Tompkins H. Matteson Sold at Auction Prices

American Art in Daguerreotypes Whole plate daguerreotype of American painting George Washington at Valley Forge by T.H. Matteson (1813-1884).

American Art in Daguerreotypes Whole plate daguerreotype of American painting George Washington at Valley Forge by T.H. Matteson (1813-1884). Whole plate daguerreotype featuring image of original painting produced by celebrated American artist, T.H. Matteson (1813-1884), George Washington at Valley Forge, painted 1854. Uncredited, though it has been suggested that the photographer could be Washington V. Peale. Provenance: Private purchase; Cowan's, American History, 23 June 2011, Lot 165; Purportedly acquired by previous owner from a Vermont family whose lineage can be traced directly to the family of American patriot, John Jay, among others. John Jay's sister, Sarah Jay, married Oliver Waldron, and their grandson, James M. Byrne (1816-1899), was the great great grandfather of the individual from which the previous consignor acquired the images (auction notes). ___________________________ From 1851 to 1856, W.V. Peale was listed as a photographer at 147 Spruce St. in Philadelphia, and he is probably the same "Peale" noted in a different directory as working at 159 Chestnut St. in 1854. Again, he is probably the same "Washington Peale" listed as a daguerreotypist in New Haven, CT from 1857-1858. There he is listed without a business address, but he resided at 70 Bradley St. From 1859-1860, he was listed in New York City, working at 363 Broadway and living at 174 Tenth Ave. The 1860 census of New York City identifies Peale as a photographer living with his wife and two children. By 1860, Matteson had moved from New York City, where he once owned a studio, to Sherburne, NY, where he remained until his death. However, he was an associate of the National Academy of Design in New York City and exhibited frequently there through 1869, so it possible that Peale came into contact with Matteson's work at the National Academy. This lot is located in Cincinnati.

American Art in Daguerreotypes Whole plate daguerreotype of American painting The Pilgrims Signing the Compact, on board the Mayflower, Nov. 11th, 1620, by T.H. Matteson (1813-1884).

American Art in Daguerreotypes Whole plate daguerreotype of American painting The Pilgrims Signing the Compact, on board the Mayflower, Nov. 11th, 1620, by T.H. Matteson (1813-1884). Whole plate daguerreotype featuring image of original painting produced by celebrated American artist, T.H. Matteson (1813-1884), The Pilgrims Signing the Compact, on board the Mayflower, Nov. 11th, 1620, painted ca 1859. Uncredited, though it has been suggested that the photographer could be Washington V. Peale. Provenance: Private purchase; Cowan's, American History, 23 June 2011, Lot 165; Purportedly acquired by previous owner from a Vermont family whose lineage can be traced directly to the family of American patriot, John Jay, among others. John Jay's sister, Sarah Jay, married Oliver Waldron, and their grandson, James M. Byrne (1816-1899), was the great great grandfather of the individual from which the previous consignor acquired the images (auction notes). From 1851 to 1856, W.V. Peale was listed as a photographer at 147 Spruce St. in Philadelphia, and he is probably the same "Peale" noted in a different directory as working at 159 Chestnut St. in 1854. Again, he is probably the same "Washington Peale" listed as a daguerreotypist in New Haven, CT from 1857-1858. There he is listed without a business address, but he resided at 70 Bradley St. From 1859-1860, he was listed in New York City, working at 363 Broadway and living at 174 Tenth Ave. The 1860 census of New York City identifies Peale as a photographer living with his wife and two children. By 1860, Matteson had moved from New York City, where he once owned a studio, to Sherburne, NY, where he remained until his death. However, he was an associate of the National Academy of Design in New York City and exhibited frequently there through 1869, so it possible that Peale came into contact with Matteson's work at the National Academy. This lot is located in Cincinnati.

