More 19th Century Silhouettes © 2012

2011-11-14T19:17:00.000-08:00

Identification and Valuation of Silhouettes

Due to overwhelming demand from readers of this blog for identification of silhouettes, I am unable to offer that service any longer. The whole process is taking too much of my time. For that reason please do not forward me questions regarding attribution, rarity, values, etc of silhouettes. This plea includes auction houses as well. However, readers are free to submit their rare and unusual finds as usual for publication.

2011-10-20T11:47:00.000-07:00

19th Century American Silhouettes Books For Sale

This is a MUST HAVE book for anyone interested in 19th century American silhouettes. It is packed with illustrations. The book is just the right size to read in bed with good sized fonts to boot. Alice was a good writer with flair. She will entertain you while you learn about silhouettes.

Contents to include:

American Profile Types
The Earliest Shadows
Three Early Nineteenth-Century Profilists
The Profiles of William Bache
Painted Profiles and Profiles Engraved on Gold
"The Celebrated Master Hubbard"
Three Other Prodigies
The Lesser Lights
Profiles by Amateurs, Gifted - And Otherwise
Augustin Edouart
William Henry Brown
Saint-Memin and His Profiles
The Framing and Hanging of Profiles

With this book and my blogs, you could become an expert, or at least a wanna-be expert, on silhouettes within a few days. Do not buy antique silhouettes until you educate yourself first. There are countless fakes, reproductions, and fantasies out there. Be smart!

Amazingly, many collectors and dealers always hesitate to spend a few dollars for good reference works. Yet, they will spend big bucks to add something to their collection and inventory. That is what I call "poor spending habit." As a result, some items they buy turn out to be "rogue" at best. Education is cheap; mistakes are costly. Consider building a fine library on your specialty, whatever that may be. The return on this investment is big, very big, and infinite.

For a 1968 reprint edition with the original dust jacket (few taped repairs). This copy is NOT EX-LIB but does have prior ownership mark or two. The book has 205 pages with 52 black & white plates. Condition is very good with matching dust jacket (see photo marked "2"). $40 plus $4 shipping domestic, paypal only

For the original 1928 edition without the dust jacket (see photo marked "1"). This copy is NOT EX-LIB. The book has 205 pages with 52 black & white plates. Covers has stains, very good interior. $45 plus $4 shipping doemstic, paypal only

For the original 1928 edition with the dust jacket (see photo marked "3"). This is a clean copy with nice jacket with a few taped repairs, price clipped. This book is tough to find with its clean original jacket. Believe me, this price is a bargain for this book! $75 plus $4 shipping domestic, paypal only

2011-05-16T14:17:00.000-07:00

Questions NOT Answered

I am always happy to answer questions regarding pre-1850 American silhouettes. Lately, I have been getting a lot of questions on modern silhouettes (modern means post-1900...even if they are 100 years old, they are modern). Sometimes, I answer them back saying they are modern. Sometimes, I do not even reply. If you have a hollow-cut silhouette, there is a 99% chance of it being American and pre-1850. If you do not have a hollow-cut, there is a 99% chance of it being modern, British, copy, or something else. I am talking about bust length silhouettes, not full figure ones. But then, I usually do not get myself involved with full length silhouettes, as they are mostly of English origin. A chance of you having a cut-n-paste American bust length silhouette is nil, unless you have one by Honeywell. So please keep the above in mind before sending in your questions.

Also, I no longer do an indepth write-up thingy for you. I used to do quite a bit for fun. However, too many people have been taking advantage of me. They list the silhouettes on eBay using my descriptions and write-ups. Why should I spend hours of my time and bust my butt for you? So that you can make money on eBay? That ain't right! For that reason, I am limiting my words when answering questions from now on. AND you need to promise me that you will NOT use my words if you decide to sell on eBay and other sites. If you want a good appraisal from me that you could use to sell your silhouettes, you can hire me on the cheap. Ask me if interested.

2010-08-19T17:30:00.000-07:00

Amazing!

Perhaps, having done this for the last 5 years is paying off; I get about 1200-1500 hits a month nowadays! For such a specialized site, that is super-duper if you know what I mean, and this site is ad free! There is no wheeling-dealing going on here, unlike some other sites.

A few readers may question my views and conclusions on some subjects. First, I do not make up stuff. Second, I do not live in fantasy world. Anyone is free to make an argument on what I write, and I welcome every argument. I do play the devil’s advocate at times, however.

Sometimes, I question authenticity of silhouettes. I feel such challenges are good. I realize some dealers and collectors prefer to feel comfy with what they own, and they either hesitate or would not open a Pandora’s box for any reason. However, such boxes are quite fun to open. We may be rewarded with treasures, or goblins. The thing is we would never know if we keep the box locked.

Investigation of scarcely known silhouettes is like buying a watermelon. When it is priced per pound, we tend to pick the lightest watermelon out of the bunch. On the other hand, if they are all priced the same, say $5 each, we pick the largest. We can agree on this point more or less, can’t we? You may be wondering…what is this guy talking about? I am talking about how we usually pick watermelons based on price and price/weight. What does this have to do anything with “investigation of scarcely known silhouettes”? You have to read between the lines. Think about what I just wrote in bed tonight. You will know!

2010-07-14T14:51:00.000-07:00

ALL THREE BLOGS RECOVERED

I wrote hundreds of posts on my 3 silhouette blogs (plus born-without-arms blog) over the years. Being not too bright, I did not notice my older post was being deleted each time I posted a new one. I believe I was able to recover all of my lost posts by archiving. So, check out my silhouette blogs I, II, and III. Click monthly archives either on left panel or all the way to the bottom for posts that do not appear on the pages. There is a lot of good information available within these posts.

2007-12-23T11:29:00.000-08:00

Classic Reproduction Peale Silhouettes

This pair appeared on eBay a while back. They both have that Peale stamp with eagle. If I remember correctly, one went for about $50 and another for $75 or so. This pair has that classic bustline that is only available on these reproductions.

