Attributed to Raphaelle Peale (American/PA/MD, 1774-1825) / Silhoutte of a man, right facing, embossed Peale Museum stamp below / Set under glass in black oval frame / Visible Art Size: 4"H x 3"W / Frame Size: 6"H x 4.75"W
Attributed to Raphaelle Peale (American/PA/MD, 1774-1825) / Silhoutte of a woman, left facing, embossed Peale Museum stamp below / Set under glass in black oval frame / Visible Art Size: 4"H x 3"W / Frame Size: 6"H x 4.75"W
Henry T. Hopkins (American, 1928- 2009), "Homage to Raphaelle Peale (1774-1825) Giorgio de Chirico (1888- ) Betty Friedan," 1972, pencil and gouache on paper, signed verso, gallery label (Janie C. Lee Gallery, Dallas, TX) affixed verso, image: 8"h x 6"w, overall (with frame): 18"h x 15"w
Raphaelle Peale (1774-1825) Portrait Miniature of a Gentleman, dated "1801" Initialed and dated, "R.P. 1801," l.l., gilt locket frame, obverse with aperature containing woven hairwork and gold cipher, "JL," silk-lined red leather case. (2 1/2 in. x 2 in. (sight)) Qty: (1) Provenance The collection of Richard and Betty Robertson, Waynesboro, Virginia Jeffrey Evans, Mt. Crawford, Virginia, June 22, 2013, lot 815 Property from an American private collection Thence by descent.
Follower of Raphael Peale (1774-1825), a still life study of fruit and grapes, oil on canvas, monogram to lower right corner, 52 cm x 41 cm in a gilt frame.
Raphaelle Peale (1774-1825), environment, American school around 1800, portrait of a gentleman in profile, Graphite, colored chalk, wash with gouache, around 1800, on stronger paper vergé, sheet with the edges mounted on decoration frame, verso inscribed with dedication; this dates from 1852: ''Mr. Graham. for many years. The Eminent Rector of the Waddington (?) School & elder. to the General Assembly Uncle. of the Reverend Mr Graham Newhaven 1852. ''The aforementioned Waddington School is located in Newhaven, Connecticut, 13.5 x 15 cm, 22.8 x 21.3 cm
Raphaelle Peale (1774-1825), environment, American school around 1800, portrait of a gentleman in profile, Graphite, colored chalk, wash with gouache, around 1800, on stronger paper vergé, sheet with the edges mounted on decoration frame, verso inscribed with dedication; this dates from 1852: ''Mr. Graham. for many years. The Eminent Rector of the Waddington (?) School & elder. to the General Assembly Uncle. of the Reverend Mr Graham Newhaven 1852. ''The aforementioned Waddington School is located in Newhaven, Connecticut, 13.5 x 15 cm, 22.8 x 21.3 cm
Raphaelle Peale Attributed (1774 – 1825) Title: orange and book Medium: oil on canvas laid on panel /signed Size: 9″ x 12 3/8”; 22.9 cm x 31 cm (Sale of Ford Art Auctions DE {Lot 00139} May 26,2019
ATTRIBUTED TO RAPHAELLE PEALE (AMERICAN, 1774-1825) GEORGE SUMMERS (1768-1823) and LYDIA WRIGHT SUMMERS (1777-1852), CIRCA 1820 Oil on canvas: the first, 28 3/4 x 24 in. and the second, 29 x 24 in. Framed (2) Provenance: George W. Summers and Mary A. Creswell, Richmond, Georgia; Andrew Wright Summers and Cleo E. Dearing, Richmond, Georgia; George Washington Summers and Bennie Johnson, Augusta, Georgia; Arthur A. Colgan and Mary Creswell Summers; George Robert Summers and Janet J. Jennings, Greenville, SC; Richard A. Krueger and Mary C. Farley (fifth great-granddaughter of sitters), Fort Washington, MD; Present owner, Private Collection Alexandria, VA, 1997
Raphaelle Peale (1774-1825) Portrait miniature of Clement Waltham ( born 1779) Harford County, Mar yland Signed and dated, "RP 1800," watercolor on ivory, gilt locket frame with woven hair and the gold initials "CW" at back glazed opening. 3 in. x 2 1/4 in. (sight) PROVENANCE: Private collection
American School 19th century Possibly Raphaelle Peale (1774-1825) Portrait miniature of George Washington (1735-1799) in military unifor m Watercolor on paper, sterling silver frame; lot accompanied by earlier gilt carved frame with plaque, "From Life by James Peale 1795." 4 1/4 in. x 3 3/4 in. (sight) PROVENANCE: Private Collection, Philadelphia. Sotheby''s, New York, Sale 6269: Fine Americana, January 23-25, 1992, Lot 211. Mrs. Samuel F. Houston, Philadelphia. Mr. H.H. Houston, Philadelphia.
