Subject: Portrait painting

Autograph letter signed by Frederick Elmour Cohen, written in Detroit, Michigan on October 22, 1846, addressed to Mrs. Capt. Montieth in Canandaigua, NY. The letter includes a watercolor portrait of Cohen and his wife, as well as a pen and ink self-portrait by Cohen. The letter discusses family matters and details about his artistic work. Housed in a quarter mottled calf fitted box with a removable framed matte.

A single-page letter written by Frederick Cohen in Detroit, Michigan, to Andrew M. Makin in Philadelphia, Pennsylvania, circa 1845. The letter details Cohen's childhood art training in England, providing valuable biographical information about the artist's early life and training.

Oil miniature on ivory of an unknown sitter, signed 'S. Polack.' Solomon Polack (1757-1839) was a Jewish artist born in The Hague who worked in Dublin and London from 1790 to 1835. He frequently exhibited at the Royal Academy and, in addition to miniature painting, designed and etched plates for a Hebrew Bible.

Oil on canvas portrait of Andrés Pico, possibly painted circa 1854 by Solomon Nunes Carvalho. The painting's attribution is debated, with the possibility it depicts one of Pico's brothers. The sitter's identity was initially identified by comparing the painting to a daguerreotype in the collection of the Seaver Center for Western History Research at the Natural History Museum of Los Angeles County. This portrait is significant as potentially the only extant painting of Pico from this period in Los Angeles.

An oil painting depicting Miriam Marks Nones holding her child. This is the second in a pair of family portraits; the first, depicting Benjamin Nones, is item 1.289 in this collection. Miriam married Benjamin Nones on May 2, 1782, in Philadelphia, and they had 13 children. The painting may have been created in 1791, the year Benjamin became President of Congregation Mikveh Israel. If so, the child depicted is Isaac Moses Nones (October 29, 1788 – October 28, 1805). Note that Benjamin Nones experienced bankruptcy in 1795 and subsequent financial hardship; it is therefore unlikely that he commissioned portraits after that date. Benjamin Nones (1757-1826) was an American soldier who emigrated from Bordeaux to Philadelphia around 1777. He served with distinction in the Revolutionary War, notably under Count Pulaski during the siege of Savannah. Post-war, he worked in brokerage with Haym Solomon, was naturalized on October 9, 1784, and served as president of Congregation Mikveh Israel from 1791. In 1800, he published a defense of Judaism and republicanism in the *Gazette of the United States* (Philadelphia).

Oil on canvas portrait of Solomon Jacobs, painted from life by Thomas Sully in 1812. The portrait depicts Jacobs during his tenure as Grand Master of Masons of Virginia. The painting measures 76cm x 63.5 cm and is housed in the University of Pennsylvania Libraries.

Pair of oil on canvas portraits of Moses Michael Hays (1739-1805) and Rachel Myer Hays (1738-1810). Attributed to Gilbert Stuart (American, 1755-1828), circa 1790. Each portrait measures 25 x 20 inches. Moses Michael Hays was a prominent Jewish merchant, civic leader, philanthropist, and Freemason in Colonial and early Federalist America. He lived in New York, Boston, and Newport, Rhode Island. Rachel Myer Hays was the sister of New York silversmith Myer Myers (1723-1795). The portraits descended through the Hays family and were collected by circa 1840 Jewish settlers in Cincinnati, OH. The current heirs include the president of an international literary society.

Pair of oil portraits of Charles Edward Etting (1844-1910) and Ruben Etting (1842-1911), painted circa 1848 by Jane Cooper Sully Darley. The sitters' names are inscribed on the back of the paintings. The portraits depict the brothers at approximately ages 3 and 5. The paintings are beautifully executed and presented in original ornate frames. Charles Edward Etting served as an officer in the Union Army during the Civil War. The boys are the sons of Edward and Phillipa Minnis. The seller did not observe a signature.

