A good maritime oil on canvass painting of a fishing sloop in a turbulent sea. Signed "IR Lowd" at lower right. The stretcher is pencil signed "Fishermen in a Winter Sea/Winter Rig/Flat Roof". The canvas is an older, probably original giltwood frame. Found in Maine.

Ca. 1920. Condition: fine condition; no repairs; a 1/4" area of flaked paint. Canvas Size: 12-1/2" x 14-1/2". Framed Size: 14" x 16".

A nice 19th century Mexican folk retablo on tin depicting San José. In his role as the husband and protector of the Virgin Mary, Saint Joseph became one of the more popular retablo subjects, representing an estimated 7% of 19th century pieces. According to the Apocrypha, Mary’s suitors left their staffs in the courtyard of her home overnight, and by the next morning, Joseph’s has sprouted blossoms, indicating he was God’s choice as her husband. The lily-covered staff became a primary attribute of Saint Joseph, and in this retablo it is shown just behind the infant Jesus. The saint is dressed in his traditional colors of green and yellow, the colors of fertility, new life and marriage. This retablo has a pleasant, particularly “folky” feel to it because of the outlining treatment of the fingers and Jesus’ unique garment that looks almost like a modern footed pajama.

Origin: Mexico, ca. 1880. Condition: very good, normal bending at corners and normal moderately-light paint loss. Size: 9-7/8” x 13-3/8”.

A very colorful 19th century Mexican retablo depicting a scene called "L'Alegoria de la Redencion." The composition depicts the elongated body of the crucified Christ spanning Heaven and Hell. God, making the sign of blessing and the Holy Spirit (in the form of a dove) watch from the upper section, while condemned souls in supplication watch from the flames of Hell at the bottom. Interestingly, the artist depicted one of the condemned souls as a Cardinal, indentifiable by his red cap. Mary watches the scene from one side, while the archangel Michael holds a balance in which he weighs the souls of sinners. Both Mary and Michael represent intercessory figures to whom one can pray for the salvation of loved ones. At either end of the arms of the cross, the sun and moon are shown against a starry sky. This represents the darkening of the sky at the moment of Jesus' death. The figures, especially that of Christ, are well-formed and colorfully painted.

Origin: Mexico, ca. 1860. Condition: very good overall, paint wear along edges and a candle burn on the left edge near Mary, normal bending of tin and a notched corner at upper right. Size: 10" x 14".

A good, small-size 19th century Mexican retablo depicting San Jeronimo. After a spiritual revelation, the saint lived as a hermit, often flagellating himself with a scourge and beating himself with rocks. He is shown here his traditional attributes of penitence--the bloody scourge, a skull, and rocks. He is often shown with fresh self-inflicted wounds, in this case a spray of blood droplets from his chest. San Jeronimo was the first to translate the Hebrew text of the Old Testament into Latin and is considered one of the four most learned founders of the Catholic church. The retablo also shows an open book to symbolize his efforts. A trumpet blasts into the saint's ear as a reminder of his spiritual awakening. And finally, a peaceful lion crouches next to the saint. This example is well-painted in muted colors that contrast nicely with the bright orangey-red color of the saint's cloak. Images of San Jeronimo were popular throughout Mexico, but it is estimated that he appears in less than 4% of all retablos.

Origin: Mexico, ca. 1880. Condition: excellent, no paint loss. Size: 5-3/8" x 7-3/8".

A wonderfully colorful 19th Mexican retablo of "Neustra Senora de Guadalupe con Juan Diego". Tradition has it that the Virgin Mary appeared to Juan Diego in the guise of a Mexican girl in 1531. The apparation was particularly notable in that it was the first report of the Virgin appearing in an ethnic identity that Mexican natives could relate to. In retablo art as in this example, she is often shown with a quite dark complexion. In this example, she is shown in her traditional pose standing on a silver crescent moon supported by a cherub. She wears her usual heavily embroidered gown and the blue robe scattered with gilt stars. Her hands are clasped in a manner of prayer. This retablo is a rare variation, however, because of the appearance of Juan Diego in the lower left corner. He is shown holding the cloak filled with roses and bearing the image of the Virgin which she gave him to prove her authenticity. The retablo retains an old, and probably original, carved frame. The back bears an indistinct artist's signature in pencil and a collector's label stating "Found by H. S. Burlingham in Queretaro, Mexico in 1958."

Origin: Mexico, ca. 1860. Condition: very good, scattered small paint flakes, no rust on front surface. Size: image, 5-3/4" x 7-3/4"; frame, 8-3/8" x 10-1/8".

A very nice 19th century Mexican tin retablo illustrating “El Nino de Atocha”. According to tradition, Christ appeared in the guise of a small child to feed the hungry Christian prisoners of the town of Atocha during the Moorish invasion of Spain. The retablo illustrates the boy wearing his traditional garb and carrying his usual water gourd on the end of a staff and a food basket. Bouquets of flowers are arranged at his feet. Interestingly, the staff and basket are shown in the opposite hands from their original arrangement and the boy is seen standing rather than sitting. The pouty appearance of the mouth suggest that this retablo might be by the “bee-stung mouth” artist, though the relative simplicity of the design would make it among his earlier works. The heavy-lidded treatment of the eyes is also characteristic of the Red Bole Group, with which the artist is often associated. The retablo retains the original welded hook on the back side, and a collector’s label stating “Santo Nino de Atocha”.

