Paintings Worth Looking At

Recently, I had the privilege of contributing a lot essay for Eldred's upcoming Americana Week. I'd written in with a correction about a portrait once attributed to Deacon Robert Peckham, which was received and amended with exemplary grace. Several emails later, I found myself looking through the auction catalogue, and spotted a piece with a suspiciously familiar composition: this Interior Scene . Its likeness to Peckham-Sawyer Family (1817) is hard to miss. 

One of the most vexing questions of the Prior-Hamblin School is how to tell five artistic hands apart. Now we have six. Recent research has revealed there's a particular version of the “flat style” face that doesn’t conform to any of the five known and documented Prior-Hamblins. After compiling and comparing many dozens of paintings, it has become obvious: we have a new artist on the horizon. Many thanks to Dr. Paul D'Ambrosio of Fenimore Museum for proposing that there is another unknown painter! I had gathered together a compilation, but was uncertain what to make of it. I consider this an incredibly exciting development. Like the rest, this artist paints highly distinctive eyes, which can serve as an attribution guide. Read on for the Eyes of the Sixth Prior-Hamblin. - - - 

The members of the so-called “Prior-Hamblin school” weren’t a school at all. Colleagues? Competitors? We still barely know. The five usual suspects - W.M. Prior, S.J. Hamblin, G.G. Hartwell, W W. Kennedy, and E.W. Blake - are constantly compared, mixed up, and conflated. However, despite their profound similarities, they all had their own quirks - especially when it comes to a pair of eyes. Part 1 of this post will address, illustrate, and explain the PHS's five unique methods for the so-called windows to the soul. The PHS problem has been tackled by exceptional folk art scholars for generations before me, so I don't expect this post to solve it. However, I hope that it will offer some useful clues.  Read on for the Eyes of the Prior-Hamblins.  - - -

Hello all - my recent blog articles have been scarce, but I'm pleased to announce the American Folk Portraits Wiki ( https://americanfolkportraits.miraheze.org/wiki/Main_Page ) now features 250+ artists and 750+ signed/credibly inscribed portraits. These painters range from the well-known to the obscure, and span the entire 19th century. I hope this will serve as a valuable reference point for identification and attribution. Work on the wiki is far from complete, and will resume as soon as I finish this post. For now, enjoy! 

One might be forgiven for assuming that the onslaught of low-quality images generated by AI, littering social media like a graveyard, has not affected real painting scholarship. Unfortunately, that is not entirely true. Certain types of AI styles are good enough to fool the unwary. They occasionally pop up in art history discussion groups online. I’ve even had personal encounters with these fakes myself. In the interest of a warning, and a word to the wise, here’s some pointers on how to spot them.

When the matched paintings of “ Newburgh Children ” and “ Palmer Children ” first appeared at Christie’s 2024 Important Americana (lots 429/430) , they were attributed to Edwin Weyburn Goodwin. But they bore a striking resemblance to the fine and elaborate portrait, “Miss Tweedy of Brooklyn,” attributed to Orlando Hand Bears for decades. As it turns out: Bears didn’t paint Miss Tweedy (real name Eliza Bird Tweedy.) Nor did he paint the identical portrait of Mary Louisa Bird — Eliza’s younger sister! And the “Tweedy-Bird Limner” was born.

Here's the transcript of my talk for the John Greenleaf Whittier Birthplace about Deacon Robert Peckham, "In Behalf of Oppressed Humanity." Many thanks to Whittier Birthplace director  Kaleigh Paré Shaughnessy, and everyone who attended.  Links are available here: Presentation Slides / Video . The transcript is verbatim (made with Turboscribe ); brackets indicate edits for clarity. This is a bit longer than most blog articles - thanks for reading, if you do! - - -

I’m delighted to announce that I’ve been asked to give an online lecture on Deacon Robert Peckham’s life and works, by the Whittier Birthplace, home of John Greenleaf Whittier, Peckham’s famous portrait subject. Among other new discoveries, I will be unveiling Peckham’s letters to John Quincy Adams, America’s 6th president. It is on February 27, 7pm Eastern time. Zoom registration is required, but it is free. I hope to see you there! - - - Sign-up link: http://bit.ly/peckhamwhittier or https://www.whittierbirthplace.org/events/zfj3f4a5ezsbsc7f5ba847cb7wp277   

What's your favorite Joseph Whiting Stock portrait? Maybe his charming niece and nephew? How about the one he painted after his death? - - - The girl on the left was sold as “Attributed to Joseph Whiting Stock (American, 1815-1855)” with much pomp and circumstance. It provides some wonderful catalog copy analyzing Stock’s difficulty with perspective, which I’m still very fond of, even if the attribution is dead wrong. Pun not intended. Guess what: the auction record for the identical companion portrait, the girl on the right , surfaced recently.

I’ll confess, I couldn’t figure out who Mr. Keeley is, either. Turns out there’s a reason. - - - Biographical information about this Massachusetts man is minimal. He was a traveling folk painter, like so many, who left a swath of beautiful portraits in his wake. Most of his surviving works have lost the artist’s name, but retain their centuries-old charm. Before I knew him as Keeley, he lived in my notes as “Probably a big-name, but not Peckham.” Unfortunately, he’s not a big-name. He’s barely known at all.