2007-12-23T11:21:00.000-08:00

Another Rare Todd

This silhouette appeared on eBay a few months ago. It is a rare piece with clear Todd's Patent embossing. It went begging for $36. There are some obvious condition problems with it, but the tears and holes can be "backed" with period paper to strenghten. It was a bargain silhouette that I missed out. Shucks!

2007-07-30T18:17:00.000-07:00

Bache?

The seller's description is as follows: "The SUPERB attention to hair detail and the way the curve of the busts was cut leads me to attribute these as the work of WILLIAM BACHE ! !"

Note: I cannot even see a "B" of Bache anywhere on these silhouettes. The top pair and the bottom pair differ so much in style that I do not think they were cut by the same hand.

More on Bruff

2007-07-28T10:17:00.000-07:00

Carl from Charleston writes:

"I am attaching several photos of the J. Bruff silhouette. Unfortunately, I could not get a good photo of the embossed insignia, but it is exactly like the one published on the website (J Bruff at top, Baltimore at bottom and star in center). This one also has a penciled name at the bottom, my guess, identifying the sitter in the portrait. Since the backing was not attached, I had it secured w/ framer points. As best as I can tell, it is the original frame (w/ the original glass and loop hardware at the top). As I stated before, I found it at a rummage sale and initially, was buying it just for the frame (I thought the silhoutte was probably a print). When I got home and examined it, I realized that it was authentic. It was truly a great find!"

"I have enjoyed the website and learning more about early American silhouettes."

NOTE: The bust tip is unmistakenly that of Bruff, with or without his stamp. With this inclusion, there are now three known Bruffs in private collections. It was a "great find" for Carl. The frame is very nice too. The construction of the base is as simple as it comes but with an added veneered facing, either painted or natural grained.

2007-07-09T19:56:00.000-07:00

Born Without Arms

The following comment was posted on my other site devoted to Nellis, Honeywell, and Rogers. It reads, "jhanes has left a new comment on your post "Silkwork by Martha Honeywell": Hi there. Just discovered your website---have you been here long? Anyway, I am now the owner of the silkwork that you show on your website that was done by M Honeywell. I wrote about it in my newsletter, and here is a link to it: http://www.hanesandruskin.com/NewsletterWinterSpring2007.pdfAlso, one of the silhouttes that was sold on ebay by Honeywell (the one that sold for $200) was mine as well. I think it is pictured in the article in the newsletter. It is interesting, because the "witness" of Honeywell's execution of this work was George Keim, who was an industrial supplier from Reading, PA, and moved to Philadelphia the same year that the needlework was done on the corner of Race & Arch St. In Philadelphia, he worked with Dupont, and no doubt became a very wealthy man!"

2007-07-09T12:59:00.000-07:00

William Doyle

The following comes from Peggy McClard. The readers should check out her homepage of fine silhouettes and other folk art items at http://www.peggymcclard.com/

"The painted silhouette is 18th century, on laid paper, and includes a very unusual tromphe l’oeil decorated mat painted on the paper (complete with shading that makes the mat look 3 dimensional). The silhouette bares the same notched bust line that we see on Bob’s painted lady and the hollow cut man cut by William M.S. Doyle. The painted silhouette has notched buttons which are similar to those cut by Mrs. Sarah Harrington (active in England about 1774-1787).

Through his advertisements we know that Doyle sold painted silhouettes, hollow cut silhouettes and full color portrait miniatures at least as early as 1806. In 1806 he would have been 37 years old. It is unlikely that an artist with the outstanding talent of Doyle would have waited until he was 37 years old to start working as an artist. I expect that Doyle worked as a professional silhouettist and portrait artist from around 1785.

We know that he studied the English silhouettists because he advertised that he painted miniatures “on plaster in the manner of the celebrated Miers of London.” I think it likely that the 18th century painted man and Bob’s painted lady were both done by Doyle in the manner of the English silhouettists that he studied and with the outstanding quality of his full color portrait miniatures."

2007-06-25T07:37:00.000-07:00

More 19th Century ??? Silhouettes

The seller describes this pair as: "Made in the mid-19th century these original Silhouettes are of a husband & wide. Each 1 ½” by 3 ¼” silhouette is cut and applied from paper and accented with paint. The original frames measure 4 ¾” by 5 ½” and like the silhouettes are in perfect condition. I was able to purchase these early Folk Art Silhouettes for a great price and I have kept my reserve at far below their value. "

I am sure the seller got these "for a great price." The frames are sparkling new. There is no age at all. The silhouettes were both done in the manner of Chamberlain. In the last year or so, many of this type have been apearing on the market. There seems to be no end to it.

PS 7/5 Bid to $134 not meeting the reserve. Same scenario: blessing for the bidder or curse for the seller.

2007-06-23T14:30:00.000-07:00

Pair of Silhouettes by F.P. Jones

This pair appeared on eBay recently. The seller was kind enough to send me a close-up photo of the stamp. I do not know how many sets of dies Jones owned. As his working dates were brief, I cannot imagine him having made more than a single pair.

Some books mention his name as T.P. Jones, while others say F.P. Jones. The silhouette I own is clearly T.P. Jones; in fact, all the others I have seen that I know to be authentic are T.P. Jones. The silhouettes on eBay are very black and just did not seem to be the works of T.P. The border of this stamp differs excessively from the stamp used by T.P. I do no know what to think of this pair. Can someone shed a light?

The frames are likely British, and I did not care for them. Perhaps others shared my feelings. The pair only realized $50 plus change. Since I own a real nice one, the pair would have been bought by me as a fun stock. But something told me, "they don't look right."

20th Century Reproduction Silhouettes?

2007-06-18T16:18:00.000-07:00

This pair of silhouettes are from Cowan''s auction and described therein as: "Pair of Silhouettes in Early Frames, faithfully executed 20th-century reproduction silhouettes, pencil signed Georgiana Cook; contained in early 19th-century frames with alligatored finish; each 2.75" x 3.75" (sight); 5.25" x 6.25" (w/frame)."

They are difficult to judge as there is only this photograph. I am sure closer examination of the paper out of the frames would determine their real nature. If they are indeed from the 2oth century, they are the nicest and the neatest pair that I have ever seen. That is very scary. I would not hesitate to add them to my collection no matter what they are.

