Oil painting on rough board depicts a Peruvian man in a red jacket with fur lined boots on the edge of a very high cliff behind three resting llamas, an image of the Andes snow top mountains is painted in the background. Signed "NBush" (Norton Bush, AMERICAN, 1834 - 1894) lower right.
Norton Bush was born in Rochester NY in 1834, he studied under the Hudson River Artists Jasper Cropsey and James Harris, Frederic Church, another Hudson artist encouraged Bush to travel to South America which he did in 1853 soon landing the round about way in San Francisco, CA. He made several trips to South America over the course of the next 20 years and was hired by the South American railroad builder Henry Meiggs to travel the rail rout through Peru in 1873 to paint scenes along the way. He returned to CA in the late 1870s and remained as an art teacher until his death in 1894.
This image appears to be a quick rough sketch of perhaps his guide along the exhibition though it lacks Bush's finesse with tropical scenes there is still an element of his ability to capture the essence of the moment, there is especially great detail given to the animals in the picture.
Housed in a simple wood frame with light gold gilt back does show some very faded letters and a number in block print under the black paint we can make out what appears to be "NO" and below that a "9"
Measures 10" x 16" image, frame 14" x 19"
Lower Right Signed "NBUSH"
Condition: Overall Fine the oil was done on rough board so there are some splits to the board as visible in images, frame shows age wear
* Note this painting was purchased from an estate in Rochester NY at least 20 years ago, the painting once had a very old paper label stuck to the back that was hand written and read "View of Quito" the paper has long since lost its way off the back of the painting
A pretty Fenton Marigold hat vase in the holly and sprig pattern, has a nice bright orange with good iridescent colors and the finished ruffle rim.
3 1/12" Tall
Condition: Overall Excellent No Chips, Cracks, or Repairs.
Condition can be Very Subjective to each individual collector - Multiple photos from different angles and in different lighting were taken to showcase the beauty and uniqueness of this piece. Please look at photos carefully as they are part of my description.
CARNIVAL GLASS is the term referring to IRIDIZED patterned pressed glass introduced in the 1900s by FENTON and subsequently made by an array of other glass makers. The process involved a microscopically thin coating of metal applied as a solution of one or more metallic salts (stannous chloride [tin], iron chloride, lead chloride, et. al.) by hand-spraying the hot-from-the-mold glass. The carrying solution vaporized leaving the metallic salts to bond on a molecular level with the glass, producing a surface that reflected light in a rainbow of colors. Each salt, or combination of salts produced a different color with intensity tied to the thickness of the coating.
EXCELLENT UNDAMAGED ANTIQUE CONDITION means that while a listed item has no post-production damage such as chips or cracks, it may have discernible minor wear from usage and/or nesting (stacking) and, since production conditions in the early 1900s were dirty and dangerous and there was no "Quality Control" as we now know it, any number of the following production issues:
AIR BUBBLES in the glass that were not squeezed out during pressing.
HEAT CHECKS which are internal rifts filled with air (which is why you can see them), usually from a burst air bubble.
INCLUSIONS in or on the surface of the glass, such as ash and cinders. Often found in the flames of vases and rims of bowls were it settled during pressing.
STRANDS of undissolved colorant (usually in green glass).
STRAW MARKS which are lines in the glass caused by premature solidification where the molten glass was snipped from the gathering rod with cool metal shears when the mold was full; lines also formed on the surface during the cooling process.
TOOL MARKS from implements used to form the edge or influence the shape.
MOLD ISSUES related to filling and release such as incomplete or malformed edges, rough seams, extra glass at seams; webbed, incomplete or pulled edge points.
COOLING ISSUES such as uneven legs, slanted stems or a bowed base (causing rocking), surface lines and heat checks.
Production issues in the extreme may be undesirable, but they do not qualify as "damage" and will be found to some degree on nearly all antique glassware. Issues of MAJOR wear and production flaws will be mentioned and photographed.
$35.00A lovely Fenton carnival glass funeral vase in marigold color fading to clear at the bottom, nice ruffled flare top and executed in the "knotty beads" pattern.