PORTRAIT OF GEORGE WASHINGTON AFTER RAPHAELLE PEALE (AMERICAN, 1774-1825). Oil on board, unsigned. Twentieth century replica of Washington's portrait in military uniform. In an ornate frame, 19.25"h. 17.25"w. overall.
PORTRAIT OF GEORGE WASHINGTON AFTER RAPHAELLE PEALE (AMERICAN, 1774-1825). Oil on board, unsigned. Twentieth century replica of Washington's portrait in military uniform. In an ornate frame, 19.25"h. 17.25"w. overall.
Attributed to Raphaelle Peale (1774-1825) miniature portrait of george reinicker, junr (1785-1805) Inscribed on verso, "George Reinicker Junr who was Born on the Twenty first of April 1785 and Died on the Tenth September 1805 Aged Twenty years Four Months and nineteen days, John Reinicker"; an additional handwritten inscription on back of frame, "This Likenefs taken on March 27, 1805 in Philadelphia," watercolor and ink on paper, original frame. 5 in. x 4 in. (sight) PROVENANCE: Christie's New York, September 28, 1999, Lot 1. Bears additional labels: Ron Hoffman and Tony Gampetro Collection and Chieffo 2005296.
RAPHAELLE PEALE (MARYLAND, 1774-1825) MINIATURE PORTRAIT, watercolor on ivory, depicting an unidentified gentleman wearing a dark brown jacket, signed "RP / 1801" to the left of his shoulder, enclosed in a gold locket frame with initial monogram over woven hair visible on the reverse, fitted red leather case.
Raphaelle Peale (1774-1825) Orange and Book signed and inscribed 'Painted for the Rev. Dr. Abercrombie, by Raphaelle Peale' (along the lower edge) oil on panel 9 x 13 in. (22.9 x 33 cm.) Painted circa 1817.
Raphaelle Peale (1774-1825) Still Life signed and dated 'Raphaelle Peale Feby 22.1815/Philadelphia' (lower right) oil on panel 10 x 15 in. (25.4 x 38.1 cm.)
Raphaelle Peale (1774-1825) miniature portrait of alexander tod (1738-1811) Signed "Raphaelle Peale 1809," watercolor on ivory, gold locket frame engraved on verso," Alexander Tod 1738-1811, Merchant, Judge, Alderman of Phila." enclosing a glazed inset with hair and the initials "AMT." 2 3/4 in. x 2 in. PROVENANCE: Alexander Tod was the father-in-law of Dr. John Conrad Otto (see Lot 774) Descended in the family to the present owner.
PAIR OF MINIATURE PORTRAITS ON IVORY: LYMAN SPALDING, MD AND MRS. ELIZABETH SPALDING PAIR OF MINIATURE PORTRAITS ON IVORY: LYMAN SPALDING, MD AND MRS. ELIZABETH SPALDING 2 1/2 by 2 in. (6.4 by 5.1cm) watercolor on ivory NOTE Each mounted in rolled gold frames (gold over copper) with plain bezel locket frames. The portrait of Dr. Spalding enclosing a plait of light brown hair engraved, Lyman Spalding M.D. of Portsmouth, N.H. and New York City. Born 5th June 1775/Died 30th October 1821. Painted by Rembrandt Peale. The portrait of Mrs. Spalding engraved, Mrs. Elizabeth Spalding, Daughter of Peter Coues of Portsmouth, N.H. and wife of Lyman Spalding, M.D. Born 16th December 1779. Died June 2nd 1838. Painted by Rembrandt Peale Philadelphia February 1810. Raphaelle Peale was the eldest son of Charles Willson Peale. Raphaelle apprenticed in his father's studio learning miniature painting under the instruction of James Peale, his uncle. After taking over his father's portrait studio with his brother Rembrandt, Raphaelle painted miniatures and Rembrandt the full-size works. There are no recorded miniatures by Rembrandt, suggesting that the engraving on the casings identifying Rembrandt as the painter of these two miniatures of the Lyman Spaldings, done after the actual creation of the paintings, is erroneous. Lyman Spalding was born in Cornish, New Hampshire, 5 June 1775; died in Portsmouth, New Hampshire, 30 October 1821. He was graduated at Harvard Medical School, with the degree of M.D., in 1797. In 1798, while still a student, he assisted Professor Nathan Smith in establishing the medical school at Dartmouth. He was given the degree of M.D. by Dartmouth in 1804 and Harvard in 1811. On October 9, 1802, Dr. Spalding married Elizabeth Coues (1779-1838), daughter of Peter and Elizabeth (Jackson) Coues of Portsmouth. In 1813, he moved to New York City. Dr. Spalding was active in introducing into the United States the practice of vaccination as a preventive of the small-pox. He was a trustee of the only free schools that New York then possessed and aided in the establishment of the first Sunday-schools in New York. (Excerpted from Appletons Encyclopedia, 2001)