PEALE??

2007-06-18T16:10:00.000-07:00

Another Peale Silhouette

This item is from an auction purported to be a rare one with a “PEALE” stamp. If the readers would browse below, I have listed two others very similar to this stamp. Please remember that my thoughts are just my opinion.

Even without a stamp, Peale silhouettes look Peale. The embossment is an additional proof. However, even with the stamp, the cuttings must represent the known bust curvatures by one of the so-called Peales, although very few were actually cut by the Peales.

1. The best one is when the curvatures represent Peale with a genuine embossment.
2. The second best is when the curvatures represent Peale but without the stamp.
3. Others are no good.

As for those busts that scarcely resemble any of the Peales’cuttings, and when the embossment is not quite correct, there is a very good reason to doubt their authenticity.

Added 6/25. It went as high as $137 but did not meet the seller's reserve. Blessing for the top bidder? Curse for the seller?

"Ultra Rare Silhouette"

2007-06-15T20:17:00.000-07:00

This is from an auction. Just because someone writes something on the back of the frame, it is automatically assigned a pedigree or provenance. We really do not know who this profile belongs to. The paper tag says, "Daughter of John Harris the Elder or John Harris the Younger." That is a common name, and the tag is modern. The profile may just as well belong to Jane Doe. It even comes in an "ond" frame, and this "Ultra Rare Silhouette is in ready to hang condition."

I would not be caught displaying that framed item on my wall. If I owned it, I will hang it alright...with a noose! Although it may not be your or my preference, it is being bid up quite high. I think I have a bad habit of picking on stuff. When I saw this, I thought it would be fun for the readers. The following is a description by the seller.

"A Rare And Important Hollow Cut American Silhouette. The Subject is "Jane Harris" ,and was the daughter of "John Harris" of the Founding Family of Harrisburg ,Pennsylvania. Thier home still stands in Harrisburg today ,along the Susquehanna River. The Hand Cut Silhouette is Hollow Cut ,and in great ,original overall condition. The frame is ond and may be original to the piece ,but appears to have been reused and rematted at least once. The visible Gold leaf is original to the frame ,as is the wavy ,bubble glass. The silhouette has some mild staining ,and dates to the 1810 -1830 time frame. It states on the reverse ,"Daughter Of John Harris ,The Elder ,Or John Harris The Younger". This exceptional ,Ultra Rare Silhouette is in ready to hang condition ,and needs nothing !!!"

Shucks! Got Beaten on this Deal

2007-05-26T20:32:00.001-07:00

I wanted this catalog just for the sake of having it. Some things in life are like that. Since I cannot own it now, I want it more and more. The following is a description by the seller:

Catalogue of a Highly Interesting Collection of Aboriginal and other Relics Illustrating American History from the celebrated Peale's Museum of Philadelphia, the Property of Montroville Dickeson, catalogue by E. Mason, October 13-14, 1869, 26 pages, 735 lots, pink wrappers.

More on Chapman Embossing

2007-05-17T10:58:00.000-07:00

These two images comes from Peggy. It is clear that it does not say "Chapman Studios" as claimed earlier below by Jane.

(Aug. 2010) For new info on this stamp, check out silhouettes page III.

Who is the Artist?

2007-05-08T19:57:00.000-07:00

This interesting silhouette, ca. 1810, is on eBay now. It has a lousy modern frame; however, the cutting is good with added hair details. As there are too many bidders on it already, I decided to just let it ride. The bust termination is of interest. It has a notch. There is definitely a stamp under the bust by the maker. I have manipulated its size and color to get a closer look. Unfortunately, it remains to be attributed. Although the work resembles Bache somewhat, this stamp is a single line type. The stamp does resemble that from the Peale Museum, not the one with a spread eagle but that of the "Museum." Of course, it may be something else. The bust notch seems to be too large to be from the Museum. Since the oval opening hides the bust tip, I cannot tell whether the silhouette has been cut there and incomplete. If a reader wins this silhouette, please drop me a line. I am curios. What does the stamp say? Is the stamp a secondary impression where it only has the shadow of the embossment?

Rare Stamped Silhouettes on the Market

2007-05-06T09:01:00.000-07:00

Recent auction by Conestoga Auction was of interest. Their offering was only a small group of silhouettes; however, it contained some important examples that are very difficult to find. In my opinion, most of them went begging. The following hammer prices do not include the buyers’ commission. If one had placed bids through eBay, the commission was an additional 17% plus shipping.

I placed bids on Williams, Day, and Jennys. A persistent floor bidder (non-eBay bidder) outbid me on Willy and Day. My bids for those two lots were $325, which is equal to about $400 after other expenses. I already own a Day, but the example there was a better example than what I have. I wanted it for upgrade. Prior to seeing that Day, I knew of only two examples: SamplerJane and mine. Now, it makes it three.

I had wanted the Williams. But then, I did not feel like entering a price war. Perhaps I should have placed a higher bid? If I placed a bid of $600, would I have won it? I felt that since I have seen other Williams from time to time, I figured there is always another chance to secure him.

For some reason or another, the floor bidder did not pursue my Jennys to an unusual extent. Perhaps the bidder did not recognize its rarity. To my knowledge, this piece is unique. Unless of course, SamplerJane comes back telling us that she owns an example. This Jennys is a decent looking young lady, and I am happy to have been able to add to my collection.

It is hard to imagine that Jones only brought $140. That is the price of a common Peale! Someone walked off with a bargain. A super looking Bache was taken at $300. A rare Peale brought about the right price of $425 or about $500 with expense added. Although the stamp itself is rare, I never really cared about the bustline that is always seen with this stamp. To me, it is not aesthetically appealing.

I do not know what the story is with one of the unattributed silhouettes. It brought $425! Can Someone tell me why it went so high?

Peale Museum?

