm
Museum of FIne Arts, Houston, Texas
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 Homage to Matisse
oil on canvas 268.3 x 129.5 cm
The Edward R. Broida Trust
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 No.1 ( Royal Red and Blue )
oil on canvas 288.9 x 171.5 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 No. 9 ( Dark over Light Earth / Violet and Yellow in Rose )
oil on canvas 211.5 x 172.7 cm
Museum of Contemporary Art, Los Angeles, CA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 Ochre and Red on Red
oil on canvas 234.2 x 161.9 cm
The Phillips Collection, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 Red, Orange, Tan and Purple
oil on canvas 174 x 214.5 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 Untitled ( Blue, Yellow, Green on Red )
oil on canvas 197.5 x 166.4 cm
Whitney Museum of American Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 Untitled ( Yellow and Blue )
oil on canvas 242.9 x 186.7 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 Untitled
oil and acrylic with powdered pigments on canvas 243.8 x 164.1 cm
Metropolitan Museum of Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 Untitled
oil on canvas 230 x 139.7 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 Untitled
oil on canvas 236.2 x 142.7 cm
Yale University Art Gallery, New Haven, CT
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 Untitled
oil on canvas 238.1 x 143.2 cm
RISD Museum, Providence, RI
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1954 Yellow and Blue
oil on canvas 259.4 x 169.6 cm
Carnegie Museum of Art, Pittsburgh, PA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1955 Earth and Green
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1955 Green, Red, Blue
oil on canvas 207 x 197.5 cm
Milwaukee Art Museum, Wisconsin
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1955 Untitled ( Yellow, Orange, Yellow, Light Orange )
oil on canvas 207 x 152.5 cm
Philadelphia Museum of Art, PA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1955 Untitled
oil on canvas 151 x 126.4 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1955 Untitled
oil on canvas 234 x 175.3 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1956 Green and Tangerine on Red
237.8 x 175.9 cm
The Philips Collection, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1956 Green on Blue
oil on canvas 228.6 x 161.3 cm
University of Arizona Museum of Art
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1956 Old Gold Over White
172.7 x 116.6 cm
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1956 Orange and Yellow
oil on canvas 231.1 x 180.3 cm
Albright-Knox Art Gallery, Buffalo, NY
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1956 Untitled ( Red )
oil, glue, synthetic polymer paint and resin on canvas 209.5 x 125.3 cm
National Gallery of Victoria, Melbourne, Australia
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1956 Yellow Band
oil on canvas 218.4 x 200 cm
Sheldon Museum of Art, Lincoln, Nebraska
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1956 Yellow over Purple
177.2 x 150.8 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 Black in Deep Red
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 Black over Reds
oil on canvas 241.3 x 207 cm
The Baltimore Museum of Art, MD
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 Light Red Over Black
oil on canvas 230.6 x 152.7 cm
Tate, London
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 No.10
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 No.13
oil on canvas 242.3 x 206.7 cm
Metropolitan Museum of Art, New York City
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 No.15 Dark Greens on Blue with Green Band
oil on canvas 261.6 x 295.5 cm
Private Collection
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 No.16?
oil on canvas 293 x 265.5 cm
National Gallery of Canada, Ottowa
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 No. 20
oil on canvas 233 x 193 cm
National Gallery of Australia, Canberra
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 No.46 ( Black, Ochre, Red Over Red )
oil on canvas 252.7 x 207 cm
Museum of Contemporary Art, Los Angeles, CA
© Kate Rothko Prizel and Christopher Rothko-DACS 2016

1957 No. 16 ( Red, White, and Brown )
 oil on canvas 207.3 x 252.5 cm
Kunstmuseum Basel, Switzerland
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957
oil on canvas 202 x 193 cm
Kunstsammlung Nordrhein Westphalen Düsseldorf, Germany
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 Orange and Red on Red
oil on canvas 174.9 x 168.6 cm
The Phillips Collection, Washington, DC
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 Purple Brown
oil on canvas 213.4 x 184.8 cm
Museum of Contemporary Art, Los Angeles, CA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

1957 Red and Brown
oil on canvas 175.3 x 109.9 cm
Museum of Contemporary Art, Los Angeles, CA
© Kate Rothko Prizel and Christopher Rothko/DACS 2016

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