Search   
 
 
 
Click on images for larger view
AFTER GILBERT STUART, PORTRAIT OF GEORGE WASHINGTON, LANSDOWNE VERSION. American, early 19th century. Oil on canvas housed in a gilt frame. Unsigned; 26.5 x 33.5 in. (sight).

George Washington is featured here in a similar fashion as he appears in Gilbert Stuart's "Lansdowne" portrait (1796): in black attire, standing up by his desk in an oratorical posture, his right hand extended forward, palm up, a sword pointing downward in his left hand, and the presidential chair pushed back behind him. In the background, the portico is lined with Doric columns adorned with red tassled drapes, while books are piled on the floor underneath the desk. However, important variations from the original Lansdowne portrait must be noted. They include the carpet, here a blue field of stars replacing the original Oushak rug, the blue presidential chair and the grey drapery over the desk, both red in Stuart's painting, and the absence of a rainbow in the background.

Gilbert Stuart is known to have painted a number of portraits of Washington (at least thirty-nine were commissioned), all following three main compositions: the Lansdowne type, the Vaughan type, and the Athenaeum type, and produced several versions of each type of portraits. However, many contemporaneous and later artists also made copies of Stuart's various depictions of George Washington, including Stuart's daughter Jane, William Winstanley, Rembrandt Peale, and Thomas Sully, to name only a few.

This portrait remains unattributed. The blue starred carpet is a stark departure from the original Lansdowne portrait, and stands out among other known copies of Stuart's representation of George Washington.

Literature: Carrie Rebora Barratt and Ellen G. Miles, Gilbert Stuart. MetPublications and Yale University Press, 2004.

Mantle Fielding, Gilbert Stuart Portraits of George Washington. Philadelphia, 1923.

John Hill Morgan and Mantle Fielding, The Life Portraits of George Washington and their Replicas. Philadelphia, 1931.

Lawrence Park. Gilbert Stuart: An Illustrated Descriptiove List of his Work, Vol. II. William Edwin Rudge, New York, 1926.

Condition: Professionally conserved in 2009 at the Saint Louis Art Museum, including relining, new stretcher and a significant amount of in-painting. A copy of the conservation report is available.

Sold at Cowan's Auction March 10, 2018.

Price Realized: $10,200


PAUL REVERE ENGRAVING OF BOSTON, FROM ROYAL AMERICAN MAGAZINE. American, ca 1774. An engraving on laid paper, mounted on card, by Paul Revere (1735-1818) titled A View Of The Town Of Boston With Several Ships Of War In The Harbor, done as a frontispiece for the January 1774 issue of Royal American Magazine; 6.75 x 10.25 in. (sheet).

Condition: Imprinted text visible from verso. Losses to corners. Small tears to edges. Toning throughout.

Sold at Cowan's Auction March 10, 2018.

Price Realized: $4,613


A RARE 1831 ENGLISH INTARSIA PATCHWORK PICTORIAL TABLE COVER, English, 1831. An intarsia patchwork table cover made in broadcloth, the central round medallion decorated with twelve birds and surrounded by fourteen pictorial panels, most notably a scene of a giraffe accompanied by three men in Middle Eastern dress, having a scalloped, curtain-swag border decorated with twenty-six examples of plants and flowers. Signed and dated to flower urn on border A.P. / 1831; 86 x 72 in.

The table cover offered here was made using the technique of cloth intarsia, popular in English textile production from the 1830s-1880s. The use of thick and durable wool broadcloth allows for this technique. Revealing their eagerness to demonstrate skill, and access to this material, there are extant patchwork panels created by male tailors. There is evidence, in fact, that this technique was employed almost exclusively by men in England during this time (See “A patchwork panel ‘shown at the Great Exhibition”, Dr. Clare Rose, V&A Online Journal, Issue No. 3, Spring 2011). Five superb examples of intarsia patchwork, produced by men, were exhibited in 1851 at the Great Exhibition in London. While only one of these, the Stokes Tapestry, survived intact, the Victoria and Albert Museum currently holds two other intarsia covers in its collections, along with an early 1820 appliqué patchwork with a similar, albeit more detailed, composition to the cover offered here. These examples are notable for their impressive pictorial detail, depiction of current events, and drawing inspiration from contemporary political movements, literary and visual sources.