2007-04-13T09:01:00.002-07:00

Recently, a viewer sent me a link to view a list of silhouettes being auctioned-off. I found three silhouettes that interested me. The first was described as, “A lovely Charles Wilson Peale hollow-cut silhouette of a woman. Black ink hair and back of dress. Embossed PEALE underneat the image.” The second was, “A wonderful Charles Wilson Peale hollow-cut silhouette of a gentleman. Black ink hair and ruffled shirt. Embossed stamp PEALE beneath the image.” The third was, Another lovely Charles Wilson Peale silhouette. Portrait of a gentleman. Hollow-cut with black ink for the hair. Embossed stamp PEALE underneath the bust. On the back there is a piece of paper taped to the frame that says "Peale Museum" - 19th century.”

C.W.Peale spelled his middle name funky, Willson. The auction site spells it “Wilson.” No point will be taken off for that, however. Since the auction page is copyrighted, I will mention that the images came from “iGavel.”

If you were to look at the left photograph embossing (genuine Peale), you will see that it is within an oval punch, and the letters are well-formed. On the other hand, the purported Peales are individual punches (for more on Peale stamps, see my article somewhere on this or another silhouettes page). Although the pictures are not very clear, I am sure you can see the differences in how the letters “LE” of PEALE are formed. On the left photo (genuine Peale), the right legs of those two letters go up straight, while those of the letters on the top right picture go out at a 45 degree angle. The leg of “L” almost touches or even touches the letter “E.” Also, note the last “E” of the bottom right photo. The right leg of it is very long and curves inward. All the letters of the two right photos are crudely formed.

The busts of the purported Peales, the two men, are not Peale-like. This is not to say that these types of busts were never cut there. It is just I do not remember ever seeing such lines. The lady has Peale-like attributes with its small notch at the bustline and the neck being off-centered in terms of the bust. However, the face is not Peale-like. This is a subjective part. Sometimes, the face tells a lot. From the photos, they all appear to be silhouettes from the early 1800s. I like the lady a lot. If not for the “addition,” that would have been a keeper.

I will let the good readers decide on the fate of these silhouettes. If a reader believe them to be from the Peale Museum, I would like to hear.

Peale's Museum Eagle Embossed Silhouette

2007-03-04T10:42:00.000-08:00

This is not a rare item by anyone's standards. However, I thought it might be of interest to place it here because of its similarity to the unattributed double-silhouette cutting that I listed a few months ago (see the listing below of a couple - double cutting). This Peale's man here and that double cutting have much in common. By looking at these two silhouettes, one could say that the unattributed one, too, was likely cut at the Museum. The problem is that I have never seen a double-silhouette embossed with any of the Peale marks, nor have I ever seen a double profile from the Museum. So, it is still a mystery to me.

I illustrate the close-ups of this man as it has two prominent marks left by the stylus. Again, these marks are only found on the first layer. The second layer below would not receive these marks. Something to ponder upon.

Young and Old

2007-02-20T21:03:00.000-08:00

Since the readers are coming up with lots of rare items, I list one of my favorites too. This silhouette is fully painted; it is housed in a naive wooden frame. Looks like the silhouette was painted when she was in her teens. As she aged, in the tintype, she became "witchy." Note her forehead. It did not change at all. The card is pasted on to a spiritual visiting card. I sealed the back so cannot access what was printed on it exactly. The name is Adeline Partridge, b. 23 Aug. 1808, Paris, Maine. She had a twin sister named Caroline. The clover leaf pasted on is "clover from mother's grave." Her mother was Abigail Chase m. 31 Dec. 1794 to Elias Partridge.

I wish you could see the glossy untouched patina of this frame. Looks cherry with original bubbly glass.

On Chapman Embossing

2007-02-20T20:41:00.000-08:00

Peggy McClard left a comment for this post. Since most readers do not explore comments, as it takes an extra click of the button, I thought I would post it here as well.

She writes, " The signature stamp does not say "Chapman Studios" it says "Chapman Siccauit". "Siccauit" is definitely Latin, but I can't find a translation. (Does anyone know the translation?) I have one with the same stamp, but it has a hollow cut head and shoulders, but the collar and shirt front are uncut with details added in watercolor."

I investigated the word "Siccauit" for quite a spell. The only reference I could find was in a relation to "eyes." It seems to be an adjective. The only Latin I know something about is with the inscriptions on old medals. I thought I knew a bit more than that. But after watching reruns of "Excorsist" I relaized that Morgan was not speaking Latin. She spoke English backwards. That is the extent of my Latin. Forgot... "caveat emptor" is Latin too. I know what that means.

As both Jane and Peggy own the silhouettes with the embossing in question, and me without the actual item in possession, I am, here, feeble at best. This is an interesting discussion, and I hope we are able to learn more about this "stamp."

(Aug. 2010) Check out my latest post on page III for new info on this embossment!

Moses Chapman

2007-02-19T10:23:00.000-08:00

MOSES CHAPMAN

Here are some rare treats from Jane once again. This is the first time I have ever seen a stamped Chapman. Have you?

(AUG. 2010) Check out page III for new info on this stamp.

Jane writes, "I found both silhouettes at an antique dealers' home and at an antique show in this area. The embossed Chapman was at a dealer's home and in his personal collection. I was a novice at the time in horse trading, but ended up trading a small wooden stool, plus cash for the silhouette! It is in its original frame, untouched. The embossing says, "Chapman Studios" (The "S" in studios at the end is backwards! The type on the stamp must have been backwards! But it does say "Chapman Studios"...) This is the only example I have seen with this embossing. The white shade says:"Mr. Poole of of Topsfield" on one side, and on the front, "Probably by Chapman". This is valuable in that the shade is an exact copy of what Chapman advertizes on his broadside. The broadside was found at a show in New England; it is quite rare and is a wonderful read! These interant artists would travel from place to place and leave these broadsides on the counter by the check-in at a hotel, or with a keeper of a tavern. They would stay for a few days, and off they would go! Their horse would be waiting to travel to the next town! They would invite customers to their room in the hotel, and guarantee satisfaction! Chapman mentions his machine in the broadside. Quite a brazen fellow!! Quite sure of himself, don't you think? Moses was a very good salesman also, no doubt!"

