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Lot Essay
Bold and restrained, this striking portrait is an arresting exemplary work by Ammi Phillips (1788-1865). An important portraitist who worked in the border areas of New York and Connecticut, Ammi Phillips rendered likenesses in a number of distinct styles over the course of his long itinerant career. As seen in this painting, Phillips portraited his sitters in a literal and immediate manner that is unique, modern and captivating.
Set against a simple, mauve gray background, the sitter gazes out and captivates the viewer. The muted palette and style seen here are reflective of Phillips’ early Border Limner period, which comprises of works created from 1812-1819. An interesting feature of this composition is Phillips’ decision to paint the sitter in a half-length pose that crops at the arm right below the elbow. Most often, Phillips depicted his sitters with one or both hands showing, and those works that did not were of men. A similar example is of Harriet Betts Hall, dated circa 1815 (Collection of Joan and Victor Johnson), although here, Phillips crops the arm above the elbow. Phillips depicts the sitter with an unusual bone structure and a strong jaw line outlined in a reddish hue. Her rosy cheeks add an overall flush to her face that is framed by wispy curls spilling out from her delicate, lacy bonnet, which continues in her blouse's collar and sleeves.
According to tradition, the sitter is Mrs. Jenkins of Albany, New York, the apparent aunt of Dr. Jenkins Welles, although as Allaway notes “Subsequent efforts by [Abby Aldrich Rockefeller Folk Art Museum] to locate his name in Albany records have been unsuccessful” (Allaway, p. 121).
Set against a simple, mauve gray background, the sitter gazes out and captivates the viewer. The muted palette and style seen here are reflective of Phillips’ early Border Limner period, which comprises of works created from 1812-1819. An interesting feature of this composition is Phillips’ decision to paint the sitter in a half-length pose that crops at the arm right below the elbow. Most often, Phillips depicted his sitters with one or both hands showing, and those works that did not were of men. A similar example is of Harriet Betts Hall, dated circa 1815 (Collection of Joan and Victor Johnson), although here, Phillips crops the arm above the elbow. Phillips depicts the sitter with an unusual bone structure and a strong jaw line outlined in a reddish hue. Her rosy cheeks add an overall flush to her face that is framed by wispy curls spilling out from her delicate, lacy bonnet, which continues in her blouse's collar and sleeves.
According to tradition, the sitter is Mrs. Jenkins of Albany, New York, the apparent aunt of Dr. Jenkins Welles, although as Allaway notes “Subsequent efforts by [Abby Aldrich Rockefeller Folk Art Museum] to locate his name in Albany records have been unsuccessful” (Allaway, p. 121).