'Portrait of the Reverend Charles Seabury (1770-1844)'. Oil on canvas. Apparently unsigned. Property from a New York Religious Institution. Dimensions: 30.25" h x 25.25" w. (unframed).
William Sidney Mount (1807-1868)- Portrait of John Smith Crary (1785-1837), together with a double portrait of his wife Henrietta Havens Crary (1784-1833) and daughter, Marion Virginia Crary (1826-1835), painted in 1831 (The daughter was previously mis-identified as Phoebe Lord Crary, born 1813). Oil on canvas, in gilt-carved frames. Frame: H 44-1/2" W 38". Sight: H 35-1/2" W 28-1/2". Exhibited: National Academy of Design, New York, 1832, nos. 212 and 213. Also exhibited: Portraits from our Past, National Society of Colonial Dames, New York, March, 1962, loaned by Lentilhon Gilford (Mrs. Rudolph von Fluegge) Literature: included in William Sidney Mount: Artist’s Record Book, 1831. Alfred Frankenstein, William Sidney Mount, Harry N. Abrams Publisher, N.Y., 1975, p. 482. Frick Museum Art Reference Library Photo Archive Provenance: By descent in the family of the sitter Lentilhon Gilford (Mrs. Rudolph von Fluegge) 1895-1981, a direct descendant of Crary, Robert E. Kinnaman & Brian A. Ramaekers, Bridgehampton, New York. Sotheby’s: American Paintings, Drawings and Sculpture, N.Y., 3-14-2001, lot 15 ($23,750). William A. Farnsworth Art Museum, Rockland, Maine (accession #s: 2001.14.1 and 2001.14.2) With his roots in Stonington, Connecticut, John Smith Crary’s parents: Peter Crary III (1748-1823) and Lucretia Palmer (1751-1822), came from two prominent colonial Connecticut families. Around the time he was born, his parents moved to New York City. It is likely that John Smith Crary first studied law, but by his early twenties was already a notable China trade silk merchant in business with his brother, Peter Crary IV, in lower Manhattan. By around 1810, Crary was in Canton, China (a portrait of John Smith Crary, in his offices in Canton, by the Chinese portrait painter, Spoilum, recently surfaced in Connecticut.). John Smith Crary’s nephew, Edward Charles Crary, married Robert Fulton’s daughter, Cornelia Livingston Fulton, on June 20, 1831. By 1827, John Smith Crary had become a man of immense wealth and influence in many enterprises: he built a house on prestigious Hudson Square in New York City, on land purchased from John Jacob Astor; owned a storefront on Pine Street (a store formerly occupied by Astor for many years), and rented a pew at the prominent Trinity Church in lower Manhattan. Crary was at the height of his success when his portrait was painted by William Sidney Mount in 1831. Significantly, by 1833, Crary had become a Director of the Phenix Bank on Wall Street, New York; and the first President and a Director of the New York, Providence & Boston Railroad (known as the Stonington Line). Obviously beloved in the city, a New York newspaper account, dated November 2, 1837, reported: The flags of the shipping were all at half mast yesterday, in consequence of the death of John Smith Crary, esq. A year after his death, the New York, Providence & Boston Railroad began regular service to a depot on the Providence Harbor, at the newly-named “Crary Street.” Condition: Inspected under UV light. No restoration noted. Minor wear to frames. Link to high-res images: https://www.dropbox.com/scl/fo/uqlo1ljf5zpjdv9rghfbg/AA1yUbSIjPqSuKIU1WWDgPw?rlkey=y9fvekz4zrhb6ww2m8m0sd9w0&st=acm5r0l0&dl=0
MOUNT, William Sidney (1807-1868). Coming to the Point. Lithograph with original hand color. Lithograph by Soulange Teisser. New York, 1854. 23" x 25 1/2" sheet, 34 1/2" x 37 1/2" framed.