Rare Peale Silhouette

2007-02-10T13:07:00.000-08:00

This is a "PEALE" stamped silhouette from Jane. She says, "The "Peale" sil is an absolutely wonderful example. Her bonnet is very well done; she dates probably from 1800- 1810, using her clothing as a guide, and that Raphael Peale was working around those dates also. She was bought from an ad in Maine Antiques Digest many years ago. The description read a "Peale" silhouette.I called and asked whether or not the stamp just said, "Peale" or "Peale's Museum", the more common stamp...I was assured it was just "Peale", bought it, and have not seen another!"

Fully Detailed Honeywell

2007-02-10T13:02:00.000-08:00

This silhouette also belongs to Jane. See her Gladding below. This is she says about this silhouette, "M. Honeywell's sil with white highlights is also very rare. Imagine highlighting with a brush in your mouth, and doing so in such a precise manner! The initials "H.H" are written right underneath, and this may be a shade of Martha's sister, so she made it with extra details! Those are only my thoughts, no real proof. I have not been able to ascertain whether Martha had a sister or not, but it makes sense somehow that she would work extra hard for a family member!! Whenever I feel as if I just can't do something, I remember my examples that Martha Honeywell produced in her silhouettes, needlework, and cut-out prick pictures, and say, "Yes, I can!!" I found this silhouette in a wooden bowl on a table, with other silhouettes and butter prints, at a local antique show. She wasn't even hanging on a wall! A great find!! And a lucky find!"

Another Very Rare Gladding Silhouette

2007-02-02T15:56:00.000-08:00

This item comes from one of the readers, Jane. She is a collector/dealer. Her contact is: samplerjane@att.net if wants to get in touch with her on the subject. She has a fine collection of signed silhouettes, and this here is one of them. Will be listing more images in the future.

She writes, "The Gladding sil is the only other Gladding that I have seen other than the Gladding on the blog. I do not know the sitter's name, but he is a handsome fellow, with lots of hair! I would imagine he is in his early 20's. He was found at an outdoor antique market in Zoar, Ohio."

More on Bluff and Gladding Works

2007-01-29T15:47:00.000-08:00

Both entries were taken from WorldCat. Since these two artists are very rare, I thought I would include them here.

A Companion pair of hollow-cut silhouettes, circa 1814 :being that of William Gaither, Jr., (nephew of Benjamin Gaither, the patriach of Gaithersburg) and his wife Margaret Ann (Dorsey) Gaither, cut by J. Bruff of Baltimore

Correct profiles. :J. & T. Gladding, from Philadelphia, respectfully inform the ladies and gentlemen of Albany, and its vicinity, that they execute profiles in a superior style ... Author(s): Gladding, Joseph,; 1764-1841. Gladding, Timothy,; ca. 1775-1846. Hosford, Elijah,; 1779-1828, ; printer.Hosford, Elisha,; 1779-1830, ; printer. Corp Author(s): J. & T. Gladding. Publication: [Albany] : E. & E. Hosford....printers....Albany.,; United States; New York; Albany. Year: 1810 Description: 1 sheet ([1] p.) : ill. (relief cuts) ; 30 x 19 cm. Language: English

Hubard Silhouettes

2006-12-16T12:39:00.000-08:00

The images came to me from one of the readers. Having obtained that reader's permission, I use them here to illustrate what I call decorative silhouettes. For better or for worse, the reader believed these to have been cut by Hubard in the mid-1800s. His assumption was supported by: 1) The folks at the XXX Museum in XXX gave me the impression that he would cut these at public events for the entertainment of onlookers and sell them as souvenirs. 2) I was further encouraged by the fact that a well known highend dealer in XXX has continued to press me for them since I got them 3 years ago.

Collecting silhouettes is a very specialized field. There are less than a dozen dealers who specialize on the material. A few of them are far more knowledgable than the others. Most generalized antique dealers know very little about the subject.

Whenever there is Martha or George looking silhouettes, that will be the first red flag. This Hubard, the maker of these two items, could not spell his own name correctly (see photo). The reader reminded me that perhaps Hubard was drunk that day, and he too can relate such an experience. This reader is obviously a very good sport.

To my knowledge, Hubard never signed his silhouettes. He had inkstamps and pastedowns, however. These silhouettes are hollow-cuts. If a silhouette purportedly cut by Honeywell turns up, a hollow-cut, as it once did in the 20s, onw should be very suspicious of it. Carrick saw one; she thought it was genuine, but later dismissed it a fabrication.

I receive quite a few attribution requests. I always try to do my best, but it is tough to please most of the time.

Any Thoughts on This Silhouette?

2006-12-16T12:01:00.000-08:00

I found this item on the web. It is being offered at $5400! That is a hefty price. I have never seen anything so colorful as this. Since this is my homepage, I believe I am entitled to my opinion. I like the frame, but I do not like whatever that is in the frame.

If you learned the meaning of "good" once, you will always know anything that is good on any subject. The problem is that most people only have a knack to appreciate only the bad.

Another Enigmatic Honeywell

2006-12-06T18:24:00.000-08:00

This cut-and-paste silhouette appeared on eBay recently. It brought $250. Perhaps, it was the dreadful frame, or perhaps, it was the presence of an eyelash. Perhaps, it was the excellence in the delineation of the profile. Perhaps, it was because the seller did not mention the dimensions.

The curve of the inscription is of interest, along with the eyelash, and the year this was cut. See the example below for a similar work by Honeywell. Did she sometimes paint the eyelash? This work is attributed to 1829, which is only a few years difference from her work pictured below. Do other collectors own a Honeywell with painted eyelash? This subject may unlock one of the mysteries for further investigation.

William Bache Land Deed

2006-12-02T16:10:00.000-08:00

This interesting item appeared recently in an auction. It is dated November 21, 1838 from the Borough of Wellsborough, County of Tioga, Pennsylvania. The parcel consisted of one and one-seventh acre located at King Street and Pearl Street. It was sold to William Bache. Although his name appears on the document, and that several people signed it, he was not one of the signers.