TOMPKINS HARRISON MATTESON (American, 1813-1884)

"THE UNION". Circa 1852. An important allegorical oil on canvas painting depicting two groups of congressman posed with a copy of the Constitution at the center before a pedestal with the bust of a Roman Statesman, a crown and scepter arranged beside gold trappings in the foreground, an American shield to the viewer's right, an image of an angel and eagle in the right background. The Capitol dome can be seen in the distance, Andrew Jackson is seen seated on the viewer's left. Housed in an ornate gold gilt frame with Hirschl & Adler label on verso. SIZE: overall 33" x 39", sight 24" x 36". CONDITION: professionally cleaned and relined. Minor losses to gesso in frame. PROVENANCE: Martin Lane Historic & Western Americana Lifetime Collection. (02-21705/TG). $3,000-5,000.

Matteson Original Oil, Santa's Workshop

MATTESON, Tompkins H. (1813 - 1884). Santa's Workshop. Oil on Canvas. Signed Lower left: T.H. Matteson & dated 1856. 25 1/2" x 30 1/2" canvas. Provenance: (Sale: Henry H. Leeds & Co., May 28, 1957, Catalog of a Splendid Collection of Costly Oil Paintings, Pastels, Watercolor Drawings Being the Property of W. Shaus, Esq., May 28, 1957, lot 107, p. 9); Stevens Family, Connecticut; Hirschl & Adler Galleries, Inc., New York. Exhibited: Chadds Ford, Pennsylvania, Brandywine River Museum, The Faces of Old Kris, 1975-78. This charming work depicting a scene in Santa’s workshop was painted by celebrated artist Tompkins H. Matteson. Though Matteson was a historical and genre painter, he is remembered chiefly for his popular patriotic pictures, which were widely known through reproductions. As a native of upstate New York, Matteson successfully harnessed the energy of the growing nation in order to produce moving scenes of Revolutionary war victories, among many others. As one of the first artists to portray the iconic images that continue to resonate with Americans, Matteson tirelessly painted and sketched a variety of subjects. This painting of Santa’s workshop is a fantastic example of Matteson’s more playful work. In the foreground, five elves with mischievous expressions entertain one another playing instruments and showing off their newest creations. In the background, several other figures are engaged in loading the precious cargo into Santa’s waiting sleigh. Matteson’s masterful use of light lends a warm glow to the painting while adding an air of drama to the scene. His father, a Democratic politician, named him for Governor Tompkins of New York. Young Matteson copied prints, cut out silhouettes, obtained a paint-box, and experimented assiduously in the intervals of work in a pharmacy and a tailor’s shop. In 1834 he found his way to Sherburne, making his first appearance there as Othello in a company of strolling players whose star performer had been prostrated by sickness in Hamilton. Soon after this he went to New York and drew from the antique in the National Academy school and opened a studio. After a move to Geneva, N. Y., in 1841 he Matteson enjoyed success in the art world. Much of his best work was done in this period, including his “Spirit of Seventy-six” which was received with enthusiasm and was bought by the Art Union. He was made an associate of the National Academy and exhibited frequently up to 1869. In 1850 he retired to Sherburne where he remained with his family until his death in 1884. Following his death at Sherburne in 1884, the National Academy paid a tribute to Matteson’s character and talents. The Sherburne Public Library owns his “King Lear” and “Washington Crossing the Delaware.” His “Trial of George Jacobs for Witchcraft” belongs to the Essex Institute, Salem, Mass. Matteson’s drawing is more spirited than accurate, though he possessed a knack for suggesting action. His most successful motives were drawn in black and white for reproduction, and were highly sought after in the format of prints.

Tomkins Harrison Matteson, Am. 1813-1884, Playing with Grandfather, 1869, Oil on canvas, framed, 29 5/16" x 24 3/16" actual, 35" x 30" framed

Tomkins Harrison Matteson Am., 1813-1884 Playing with Grandfather, 1869 Oil on canvas, framed Signed and dated l.l.