The large lower panel depicts a giraffe standing outside a gated garden accompanied by three men, with a couple in a carriage approaching. Above this is an active scene of a lion hunt with dogs and armed men, including one man climbing a tree. This is mirrored by a European stag hunting scene on the opposite end. The long side panels depict equestrian-themed scenes: on one side, a duel on horseback and on the other, two men breaking or training a horse. These panels are surrounded by eight smaller vignettes including a sword fight, two scenes of dancing, monks giving to the poor, a scene of a man being punished for stealing a woman's purse, and an enigmatic image of a man and a peacock. The large panel on the opposite end depicts activity around a lake: a group of men attempt to keep a boat from launching while a man gestures from another boat in the center of the lake. Around the water, men, women and children are engaged in fishing and other activities

.

In 1827, Muhammad Ali of Egypt gifted three giraffes to European monarchs including George IV of the United Kingdom, Francis I of Austria and Charles X of France. The first giraffes in Europe in centuries, their arrival caused a sensation in each country. The French giraffe, subsequently known as Zarafa, lived for 18 years and is the most well-known of the three. The English giraffe died after only two years, presumably due to injuries sustained on the journey and general poor health in the English climate. However, in this short time, the animal still made a distinct impression on the visual culture. Along with appearing in paintings and political cartoons, the giraffe inspired everything from household fabrics to fashionable hairstyles.

It is likely the English giraffe that is depicted here. The animal arrived in London with two keepers and a translator, and shortly after was brought to Windsor Great Park to be kept in the private menagerie of George IV. By 1827, the king was spending most of his time ensconced at the Royal Lodge with his mistress Elizabeth Conyngham. The two were frequent visitors to the menagerie, and are possibly the couple portrayed in the carriage approaching the giraffe. Although the giraffe died in 1829, it appeared in caricatures, and the public eye, up until George IV's death in 1830, as the sickly, spoiled giraffe had became a symbol of the monarch himself.

Condition: Six holes to black borders. Scattered staining throughout. Ring stains to the lower right corner of the central square, over figure in turban. Dark stain over spotted dog in hunting. Separation in border at one corner of square. Two patches to border around central square. Separation to border under horse breaking scene. Split to border.

Sold at Cowan's Auction March 10, 2018.

Price Realized: $25,200


OCTAGONAL SAILOR'S VALENTINE, 19th century. A double shellwork sailor's valentine in a hinged octagonal case, one side featuring a heart-shaped design and the other featuring a floral motif; case wd. 9.75, dp. 3 in.

Condition: Several loose red shells on both sides. Age split to bottom of case.

Sold at Cowan's Auction March 10, 2018.

Price Realized: $2,160




A FINE AND RARE TIMOTHY TANSEL ENGRAVED HORN BEAKER, Timothy Tansel (1809-1852), Hendricks County, Indiana.  Horn, 3.12 in. tall x 2.75 in. diameter, deeply engraved with a central panel bordered at the top and bottom by roped swags, depicting a spread-winged American eagle with “E Pluribus Unum” ribbon-banner in its uplifted beak clutching arrows in one talon and with floral spray and berries in the other; pin-wheeling or whirling stars form a background behind the eagle, and a running doe and a Native American pulling a bow and arrow, complement the scene. The doe and hunter separated by an elaborate geometric motif.  Yellow ochre applied in various details. The beaker with an overall mellow coloring. Untouched.

This masterful engraving of the various motifs depicted on the surface of this beaker are the hallmarks of Timothy Tansel (1809-1852), one of a number of Tansel family members known for their unique figurative powder horns (Dresslar 1994, 70:2-7).