Portrait of Henry Lunt, Jr., circa 1805 Together with the original black Moroccan leather hinged frame and two locks of hair watercolor, ink and graphite on paper 5 1/2 x 4 1/2 in. The frame lined with a document that reads Mem' 6th October 1852. This was taken at Philadelphia 1805 by a younger Peale when I was 29 years old-Peales Father a celebrated Miniature Painter in the year 1781 in Philadelphia Painted a miniature likeness of my Father at the time my father was about leaving the Continental service under the command of the Chevalier Paul Jones then of the ship Ariel - Peale Painted also a miniature of Jones about the same time from which several copies by other Artists have been taken - At the time my fathers miniature was taken he was only 26 years of age - There are satisfactory documents to show that my father as an officer was a great favorite of Jones's. - H. Lunt.
Raphael Peale (1774 - 1825) miniature portrait of a red-haired gentleman Unsigned, watercolor on ivory, gilt case set with hair, pearls, and the initials "M D" at back. 2 3/4 in. x 2 in.
Still Life with Liqueur and Fruit signed and dated 'Raphaelle Peale August, 1814' (lower right) oil on panel 131/4 x 191/4 in. (33.7 x 48.9 cm.) PROVENANCE Juliana Force, New York, circa 1920s. Whitney Museum of American Art, New York, September, 1932. Mr. Cornelius Vanderbilt Whitney, circa 1940s, New York. By descent in the family to the present owner. EXHIBITION San Francisco, California, M.H. de Young Museum, American Painting, 1935, no. 184 Pittsburgh, Pennsylvania, The Carnegie Institute, Survey of American Painting, October 24-December 15, 1940, no. 122 Washington, D.C., National Gallery of Art, Raphaelle Peale Still Lifes, October 16, 1988-January 29, 1989, no. 53, p. 66, illustrated (This exhibition also traveled to Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts) NOTES As one of the first artists in America to focus exclusively on still lifes, Raphaelle Peale is arguably the finest and most important painter of this genre in the nation's history. At a period when commissioned portraits were the foundation for artists working in America, only two members of the esteemed Peale family took up still life painting in earnest: Raphaelle and his uncle, James Peale. It was under their auspices that Philadelphia became the center of still life painting at the turn of the nineteenth century. Peale began to exhibit his paintings at the Columbianum exhibition of 1795, attempting to make his living in the respected area of portraiture. Ultimately he shifted his interest to still life painting and records show that in 1813, Peale exhibited a large number of still lifes for the first time at the Pennsylvania Academy of the Fine Arts where his paintings won critical acclaim. With the exception of 1820 and 1821, Peale's paintings were exhibited at the Academy every year following until his death. Still Life with Liqueur and Fruit demonstrates the resolute way Peale went about his art, with great attention to detail and sensitivity of composition. In the present work, Peale places the objects directly on a bare tabletop, a compositional device borrowed from James. The tabletop is parallel to the picture plane where the viewer can contemplate the formal order of the composition and the perfect meticulousness of form. As in most paintings by the artist, the still life elements are lit from the left. Light is captured flawlessly here in the decanter and the fluted glass. Peale captured highlights with accuracy rarely found in American still life painting; according to William H. Gerdts, this luminescence gives the glassware a transparency reminiscent of Caravaggio. He states: "In painting glass, the artist revels in the chance to demonstrate a virtuosity not afforded by more opaque objects...the lighting is usually what has been called the 'Peale' type; that is, in the background the light flows from right to left, while a raking light strikes the foreground objects from left to right. Although this lighting arrangement is rarely found in nature, it permits the artist to show as much texture and line as possible...There is little 'studied carelessness' in the work of any of the Peales, but specifically in the work of James and Raphaelle there is an almost surrealistic quietude..." ( American Still Life Painting, New York, 1971, p. 31) Raphaelle Peale led a relatively short life, yet he managed to produce a body of still life paintings that has seldom been equaled in sensitivity of composition. Nicolai Cikovsky, Jr. writes: "...of all the Peales, he was the truest and greatest artist. He had the finest artistic sensibility and intelligence, and despite his lack of self-confidence and ambition, he was artistically the most daring. In the end his art had the most lasting influence as well." ( Raphaelle Peale Still Lifes, Washington, D.C., 1988, p. 33) Cikovsky comments on the existing works of the artist: "...as difficult as it might be to believe it of paintings of such delicacy and reticence or of an artist of such apparently modest ambition, they seem to have addressed the artistic issues of their time more intelligently, subtly, and -- certainly in terms of their quality -- more successfully than did the work of any of his contemporaries." ( Raphaelle Peale Still Lifes, p.54) It has been estimated that Raphaelle Peale may have painted as many as one hundred and fifty still lifes, of which approximately fifty have survived. It is this rarity combined with exquisite detail and sensitivity of composition that make Still Life with Liqueur and Fruit a true tour de force of nineteenth century American still life painting.