Origin: Mexico, ca. 1840. Condition: excellent, very light scattered paint nicks to front, no rust. Size: 6-3/4” x 10”.

A nice oil on canvas depicting the harbor of a seaside Dutch village. The scene is centered by a large white-sailed boat moored in front of the waterfront buildings. The open sea can be seen to the right of the image. The scene is completed with a small assembly of fishwives and boatmen.

Origin: Holland, last half 19th century. Size: canvass, 27" x 22"; overall, 34-1/2" x 29-1/2".

Fine Pennsylvania impressionist oil on board snowscape by H. Don Donnell. The image depicts a winding country road along bordered by a fence to one side and a couple of trees on the other. Pockets of brush dot the landscape. Auburn leaves cling to the trees, creating a nice counterpoint of color to the soft greys and blues in the snow-covered ground and wintery sky. A pair of small buildings appear in the near background before the scene rises to the foothills of the Allegheny Mountains. The perspective is particularly appealing. The painting is signed twice at lower right, one under the impasto and again in the same hand over the impasto. The first signature seems to include a date, which appears to be 1920. The back of the board is marked in pencil "Butcher Creek Road Near Butler Pa/$75/By H. Don Donnell".

Origin: America, ca. 1920. Condition: excellent. Size: board, 16" x 12"; overall, 21-1/2" x 17-1/4".

American Impressionist School, ca. 1910. Oil on canvas depicting a woodland pond amid autumn foliage. Though unsigned, the painting is clearly the work of a talented artist and is reminiscent of the work of Julian Alden Weir. The coloring is sophisticated and the perspective and reflections in the water are perfectly accomplished. The canvas remains on its original stretcher. Size: canvas, 30" x 26"; overall, 35-1/2" x 31-1/2".

Attributed to Henri-Alphonse Barnoin, French, 1882-1935. "Marché du plage de Concarneau", depicting the seaside market outside the Brittany fishing village of Concarneau. The town is clearly identifiable from the distinctive town ramparts and tower in the background. In the foreground, Breton women in traditional dress gather to buy and sell foodstuffs while a few fisherman in small boats work at the shore. The loose brushwork is more in the style of Barnoin's pastels and gouaches. His subject is traditional, yet the somewhat geometric dabs of paint barely suggestive of outlines and features skirts with Impressionism. The canvas is stretched on its original stretchers and has been lightly cleaned. Unsigned. Size: canvas, 24" x 20"; overall, 31" x 27".

A fine, large bronze animalier sculpture by Ferdinand Pautrot (1832-74). The figure represents a pair of pheasants, one perched on a gnarled barren branch while the other appears to strut along the ground. The body position of the lower bird gives the composition a great deal of movement that is often missing in classical animalier bronzes. The ground is covered in long grass that is somewhat less common than Pautrot's more characteristic rocky ground. Along with Mène and Moigniez, Pautrot was considered the be France's finest sculptor of animal figures. He first successfully participated in the Paris Salon of 1861 (three entries) and continued to exhibit until 1870. The details of the feathers are stunning and absolutely realistic in appearance. The ground is signed "F. Pautrot". The figure retains its original medium brown patina with light gilt touches.

Origin: France, ca. 1865. Condition: excellent, original patina, built-up dust that could be cleaned if desired. Size: 7-1/2" x 3-1/2 x 9-1/4" tall.

Artist References: Benezit, "Dictionnaire des Peintres et Sculpteurs"; Lami, "Dictionnaire de Sculpteurs de l'ecole Francaise"; Kjellberg, "Bronzes of the 19th Century"; Savage, "A Concise History of Bronzes"; Payne, "Animals in Bronze"; Horswell, "Les Animaliers"; and Mackay, "Les Animaliers".

A fine bronze animalier sculpture by Ferdinand Pautrot (1832-74). The figure represents a pair of songbirds, one of which has caught a fly in its mouth. The other bird appears to be contemplating the possibility of wresting the insect from his companion. Both birds are perched on the rocky ground typical of Pautrot's work. An upright flowering plant appears at one end of the composition. Along with Mène and Moigniez, Pautrot was considered the be France's finest sculptor of animal figures. He first successfully participated in the Paris Salon of 1861 (three entries) and continued to exhibit until 1870. The details of the feathers are stunning and absolutely realistic in appearance. The rocky ground is signed "F. Pautrot". The figure retains its original medium brown patina with light gilt touches.

Origin: France, ca. 1865. Condition: excellent, original patina, built-up dust that could be cleaned if desired. Size: 6-1/4" x 3-1/4 x 6-1/2" tall.

Artist References: Benezit, "Dictionnaire des Peintres et Sculpteurs"; Lami, "Dictionnaire de Sculpteurs de l'ecole Francaise"; Kjellberg, "Bronzes of the 19th Century"; Savage, "A Concise History of Bronzes"; Payne, "Animals in Bronze"; Horswell, "Les Animaliers"; and Mackay, "Les Animaliers".