LOT 515
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WINTHROP CHANDLER (1747-1790) JONATHAN DEVOTION
作品估价：USD 10,000 - 20,000
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成交状态：未知
买家佣金拍卖企业在落槌价的基础上收取买家佣金
26%
图录号：
515
拍品名称：
WINTHROP CHANDLER (1747-1790) JONATHAN DEVOTION
拍品描述：
WINTHROP CHANDLER (1747-1790)
JONATHAN DEVOTION
together with a handwritten note in ink on reverse of portrait with a biography of Jonathan Devotion, the history of ownership of painting, as well as the history of ownership of portraits of Ebenezer Devotion, Jr. and John Devotion
oil on canvas
17 1⁄8 x 14 in.
Painted circa 1772.Judge Ebenezer (1740-1829) and Eunice Huntington (1743-1827) Devotion, Scotland, Connecticut, the sitter's parents
Eunice (Devotion) Waldo (1770-1854), daughter
George Waldo (1816-1886), son
Margaret (Waldo) Thomas (1857-1941), daughter
Margaret (Thomas) Bowers (1881-1972), daughter
Paul Bowers (1914-1975), son
Thence by descent in the family
Christie's, New York, 17-18 January 2008, lot 444Nina Fletcher Little, 'Winthrop Chandler', Art in America (April 1947), p. 35, no. 2.
Lance Mayer and Gay Myers, eds., The Devotion Family: The Lives and Possessions of Three Generations in Eighteenth-Century Connecticut (New London, 1991), p. 16, fig. 5.New York, David A. Schorsch Inc., Winthrop Chandler and His Contemporaries, 1989.
Storrs, Connecticut, The William Benton Museum of Art, Connecticut's Quiet Corner Collects, 20 March-21 May, 1989.
New London, Connecticut, The Lyman Allyn Art Museum, The Devotion Family: The Lives and Possessions of Three Generations in Eighteenth-Century Connecticut, 1991.Jonathan Devotion (1769-1849) was three years old when his portrait was painted. He became a merchant in Norwich, Connecticut and married Roxana House. He also became involved in politics and briefly represented Norwich in the Connecticut General Assembly. After his wife's death in 1809, he married his widowed sister-in-law, Clarissa Tyler. They moved to Scotland, Connecticut where Jonathan was both a farmer and merchant as his father, Ebenezer had been. He inherited his father's house and land in 1829.
The Devotion family of Windham and present day Scotland, Connecticut have been the subject of much scholarly attention and study because of the survival of a rich trove of written and artifactual documents that shed insight into the lives of three generations of this family in eastern Connecticut in the decades preceding and following the American Revolution. Much of this material heritage was brought together in an exhibition and accompanying catalog in 1991 at the Lyman Allyn Museum in New London, Connecticut. See Lance Mayer and Gay Myers, eds.,
The Devotion Family: The Lives and Possessions of Three Generations in Eighteenth Century Connecticut (New London, Connecticut, 1991). The exhibition grew out of the initial idea of reuniting a remarkable group of seven Devotion family portraits executed on the eve of the Revolution by Winthrop Chandler (1747-1790).
Chandler was born and lived for most of his life in Woodstock, Connecticut, located in the northeast corner of this former colony and state. Pursuing an artisan's career as a house- and what Nina Fletcher Little has called a 'general fancy painter', he began to paint portraits of his family and neighbors in Woodstock and the nearby communities of Brooklyn, Windham and Norwich, Connecticut. The Devotion family were an important early commission for Chandler in 1770 as the Reverend Ebenezer Devotion and his wife, Martha Lathrop Devotion were prominent figures in the community. Two years later, Chandler painted five more portraits of Rev. Devotion's son, Judge Ebenezer Devotion, his wife Eunice Huntington Devotion and their daughter Eunice, and their three sons, Ebenezer, Jr., John and Jonathan.
It was the Devotion family portraits that enabled Nina Fletcher Little to confirm the identity of Winthrop Chandler and attribute other examples of his work as the 1829 will of Ebenezer Devotion, Jr. refers specifically to 'the seven family pictures painted by Chandler.' As Little has pointed out, it is ironic that Chandler, who struggled financially throughout his life, is today considered one of the most important provincial American artists of the Revolutionary period (Nina Fletcher Little,
Paintings by New England Provincial Artists 1775-1800 (Boston, 1976), pp. 74-83).