Francis, the patriarch of the family, immigrated to America from France, living for a time near Spottsylvania, Virginia.  By 1799 he had settled near present-day Georgetown, Kentucky.  He was a participant in various Kentucky militia engagements with Indians in Ohio during the War of 1812, and apparently began his carving career during this period.

In 1828, Francis and his family sold their Kentucky property and moved to central Indiana. It was about this time that the elder Tansel’s sons, John and Timothy, also began carving horns. It is possible that John’s son George also was part of the family tradition. While some horns are signed by their maker, most are not, and it is entirely possible that John and Timothy both worked on horns together.

In spite of the number of Tansel family horns known to exist, Dresslar’s research makes it clear that Francis and his sons made their living through farming. Their carving must have supplemented the family income.

A comparison of the decorative motifs of this beaker with signed Tansel family powderhorns suggest that it was made by Timothy. Timothy, or “Tim” as he signed his horns, often employed the draped swag and tassel motifs forming the top and bottom border of this beaker, and several of his horns exhibit the same shield breasted eagle with uplifted beak, with whirling stars in the background. Horns by Tim also employ the swirling geometric design separating the Indian and running doe on this beaker.

Several dozen Tansel family powderhorns are known to exist. Indeed, Cowan’s has had the privilege of selling 15 examples in the last decade or more. Beakers’ however, are rare, and this is the first such example that we have offered. Two others – both in private hands – are known to exist (Mel Hankla, Personal Communication).

 

Provenance: Ex William Guthman Collection

Sold at Cowan's Auction March 10, 2018.

Price Realized: $16,200




KENTUCKY CHERRY SUGAR CHEST, American (Kentucky), first quarter 19th century. A sugar chest in cherry, retaining original finish, having a hinged two piece lift top surface revealing an open interior with shaped till, the paneled case of peg construction, rising on turned legs; ht. 31, wd. 29, dp. 18 in.

Condition: Item is in good condition. Retaining original or very old finish with minimal surface wear. Small age split at one peg joint on the side of case. All original with no repairs or restoration.

Sold at Cowan's Auction March 10, 2018.

Price Realized: $3,900


EDWARD KINSEY COIN SILVER PITCHER, Presented to Miles Greenwood, American (Cincinnati, Ohio), ca 1843. A coin silver presentation pitcher of helmet form with bands of decoration and scrolling handle, the engraved presentation surmounted by an eagle and reading Token Of Esteem / Presented / To / Miles Greenwood / By The / Independence Fire Engine and Hose Company / No. 3 / Cincinnati January 1st 1844, and engraved to foot Edwd Kinsey / Maker; oah. 13.5 in., silver wt. 44.53ozt (1385g).

The presentation pitcher offered here is illustrated in Cincinnati Silver 1788-1940 by Amy Miller Dehan, Fig. 67.2, pg. 212.

Miles Greenwood (1807-1885) was the founder of Eagle Ironworks. Located near Cincinnati, the factory was the largest in the Midwest, and a major producer of supplies and ammunition for the Union Army. Greenwood is also known for being a co-inventor of the first practical steam fire engines in the United States during the 1850s. Cincinnati became the first American city to form a professional fire brigade on April 1, 1853, and Greenwood was named the first Fire Chief. Eagle Ironworks manufactured the steam-powered engines which could pump water in just ten minutes, which was much faster than previous engines.

Sold at Cowan's Auction March 10, 2018.

Price Realized: $10,455


AMERICAN WILLIAM AND MARY CARVED SIDE CHAIR, Illustrated in Nutting's Furniture Treasury Vol. II

American, late 17th century. A carved walnut side chair having block and turned stiles with ball finials, the leaf-carved crest over a similarly carved back panel with caning, over a caned seat with carved front stretcher and Flemish scroll feet; oah 50.5 in., seat ht. 32.25 in.

Illustrated in Wallace Nutting, Furniture Treasury, Vol. II, 1948, no. 2021.