Artist: William Sidney Mount, After, American (1807 - 1868) Title: Dancing on the Barn Floor Medium: Collotype Poster Size: 10 x 13.5 in. (25.4 x 34.29 cm) Frame Size: 15 x 18 inches
This is an original work of art attributed to William Sidney Mount (American, 1807-1868) oil on canvas of a woman and children from the Sjaardema Art Collection. The piece shows an oil painting on stretched canvas in an original period early-to-mid 19th century gold gilted ornate frame. William Sidney Mount (born 1807; died 1868) was a prolific 19th-century American oil painter. William Sidney Mount grew up on a farm in Setauket, Long Island, and was the first American-born genre painter of significance to depict the daily lives and tasks of the average citizen. He worked during a time when other artists emulated the European academic tradition of painting historical, religious, or literary scenes, yet Mount remained steadfast and depicted rural American subjects in a skillful, realistic style. Mount was influenced by the artwork of British genre artists Hogarth and Wilkie, whose engravings were popular in the United States. However, Mount's scenes are undoubtedly American in subject, such as Rustic Dance After a Sleigh Ride, exhibited at the National Academy of Design. Mount's paintings were popular among the growing number of newly rich collectors, many of whom came from country towns such as those that Mount painted. Mount's best-known patron was Luman Reed, who offered to pay for Mount to study art in Europe. Mount declined "For fear I might be induced by the splendor of European art to tarry too long, and thus lose my nationality. We have nature, it speaks to every one and what efforts I have made in art have been appreciated by my countrymen." While a boy, Mount recalled that his curiosity with painting was piqued when his younger sister Ruth began painting lessons at home. His oldest brother Henry was the first member of the Mount family to make a living as an artist and William first trained as his apprentice. From 1826 to 1827, Mount was among the first students to study art at the National Academy of Design in New York City. In 1829, Mount and another brother, Shepard ,set up a studio and painted portraits. In 1830, he returned to Stony Brook, Long Island, where he lived and painted for the remainder of his life. Mount's success spread nationally and internationally with the reproduction of his paintings into popular prints and later into color lithographs published by the French firm, Goupil and Company. His paintings are housed in numerous public collections including The Metropolitan Museum of Art, Corcoran Gallery of Art, National Gallery of Art, Brooklyn Museum of Art, Art Institute of Chicago, and the Stony Brook Museum of American Art. This painting shows exquisite detail of a woman holding her two children in a rural Long Island home sitting on the edge of her bed in the cramped room with her spinning wheel at her feet. The artwork is marked below with a brass plaque identifying the piece as being from (William) Sidney Mount 1807-1868, American, dating the painting to circa 1835 and stating it as being in the style of the Dutch Masters, oil with a reference from Davenport, Benezit. The artwork itself is overall well kept with the original painting being in good condition. There is a small approx.. 3/8 x 3/8 puncture at the center which could be repaired; as well the right side shows a long dark spindle with white cloudiness to it, likely a touch up or old damage, similarly seen to the left of the woman on the bed., The frame shows some small chipping to the elaborate plaster work and carvings but displays beautifully and is in solid structural condition. The artwork canvas itself measures 17.25 x 12 5/8 and the frame is 22 5/8" x 18 1/8. The work was identified as being a William Sidney Mount through extensive research by the Sjaardema's, though unsigned. Provenance: From the renowned collection of Henry and Jean Sjaardema.*
William Sidney Mount (American, 1807-1868) Portrait of Elizabeth Letitia Russell Penfield, Possibly a Mourning Portrait circa 1833 oil on canvas illegibly signed or initialed, lower right 30 x 25 inches. Provenance: Sarah Pettibone (1788-1960), Waterbury, Connecticut; by descent within her family to Gertrude Ella Weed Billington (1869-1951), Savannah, Georgia; Mr. Otto M. Wasserman, New York City, New York; Purchased by the Montclair Art Museum, Montclair, New Jersey, Florence O. Long Acquisition Fund, 63.53, 1963; Christie's Fine American Paintings, Drawings, and Sculpture, March 10, 2010, Lot 175; Market Auctions, Lake Worth, Florida, April 6, 2023, Lot 26. Literature: M.S. Kushner, A. Anreus, M. Grzesiak and V. Wageman, Three Hundred Years of American Painting: The Montclair Art Museum Collection, New York, 1989, p. 166, no. 334, illustrated. Elizabeth Letitia Russell was born in 1804. She became the second wife of Josiah Penfield (1785-1828), a silversmith and watch and clockmaker originally from Fairfield, Connecticut. The couple wed on December 23, 1823, in Chatham County, Georgia, where they lived until Elizabeth’s death on May 11, 1833. Around this time, William Sidney Mount, struggling to find a foothold as a history painter, began accepting commissions for death or mourning portraiture to make ends meet. He returned to his hometown of Setauket, New York beginning in 1832, just across the Long Island Sound from Connecticut, where Josiah Penfield’s extended family still lived. Penfield had preceded Elizabeth in death on September 12, 1828, so if the portrait offered here was indeed a postmortem commission, the exact circumstances remain nebulous. However, Mount was known among clients for his practice of attending the wake or even visiting the deathbed of the deceased, where he made sketches and took notes for later work in his studio. The resulting portraits, formal and commemorative, often included symbolic, organic details, such as bodies of water or plants. The verdant island with sailboats seen at the lower right corner serves as this pictorial device in the Penfield portrait. According to paperwork from the Montclair Art Museum, which acquired this portrait in 1963, the work passed from a Sarah Pettibone of Waterbury, Connecticut, purportedly the mother of the sitter, to a Mrs. Robert Billington, identified as her niece. The exact chain of custody proves slightly more complex, albeit with a commensurate increase in the level of intrigue. Genealogical records in both Chatham County, Georgia, and variably throughout Connecticut confirm that Sarah Bolles Pettibone (1778-1860) was the mother of Josiah Penfield’s first wife, Sarah (1795-1818). Though Sarah Pettibone is buried in Savannah along with her daughter and husband John, the U.S. Federal Census of 1860 lists her as a resident of Waterbury, Connecticut, at the home of her son, Dr. Philo Guiteau, one of two children born after Sarah Pettibone’s marriage to her second husband. It is possible that she remained close to the Penfield family and kept this portrait after the death of her son-in-law’s second wife. After Sarah Pettibone died in 1860, the painting seems to have passed within her family in Georgia to Gertrude Ella Weed Billington (1869-1951), the daughter of Savannah Bank and Trust President and railroad magnate Joseph D. Weed. Both the Weeds and the Pettibones had connections in both Connecticut and Georgia, so it is possible that the branches of these two prominent families intersected at some juncture, if not by marriage, then likely by acquaintance, and the term “niece” may have been used colloquially to reference a close family friend. Gertrude Weed Billington served as the executrix of her father’s substantial estate, assuming control of his financial assets and personal property, which may have included the painting. It was subsequently purchased by the museum from Otto M. Wasserman (1901-1998), recorded as an antique dealer in the U.S. Federal Census of 1950, who possibly assisted Weed Billington with her father’s estate or even handled her own following her death in 1951.