Attributed to Tompkins Harrison Matteson

(New York, 1813-1884) Incident at St. David's Court Martial, unsigned, oil on canvas, 30 x 38-1/4 in.; reproduction carved gilt wood frame, 35-1/4 x 43-1/2 in. Note: Tompkins Matteson was well known in the New York art world of the mid-nineteenth century. His renderings of famous historical scenes include Washington Crossing the Delaware and The Spirit of '76, and his work was well known through both the American Art Union and the National Academy of Design. It has been suggested that this scene represents the court martial of Lieutenant Colonel Isaac W. Stone, a New York militia officer who commanded the troops responsible for the looting and burning of the Village of St. David's, near the Canadian border, on July 18, 1814. Provenance: The Estate of Peter H. Tillou, Litchfield, Connecticut

THOMPKINS H. MATTESON (ATTR.).

Oil on canvas. Portrait of Charles Dexter Swan. From an Oneonta, NY collection.

THOMPKINS H. MATTESON (ATTR.).

Oil on canvas. "The Moor of Venice". From an Oneonta, NY collection.

Tompkins Harrison Matteson (American, 1813-1884)

Tompkins Harrison Matteson (American, 1813-1884) Morning Star and Evening Star (pair) circa 1867 oil on canvas signed lower right T. H. Matteson 13 1/2 x 10 inches. Provenance:  S and G Intertrus Antiques, New York

Matteson Santa's Workshop Oil Painting

Santa's Workshop. Tompkins H. Matteson (1813-1884). Oil on canvas. Signed l.l: T.H. Matteson and dated 1856. 25 1/2 x 30 1/2 inches. Provenance: (Sale: Henry H. Leeds & Co., May 28, 1957, Catalog of a Splendid Collection of Costly Oil Paintings, Pastels, Watercolor Drawings Being the Property of W. Shaus, Esq., May 28, 1957, lot 107, p. 9); Stevens Family, Connecticut; Hirschl & Adler Galleries, Inc., New York Exhibited: Chadds Ford, Pennsylvania, Brandywine River Museum, The Faces of Old Kris, 1975-76 Chadds Ford, Pennsylvania, Brandywine River Museum, The Faces of Old Kris, 1977-78 A Charming Mid Nineteenth-Century Painting of Santa’s Workshop

TOMPKINS H. MATTESON (AMERICAN 1813-1884). WASHINGTON AT THE BATTLE OF PRINCETON.

Oil on canvas mounted to board, 39 1/2 x 59 inches. Inscribed "J. Trumbull" l.l., and formerly attributed to Trumbull, but not matching John Trumbull's signature. In a gilt cove molded frame with scrollwork ornament at the corners. The reverse with New Britain Museum label. Provenance: Collection of the New Britain Museum, Connecticut, 1937-c.1990's; Northeast Auctions, 1990's; Private collection, Connecticut.

TOMPKINS HARRISON MATTESON, New York, 1813-1884, Genre scene with a woman enjoying lunch., Oil on canvas, 20" x 24". Framed 32" x 36".

TOMPKINS HARRISON MATTESON New York, 1813-1884 Genre scene with a woman enjoying lunch. Signed lower left "T.H. Matteson". Oil on canvas, 20" x 24". Framed 32" x 36".

Tompkins Harrison Matteson (American 1813-1884), Hop Picking, oil on canvas

Tompkins Harrison Matteson (American 1813-1884) Hop Picking Signed T.H. Matteson l.l. Oil on canvas 13 x 23 in (33 x 58.4 cm)Property of Various Owners

AMERICAN HISTORICAL PRINT

AMERICAN HISTORICAL PRINT, engraving on paper, a highly stylized composition, titled "UNION", featuring important figures involved in the Compromise of 1850, arrayed in an idealized setting complete with symbolic figures and props, engraved by Henry S. Sadd (19th century) after the original by Tompkins Harrison Matteson (1813-1884), published by William Pate in New York. Housed under glass in an old frame.