Provenance: Ex Parke-Bernet Galleries, Important XVIII Century American Furniture and Decorations: Property of Mrs. Francis P. (Mabel B.) Garvan, October 31st, 1970, Lot 192.

Sold at Cowan's Auction March 10, 2018.

Price Realized: $3,998


VERY EARLY THIRTEEN STAR AMERICAN FLAG, Strips is red and white fabric are hand stitched. Blue field is cut with (13) stars in a 3-2-3-2-3 pattern with larger. Then (13) white stars are hand stitched to "front". 31 x 44 inches

Condition: Tattered, stable, see photographs.

Sold at McInnis Auctions March 16, 2018.

Estimate: $5,000-10,000

Price Realized: $8,000


LAYERED WOOL RIDING CLOAK CIRCA 1790-1800, Fully hand stitched woolen cloak with, bone buttons and lined in flax inner and outer layers. Very well done from New Hampshire. 43 x 27 inches.

Condition: Very good, minor small holes mostly to the back.

Sold at McInnis Auctions March 16, 2018.

Estimate: $750-1,500

Price Realized: $1,400


PATRIOTIC BLUE AND WHITE JACQUARD COVERLET, In celebration of the Nation's 50th anniversary of independence and the completion of the US Capitol Building. Field of (6) floral cartouches surrounded by a border of American Eagles and US Capitols. 6' x 7' 8" (not including fringe). signed Amelia Hawkins February 4, 1826.

Condition: Good, toning.

Sold at McInnis Auctions March 16, 2018.

Estimate: $500-1,000

Price Realized: $2,000


AMERICAN SCHOOL PORTRAIT CIRCA 1830, Sally Currier of Enfield, NH (1801-1887) and (1807-1885)" oil on canvas 27 x 24 inches. framed 35 x 31.5 inches (overall).

Condition: Good untouched estate condition.

Sold at McInnis Auctions March 16, 2018.

Estimate: $1,000-3,000

Price Realized: $4,000


PAUL REVERE JR. SILVER SERVING SPOON, Boston, Massachusetts, late 18th century, the pointed bowl on a plain handle marked "REVERE" (Kane mark C or D) in a sunken cartouche on the back, engraved monogram "MLW" on the front, lg. 8.875 in., approx. 2.0 troy oz. 

Note: The monogram on the spoon refers to Mary Lynde Walter, daughter of Rev. William Walter, rector of Trinity Church 1767-75, and Christ Church 1792-1800, and his wife Lydia Lynde. The Boston Museum of Fine Arts preserves in its collections a pair of Paul Revere Jr. tablespoons bearing the same mark and monogram; Patricia E. Kane, Colonial Massachusetts Silversmiths (New Haven; Yale University Art Gallery, 1998), p. 832, and Kathryn C. Buhler, American Silver 1655-1825 in the Museum of Fine Arts Boston, Volume II (Boston: Museum of Fine Arts, 1972), Appendix 71, p. 683.

Sold at Skinner Auctions March 3, 2018.

Estimate: $6,000-8,000

Price Realized: $11,070


SAMUEL BARTLETT SILVER CANN, Concord, Massachusetts, c. 1780, bulbous body with scroll handle and molded foot, handle monogramed "L/IM," base marked "S.BARTLETT" in a sunken cartouche, ht. 5.5 in., approx. 14.1 troy oz. 

Note: Patricia Kane documents two porringers with the same monogram at the Concord Museum, Concord, Massachusetts, as having belonged to Joseph and Mary Loring. Joseph Loring was a Boston silversmith.

Sold at Skinner Auctions March 3, 2018.

Estimate: $2,500-3,500

Price Realized: $6,150


MOSES BROWN SILVER LEMON STRAINER, Charles Stevens, Providence, Rhode Island, 1765, deep round bowl with slightly flared lip, the bottom with pierced inscription around the outside reads "MOSES BROWN PROVIDENCE 1765" and pierced in the center "AUGUST," elaborate pierced scroll handles extending from two sides terminating in hearts, the back of each handle marked "C.STEVENS" in a sunken cartouche with sawtooth border, wd. 11.375 in., approx. 5.5 troy oz. 

