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Homestead sold

Compote of Fruit still available.

Two Painted on Poplar Fireboards from the Mary Jarvis Family Homestead

One of the fireboards is decorated with a compote framed by pink drapes, a very rare decorative motif for a fireboard, and the other bears a simple landscape scene, presumably of the family homestead.  Both are painted by the same unidentified artist.

Mary Jarvis's memorial celebration to honor her mother led to the custom of honoring all mothers with the observation of Mother's Day.

Webster, West Virginia.  Circa 1825-1830.

Fireboard with compote is 38 1/2 by 42 inches and the family homestead fireboard is 38 by 37 1/2 inches.


Oil on panel portrait of a man, seated at a table which holds a book, paper, and inkwell and his quill pen. Columns flank him on each side, and his gaze, directed backward, counter-balances the leftward weight of the over-all composition.

Dated 1834 in pencil on the back and marked "Taken at Otis, Mass." An inscription noting descent lists "Miss English" and "Miss Frannie Chesbro"?"" Unidentified artist. Gilded frame. Excellent condition,

Image is 10 1/2 by 12 1/4 inches and frame is 14 by 16 inches.

Portrait of Ann Miller Tompkins



A Portrait of Ann Miller Tompkins (1813-1894)

By Ammi Phillips

This portrait epitomizes the graceful female poses of the artist's Kent period style (1829-1838) and is an example from a small group of portraits in which he exaggerated the sitter's wide oval neckline and adorned it with lace that forms a pendant, scalloped border to a dress with a tight upper sleeve design that balloons from the elbow before it tapers to a narrow cuff. Ann, like the other women from this group, rests one arm on a table with a book while holding an object, here a sprig of parsley.

Ann Miller was born in Somers, New York and married John M. Tompkins. They are buried in the cemetary of the Tomahawk Chapel in Somers, built by her brother Thomas Miller in 1837. The painting has descended in the family until this time.



A strong pair of folk art portraits, their robust character and painting style a "supportinging statement" to the way in which we typically describe the art form, despite the fact that these features are so often absent from the actual examples which we find. Here the scale of the figures within their rectangular formats, the attention paid to fine details of costume and setting, and their anatomical quirks and unrealistic spatial compression all come together to create works of power and appeal, both visually and emotionally.

They were probably painted in either New England or New York State. The man, whose arm rests on the crest rail of a paint-decorated chair, his hand facing forward and holding a newspaper ending its title with the letters "cate", probably for "...advocate", is posed in a style similar to that of Ammi Phillips or Milton Hopkins or Hopkin's student Noah North. Similar features in the female portrait, in which the figure holds a red book, as well as her earring design and the use of a red scarf or shawl over her white dress top, are also seen in the work of those same artists, one of whose work must have been familiar to this unidentified artist. The man's embroidered waistcoat acts to balance the embroidered white lace details of the woman's dress. Each has a blue-draped corner.
Circa 1838-1840. Oil on canvas, relined, and in wonderful period painted and possibly original frames. Minor surface restoration. 25 x 32 inches sight and 32 x 39 inches framed.



The foundations of a style: The 1812-1813 Border Period portraits of Ashbel Stoddard (1763-1840) and Patricia Bolles Stoddard (1762-1841) by Ammi Phillips

A few earlier portraits by Phillips exist, but they are rudimentary and experimental in style. These paintings represent the beginnings of the artist's emergence as a major folk portrait painter, perhaps the greatest American master of the genre.

In them we see what become signature features: the turning away from dark backgrounds with a light area behind the figure to ones more pearly gray with an associated lessening of tonal contrasts, increased attention to details of costume and facial features, and the establishment of a new longer pose that is a major compositional change.

Phillips becomes his "own man", no longer foused on imitating what he sees in others' work but pursuing variations of developments within his own, defining and refining who he is as an artist. 
Ashbel Stoddard, the first printer and publisher of a newspaper in Hudson, New York, holds a copy of Washington's Farewell Address, its text clearly readable. Patience's book is Young's Poetry.

The paintings were first exhibited in 1974 at Amherst College, MA, in an exhibit, "American Folk Art"; then in 1976 at Washburn Gallery, New York City, in an exhibit, "Ammi Phillips"and were illustrations one and two in its catalogue with its essay by Mary Black; they were later included in the 1995 Museum of American Folk Art exhibit "Revisiting Ammi Phillips: Fifty Years of American Portraiture", curated by Stacy Hollander and Howard Fertig, plates three and four on p. 26; and exhibited at the Columbia County Historical Society in Kinderhook, New York in 2005. There are the subject of an article in "The Hudson River Valley Review: A Journal of Regional Studies", Autumn 2012, entitled "Revealing Identities: Ammi Phillips' Portraits of Ashbel Stoddard and Patience Bolls Stoddard of Hudson, New York, 1812-1813"by Walter G. Ritchie, Jr., pp. 54-67.