AMERICAN HISTORICAL PRINT

AMERICAN HISTORICAL PRINT, hand-colored engraving on paper, titled "THE FIRST PRAYER IN CONGRESS / SEPTEMBER 1774, IN CARPENTERS HALL PHILADELPHIA", engraved by Henry S. Sadd (19th century) after the original by Tompkins Harrison Matteson (1813-1884), published by John Neale in New York. Housed under glass in a 19th-century molded gilt wood frame.

TOMPKINS HARRISON MATTESON, New York, 1813-1884, Genre scene with a woman enjoying lunch., Oil on canvas, 20" x 24". Framed 32" x 36".

TOMPKINS HARRISON MATTESON New York, 1813-1884 Genre scene with a woman enjoying lunch. Signed lower left "T.H. Matteson". Oil on canvas, 20" x 24". Framed 32" x 36".

Tompkins Harrison Matteson American, 1813-1884 The Spirit of '76, 1845

Tompkins Harrison Matteson American, 1813-1884 The Spirit of '76, 1845 Signed T... Matt... and dated ...84... (lr, extending onto canvas overlap) Oil on canvas 34 3/4 x 40 1/2 inches; Together with After Tompkins Harrison Matteson, THE SPIRIT OF--76, hand-colored engraving by H.S. Sadd, 1862, published by William Smith, Philadelphia, image 15 x 19 inches Provenance: The artist American Art-Union annual lottery, Dec. 19, 1845 Daniel C. Waterman, New Bedford, MA (acquired at the above) Anna Waterman Crane, Pittsfield, MA, by gift, circa 1856 Frank Lamberton Stevens, North Hoosick, MA, circa 1910 Lois Stevens MacGruer, North Hoosick, MA, by descent, 1941 Malcolm Stevens MacGruer, Greenwich, CT, by gift, 1963 Exhibited: New York, National Academy of Design, 1845, no. 218 Literature: American Art-Union Transactions for 1845, New York, The American Art-Union, p. 26, no. 4, indicates that the present work was won by D.C. Waterman, New Bedford, MA National Academy of Design Exhibition Record 1826-1860, Vol II, p. 19, lists the present work as lent by the American Art-Union [published by the New-York Historical Society, 1945] Described as unlocated since the 1970s in the Smithsonian's Inventory of American Paintings, the present work, the masterpiece of Tompkins Harrison Matteson, has been owned by the same family for more than a century. Among the best-known genre and history painters of the mid-19th century, Matteson was born in Peterboro, New York, where he allegedly received his first art instruction from a Native American incarcerated in a local prison. Working for a few years as an itinerant painter, Matteson arrived in New York City in the 1830s, studying at the National Academy of Design, and opening a studio there in 1841. In 1845 Matteson painted The Spirit of '76, a work that attracted widespread acclaim when it was acquired by the American Art-Union for its annual lottery, one of two works by the artist offered in the same year. It has been suggested that the painter Francis W. Edmonds, on the Committee of Management for the Art-Union (and also a native of upstate New York) took an interest in the painting and secured its purchase by the association. The American Art-Union was a subscription-based organization whose goal was to enlighten and educate an American public to a national art, while providing a support system for American artists. For five dollars a year, the members of the Art-Union would receive free admission to its gallery, at least one original engraving published by the Union from an original piece of art by an American artist, and a ticket in a lottery to win an original piece of art from within the collection. The dramatic subject, which was engraved by H.S. Sadd and published by Joseph Laing in 1847, established the young artist's reputation. In 1862, in the early years of the Civil War, it was reissued by William Smith, in Philadelphia. At center, a stalwart young man prepares for his departure for military service as his father, to the left, gives him a bayonet. At right, his mother offers him a sword. A young woman bids him an emotional farewell while a seated woman with a sleeping infant on her lap holds up a copy of the Declaration of Independence. To the extreme left, a soldier stands in a doorway, waiting to escort the new recruit off to defend his country. The engraved version differs slightly from the painted original, in that the standing woman at center has been replaced by a kneeling woman, nearly swooning with emotion. In consequence of his early success, Matteson became known for both his genre scenes inspired by historical events as well as his portraits, but none of his later works achieved the renown of

Henry S. Sadd (1811-1893) After Tompkins H. Matteson (1813-1884) Washington Delivering his Inaugural Address, April 1789, in the O...