Collecting Silhouettes: What to Collect, a Dilemma of a Physiognomist

2006-08-31T12:43:00.000-07:00

We all considered this subject when we started collecting antique silhouettes. Beginners, usually, “grab” everything that comes their way. There is nothing wrong with that as long as one can afford to do so, and it is certainly educational; quick education, at a cost, may be the appropriate expression. Nevertheless, the outcome of the items purchased in haste, without proper education on the subject, often ends unloved and unwanted. This is the result of having purchased misattributed items, reproductions, fakes and furbelows. There is also another caveat for any collector, from beginners to advanced, no matter what one collects; this caveat relates to simple human nature. Whether the proper term is greed, carelessness, or just plain stupidity is difficult to assess. Perhaps it is the combination of all of the above. This writer is certainly guilty as charged.

“Buy the book before the coin” is an often-quoted expression for beginning numismatists, but this is true for any collecting field, including physiognomists. The disregard, to this first fundamental rule, often compels the focus into disarray. Having learned the lesson, awkwardly, a collector soon discovers the importance of reference materials. A collector, only then, is able to ascertain his holdings. In “that” collection, there is a vast array of profiles. Some are Continental; others may be British, a few scattered American, and other profiles that are un-attributable to their origin. The belief, once held, that a silhouette is a silhouette derives a new sense of significance. Soon, a collector is able to determine likes and dislikes, common verses rare, and such factors and attributes as aesthetics and even the attractiveness of crudeness.

Should a collector specialize? By specializing, the knowledge will be somewhat limited to other media, methods and processes. However, a specialist is capable of knowing even the minute specifics of one’s chosen field. Is diversification more attractive? Each collector must make a decision. A collector living in England would likely collect British silhouettes; and a collector from Germany is likely to collect German subjects. The situation in this country differs somewhat, as many British and Continental profiles crossed the Atlantic in the last two-hundred years. Just because a profile came out of Boston, there is no guarantee that it is an American piece.

If one were to collect all attractive silhouettes, one must not only possess the wealth of a King, but also a very large house or a series of houses, with many high walls to display the collection. How many silhouettes are too many? Most collectors are of average means with average sized “quarters,” whatever that may be. After all, profiles are for displaying; they do not belong in boxes, drawers or under the bed. Having extended the writing this far, without any substance, and before the readers start an accusation on wordiness and verbosity, a change of course may be in order.

There are, basically, three types of American silhouettes: hollow-cut, cut-and-paste and painted. There are, also, varieties and combination of those three main types. The terms are easily recognizable, and they reflect what they represent. A hollow-cut means exactly that. The inner portion of a paper was cut out leaving the rest intact. This type of work is the bulk of American art. A cut-and-paste work is an image cut from black paper and then pasted onto a light colored backing. Not many American artists used this technique. Painted silhouettes need no explanation. This type represents only a small minority of American works.

In addition, there are two main types of images: bust length and full figure. The full figure silhouettes, almost always, employ the cut-and-paste technique, and the majority of what is available are British in origin. William Henry Brown is one of a very few exceptions. How does one categorize Edouart? He cut many silhouettes at Saratoga and elsewhere. Nevertheless, can we consider him an American artist?

The majority of American silhouettes were produced between 1803-1810, and they were hollow-cuts using a tracing device of one sort or another. From 1810-1825, the whole market of profile taking declined. A short revival materialized around 1825 and continued until the mid-40s. This is the period where a new generation of profile takers found new clientele, the sons and daughters of the generation past. Most artists of this period are anonymous. Many artists, now, used a fancier hollow-cut method and combined watercolor, inking, and even ready-made woodblocks prints.

Can Someone Identify the Artist?

2006-08-21T18:09:00.000-07:00

RARE Double Silhouette

Although I owned several double silhouettes in the past, they were all two single silhouettes cut from two papers that were matted to look as though they were a true double silhouette. When I saw this silhouette last week at an antique show, I knew I was looking at something very special, but I had to make sure and opened the back. One piece of LARGE wove paper measuring 6.5 x 8.5 inches stared at me. To make things even better, the gold leaf frame, quite worn, is original to the silhouette with its bubbly glass. I looked all over this large paper for a possible embossing but no luck.

This may sound funky, but certain, minor details that may be quite insignificant to most collectors are quite valuable to me. In this instance, there are traces of lead around the periphery of the images, obviously indicating that a stylus was not used to trace the subjects. The image of the man looks very similar to those cut at the Peale’s Museum. The use of lead indicates it is not a Museum piece. This is not to say that lead was not used in lieu of the stylus; however, I, personally, have yet to meet a Peale with penciling around the border. Someone may very well disprove this statement right off the bat by writing me saying that someone is in possession of a silhouette embossed “Peale,” “Museum,” or “Peale’s Museum” with penciled borders.

Although these two silhouettes are quite unlike each other, and they seem as though different artists cut them, certain telltale signs suggest that both are by the same hand. They are both very confidently cut without ragged lines; every contour is smooth, and the lines are straight where they need be and the curves are well rounded. The shape of the ribbons and the hanging hair details of the neckline are the diagnostic emblem of both cut by the same hand. Furthermore, they are not a brother and a sister. As Lavater may say, their physiognomy differs.

This is ca.1810, and a nice example of a true double silhouette.

William Chamberlain and His Printed Torso

2006-04-21T18:55:00.000-07:00

Important Link to William Chamberlain: Printed Torso

I have long suspected that Chamberlain sometimes used printed torso for his silhouettes. Please see my earlier articles on him from the archives below. This item appeared recently, and it is hard to question that this work is not by Chamberlain. Puffy sleeve silhouettes are likely his work too.

WOW for Honeywell Silhouette

2006-03-26T14:51:00.000-08:00

I said that it was a rare silhouette by Honeywell (see below). Perhaps some bidders read my "plug." It brought $900 plus the usual commission for the auction house. Perhaps I should not have opened my big mouth before the auction even started. Was the eyelash drawn by Honeywell? I hope the buyer puts the silhouette in more appropriate frame.

Martha Anne Honeywell Silhouette

2006-03-19T12:54:00.000-08:00

MARTHA ANNE HONEYWELL SILHOUETTE

This interesting silhouette is from a recent eBay auction. The off-white, background paper has an inscription, “Cut by M. Honeywell with the Mouth, Cincinat(?).” Honeywell always wrote in a slight upright curve; however, this work has an acute downward curve. This is atypical, and it needs to be challenged.