Artist: William Sidney Mount, After, American (1807 - 1868) Title: Dancing on the Barn Floor Medium: Collotype Poster Size: 10 x 13.5 in. (25.4 x 34.29 cm) Frame Size: 15 x 18 inches
This is an original William Sidney Mount (American, 1807-1868) oil on canvas of a woman and children from the Sjaardema Art Collection. The piece shows an oil painting on stretched canvas in an original period early-to-mid 19th century gold gilted ornate frame. William Sidney Mount (born 1807; died 1868) was a prolific 19th-century American oil painter. William Sidney Mount grew up on a farm in Setauket, Long Island, and was the first American-born genre painter of significance to depict the daily lives and tasks of the average citizen. He worked during a time when other artists emulated the European academic tradition of painting historical, religious, or literary scenes, yet Mount remained steadfast and depicted rural American subjects in a skillful, realistic style. Mount was influenced by the artwork of British genre artists Hogarth and Wilkie, whose engravings were popular in the United States. However, Mount's scenes are undoubtedly American in subject, such as Rustic Dance After a Sleigh Ride, exhibited at the National Academy of Design. Mount's paintings were popular among the growing number of newly rich collectors, many of whom came from country towns such as those that Mount painted. Mount's best-known patron was Luman Reed, who offered to pay for Mount to study art in Europe. Mount declined "For fear I might be induced by the splendor of European art to tarry too long, and thus lose my nationality. We have nature, it speaks to every one and what efforts I have made in art have been appreciated by my countrymen." While a boy, Mount recalled that his curiosity with painting was piqued when his younger sister Ruth began painting lessons at home. His oldest brother Henry was the first member of the Mount family to make a living as an artist and William first trained as his apprentice. From 1826 to 1827, Mount was among the first students to study art at the National Academy of Design in New York City. In 1829, Mount and another brother, Shepard ,set up a studio and painted portraits. In 1830, he returned to Stony Brook, Long Island, where he lived and painted for the remainder of his life. Mount's success spread nationally and internationally with the reproduction of his paintings into popular prints and later into color lithographs published by the French firm, Goupil and Company. His paintings are housed in numerous public collections including The Metropolitan Museum of Art, Corcoran Gallery of Art, National Gallery of Art, Brooklyn Museum of Art, Art Institute of Chicago, and the Stony Brook Museum of American Art. This painting shows exquisite detail of a woman holding her two children in a rural Long Island home sitting on the edge of her bed in the cramped room with her spinning wheel at her feet. The artwork is marked below with a brass plaque identifying the piece as being from (William) Sidney Mount 1807-1868, American, dating the painting to circa 1835 and stating it as being in the style of the Dutch Masters, oil with a reference from Davenport, Benezit. The artwork itself is overall well kept with the original painting being in good condition. There is a small approx.. 3/8 x 3/8 puncture at the center which could be repaired; as well the right side shows a long dark spindle with white cloudiness to it, likely a touch up or old damage, similarly seen to the left of the woman on the bed., The frame shows some small chipping to the elaborate plaster work and carvings but displays beautifully and is in solid structural condition. The artwork canvas itself measures 17.25 x 12 5/8 and the frame is 22 5/8" x 18 1/8. The work was identified as being a William Sidney Mount through extensive research by the Sjaardema's, though unsigned. Provenance: From the renowned collection of Henry and Jean Sjaardema.*
Artist: William Sidney Mount, After, American (1807 - 1868) Title: Dancing on the Barn Floor Medium: Collotype Poster Size: 10 x 13.5 in. (25.4 x 34.29 cm) Frame Size: 15 x 18 inches
