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Showing posts with the label William W. Kennedy

Portraits of the Day: 03/29/2026 (Kennedy, Phillips, Hamblin, Smith, Field, Bradley)

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There is no shortage of attribution corrections to be made, and interesting portraits to showcase! Here is another assortment of them, all posted first on Facebook and Instagram . While my work on the American Folk Portrait Wiki has precluded the writing of any extensively in-depth articles recently, I hope to keep sharing information whenever I can. - - - William W. Kennedy / Ammi Phillips / Sturtevant Hamblin / Royall Brewster Smith / Erastus Salisbury Field / John Bradley  

Finding the Stetsons (William W. Kennedy, for Saratoga Fine Art)

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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...

The Eyes of the Prior-Hamblins: Part 1 (Blake, Prior, Hartwell, Hamblin, Kennedy)

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The members of the so-called “Prior-Hamblin school” weren’t a school at all. Colleagues? Competitors? We still barely know. The five usual suspects - W.M. Prior, S.J. Hamblin, G.G. Hartwell, W W. Kennedy, and E.W. Blake - are constantly compared, mixed up, and conflated. However, despite their profound similarities, they all had their own quirks - especially when it comes to a pair of eyes. Part 1 of this post will address, illustrate, and explain the PHS's five unique methods for the so-called windows to the soul. The PHS problem has been tackled by exceptional folk art scholars for generations before me, so I don't expect this post to solve it. However, I hope that it will offer some useful clues.  Read on for the Eyes of the Prior-Hamblins.  - - -