What was the reason for Honeywell writing in this manner?
The square paper was folded to “fit” the round frame. Should not there be “breaks” and discolorations along the folds?
The frame is definitely from the first quarter of the nineteenth-century. Was the silhouette replaced in this frame at much later date? Why was not a standard, rectangular frame used?
What is the significance of the border surrounding the silhouette?
This profile has an eyelash. This is not the norm for Honeywell.

These are difficult questions to answer. Was it actually cut by Honeywell? Could it be a forgery?

Let us assume that the border of the silhouette is a much later addition having no significance attached to the profile itself. However, it is a reminiscent of Honeywell’s “endless knot” work. This similarity mystifies its attribution somewhat. Whether the border was placed there to serve a specific purpose is unknown. The presentation of the oval opening is quite accurate lengthwise but its width indicates that this border was created for another image. The scrollwork has similarities with engine- turned designs of the third quarter of the nineteenth-century.

The folds are somewhat old but not nearly as old as the silhouette. There are indications that the silhouette was placed in this frame many years after the “cutting.” The “foxing” spots on the right, parallel to the bust tip are stabilized and likely contemporaneous with the silhouette. The fold line does not disrupt the foxing. In addition, the texture of the ink on the letter “t” of the word “the” in “with the mouth” has not suffered a break or a separation. The folds themselves are not heavy; they are more curl-like than actual folds. This may explain the insignificant wears along the letter and the foxing. A framer used a “limited” sense in reframing it and used a frame that was available at the time. Had the framer been more careful, a frame of correct proportion would have been used instead of compromising by applying the folds. This all indicates that the real value of this image was unknown to the framer. Nevertheless, this framer was knowledgeable enough to preserve the inscriptions and used a border to improvise its aesthetics.

The eyelash is not a cutout; it is inked. It is more of a blob than a single stroke from a quill. It is placed too low and not lifelike. Someone other than Honeywell may have applied this.

There is no explanation as to why Honeywell inscribed her work in such an unusual downward curve. Was she following the bust curve? She initiated the inscription too high and realized that she would be too close to the bust tip on the right. As mentioned earlier, she had a tendency of writing in a slight upward curve. If she were to follow her usual manner, the inscription may have touched the bottom of the bust tip. She, too, was only human. Anyone can be careless at times.

There is no doubt that this cutting is by Honeywell. The penmanship is without a question hers. The profile has all the telltale signs of her work. The backing paper is original to the profile; it is contemporary and belongs to Honeywell. The ink streak seen on the left of the bust is another indicative attribute quite often seen with her work.

This is a rare profile with the name of a town. Moreover, distinct reverse curvature of the inscription makes it exceedingly rare. The profile is in want of a good contemporary rectangular frame.

Augustus Day Rare Silhouette Artist

2006-01-15T18:49:00.000-08:00

As with most silhouettists of the time, not much is known about Augustus Day. The most recent entry that I found was from the monumental work by Sue McKechnie (see article below on "two silhouette books that are must haves") written in 1978, but her entry is almost all, word for word, taken directly from another great work on the subject by Carrick! It seems odd that McKechnie mentions that Augustus Day only worked regionally at Philadelphia and its surrounding areas, as her "bibliography" cites a work by Croce/Wallace The New York Historical Society's Dictionary of Artists in America, 1564-1860." Croce/Wallace clearly state that Augustus Day worked in Charleston, South Carolina, as well. They reference this particular source to another work, Artists in the Life of Charleston by Anna Wells Rutledge, 1949. Rutledge confirms her entry by citing two contemporary newspaper ads. One is dated Jan. 23, 1804 from the Times and the second dated Jan. 25, 1804 from the Courier. Both ads mention of a physiognotrace machine for taking profiles, at 25 cents each.

So, all said and done, there seems to be no new information regarding Augustus Day. Augustus was a carver, a gilder, a looking glass maker, and a painter. As a silhouettist working with an use of a pantograph (hollow-cut method), his career as a hollow-cutter probably lasted only between 1803-1812. Most of his known works are those that are either fully painted, as a portrait artist using colors (ca.1830), or a combination of black painted bust with hollow-cut facial features. Of course, with any other artists, there exist some transitional patterns (ca.1810-1830) not belonging to either of the above categories; yet, some similarities in relations to each other may be observed.

A good example of such a transitional portrait was offered by Cowan's Auctions of Cincinnati, Ohio (see photo below). The description offered by the auction house was as follows: "paper cut silhouette by Day, possibly Augustus Day, no dates given but working in the Philadelphia area as early as 1804, still listed in directories as late as 1833. Painted portrait of woman in lace bonnet with fine eglomise mat/cover glass in original gilt frame, ink singed below day fecit, price realized: $258.75."

Although this work is clearly post-1804, as he signs this work with "Day fecit," it is a very early portrait utilizing a hollow-cutting with painted bust. From the attire worn by the lady and the frame used, it is no later than 1815. As can be seen from the photo, the frame is a real dandy! It looks to be gilted wood, but the texture seems to indicate either a type of sandblast technique on wood base or applying a base coat on wood with sandy texture, and then gold-leafed. Reverse painted glass also provides a striking contrast against the gold frame. This was likely made by Augustus himself. It is difficult to believe that this fine work only realized $250+, basically just a price of this fine frame! Portraits of old women are not what we would like to have hanging on our walls, but even then, this fine framed image should have realized at least $500 wholesale with retail price of perhaps $750.