Framed oil on canvas by William Sidney Mount depicting a portrait of Elizabeth Penfield. Circa 1833. It measures approx 30" x 25" (36.5" x 32" framed). Frame shows a minor blemish here and there. This piece was featured in Christie's Fine American Paintings, Drawings and Sculpture auction on March 10th 2010, and sold for $3,250. Provenance: Montclair Art Museum, Montclair, New Jersey 1963 Local South Florida Estate Have a similar item to sell? Contact us at [email protected] Please review all photos closely. The non-appearance of a condition report does not mean that the lot is in perfect condition, does not show wear due to age and use, or is free from damage. Market Auctions Inc. strongly suggests that you request a condition report before placing a bid. You may request one from us via this auction platform. Please note that any condition reports are given as strictly as a courtesy to interested parties and should not be considered a statement of fact. Market Auctions Inc. bears no responsibility for any error or omission. All sales are final and sold as is. Measurements are approximated. Please note shipping is not included. All collectibles, silver, antiques, and paintings please contact our third party shipper listed below: Juniors Auction Services 561-510-0345 / [email protected] UPS Store (561) 631-8997 / [email protected] DM Postal (561) 469-6137 / [email protected] For furniture and very large items, please contact an appropriate freight / transport company for shipment. SALES TAX NOTICE PLEASE TAKE NOTICE that Market Auction, Inc., only collects and remits sales tax on items purchased by Florida residents. ALL OUT OF STATE purchasers are required to pay sales tax to their respective States. Purchasers holding valid resale certificates must provide proof of same prior to purchase. Market Auctions, Inc. takes no responsibility for purchaser failure to remit sales tax to the proper non-Florida taxing authority and for any fines or penalties that may result.
Framed oil on canvas by William Sidney Mount depicting a portrait of Elizabeth Penfield. Circa 1833. It measures approx 30" x 25" (36.5" x 32" framed). Frame shows a minor blemish here and there. This piece was featured in Christie's Fine American Paintings, Drawings and Sculpture auction on March 10th 2010, and sold for $3,250. Provenance: Montclair Art Museum, Montclair, New Jersey 1963 Local South Florida Estate Have a similar item to sell? Contact us at [email protected] Please review all photos closely. The non-appearance of a condition report does not mean that the lot is in perfect condition, does not show wear due to age and use, or is free from damage. Market Auctions Inc. strongly suggests that you request a condition report before placing a bid. You may request one from us via this auction platform. Please note that any condition reports are given as strictly as a courtesy to interested parties and should not be considered a statement of fact. Market Auctions Inc. bears no responsibility for any error or omission. All sales are final and sold as is. Measurements are approximated. Please note shipping is not included. All collectibles, silver, antiques, and paintings please contact our third party shipper listed below: Juniors Auction Services 561-510-0345 / [email protected] UPS Store (561) 631-8997 / [email protected] DM Postal (561) 469-6137 / [email protected] For furniture and very large items, please contact an appropriate freight / transport company for shipment. SALES TAX NOTICE PLEASE TAKE NOTICE that Market Auction, Inc., only collects and remits sales tax on items purchased by Florida residents. ALL OUT OF STATE purchasers are required to pay sales tax to their respective States. Purchasers holding valid resale certificates must provide proof of same prior to purchase. Market Auctions, Inc. takes no responsibility for purchaser failure to remit sales tax to the proper non-Florida taxing authority and for any fines or penalties that may result.
Man in White Coat, oil on academy board, initialed and dated 1849 lower left, label verso from Alexander Gallery, 980 Madison Ave, NYC. Housed in what appears to be the original ornate gilt gesso frame, OS: 21" x 17", SS: 13" x 10".
ATTRIBUTED TO WILLIAM SIDNEY MOUNT AMERICAN, 1807-1868 PORTRAIT OF ANDREW MEAD (PUBLISHER OF THE PASSAIC GUARDIAN AND PATERSON ADVERTISER), 1844 Oil on canvas Verso stenciled on canvas: Prepared /by / Edward Dechaux / New York Verso inscribed on canvas: # 18 / GM / Note: Edward Dechaux was Mount's supplier.
