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Portrait Miniature
Boy Grasping
Red Book
Attr. JONATHAN ADAMS BARTLETT
Watercolor on paper. Inscribed on the reverse of the paper: “J. Glines. Age 14 / Rumford, Me. 1857.”
Unusually graphic in its execution.
At that time, portrait artist Jonathan Adams Bartlett was working in Rumford, Maine, though only a handful of his works are known today. Bartlett’s self-portrait appears as the frontispiece and back cover of American Folk Portraits (Abby Aldrich Rockefeller Folk Art Center, Colonial Williamsburg), as well as on pages 46–47—alongside his signed portrait painted in 1841 of his fiancée Harriet A. Glines. Notably, her surname “Glines” connects the young sitter in this miniature to Barlett. Also, Harriet’s portrait at Colonial Williamsburg is inscribed on the back in the same hand (Bartlett’s) that matches the inscription on the reverse of this miniature (compare “Glines” and “Age”). When considered all together—the location (Rumford, Maine), the surname Glines, and the matching handwriting—these elements provide compelling evidence for attributing this portrait to Johnathan Adams Bartlett.
As described in the Colonial Williamsburg book: [Bartlett] “incorporates a great wealth of detail and expresses exuberant delight in recording the form and color”—a fitting description of this portrait of young J. Glines.
The white areas around the sitter’s eyes and mouth are not the result of damage. Instead, they reflect Bartlett’s use of white paper, and opaque white paint to model the facial features and create depth. Over the last 175 years, the unpainted areas of the paper have toned to a warm brown, while the white paint has retained its brightness—creating a visual contrast. This is commonly observed in antique watercolors and a compelling sign of great age.
Presented in a finely painted period molded frame, measuring approximately 6½ inches by 5½ inches. From an fine private Northeast portrait collection. Perhaps the only miniature known by Jonathan Bartlett.
Striking
Parcheesi Gameboard
.....sale pending
Discovered in an estate in Alburgh, Vermont, this 19th-century Parcheesi gameboard captivates with its dramatic design.
Pinwheel corner decorations seem to spin around the central "HOME" field. The lettering, artfully integrated into the ladder spaces, lends a distinctive charm. The color palette—black, green, mustard, white, and red—creates a striking contrast against the unpainted wood edges.
Robust two board construction, with frame joined via large cut nails. About 20 ¾ inches square.
A visually dramatic piece, it has been part of a private collection since 2001.
Queen Anne
Looking Glass. Remarkable State of Preservation
.....SOLD
Likely Northeast, ca. late 18th century. A simple, elegant silhouette.
Virtually untouched, Retaining the original red-pigmented dry varnish surface, mirror glass, and backboard with sensational undisturbed patina. Without cracks or repair. Appears to be mahogany and pine, the backboard with such appealing hand-planing that one would be tempted to display this glass backwards. The carved crest is joined to the frame via a sliding-dovetail stile, the molded frame joined at the corners with wooden splines.
As pure an example of this form as one will find. Versatile smaller size of about 16 ½ inches tall x 9 3/8 wide.
See the Mirror Book, Schiffer, for related examples. .
Masterwork Miniature Ash Burl Bowl
.....SOLD
Northeast, ca. 1780. Of the finest form, turned remarkably thin by a master turner, with a design emulating the finest silver and porcelain bowls of the period.
Pronounced foot, with slow-lathe tool marks underneath, supporting a round bowl with subtle flare at the rim. Despite its tiny size, the bowl was really used as evidenced by the darkening inside the rim from handling, and lighter patina within the outer turnings near the foot where hands could not reach. Exceptional condition.
About 3 ¼ inch diameter x 1 3/8 tall.
Brilliant 2-Sided Polychrome Gameboard
American, ca. 1870
Two beautiful gameboards in one, painted by a skilled coach-painter.
Checkers-Chess on one side, backgammon on the reverse. The checkers side has a clever gold border which gives the illusion of a "raised" playing field, enclosed within another green border decorated by pin striping and corner cartouches. All within another gold border and “square” cut-nail applied picture frame molding.
The reverse backgammon personalized with initials within a central medallion centering precisely rendered geometrics. Finely crazed surface; expected minor abrasions. About 16 inches square by 1 inch thick.
Provenance: Long time top-shelf Southern gameboard collection. .
THE
PUFFY SLEEVE ARTIST
.....SOLD
SCARCE PAIR
of Silhouette Portraits
Pictured in the
Magazine Antiques
Massachusetts, ca. 1830. Hollow-cut silhouettes with gouache on paper.
It’s been 20 years since I last handled a pair by the Puffy Sleeve Artist, who is now believed to be Ezra Wood. Profiles by the Puffy Sleeve Artist are immediately recognizable given characteristics like the distinctive way their bodies are turned toward the front while their heads remain in profile, woman wear the fashionable dress of that period with exaggerated puffy sleaves and iconic little hands at their tiny waists, men have broad chests, and both women and men have hands that are oddly shaped and colored. They often hold books (sometimes date 1830 or 1831) or other accoutrements.
From the Magazine Antiques, July/August 2014 “UNMISTAKEN IDENTITY”, Michael & Suzanne Paine and Sam Herrup: “For Americana and Folk Art collectors, among the most sought after silhouette portraits from the early 19th century are those produced by an individual who has been nicknamed the Puffy Sleeve Silhouette Artist”. The article makes the case that the Puffy Sleeve Artist was Ezra Wood, Buckland, Massachusetts. In that same article is pictured this pair of portraits, page 127, of Harriet and John Wilder, and notes that they are of an unusual larger size for this artist. Harriet has a particularly beautiful profile.
The portraits are in excellent condition with minor toning. The frames are probably original. Frames each about 6 x 5 inches.
Until recently in a long time Maine collection.
In addition to the Magazine Antiques, see “A LOVING LIKENESS”, the collection of Ray Egan, for many more examples and more detailed information on the characteristics that identify portraits by the Puffy Sleeve Artist.
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