Another fine piece was offered by the same auction company (see photo).It was described as, "fine miniature portrait by Day, watercolor on paper, signed in the lower right Day fecit, possibly for Augustus Day (Philadelphia, early 19th century) or Charles William Day (Boston, mid-19th century). Bust-length profile portrait of a stern gentleman. American, first half of the 19th century. In its original mahogany-veneered frame with eglomise' glass bearing the initials fs; 4" x 3" (w/o frame), 10" x 7.5" (w/frame).”The auctioneer made a pair of "safe" attributions here, by mentioning a transit English artist, who just happens to be in Boston around 1844, also named "Day." The attire worn by the subject, most likely a four- button double-breasted jacket, and the hair, which has been parted from the side, is clearly c.1840. So which "Day" is it? We do not know how Charles William Day signed his works but we do know how “our” Day signed his. We are also familiar with "bust tips" and this bust termination closely resemble that of his other works. Then, there is a fine framed reverse painted glass, no doubt made by Augustus himself. Although this profile is a side view, it is not considered a silhouette. It is a miniature portrait. This particular example is listed here as a point of reference only. Bidders liked this work as it realized $2300!

Although Augustus Day's painted profiles are not particularly rare, they are quite difficult to procure. The rare ones are his earlier works embossed with his blindstamp, "DAY'S PATENT." This particular "patent" likely referred to his profile cutting machine (see another article on embossing dies). All cutters, during the period of 1803-1810, advertised that their patented machine was the best and quite different from the ones advertised elsewhere, but in reality all were nothing more than a simple tracing device attached to a pantograph.

The photos of a young lady are from my collection. This is a fully cut profile with embossed "DAY'S PATENT." Carrick knew of only two examples, both belonging to one Mrs. Hampton Carson, and called them "very rare." When I purchased this silhouette, it came to me unframed. I have since placed it in a period gesso frame with gold leaf. There are numerous repairs of the paper with a chink missing to the left of her forehead. This has been backed with paper and sewn. This is a very old repair. There is an old inscription in ink above the head, "Miriam Coye Wil(son)." The Mormon site “familysearch.org” does show a "Miriam Wilson" born c.1805 in Connecticut, who married one "Henry Coy." Since the silhouette was cut c.1805, the inscriber surely must have been mistaken when inked the name. In all probability, the silhouette is a mother of Miriam Wilson.

William Bache Scrapbook

2006-01-11T15:38:00.000-08:00

William Bache Scrapbook Mystery

Carrick mentions a scrapbook owned by one Mrs. Converse, a descendant of Bache. This is a huge portfolio containing almost 2000 images. A photo of the illustrations from Carrick is attached here for your inspection. This is what Carrick says about the content.

It is somewhat surprising to collectors who have thought of William Bache's silhouette work as almost entirely hollow-cut to find that the scrapbook is composed chiefly of the cut-and-pasted type; nineteen hundred and thirty six, to be exact. There are, besides, nineteen painted, nine hollow-cut, and one "hole in the doughnut."

I wondered what ever happened to this scrapbook till I found this little information.From the National Portrait Gallery comes the following:
William Bache, Bache scrapbook of 1846 silhouettes, ca. 1805–10, cut paper silhouettes. Partial gift of Sara Bache Bloise in memory of Dr. William Bache.
So it seems the descendant of Mrs. Converse donated most of it or all of it, minus some that were given out, sold or retained. I wish Sara contacted me before making that donation to the Smithsonian. Now, the collection will just sit there in a box somewhere in the basement of the capitol.

Don't get me wrong. I am not saying that you or I should have the possession of this collection. It should have been cataloged and photographed for present and future lovers of antique silhouettes. Now the collection is inaccessible. If I am not mistaken, Carrick's collection, also, went ot the Smithsonian. It is probably just sitting there next to Bache scrapbook. She left us a nice book on the subject, still the only one, but her collection should have been cataloged before she donated it. If anyone else is thinking of donating collections, at least let me catalog them first before they end up in a dark box, likely never to be seen again.

As for the "style" of Bache, we can never know his complete bust styles now. I, personally, do not recall ever having seen a cut-and-paste Bache except fot those illustrations in Carrick. A few of those, I can say, are definitely Bache, having studied a particular bust style of his, but the rest seem to lose attributable characteristics, at least for me. Cut-and-paste silhouettes are not common here. Aside from Honeywell, Hubard, Hankes, Brown and Edouart, I can not mention any more; and, Brown and Edouart are mostly full length silhouettes. Oh well...

J. Bruff Extremely Rare Silhouette Artist

2005-12-28T13:50:00.000-08:00

A few reference books mention him as W. Bruff but it is actually J. Bruff. Carrick mentions a single known silhouette by Bruff, belonging in the Library of Congress. I came across this silhouette about a year ago. I do not know why his silhouettes are so exceedingly rare. Is there a third Bruff out there somewhere? Like other silhouettists of his time, he used a tracing device. He most likely used a cast shadow on cloth, backed with glass, to trace the profile using a pantograph to reduce the image onto a paper.

William Bache Silhouette Print

2005-12-20T12:49:00.000-08:00

This is a nice decorative sillhouette made in the 1920s or so. The original would have been fully painted by William Bache. This print in an old frame would look very good, and in fact, one would think this to be a genuine piece. It has a nice original antique toning around the periphery, and I am sure someone treasured it and displayed it for a long time.

Cabinet Card of Desmond Coke

2005-12-20T10:52:00.000-08:00

Here is a cabinet card of Desmond Coke. It is autographed and dated 1910. His book, published in 1913 and titled, "The Art of Silhouette" is a classic. Although the book is on British silhouettes it is still educational and fun to read. Coke, Jackson and Wellesley were the earliest three main collectors of silhouettes. It was not until the roaring twenties that the collecting bug swept this country. Does anyone own a photo of Carrick? I would love to add her in my little collection.

Rare Wellesley Auction Catalog of Silhouettes

2005-12-20T10:47:00.000-08:00

This thin catalog is called the "Catalog of the Collection of Silhouette Portraits Formed by Francis Wellesley, Esq., J.P. of Westfield Common, Woking" auctioned by Messrs. Christie, Manson & Woods on June 19, 1917. It is 17 pages with 174 lots. Wellesley was the author of "One Hundred Silhouette." That is the most important book on silhouettes ever published; only 100 copies were printed, and it was a prize to own back then. It is still a prize to own a copy today, too, if one could locate a copy. I will cover that book in details in the near future. Does anyone out there own a copy of this thin catalog? I have never seen another. There are no illustrations and not a pretty catalog for sure. The two things it does have are the name Wellesley and its rarity.