Pastel portrait, possibly European in origin, depicting Eleaszer Joseph De Young. Purchased by Maxwell Whiteman from the estate of the last De Young family members residing in Philadelphia. A 19th- or early 20th-century inscription on the back incorrectly identifies the subject as Eleaszer Joseph De Young (1751-1811) and notes he is the father of Joseph De Young. However, research indicates his son was Isaac De Young (1795-1868). The portrait's style and the age of Eleaszer Joseph De Young suggest a date of circa 1780-1790. Further art historical analysis is recommended.

Oil on canvas portrait of a South Philadelphian Jew, painted by Joseph Sachs circa 1920. The painting measures 20" x 16" and remains in its original, untouched frame. Joseph Sachs (1887-1974) was a Philadelphia Jewish artist who studied at the Pennsylvania Academy of Fine Arts under William Merritt Chase. His primary medium was oil paint, and his subject matter primarily consisted of portraits. Sachs is listed in *Who Was Who in American Art* by P. Falk (1985).

Oil on canvas portrait of Benjamin Nones (1757-1826), depicting him holding a document dated 1793 from the United States Treasury. Painted in 1795 by Nicholas Vincent Boudet (active 1793-1820). The painting is one of a pair; the other depicts Nones' wife, Miriam Marks Nones (1764-1822), and one of their children. This portrait measures 35 inches in diameter, with the outer dimensions of the frame measuring 40.75 x 41 inches. The painting descended through the Nones family. Accompanying archival materials include biographical information detailing Nones' military service during the American Revolution, his role in the Philadelphia Jewish community, and his public defense of Judaism and republican principles.

Oil on canvas portrait depicting Ellen Naar with her granddaughter, Sarah Francis. The painting is framed and measures 33.5 x 26.5 inches. Created circa 1835. Ellen Naar (d. 1856) was married to Joshua Naar of the Sephardic-American Naar family and was a member of New York's Shearith Israel synagogue.

Oil painting depicting Major Henry Warden, Elizabeth Burr Warden, and their family, including three children and two dogs. The painting is signed and dated; the date is not specified in the source material. Created in Mount Vernon, Ohio. The sitter, Major Henry Warden, was a merchant and Whig party member, and the nephew of Aaron Burr. The artist, Frederick Cohen, was a prominent portrait painter in Detroit, Michigan, and teacher to Lewis Ives and Robert Hopkin. This painting was exhibited at the American Art Union in 1848.

An oil painting depicting two lovers, created by Solomon Nunes Carvalho. Purchased directly from Joan Sturhahn, a great-great granddaughter of Carvalho. Exhibited at the Yeshiva University Museum and the Maryland Jewish Historical Society in 1988 and 1989. This is considered one of Carvalho's earliest works and is described in Joan Sturhahn's book *Carvalho, Artist-Photographer-Adventurer-Patriot*.

Watercolor miniature portrait of Judah Touro (1775-1854), painted by Adolph D. Rinck (French, c. 1810-1871, active New Orleans, 1840-1871). The miniature is signed mid-right, and a pencil inscription identifying the artist and sitter is on the reverse of the frame. It measures 3 1/4 in. x 2 1/2 in. and is in a period frame. The miniature is believed to have been painted from life, and two other portraits by the same artist were copied from it. Provenance: Gaspar Cusachs Collection, loaned to the Louisiana State Museum, New Orleans, LA (c. 1909-2016). Judah Touro was a well-known 19th-century New Orleans merchant and philanthropist who relocated from Newport, Rhode Island in 1801. He was known for his generosity, often donating anonymously. The miniature captures Touro's expression and attire, reflecting his means while emphasizing his humility. The Neoclassical style, with fine brushwork and smooth shading, is beautifully suited to the subject.

Watercolor painting of an Arab. The artwork is torn into three pieces but complete. It is signed, but the signature is illegible. The watercolor was found with the Tobias Collection and is circa 1870.