Michele Felice Cornè (Italian/American, 1752-1845), 1803. Ship 'Thames' of New York. Framed with inscribed eglomisé mat. Unsigned. Watercolor and gouache on laid paper. Sight, ht. 13 3/4, wd. 17 1/2 in.
RI, SALEM, MA), EARLY 19TH CENTURY OIL PAINTING ON CANVAS PORTRAIT OF TWO OF THE RICKETSON CHILDREN WITH THEIR PET DOG. NOTE ON VERSO SAYS "GIVE TO LYDIA ANN RICKETSON WADY" (1824-1903). HER FATHER WAS HENRY G. RICKETSON. "THEN TO LAURA JANE RICKETSON CODDING" (1832-1915), ALSO A DAUGHTER TO HENRY RICKETSON. SIGHT SIZE 26 1/2" X 21 1/4". IN PERIOD WOOD AND GILDED FRAME WITH DAMAGE TO FRAME. OVERALL 31 1/4" X 25 1/2". SHOWS 3 OLD REPAIRS TO BACK WITH SOME CRACKALURE. PROVENANCE ALFRED J. WALKER FINE ARTS AND NEW BEDFORD WHALING MUSEUM.
Attributed to MICHELE FELICE CORNE (American, 1752-1845) The Ship "Mount Vernon" of Salem Engaging French Privateers 1799, tempera on canvas 18 x 24 in., frame: 21 3/4 x 27 1/2 in.
Michele Felice Corne (Italian / American, 1752-1845) "Venus & Adonis" - First half 19th century Oil on canvas Unsigned Approx. 38.5" height x 67" width (framed), 32.75" height x 61" width (unframed) Provenace: Sold at Sotheby's, New York. January 1999, Lot 437.
Attributed to Michele Felice Corne (1752–1845) A Pair of Naval Battle Scenes: United States vs. Macedonian and Constitution vs. Guerrière oil on canvas 18 x 23 ¾ in. (each) (2)
Michele Felice Corne (Italy/United States, 1752-1845). "Adonis and Venus" oil on canvas. Unsigned. 23" x 60"; frame: 38 1/2" x 67". Relined & re-framed. Sotheby's, New York, sale of January 16, 1999, lot 437. Private Collection, Virginia.
The Enterprize (Enterprise) and Boxer Rare War of 1812 Engraving Michele Felice Corne (c.1752-1845) Painter Ashley Bowen (1728-1813) Engraver This engraving has been used to decorate a creamware pitcher and a snuff box of the period. This rare wood engraving is attributed to Ashley Bowen. Ashley Bowen (17281813) was the first American sailor to write an autobiography.[1] Although Bowen's career as a sailor was not particularly remarkable, his writings are of great value in understanding the life of an average sailor at that time. Bowen was a sailor from the age of 13 to the age of 35. Youth Ashley Bowen was born on January 8, 1728. He grew up in the town of Marblehead, Massachusetts, until going to sea at age eleven.[2] Bowen's mother died when he was twelve, and he suffered personal turmoil when his father re-married soon after. At the age of "13 year and three month" Bowen was apprenticed to Captain Peter Hall of Boston.[citation needed] Seafaring years Bowen went to sea as a living from the age of 13 on, suffering cruelly under the harsh beatings of his master. Although repeated escape attempts failed, Bowen was finally able to escape Hall at the age of 17.[citation needed] Finally away from his master, Bowen spent the next eighteen years in the employment of several organizations, including the Royal Navy and British traders. During this time, Bowen made money transporting cargo, serving in the British navy, and trading goods. Bowen was also held prisoner during the Seven Years' War by the French. Family life and giving up the sea In 1758, Bowen married Dorothea Chadwick, who bore him six children during their marriage.[3] At the time, Bowen was 30 years old, and the fact that he had a wife on land made him think of retirement. Eventually, Bowen gave up seafaring at the age of 35, and set up a rigging business in Marblehead, Massachusetts.[4] The business was a moderate success, providing enough income to get by, but never by much. Dorothea died in 1771; the same year, Bowen married Mary Shaw. Shaw died in 1781, and the next year Bowen married Hannah Graves.[5] Bowen's final child was born in 1797. Although Bowen had amassed some wealth through his business and his adventures at sea, as he grew elderly, he was completely dependent upon his children for his upkeep.