WILLIAM SIDNEY MOUNT (American, Long Island, 1807-1868), portraits of Captain Jonas Smith and Mrs. Nancy Williamson Smith of Stony Brook, Long Island, 1836, oil on canvas, signed ''Wm. S. Mount'' and dated to canvas verso, with stamp of canvas supplier, Edward Dechaux, New York. Male portrait with minor abrasions, small bulge to canvas with minor loss lower left from trapped key; female portrait professionally cleaned, restored and varnished, including minor repair with inpainting at forehead. Canvases 34''h, 27''w. Provenance: The sitters; to Mrs. Nancy Williamson Smith upon Mr. Smith's death, 1867; likely by descent to niece, Mrs. Louise Pettit Norton, 1875; likely by descent to sister, Julia Whitford, 1918; thence by descent to granddaughter, Virginia Whitford Holmes, 1920; bequeathed to Beaufort Historical Association, NC, 1989; deaccessioned and acquired by present owner, 2007. Published and illustrated in: ''William Sidney Mount: Family, Friends, and Ideas'', (Ed. Kaplan, Kenny, and Wunderlich), Three Village Historical Society: Setauket, New York, 1999, ''Jonas and Nancy Smith'' by Robert W. Kenny, pp. 54-55. Catalog note: Captain Smith was in the shipping business and operated a fleet that sailed as far as Peru. He was ''Long Island's first self-made millionaire,'' according to Kenny. Per the monograph on Mount by Alfred Frankenstein, the portraits were completed in 1836 for a cost of $70, (''William Sidney Mount'', New York: Harry N. Abrams, 1975, p, 469)
WILLIAM SIDNEY MOUNT AMERICAN, 1807-1868 PORTRAIT OF ANDREW MEAD (PUBLISHER OF THE PASSAIC GUARDIAN AND PATERSON ADVERTISER), 1844 Oil on canvas Verso: Stenciled on canvas: Prepared /by / Edward Dechaux / New York Verso inscribed on canvas: # 18 / GM /
This is an original signed charcoal drawing by artist Francis Hopkinson Smith (American, 1838 - 1915). The drawing depicts the home of another well-listed artist William Sidney Mount (American, 1807 - 1868). Signed on the lower left corner and dated for 1881. Before gaining notoriety as an artist, Smith was best know as a contractor. He built the foundation for the Statue of Liberty. Mount is best known for pioneering the art of genre paintings and chronicled life as he saw it on Long Island, NY. Mount's work can also be found in many collections around the United States, including the Metropolitan Museum of Art, the Brooklyn Museum of Art, The New-York Historical Society, the Museum of Fine Arts, Boston, the Nelson-Atkins Museum of Art, Yale University Art Gallery, the Art Institute of Chicago, and the Cleveland Museum of Art, among others. The Long Island Museum of American Art, History, and Carriages owns the largest repository of Mount artwork and archival material. The frame is 24 1/2 x 20" and the mat sight is 17 x 12 1/4".
William Sidney Mount (American, 1807-1868) "The Power of Music", 1847, hand-colored lithograph.Framed. Size: 14.25'' x 18.5'', 36 x 47 cm (sight); 23'' x 26'', 58 x 66 cm (frame).
William Sidney Mount Sketch of the Artist's Mother 1841 graphite on paper 7.75 h × 12.5 w in (20 × 32 cm) Signed, titled, dated and inscribed to lower left 'A Sketch of My Mother. Stony Brook L. Island Nov. 14th 1841 W. S. Mount'. Provenance: Kennedy Galleries, New York | Hirschl & Adler Galleries, New York | Acquired from the previous in 1982 by the present owner, Private Collection, Texas This work will ship from Rago in Lambertville, New Jersey.
"Long Island Farm", oil on mahogany panel, depicting daughter and her small white dog bringing lunch to Papa, who has paused to sharpen his scythe blade while working his oceanside fields. Unsigned, but with label verso from the William MacBeth Gallery at 11 East 57th St., New York, giving the artist's name and title of painting, along with lot slip from unidentified auction early 20th c. Housed in replica gilt matched corner deep cove frame with name and title tag. OS: 15 1/2" x 18", SS: 9 1/2" x 12". Good condition.
William Sidney Mount (American, 1807-1868) "The Power of Music", 1847, hand-colored lithograph.Framed. Size: 14.25'' x 18.5'', 36 x 47 cm (sight); 23'' x 26'', 58 x 66 cm (frame).
Artist: William Sidney Mount, After, American (1807 - 1868) Title: Dancing on the Barn Floor Medium: Collotype Poster Size: 10 x 13.5 in. (25.4 x 34.29 cm) Frame Size: 15 x 18 inches
Artist: William Sidney Mount, After, American (1807 - 1868) Title: Dancing on the Barn Floor Medium: Collotype Poster Size: 10 x 13.5 in. (25.4 x 34.29 cm) Frame Size: 15 x 18 inches
After WILLIAM SIDNEY MOUNT (American, Long Island, 1807-1868), ''Farmers Nooning'', hand colored engraving, published by the Apollo Association, 1839. Toning, mat burn, foxing, minor touch up. Image 12-3/4''h, 16''w. (Fine Art)
ATTRIBUTED TO WILLIAM SIDNEY MOUNT New York, 1807-1868 "Old House Across From Hotel" (Stony Brook, New York). Unsigned. Kennedy Gallery label affixed to mat provides attribution and title. Provenance: Eldred's Painting Auction, 1995. Ink on paper, 18.5" x 16". Unframed.