signed Raphaelle Peale and dated December 24, 1821, l.r. oil on panel Born in Philadelphia in 1774, Raphaelle Peale was the eldest surviving son of Charles Willson Peale, the patriarch of the great Pennsylvania family that included some of the most celebrated American artists of the late eighteenth and early nineteenth centuries. With his interests in art, science and philosophy, Charles Willson Peale embodied the ideals of the Enlightenment, and raised his children in a house overflowing with his collection of "Natural Curiousities." In 1786, he opened part of the house to the public and it became know as "Peale's Museum" (later "The Philadelphia Museum"). According to Linda Bantel, "A predilection for art and nature was imbued in all of Charles Willson Peale's progeny. The children were taught the rudiments of painting and were inculcated with their father's scientific and philosophic enthusiasms as well. ". . . The influence of the museum and Charles Willson Peale on Raphaelle was considerable. In his youth Raphaelle traveled with his father on painting trips and assisted him in the museum by gathering and preserving specimens and arranging habitats. He painted background scenes for the habitats with leaves, foliage, or insects, reproducing the typical environment in which the animals dwelled" (Nicolai Cikovsky, Jr. et al., Raphaelle Peale Still Lifes, Washington, D.C., National Gallery of Art, 1988, p. 16). By the time he reached his early twenties, Raphaelle's early interest in portraying the minute details of the museum's flora and fauna had become a fascination with still life painting. His predilection for still life was remarkable at the time, given that the traditional European hierarchy of subjects--which the new world had inherited from the old-- ranked still life last in artistic significance behind mythology, religion, history, portraiture and landscape painting. In defiance of his father's wishes and despite the generally accepted public view, Raphaelle Peale became America's first professional still life painter, and the present painting is an exquisite, newly-discovered example of his work. Had he been born in Europe, Raphaelle Peale's still lifes would probably have been rarely exhibited and soon forgotten. In America, however, as early as 1795 Raphaelle Peale exhibited five portraits and seven still lifes at the Columbianum exhibition in Philadelphia, and he continued to exhibit still lifes regularly at the annual exhibitions held by the Pennsylvania Academy of Fine Arts beginning in 1811. These yearly exhibitions provided a venue for artists to display their work and an arena from which a new artistic hierarchy--reflecting the tastes, interests and values of the new American nation---could emerge. A contemporary reviewer of the 1813 Pennsylvania Academy exhibition commented on Raphaelle Peale's submissions: "Before our annual exhibition this artist was but little known. The last year he exhibited two pictures of still life, that deservedly drew the public attention, and were highly appreciated by the best judges. We are extremely grateful to find that he has directed his talents to a branch of the arts in which he appears to be so well fitted to excel. . . . Raphael [sic] Peale has demonstrated talents so transcendent in subjects of still life, that with proper attention and encouragement, he will, in our opinion, rival the first artists, ancient or modern, in that department of painting. . . " (George Murray, "Review of the Third Annual Exhibition of the Columbian Society of Artists and Pennsylvania Academy of Fine Arts," The Port Folio, 2, August 1813). Raphaelle Peale's devotion to still life caused his father much consternation, and Charles Willson Peale exhorted his son to pursue the more highly regarded category of portraiture with the same dedication. Writing to Raphaelle from his country home outside of Philadelphia on November 15, 1817, Charles Willson Peale urged, "I well know your talents, and am fully confident that if you applied [yourself] as you ought to do, you