[6] Bowen died in 1813. Impact of Bowen's life and autobiography Although Bowen did not become a master of his own ship or have notable seafaring adventures for his time, his historical contribution is important. Because Bowen was the first American sailor to write an autobiography, his account gives historians valuable insight into life as an 18th-century sailor. Bowen's autobiography and journal had been an important archival source for scholars and in 1973 it was edited by Phillip Chadwick Foster Smith and published by the Colonial Society of Massachusetts. More recently, in 2006, The Autobiography of Ashley Bowen was published by itself by Broadview Editions, edited with an Introduction by Daniel Vickers. Print Type: Wood Engraving Hand colored Dated: Circa 1812 Origin: American Demensions: S 5 7/8 x 7 7/8" Frame: Marbled Frame Subject: Nautical - War of 1812 Notes: At the outset of the War of 1812, the American Navy wasnt considered much of a match for the British Navy. And the USS Enterprise was hardly anyones idea of a state-of-the-art warship. But she stunned and gladdened the nation with her capture of the H.M.S. Boxer. At 85-feet in length, Enterprise carried just over 100 seamen, 14 cannon and two long guns. As Teddy Roosevelt wrote in his history of the naval war, American brigs carried far too many guns and men for their size, and not enough to give them a chance with any respectable opponent; and they were almost all ignominiously captured. The single exception was the brig Enterprise. On the morning of September 5, 1813, the Enterprise happened upon the H.M.S. Boxer, a similarly-sized British vessel that had been harassing ships off the coast of Maine and Canada. She was anchored near Pemaquid Point. For the next several hours, the two vessels maneuvered in the waters off Monhegan Island, readying themselves for the battle to come. Along the shoreline, citizens gathered to see what they could as they became aware of the battle shaping up. By 3 p.m. Lieutenant William Burrows had the Enterprise bearing down on the Boxer. On the British ship, Commander Samuel Blyth ordered the ships flags nailed to the mast, demonstrating that he had no intention of striking his colors and surrendering, come what may. The overloaded Enterprise had one striking advantage. Boxer had only a crew of 66 on board, leaving her with far fewer men to operate the guns and keep the vessel under control. At 3 p.m., with superior aiming, the Enterprise damaged the Boxer badly. She lost a mast. And, she lost Commander Blyth, who was killed by a cannon shot. Burrows, too, was mortally wounded, though he would live on to see the end of the fight. As the fighting progressed, four British sailors would abandon their posts, giving the Enterprise and even greater advantage. Within a half hour, the battle was over . Shot through the hull multiple times and unable to maneuver, the Boxer surrendered. Blyths sword was taken to the American ship and presented to Burrows, who ordered it be returned to Blyths family. On shore, it wasnt immediately obvious who had won. Though Henry Longfellow would later make the battle famous in a poem, he likely saw very little of it, as it was so far distant. When the H.M.S. Boxer was finally brought in to Portland Harbor by the Enterprise, the town learned the outcome. On September 9, both captains were laid to rest in Portland, side by side in a funeral that celebrated both of their heroism. Condition Report Minor foxing toning.
ATTRIBUTED TO MICHELE FELICE CORNE Rhode Island/Massachusetts, 1752-1845 Portrait of a man wearing white stock, tan vest and black coat. Unsigned. Oil on canvas, 27.5" x 23.5". Framed 32.25" x 28".
MICHELE FELICE CORNÈ (italian/american 1752-1845) VENUS AND ADONIS Oil on canvas 32 x 60 inches (81.3 x 152.4 cm) provenance: Sotheby's, New York, sale of January 16, 1999, lot 437. Private Collection, Virginia.
MICHELE FELICE CORNE (RI/MA/Italy/France, 1752-1845) - "Storm in the Gulf of Naples, 1811", oil on canvas, faintly signed lower right, titled and dated on frame tag, depicting a ship foundering on rocks at the mouth of the harbor, desperate survivors in rowboat, woman being helped by two men on shore at foot of a fortress, housed in what appears to be the original gilt molded cove frame, OS: 29 3/4" x 38 3/4", SS: 24 1/2" x 33 1/2". Cleaned, relined and retouched, loss to frame at one corner.
Michele Felice Corne (American 1752-1845), portrait of John Appleton, merchant of Salem, 1800, depicted seated before a table with ledger and packet of letters, oil on canvas, signed, dated and inscribed on the reverse, prior to lining "John Appleton, son of the Rev.d/Nathaniel Appleton D.D. of Cam/ bridge AEtat 62/ M.C. pinxit Salem novr. 1800." 36"h x 29 1/4"w (view), 40 7/8"h x 34 1/8"w (frame). Provenance: MA Estate.