POSSIBLY WILLIAM SIDNEY MOUNT (AMERICAN, 1807-1868) PORTRAIT OF A WOMAN Oil on canvas: 36 x 29 in. Verso label: William Sidney Mount Provenance: Property from a Distinguished Collector
Artist: William Sidney Mount, After, American (1807 - 1868) Title: Dancing on the Barn Floor Medium: Offset Lithograph Size: 10 x 13.5 in. (25.4 x 34.29 cm) Frame Size: 15 x 18 inches
AFTER WILLIAM SIDNEY MOUNT (1807-1868): THE MOWER (ALTERNATE TITLE LONG ISLAND FARM) Oil on panel, unsigned, with label from William Macbeth, New York. 9 x 11 1/2 in., 16 x 18 1/2 in. (frame). Literature: William Sidney Mount, 1807-1868, An American Painter, Mary Bartlett Cowdrey, Hermann Warner Williams, 1944, no. 114, illus. figure 72. Note: This painting is a copy of the original work now in the collection of the Long Island Museum of Art, History and Carriages, Stony Brook, NY. It has been suggested that it may be by the hand of one of Mount''s contemporaries, such as William M. Davis. The Estate of Alicja Corning Clark
POSSIBLY WILLIAM SIDNEY MOUNT New York, 1807-1868 19th Century portrait of John Dow Williamson (1811-1878) of Gravesend, Brooklyn. Unsigned. Stamp verso for Edward Dechaux, New York. Oil on canvas, 30" x 25". Framed 37.5" x 32".
The Power of Music. W.S. Mount (1807-1868). Lithograph. New York: Goupil Vibert & Co., 1848. 20 x 22 3/4 inches sheet. William Sidney Mounts The Power of Music is an iconic American painting in large part because Mounts ostensible message about race, which is embedded in the composition, seems undermined by the figures. Mount clearly intended the painting to convey the idea that art has the power to bridge the separate spaces of whites and blacks.
WILLIAM SIDNEY MOUNT (NY, 1807-1868) - "Portrait of John Crary", circa 1831, oil on canvas, in an ornate Victorian gold gesso frame, OS: 44 1/2" x 38 1/2', SS: 35 1/2" x 28 1/2". Cleaned and relined. De-accessioned from the Farnsworth Museum, Rockland, Maine. Being sold to benefit the acquisitions fund.
WILLIAM SIDNEY MOUNT (NY, 1807-1868) - "Portrait of Henrietta Crary and Daughter Phoebe", circa 1831, oil on canvas, in an ornate Victorian gold gesso frame, OS: 44 1/2" x 38 1/2', SS: 35 1/2" x 28 1/2". Cleaned and relined. De-accessioned from the Farnsworth Museum, Rockland, Maine. Being sold to benefit the acquisitions fund.
Attributed to William Sidney Mount (American, 1807-1868), watercolor, Seated Man with Gun and Dog, 11 1/2" x 12" sight, surface abrasions and losses, mounted on mat board, with losses The consignor of this lot is donating 5% of the hammer price to the Wounded Warriors Project.
WILLIAM SIDNEY MOUNT American, 1807-1868 Pair of framed sketches: 1) Three figures. 2) A bull standing in river. Inscribed in pencil "W.S.M. Aug 16, 67". Pencils on paper, 3.5" x 3.5" sight. Framed together.
William Sidney Mount (1807-1868) >What Have I Forgot? <br>signed and dated 'Wm.S. Mount/62' (lower right)--inscribed with title (on the reverse) >oil on canvas laid down on board <br>8¼ x 6½ in. (21 x 16.5 cm.)
WILLIAM SIDNEY MOUNT American, 1807-1868 Pair of framed sketches: 1) Three figures. 2) A bull standing in river. Inscribed in pencil "W.S.M. Aug 16, 67". Pencils on paper, 3 1/2" x 3 1/2" sight. Framed together.
OIL ON BOARD - 'The Dairyman' by William Sidney Mount (NY, 1807-1868), faintly initialed ll & dated 1849, depicting a man in distinctive long white coat at cow's water trough. In ornate gilt frame. With label on back from Alexander Gallery, NYC. OS: 20 3/4" x 17". SS: 13" x 19 1/2". Slightly bowed, fine overall crazing, small indentation ur.
(New York, 1807-1868)The Power of Music!, published by Goupil, hand-colored lithograph on paper, unframed, 19-3/4 x 23-7/8 in., toning, tears and chipping, margins reduced. Provenance: Sold to Benefit Hospice of the Carolina Foothills.
