Double Portrait of Wealthy Jones Winter (b. 1819) and Sarah Marie Winter (b.1817)
Bath, Maine, circa 1827
Oil on canvas
22 x 17 inches
Provenance: Descended directly in the family of the sitters to the present owner. Provenance will be given to purchaser.
The Winter family traces its roots in Bath, Maine to the mid-eighteenth century, when the grandfather of the sitters, Francis Winter, a Boston native and Harvard graduate settled in Bath, Maine. At that time, Maine was still a part of Massachusetts and he served as a representative to the Massachusetts legislature as the First Congregational Pastor in Bath. He married Abigal Alden (1750-1826) in 1768. Francis and Abigal Winter had four children, including Samuel (1789-1835). He married Sarah Bowman (1793-1828) in 1814. They had seven children, including the four depicted here in lots 49 and 52. Their mother, Sarah Bowman (whose portrait, also by John Brewster, Jr., is still in the family collection) died just six days after giving birth to her seventh child. Their father, Samuel Winter, a seaman, distiller and leader of the local Whig Party, was regarded as a “notable citizen”. He died in 1835; his orphaned children were adopted by family members.
The Winter Family homestead remains with the direct descendants to this day. Until now, this portrait hung on the wall across from a portrait of their mother, Sarah Bowman, since it was painted circa 1827. The portrait of William Drew and Marcia Bowman Winter (offered as lot 52) was sold by the family some years ago and thus the portraits were separated. It is serendipitous that these two portraits are reunited for the first time in more than thirty-five years.
Estimate: $40,000 - $80,000
It is an honor and pleasure for Keno Auctions to offer for sale the Collection of Dr. and Mrs. Robert Isbell. People collect for a variety of reasons; the Isbells assembled a fabulous Americana collection because of their passion for each piece. Over three decades they sought out the best examples of high quality Colonial American furniture and folk art using the criteria of quality, rarity, condition and provenance as their guide
Condition: The surface of the canvas appears to have never been cleaned or restored. UV examination reveals no in-painting. The canvas was removed from the stretcher perhaps 1880- 1900 And then tacked to the inner edges of the present frame-- canvas has some looseness to it ( creases) Please see photos. Some of the canvas , ranging from 1/2 inch to 1 inch on the sides was folded when it was tacked onto the frame. Some tack holes from the original attachment to the stretcher.