Provenance: Moses Brown (1738-1836) was born in Providence, Rhode Island, the youngest son of James and Hope (Power) Brown. He was raised in a family of prominent businessmen active in rum distilling, iron production, spermaceti refining, and variety of other merchant activities. 

Brown served in the Rhode Island General Assembly from 1764 to 1771, and vehemently opposed the Stamp Act in 1765. In 1769, he was instrumental in the effort to move Rhode Island College from the town of Warren to Providence and along with his three brothers, donated land for the new campus which was later renamed Brown University. 

After the American Revolution, Moses Brown turned his attention to abolishing slavery and was instrumental in the 1787 passage of a law banning the participation of Rhode Islanders in the slave trade. 

Literature: Charles Stevens (d. 1780) is documented as a "Goldsmith and Jeweller" in various issues of The Providence Gazette between 1768 and 1780. His business address is listed first as Main Street and later, as Broad Street., according to Henry N. Flynt and Martha Gandy Fales The Heritage Foundation Collection of Silver (Old Deerfield, Massachusetts: The Heritage Foundation, 1968), p. 330. A similar example made by Jonathan Clarke for Jabez Bowen with nearly identical handles and similarly pierced, identified, and dated bottom is described and illustrated in Kathryn C. Buhler & Graham Hood American Silver Garvan and Other Collections in the Yale University Art Gallery, Volume I, New England (New Haven: Yale University Art Gallery, 1970), pp. 282-4, cat. no. 471.

Sold at Skinner Auctions March 3, 2018.

Estimate: $12,000-15,000

Price Realized: $8,610


THE ELIZABETH WHITE HADLEY CHEST, Hadley, Massachusetts, area, c. 1718, the top with chamfered edges and cleated ends, above the paneled case with incised and flat carving and beaded detail, the facade with three panels centering the initials "EW," above a drawer, on tall stile feet, old surface of dark red wash and black pigment, (imperfections and minor restoration), ht. 36.25, wd. 42.5, dp. 18.5 in. 

Provenance: The chest descended through Elizabeth White's family as follows: Elizabeth White Montague (1695-1753), to her son, Major Richard Montague (1729-1794), to his daughter, Hanna Montague Gunn (1752-1836), to her daughter Fanny Gunn Graves (1793-1876), to her son, John Long Graves (1831-c. 1915), to his daughter, Gertrude Montague Graves (1863-c. 1939), to her sister, Louise Britton Graves (1867-c. 1962) on May 4, 1939, to her cousin Janet Bradlee (1916-1988) to her sister Jean Bradlee MacDonnell, to her son, the consignor. 

Literature: Clair Franklin Luther, The Hadley Chest, (Hartford, Connecticut, 1935), discusses this chest and its history, p. 142. 

Exhibitions: Concord Antiquarian Society, Concord, Massachusetts, 1939-1962, exhibited in The Seventeenth Century Room. 

Note: Elizabeth White was born November 8, 1695, in Hadley, Massachusetts. She married Samuel Montague I, (1695-1789) in Sunderland, Massachusetts, January 24, 1718. Elizabeth died October 15, 1753, in Sunderland.

Condition: The chest is in very good condition, generally. It appears to have full height. There is a full length patch above the drawer about a half-inch wide. The surface is old and mellow, with traces of old color. The top, which is original, is slightly warped and with stable shrinkage, and is slightly separating from the cleat at one edge.

Sold at Skinner Auctions March 3, 2018.

Estimate: $40,000-60,000

Price Realized: $49,200


SLIP-MARBLED PEARLWARE QUART MUG, England, c. 1800, the body with swirled blue, brown, yellow, and white slip and inlaid rouletted bands, strap handle with foliate terminals, (repaired handle), ht. 6 in.

Condition: Repaired handle, but otherwise not obvious chips or cracks.

Sold at Skinner Auctions March 3, 2018.