William Sidney Mount American, 1807-1868 Country Lad on a Fence [Sketch from Nature; Boy Getting Over a Fence, Throg's Point, New York], 1831 Signed W. S. Mount. (lr); signed Wm. S. Mount. and dated 1831. on the reverse Oil on panel 12 x 13 7/8 inches Provenance: The artist Asher B. Durand, New York, by 1832 Robert Gilmor, Jr., Baltimore, by 1833 William Gilmor (1815-1870), Baltimore, nephew of the above, by 1863 Gilmor Sale, 1863, lot 33, from which purchased by Robert Gilmor, IV (1833-1906), Baltimore Miss Margaret Painter, Owings Mills, Md. Fanny L. Pearre, Baltimore County, MD, after 1931 Thence by descent to private collection, Baltimore, circa 1973 Exhibited: New York, National Academy of Design, 1832, no. 93, as Sketch from Nature, Country Lad Resting on a fence, lent by Asher B. Durand New York, American Academy of the Fine Arts, 1833 (possibly) Baltimore, Maryland Historical Society, 1848 (as Boy Getting over a Fence, Throg's Point, N.Y. Literature: The Whitney Journal (notebook maintained by William Sidney Mount from 1848-1857), collection Whitney Museum of American Art, undated entry following one dated November 14, 1952, mentions "Boy resting on a fence-painted in the open air - Stony Brook - year 1831." The Exhibition of the National Academy of Design, The Seventh (New York: Clayton & Van Norden, 1832), no. 93 National Academy of Design. Second Notice, The New-York Mirror, 9.49 (June 9, 1832), 391 William Sidney Mount to Robert Gilmor, Jr., Nov. 15, 1833, Dreer Coll., Historical Society of Pennsylvania, Philadelphia Robert Gilmor, Jr. to William Sidney Mount, November [18], 1833, as printed in Edward P. Buffet, William Sidney Mount: A Biography [articles from The Port Jefferson Times from Dec. 1, 1923-Jun. 12, 1924], (New York: 1927) "The Picture of a Boy on a Fence. Painted by Mount-engraved by Adams," The New-York Mirror 12.18 (Nov. 1, 1834), 137, illus. Robert Gilmor, Jr. to Jonathan Meredith, Apr. 2, 1844, Meredith Papers, MS. 1367, Maryland Historical Society Catalogue of Paintings, Engravings, & co. at the Picture Gallery of the Maryland Historical Society. First Annual Exhibition (Baltimore: John D. Toy, 1848), no. 31 Robert Gilmor, Jr. to Susan Smith Gilmor, May 2, [1848], tipped into Ellen Gilmor (Mrs. Thomas G.) Buchanan, Memoirs of Robert Gilmor by Himself, 1813, Copied by Ellen Gilmor for Thomas Gittings Buchanan Jr., The original in the possession of Robert Gilmor, 5th, 1908, MS. 1729, Maryland Historical Society Robert Gilmor's Inventory & List of Debts, Jan. 29 and Feb. 6, 1849, Inventories (originals) Baltimore City, Register of Wills, Maryland Hall of Records, Annapolis Catalogue of the Very Valuable and Original Oil Paintings, Being a Portion of the Collection of the Late Robert Gilmor. Also, Marble Statuary, Engravings, and Rare Works, To be Sold by Public Auction, at the Dwelling of Mr. William Gilmor, No. 47 Franklin Street, On Tuesday Morning, Nov. 10, 1863 (Baltimore: F. W. Bennett & Co.), lot 33 Bartlett Cowdrey and Hermann Warner Williams, Jr., William Sidney Mount, 1807-1868: An American Painter (New York: Columbia University Press, 1944), 15, no. 12 (as Country Lad on a Fence, unlocated Alfred Frankenstein, William Sidney Mount (New York: Harry N. Abrams, 1975), 25, 249, 468 Private collector, email to the author, May 22, 2011 Lance Humphries Collection Deborah J. Johnson, William Sidney Mount: Painter of American Life, NY, 1988, pp. 28, 118-119, 128 (endnote 61) as unlocated, illus. (engraving by Joseph Alexander Adams, 1803-1880, after the painting and entitled Boy on a Fence after Country Lad on a Fence) In 1834, a critic for the New-York Mirror described Country Lad on a Fence as "very simple; merely a country lad sitting upon a fence on his way home after the labours of the day; waiting, perhaps, for some loitering companion-or it may be, listening in rapt suspense, to the rural music that floats upon the air in summer evenings; the tinkle of the distant cow-bell, the faint cawing of the homeward-journeying crows, the wild, but not unpleasing scream of the night-hawk, and the melancholy wailing cry of the whip-poor-will.The painter, Mount, is fast and justly rising in the public estimation, and the day is not far distant when his rural scenes will be called upon as treasures."