would be the first painter in America. . . .Your pictures of still life are acknowledged to be, even by the Painters here, far exceeding all other works of that kind--and you have often heard me say that I thought with such talents of exact imitation your portraits ought to be more excellent-- My dear Raph. then why will you neglect yourself--?" (American Philosophical Society Library, Philadelphia, Pennsylvania). This rift between the artist and his father was compounded by Raphaelle's unhappy marriage to Patty McGlatherly, which had been carried out in spite of the Peale family's disapproval, and by his debilitating alcoholism. He also suffered from gout which prevented him from undertaking the travel necessary to fulfill portrait commissions. Charles Willson Peale did not abandon his son, however, and when Raphaelle found himself unable to support his wife and six children, his father tried to help him by purchasing his paintings and sending him money outright. Despite his frustration with Raphaelle, Charles Willson Peale tacitly acknowledged his son's preference in his 1817 Portrait of Raphaelle Peale (Private Collection), which depicts his eldest son seated at his easel with a palette and brushes in his hand and a still life hanging in the background. Nicolai Cikovsky Jr. writes, "Raphaelle was professionally and personally a disappointment to his father. Yet of all the Peales, he was the truest and greatest artist. He had the finest artistic sensibility and intelligence, and despite his lack of self-confidence and ambition, he was artistically the most daring. In the end his art had the most lasting influence as well" (p. 33). Indeed, Raphaelle Peale's willfull adherence to still life painting helped pave the way for an American still life tradition. His breathtaking powers of illusionistic representation and the critical acclaim his works received encouraged a new generation of American artists to pursue still life subjects and trompe l'oeil effects. It has been estimated that Raphaelle Peale completed approximately 150 still lifes, of which about 50 have survived. Among the precious few examples that remain are master works of American still life painting and historical documents which explicitly record the culinary and horticultural accomplishments of early nineteenth century Philadelphia, while implying, through their depiction of expensive delicacies, fine china, glassware and other refined luxuries, the economic and cultural achievements of that city and the American nation in general. The elements in the present painting--identified by Dr. Phoebe Lloyd as a Washington's Favorite apple, hazelnuts, currants, Twelfth Night Cakes and cinnamon bay leaves--are rendered with the precision of a scientist, attesting to Raphaelle's extraordinary talent for "exact imitation," which even Charles Willson Peale acknowledged in his son.
Portrait of Artemas Ward signed Raphaelle Peale, dated 1795 and inscribed pinxt, c.l. - - oil on canvas 25 3/4 x 22 in. (65.5 x 56 cm.) In late 1794 or early 1795 Charles Willson Peale was commissioned to paint a portrait of the Revolutionary war hero General Artemas Ward. This portrait highlighted Ward's remarkable participation in the militia and government during the formation of the States. Although his accomplishments were many and varied, Ward is particularly well remembered for his participation in the battles at Fort Ticonderoga and Bunker Hill as well as his election to the first two terms of Congress in Philadelphia. Charles Willson Peale's portrait of Ward now hangs in the Independence National Historical Park in Philadelphia, Pennsylvania. The present example, painted by Raphaelle Peale in 1795, was finished at a time when both he and his brother Rembrandt were executing life portraits at the side of their father. It seems likely, however, that this work was a replica of his father's well-known portrait made by Raphaelle to give to the family of General Ward. Indeed, Raphaelle executed another version of this portrait to take with him for exhibition in Charleston, Savannah, Baltimore and New York later that year. The exhibition version is now in the collection of the Artemas Ward House in Shrewsbury, Massachusetts that is maintained by Harvard University. The lot is accompanied by a letter dated Feb. 11, 1992 from Lillian Miller of the Peale Family Papers at the National Portrait Gallery of the Smithsonian in Washington.
Still Life with Peaches and Grapes signed indistinctly ***Peale, and inscribed indistinctly on the reverse - - oil on canvas - - unframed 13 1/2 x 19 3/4 in. (34.4 x 50.4 cm.) ERRATA Lot 4: Signed Indistinctly *** Peale, lower left, not lower right.