Henry S. Sadd (1811-1893) After Tompkins H. Matteson (1813-1884) Washington Delivering his Inaugural Address, April 1789, in the Old City Hall, New Yorkcolored steel plate engraving published by John Neale in 1849 20 1/4" x 26 1/4" sight size Provenance: Property from Credit Suisse's Americana Collection

Tompkins H. Matteson, Santa's Workshop

MATTESON, Tompkins H. (1813 - 1884) Santa's Workshop. Oil on Canvas. Canvas Size 25 1/2 x 30 1/2 inches. Signed Lower left: T.H. Matteson & dated 1856. Retail: $48,000. Provenance: (Sale: Henry H. Leeds & Co., May 28, 1957, Catalog of a Splendid Collection of Costly Oil Paintings, Pastels, Watercolor Drawings Being the Property of W. Shaus, Esq., May 28, 1957, lot 107, p. 9); Stevens Family, Connecticut; Hirschl & Adler Galleries, Inc., New York Exhibited: Chadds Ford, Pennsylvania, Brandywine River Museum, The Faces of Old Kris, 1975-78. This charming work depicting a scene in Santa?s workshop was painted by celebrated artist Tompkins H. Matteson. Though Matteson was a historical and genre painter, he is remembered chiefly for his popular patriotic pictures, which were widely known through reproductions. As a native of upstate New York, Matteson successfully harnessed the energy of the growing nation in order to produce moving scenes of Revolutionary war victories, among many others. As one of the first artists to portray the iconic images that continue to resonate with Americans, Matteson tirelessly painted and sketched a variety of subjects. This painting of Santa?s workshop is a fantastic example of Matteson?s more playful work. In the foreground, five elves with mischievous expressions entertain one another playing instruments and showing off their newest creations. In the background, several other figures are engaged in loading the precious cargo into Santa?s waiting sleigh. Matteson?s masterful use of light lends a warm glow to the painting while adding an air of drama to the scene. His father, a Democratic politician, named him for Governor Tompkins of New York. Young Matteson copied prints, cut out silhouettes, obtained a paint-box, and experimented assiduously in the intervals of work in a pharmacy and a tailor?s shop. In 1834 he found his way to Sherburne, making his first appearance there as Othello in a company of strolling players whose star performer had been prostrated by sickness in Hamilton. Soon after this he went to New York and drew from the antique in the National Academy school and opened a studio. After a move to Geneva, N. Y., in 1841 he Matteson enjoyed success in the art world. Much of his best work was done in this period, including his ?Spirit of Seventy-six? which was received with enthusiasm and was bought by the Art Union. He was made an associate of the National Academy and exhibited frequently up to 1869. In 1850 he retired to Sherburne where he remained with his family until his death in 1884. Following his death at Sherburne in 1884, the National Academy paid a tribute to Matteson?s character and talents. The Sherburne Public Library owns his ?King Lear? and ?Washington Crossing the Delaware.? His ?Trial of George Jacobs for Witchcraft? belongs to the Essex Institute, Salem, Mass. Matteson?s drawing is more spirited than accurate, though he possessed a knack for suggesting action. His most successful motives were drawn in black and white for reproduction, and were highly sought after in the format of prints.