["The Picture of a Boy on a fence,' New-York Mirror 12, no. 18 (Nov. 1, 1834), as quoted in Deborah J. Johnson, William Sidney Mount: Painter of American Life, NY, 1988,p. 28.] Lance Humphries, an authority on the collection of Robert Gilmor, Jr., writes of the present work, "In 1831 William Sidney Mount painted this early composition, which by the time it was included in the National Academy of Design exhibition in 1832 was owned by the artist Asher B. Durand. Titled in the exhibition Sketch from Nature, a review described it as a 'pretty piece, representing a country lad resting himself on an old rail fence,' while generally observing that Mount was young, and developing his own style. In late 1833 Mount apparently exhibited the work again in New York, this time at the American Academy of the Fine Arts, although it does not appear in the catalogue for that year. Writing to Gilmor in November 1833, Mount requested that the publisher of The New-York Mirror, George P. Morris, be allowed to make an engraving of the painting 'which you purchased of me now exhibiting at the American Academy.' Gilmor informed Mount that he had no objection, although requested a copy of the engraving once completed, and hoped that the painting would be sent before the winter closed the rivers to navigation. "The engraving was published a year later, appearing in the November 1, 1834 edition of The New-York Mirror. The brief article which it accompanied discussed the importance of engravings in encouraging the arts, noting that 'the engraving which occupies a portion of this column, affords sufficient evidence that we speak not unadvisedly. It is by Adams, from the delicious little painting by Mount, which was so much admired in the exhibition of the National Academy. The subject is very simple; merely a country lad sitting upon a fence on his way home after the labours of the day,' Notably, although little narrative is inherent in the composition, the author supplied several scenarios of why the boy might be 'loitering' on the fence, including the sights and sounds he may have witnessed. Mount painted several paintings on the theme of a boy on a fence, but in his records noted that the picture painted in 1831 and engraved by Adams for The New-York Mirror was the work sold to Gilmor. Although Gilmor requested that Mount send him an impression of the engraving, it is not known whether one was sent. When it appeared, brief notices about the exceptional quality of the engraving appeared in the Baltimore papers, noting that American engravers on wood were attaining 'a degree of excellence seldom surpassed.' "Gilmor retained this painting throughout his life, informing his friend Jonathan Meredith in 1844 that he had this work, Mount's 'first picture of the boy getting over the fence I bought in the presence of Trumbull at the Academy, when it was left alone unsold, because I discovered merit in the sign painter as he was then.' He exhibited the piece in the 1848 exhibition at the Maryland Historical Society, there titled Boy getting over a Fence, Throg's Point, N.Y. Readily identifiable in Gilmor's estate inventory as 'Boy on the Fence,' which was displayed in the halls, it is probably the 'Mount' that he mentions in an 1848 letter to his niece Susan Smith Gilmor was in the hall, hanging below a landscape by George Morland. This painting was apparently distributed to Gilmor's nephew William Gilmor, although it does not appear on a list Robert Gilmor III created in Gilmor's 1823 catalogue of William's pictures. In William's 1863 sale, the painting, titled Boy getting over a Style, was purchased by William's nephew Robert Gilmor IV, who appears to have been purchasing at the sale for a number of Gilmor family members. Although twentieth century publications list the painting as unlocated identified as unlocated in the literature throughout the twentieth century, Country Lad on a Fence recently reemerged in a Baltimore collection." We extend our thanks to Lance Humphries for his generosity in contributing information from his extensive archives and for the accompanying essay for this lot. An authority on the art collecting and patronage of Robert Gilmor, Jr. (1774-1848); he has been reviewing and updating his research in anticipation of a new book on the subject. C Estate of Elizabeth Randolph Pearre
ARTIST WILLIAM SIDNEY MOUNT AUTOGRAPH LETTER SIGNED, William Sidney Mount ( 1807 -1868) American genre painter and contemporary of the Hudson River School writing to his brother Nelson discussing the shipment of his painting, 'The Fortune Teller' as well as family matters. In a bold hand, from Tammany Hall, N.Y. Dec. 9, 1847. Rag matted in a handsome period veneered frame. SS: 10" x 8", OS: 20" x 24". Very good condition. From the Marvin Sadik Collection.
AFTER WILLIAM SIDNEY MOUNT [US 1807-68] OIL ON CANVAS, 31" X 40", "JOCKEY WHITTLING A CROP": Standing figures near stable whittling riding crops. Unsigned and unframed. 31" x 40 1/4".
WILLIAM SIDNEY MOUNT (american 1807-1868)/span PORTRAIT OF A MAN Inscribed bottom center and signed bottom right, graphite on paper sight size: 6 1/4 x 5 1/4 in.
![AFTER WILLIAM SIDNEY MOUNT [US 1807-68] OIL ON](https://image.invaluable.com/housePhotos/DuMouchelles/15/325215/H0093-L30466874.jpg)