JONATHAN DEVOTION
together with a handwritten note in ink on reverse of portrait with a biography of Jonathan Devotion, the history of ownership of painting, as well as the history of ownership of portraits of Ebenezer Devotion, Jr. and John Devotion
oil on canvas
17 1⁄8 x 14 in.
Painted circa 1772.Judge Ebenezer (1740-1829) and Eunice Huntington (1743-1827) Devotion, Scotland, Connecticut, the sitter's parents
Eunice (Devotion) Waldo (1770-1854), daughter
George Waldo (1816-1886), son
Margaret (Waldo) Thomas (1857-1941), daughter
Margaret (Thomas) Bowers (1881-1972), daughter
Paul Bowers (1914-1975), son
Thence by descent in the family
Christie's, New York, 17-18 January 2008, lot 444Nina Fletcher Little, 'Winthrop Chandler', Art in America (April 1947), p. 35, no. 2.
Lance Mayer and Gay Myers, eds., The Devotion Family: The Lives and Possessions of Three Generations in Eighteenth-Century Connecticut (New London, 1991), p. 16, fig. 5.New York, David A. Schorsch Inc., Winthrop Chandler and His Contemporaries, 1989.
Storrs, Connecticut, The William Benton Museum of Art, Connecticut's Quiet Corner Collects, 20 March-21 May, 1989.
New London, Connecticut, The Lyman Allyn Art Museum, The Devotion Family: The Lives and Possessions of Three Generations in Eighteenth-Century Connecticut, 1991.Jonathan Devotion (1769-1849) was three years old when his portrait was painted. He became a merchant in Norwich, Connecticut and married Roxana House. He also became involved in politics and briefly represented Norwich in the Connecticut General Assembly. After his wife's death in 1809, he married his widowed sister-in-law, Clarissa Tyler. They moved to Scotland, Connecticut where Jonathan was both a farmer and merchant as his father, Ebenezer had been. He inherited his father's house and land in 1829.
The Devotion family of Windham and present day Scotland, Connecticut have been the subject of much scholarly attention and study because of the survival of a rich trove of written and artifactual documents that shed insight into the lives of three generations of this family in eastern Connecticut in the decades preceding and following the American Revolution. Much of this material heritage was brought together in an exhibition and accompanying catalog in 1991 at the Lyman Allyn Museum in New London, Connecticut. See Lance Mayer and Gay Myers, eds.,
The Devotion Family: The Lives and Possessions of Three Generations in Eighteenth Century Connecticut (New London, Connecticut, 1991). The exhibition grew out of the initial idea of reuniting a remarkable group of seven Devotion family portraits executed on the eve of the Revolution by Winthrop Chandler (1747-1790).
Chandler was born and lived for most of his life in Woodstock, Connecticut, located in the northeast corner of this former colony and state. Pursuing an artisan's career as a house- and what Nina Fletcher Little has called a 'general fancy painter', he began to paint portraits of his family and neighbors in Woodstock and the nearby communities of Brooklyn, Windham and Norwich, Connecticut. The Devotion family were an important early commission for Chandler in 1770 as the Reverend Ebenezer Devotion and his wife, Martha Lathrop Devotion were prominent figures in the community. Two years later, Chandler painted five more portraits of Rev. Devotion's son, Judge Ebenezer Devotion, his wife Eunice Huntington Devotion and their daughter Eunice, and their three sons, Ebenezer, Jr., John and Jonathan.
It was the Devotion family portraits that enabled Nina Fletcher Little to confirm the identity of Winthrop Chandler and attribute other examples of his work as the 1829 will of Ebenezer Devotion, Jr. refers specifically to 'the seven family pictures painted by Chandler.' As Little has pointed out, it is ironic that Chandler, who struggled financially throughout his life, is today considered one of the most important provincial American artists of the Revolutionary period (Nina Fletcher Little,
Paintings by New England Provincial Artists 1775-1800 (Boston, 1976), pp. 74-83).