Watercolor on paper, 12 ¾ x 16 ¼ inches, sight. Framed and matted, frame 20 ¼ x 23 ¾ inches. Literature: For a similar portrait of the "Prudent," see M.V. and Dorothy Brewington, "Marine Paintings & Drawings in the Peabody Museum," p. 43, no. 184.
POSSIBLY MICHELE FELICE CORNE American, 1752-1845 "Brig Cruger of Salem". Unsigned. A very similar example by Corne is illustrated in Marine Paintings and Drawings in the Peabody Museum by M.V. and Dorothy Brewington, p. 43, #187. Watercolor and gouache on paper, 19" x 24". Framed.
MICHELE FELICE CORNE (ATTR) ITALIAN/AMERIAN 1752-1845 "A Scenic Landscape" Oil on canvas 29 x 36 1/4 in (73.7 x 92.1 cm) PROVENANCE: Christie's , New York, January 2007, A letter from the Albany Historical Society accompanies this lot.
MICHELE FELICE CORNE (AMERICAN 1752-1845). PORTRAIT OF JOHN APPLETON, MERCHANT OF SALEM, 1800. Depicted seated before a table with ledger and packet of letters. Oil on canvas, 36 x 29 1/4 inches. Signed, dated and inscribed on the reverse, prior to lining "John Appleton, son of the Rev.d/ Nathaniel Appleton D.D. of Cam/ bridge AEtat 62/ M.C. pinxit Salem novr. 1800."
MICHELE FELICE CORNE (AMERICAN1752-1845). THE LANDING OF COLUMBUS. Depicting Columbus' arrival at San Salvador in 1492. The scene shows Columbus, dressed in red and accompanied by sailors flying the Spanish flag and a Franciscan monk carrying a cross, meeting the native inhabitants of what they believed to be America. In the background is the port where Columbus' ships are moored. Oil on canvas, 20 x 31 3/4inches.
A PORTRAIT OF A PRETTY DARK HAIRED YOUNG GIRL SEATED WITH EMBROIDERED PICTURE measurements 26 1/2 by 18in. alternate measurements 67.3 by 45.7cm oil on canvas PROVENANCE Morris Finkel & Daughter, Philadelphia NOTE A related example is illustrated and discussed in American Folk Portraits, Paintings and Drawings from the Abby Aldrich Rockefeller Folk Art Museum, Beatrix T. Rumford, General Editor (Boston: New York Graphic Society, 1981, p. 73, fig. 41).
oil on canvasinscribed Aetat.62/M.C. pinxit Salem/Nov'r, 1800. The sitter is depicted having documents tied with redstring on the desk. Partially visible under a ledger aretwo letters inscribed to Mr. John Appleton/Mer(chant), Salem.John Appleton, born in Cambridge circa 1738, was one oftwelve children of the Reverend Nathaniel Appleton. Hegraduated from Harvard in 1757, settled in Salem thefollowing year, and set up as an "English goods merchant,"his occupation until his death in 1817. \John Appleton's father Nathanielwas minister of the Cambridge church for 66 years, from1717 until his death in 1784. It was for him thatChristopher Townsend, the Newport cabinetmaker, andSamuel Casey, the noted silversmith, made and signed thesilver-mounted dome-top secretary bookcase sold atSotheby's in January 1999, Sale 7253, Lot 704, for$7,500,000, the second-highest price ever paid for apiece of American furniture.Michel Cornè was born on the island of Elba, butmade Salem, Massachusetts, his home. He executed a numberof commissions for the Derby family, as well as for otherdistinguished Salem citizens.
CORNE' 1752-1845. Painting depicts a balding gentleman with ruffled white collar in black coat with brass buttons. Possibly a sea captain. It is framed in a frame from the period but probably not the original frame. Painting is unsigned but the structure on the reverse has an impressed inscription which includes the date "1814" and other words which can not be made out, may be the name of the sitter. A note attached to this lot indicates that at one time a photo of the painting was shown to someone at the Peabody Museum who identified the artist as being Michele Felice Corne. The Peabody had a very important and extensive exhibition in 1972 of Corne's work and a very fine book featuring numerous examples of his work and descriptions with information and history accompany this lot. The painted style and use of shadows to delineate the facial features of this painting very much coincide with the illustrated works of the artist. SIZE: 17" x 23 1/2". ACTUAL SIZE: 24" w x 30 1/2" t. CONDITION: The painting was cleaned and had some restoration long ago. 9-79480.