Sight dimensions are 24 x 28 1/2 inches, and framed dimensions are 30 x 34 1/2 inches. In appropriate reproduction frames.



Oliver Tarbell Eddy (1799-1868)

Portrait of a Young Girl, thought to be from the Andruss family of Newark, New Jersey, circa 1838.

Eddy, born in Greenbush, Vermont and trained by his father as an engraver, was a self-taught painter. He worked in New York City as a miniaturist and portrait painter in the mid 1820's and exhibited there at the National Academy of Design in 1827, before moving to New Jersey in 1831.

Eddy's portraits follow many conventions of formal portraiture of the period but are distinctly naive in many respects. In this portrait, the child seems self-conscious and somewhat ill at ease posing for the artist. Her expression is key to the charm she projects, and the patterns of her dress, the carpet she stands on and the floral vines on the table covering all serve to focus us on the intimate details surrounding her quiet presence.

The painting is an oil on poplar panel, 40 1/2 x 30 inches and is in its ornate original gilded frame. Two other works accompany this piece, a virtually identical portrait on panel by Eddy that is only 14 x 10 inches and has a butterfly added to its composition, perhaps symbolizing that the second portrait was done as a memorial shortly after the first was completed, and a small self portrait of the artist in oil on tin.


Portrait of a Man Attributed to William Matthew Prior (1806-1873)

This portrait, executed primarily in red, white and black, has a dramatic flare that defines the strongest of the artist's works. Here the sitter has a well defined face, his strong features well-modulated and handsome, its flesh tones set-off by a black jacket and tie, his white shirt front, and the red book he holds. No shadows merge his body to its neutral gray background, before which it floats in a shallow spatial plane. In contrast to this spatial treatment is the red drape to his right, which is heavily shadowed and highlighted, its contours defined and exaggerated.

Probably MA circa 1840. Sight size 22 x 27 1/2 inches and in a period gilded frame 28 3/4 x 34 1/4 inches.


The Buildings and Station of S.S.&C. Junction
J. McCambridge, Agent

T. Bonneau (drawer), Iberville PQ

T. Bonneau, an artist whose name has escaped note for his works painted in northwestern New York State and northern New England, is here identified in a Canadian painting. The works are distinctive: architectural simplifcation with internal linear details emphasized, boldness of drawing, interesting color palettes, flattened perspective lines to base of structures and stacked planes indicating recession in space.

Works by this artist from Upstate New York and northern New England are included in "Folk Painters of America" by Robert Bishop, cover and pg 115; "The Marcus Collection", Sotheby's , Ocober 1989, lots 30 and 31; and "Seasonal Selections", The Magazine Antiques", at Giampietro, New York. 

Circa 1900. Watercolor and ink on paper, 19 1/2 x 25 3/4 inches sight, floating on a mat in a simple modern painted frame, 22 1/4 x 28 1/2 inches.


A charming portrait of a young woman pictured with a vase of flowers beside her on a table, seated in a paint decorated chair, and holdiing a beaded purse with floral decoration on it. 

Painted inscription on the back reads:

Painted By J. Parks
Nov 1837

For Catherine J (?) Rogers
Born Dec 3rd 1819

Parks' work in the 1830's is said to be from Mohark Valley, New York.

Reference: "The Folk Tradition: Early Arts and Crafts of the Susquehanna Valley," compilrd by Richard I. Barons, pp. 6-8.

Small repairs and minor scattered inpaint. Period frame.


An interesting historical portrayal of a meeting with Washington, painted and signed by Edmund Henry Garrett (1853-1929), a Boston artist, and inscribed by him as "From the original by N. C. Wyeth".  Probably painted c.1920 during the Colonial Revival period.


An unusual and highly stylized pair of pastel, charcoal, and watercolor portraits of "Mr. and Mrs. Broadhill of Chestnut Street" (Philadelphia). The pictures visually resemble smaller scale profile portraits and are primarily conceived as black and white images, like silhouetttes, although color is used sparingly in the faces and quite dramatically in the woman's striped dress.
Paper on original canvas mounts with the sitters' names and address inscribed on the back of one.
19 1/2" x 23 1/4" framed