Estimate: $800-1,200

Price Realized: $4,613


NEST OF SEVEN NANTUCKET LIGHTSHIP BASKETS, Rowland Folger (1803-83), Nantucket, Massachusetts, 19th century, with bentwood swing handles and disk bottom, six of the seven stenciled "R. FOLGER/MAKER/NANTUCKET/MASS.," ht. to 9.25 in.

Sold at Skinner Auctions March 3, 2018.

Estimate: $8,000-12,000

Price Realized: $12,300


SHAKER RED-PAINTED MAPLE AND BUTTERNUT SEWING DESK, probably Alfred, Maine, c. 1850, the upper section with central door flanked by six drawers above the projecting lower section with pullout work surface, four short drawers and a long drawer, all with paneled sides, all on four swelled and tapering legs, old red paint, the drawers unpainted, ht. 37 3/4, case wd. 29.25, case dp. 23.25 in. 

Literature: For a stylistically similar desk with a different drawer arrangement, see Rieman and Burks, The Complete Book of Shaker Furniture, (New York, Harry N. Abrams, Inc., 1993), p. 282, pl. 250.

Sold at Skinner Auctions March 3, 2018.

Estimate: $6,000-8,000

Price Realized: $67,650


SMALL SHAKER RED-PAINTED SEWING BOX WITH GREEN SILK PUNCUSHION, 19th century, cotton edging joins the cushion to the box, which contains an early strawberry pincushion and several bone buttons, original surface, (imperfections), ht. 2.5, lg. 3.5 in.

Condition: silk with very minor splits. 

Sold at Skinner Auctions March 3, 2018.

Estimate: $2,000-3,000

Price Realized: $3,198


SHAKER RED-PAINTED PANTRY BOX, 19th century, original paint, ht. 3.25, lg. 8.5 in.

Sold at Skinner Auctions March 3, 2018.

Estimate: $1,500-2,500

Price Realized: $5,843


NATIVE AMERICAN PIPE TOMAHAWK, brass knife inlay on blade - silver inlay on wooden handle shaft - including star, diamond, and heart motif. Dimensions 21" L - BLADE 8"

Condition: Good overall condition.

Sold at Hartzell's Auction March 30, 2018.

Estimate: $400-800

Price Realized: $1,400


PAINTED DECORATED DOME TOP CHEST, wooden paint decorated chest in red black - dovetailed construction - original hinges and hardware. Dimensions: 18" X 9" X 8.5".

Condition: small chip to back of lid - gouge to back. 

Sold at Hartzell's Auction March 30, 2018.

Estimate: $200-400

Price Realized: $1,200


19TH CENTURY REDWARE THREE TIERED BANK, with chicken motif, dimensions 13".

Condition: Light wear from age and use.

Sold at Hartzell's Auction March 30, 2018.

Estimate: $100-300

Price Realized: $2,300


DOUBLE WEAVE COVERLET, coverlet attributed to Daniel Haring, Norwood, Bergen County, New Jersey - Dated April 8, 1832 - Made for Catharine Merselis - Depicting roosters, birds, urns, vines, and building - in natural and indigo. Dimensions: 69.5" X 97"

Condition: Light toning can be seen on natural side - good overall condition. 



Sold at Hartzell's Auction March 30, 2018.

Estimate: $500-1,000

Price Realized: $1,200


DOUBLE WEAVE COVERLET, coverlet in indigo and light blue signed "The Property of Maria Demarest, 1835 - I. Christie Weaver" - Rooster, bird tree dog, squirrel, and heart tulip motif. Dimensions 74" x 90".

Condition: Fading to one end - light overall wear consistent with age and use. 

Sold at Hartzell's Auction March 30, 2018.

Estimate: $200-400

Price Realized: $2,000


Colonial Sense is an advocate for global consumer privacy rights, protection and security.
All material on this website © copyright 2009-19 by Colonial Sense, except where otherwise indicated.
ref:T3-S24-P9087-C-M