Monday

More on the Same Artist




Found two more by the same artist. This artist uses old frames and makes decorative silhouettes. Looks like the artist worked in the manner of different genuine artists. The works have a charm of thier own, but why would collectors pay more than the prices of GENUINE silhouettes? I did not want to come straight out and call the two listed below as reproductions when I posted them, as my words are scarcely worth two bits. With these two additional images, however, perhaps my words are now worth three bits. Since the images are copyrighted, I best mention that the rights belong to "It's about time."

Friday

More Questionable Items




I apologize if I am sounding so cynical these days. This item appeared on eBay from the same seller as the one mentioned below. I just can not see how these two silhouettes are from the early 1800s. They are in a manner of, but at least to me, they lack the flavor of. They sold quite well with multiple bidders on their tails. Can someone point out why they can be from the early 1800s (ca.1830)?

Comment from one of our readers:
Hello - you should check out a new listing on eBay with silhouettes having a suspect signature of Demors . . . you've mentioned in the past that you had concerns with these silhouettes. A new pair has just been listed on eBay today (7/19/10). The real interesting part: on the back of the silhouettes there are ink inscriptions that state these silhouettes are after earlier ones from 1820. AND - stamped below is a label that says: Cut with Common Scissors by Elizabeth Morse. This is the 20th c artist Elizabeth Morse Walsh (1886-1983), who worked as a portrait, figure and landscape artist. More info on her body of work can be found via google or at askart.com. This seems to solve a mystery.

B.M. Jones writes: That's Great! Thanks for letting us know. One mystery solved!

Saturday

You Decide





This silhouette is from on eBay. It is in a gilded or gold-leafed frame made ca.1830, give-or-take. The silhouette has“flair” of ca.1830 design.

The aura of perception implements a graphic concept and the permanence of ideas; it represents something of a common origin behind a common purpose. The persistence of the concept is rooted in the association of form with function. How far this common origin explains the similarity of this item and others previously mentioned on this site is based on an actual derivation and not on an accidental coincidence. The difficulty is to know how far the premises correspond. They suggest an innate tendency to utilize similarity in techniques under dissociated circumstances. Although the material is, for the most part, very different, the element that exists in these items is tantamount. Although the beauty, itself, is remarkably appealing at first site, it is also capable of concealing sinister secrets. Having captivated the minds and souls of its surroundings, nature secretes a concoction for the defenseless.

The acuteness of her nose and the chin, along with its exaggerated eyelash, not to mention her “imposing” detailing of the hair, the “blueness” of brushwork have something of their friendliness resigned.