Paintings Worth Looking At

Recently, I’ve gotten into the habit of posting, on social media, a selection of portraits in need of re-attribution - or which have recently received new attributions! Here is the first group from March thus far. Please do stop over to the Facebook or Instagram pages if you’d like to have a look at these before they arrive on the blog. - - - Aaron Dean Fletcher / George G. Hartwell / The Empire Sofa Limner / Micah Williams / Joel Parks - - - AARON DEAN FLETCHER My very first feature was Fletcher, whose fabulous portrait of a small baby I spotted by chance in Google Images. Recognizing it as his work immediately, I was surprised to see it misattributed to Asahel Powers, and delighted to discover a wealth of treasures in the Smithsonian History Museum in which this baby resides. Peculiarly, among a Powers-attributed group of the same Vermont family – the Griswolds, of Springfield, VT – two are by Fletcher, and the other two, in fact, were painted by Asahel Powers and his mysteri...

This past August, at the 2025 Collectors Fair in Manchester, New Hampshire, I spotted a pair of portraits hanging on the display wall of Saratoga Fine Art. They could be nothing but Kennedys – and brand-new Kennedys, at that. I excitedly informed Walter Bazar, an old friend and who works with his brother Peter at Saratoga Fine Art, about the re-attribution. Within the hour, Walter had changed the label to William W. Kennedy, and a new pair of Prior-Hamblin portraits gained their names. Kennedy’s portraits have a sensibility all their own. His paintings are infused with a high level of technical ability, competently capturing the sitter’s distinctive looks with unique stylization. Like any other artist, he has his quirks – wide-set eyes, broad faces, gently curved hands, firmly outlined features. With practice, it’s possible to spot a Kennedy from a mile away. And, more or less, that’s exactly what happened. Very few signed examples of William W. Kennedy’s works are known, which has hi...