TOMPKINS H. MATTESON (American, 1813-1884) First Prayer

TOMPKINS H. MATTESON (American, 1813-1884) First Prayer in Congress, 19th century Engraving 30-1/2 x 34 inches (77.5 x 86.4 cm)

Tompkins Harrison Matteson American, 1813-1884 Hunting Wolf (Hunting Bear), 1869

Tompkins Harrison Matteson American, 1813-1884 Hunting Wolf (Hunting Bear), 1869 Signed T.H. Matteson and dated 1869 (ll); inscribed A Bridal Gift to Mrs. Anna R. White,/from her friend T. H. Matteson, 1873 on the stretcher Oil on canvas 9 x 18 inches Literature: New London, Connecticut, Lyman Allyn Museum American Romantic Paintings of the 18th and 19th Centuries From the Collection of Lee Anderson, Feb. 26-Mar. 26, 1961 Sold to Benefit the Lee B. Anderson Memorial Foundation

Matteson, Tompkins Harrison (U.S. 1813-1884). Ophelia.

Matteson, Tompkins Harrison (U.S. 1813-1884). Ophelia. 1874. Ophelia sits upon a tree branch with red robe holding flowers. Oil on canvas. Signed at l.l., "T.H. Matteson 1874". In gilt frame. 21 1/4" x 29 1/2", frame: 26" x 34".

Lot of Three Framed Engravings: After Tompkins Harrison Matteson (American, 1813-1884), The Pilgrims Signing the Compact, titled and si

Lot of Three Framed Engravings: After Tompkins Harrison Matteson (American, 1813-1884), The Pilgrims Signing the Compact, titled and signed in the plate "Painted by T.H. Matteson" l.l., "Engraved by Gauthier" l.r., "New York, Published by W. Schaus..." l.c., plate size 27 1/4 x 35 1/2 in.; After Charles Lucy (British, 1814-1873), The Landing of the Pilgrim Fathers., titled and signed in the plate "Painted by Charles Lucy" l.l., "Engraved by John C. MacRae" l.r., sight size 23 x 31 in.; Washington Irving and his Literary Friends at Sunnyside., titled and inscribed in the plate "Entered...in the year 1864 by the Irving Publishing Company..." l.c., sight size 22 3/4 x 33 in. Condition: All with toning and acid burn, Compact with foxing, Fathers with a tear u.l., Washington Irving with water stain l.r. N.B. Sold for the benefit of the Framingham History Center, Framingham, Massachusetts.

TOMPKINS H. MATTESON 1813 - 1884

A WINTER'S DAY SLEIGH RIDE circa 1862

Tompkins Harrison Matteson (1813-1884)

Tompkins Harrison Matteson (1813-1884) George Washington at Valley Forge signed and dated 1854/T.H. Matteson (lower left); together with a preliminary oil sketch oil on canvas 36 x 48 in. (2)

Tompkins Harrison Matteson (1813-1884)

Tompkins Harrison Matteson (1813-1884) The Day's Catch signed and dated 'T. H. Matteson/1869' (lower left) oil on canvas 20 x 16 in. (50.8 x 40.6 cm.)

Tompkins H. Matteson 1813-1884 , Santa's Workshop oil on canvas

signed T.H. Matteson and dated 1856 , l.l. oil on canvas

TOMKINS HARRISON MATTESON (American, 1813-1884)

family at play sgn. and dated l.l. T.H. Matteson 1867 o/c, 29.5 by 24 in., gilt frame Est. $6,000-8,000

TOMPKINS HARRISON MATTESON

Still Life with Flower, Melon & Apples American (1813-1884). Signed Lower Center And Dated 1879.

TOMPKINS HARRISON MATTESON

(American 1813-1884) CALIBAN - A SCENE FROM "THE TEMPEST" signed and dated "T.H. Matteson 1860" bottom left, oil on canvas 24 1/4 x 20 in. (61.5 x 51 cm.)

Matteson Still Life Fruit Oil

Signed and dated l/c: {T. H. Matteson 18}[?]{9} 20 x 29 1/2 inches ( 50.8 x 74.9 cm )

*TOMPKINS H. MATTESON (1813-1884)

signed T.H. Matteson and dated 1857, l.l. oil on canvas

TOMPKINS HARRISON MATTESON American (1813-1884) " Jarley's Wax Work" oil on canvas, 20 x 23 3/4, signed lower left and dated 1878.