Home of the brave: 13 essential pieces of Americana for the eagle-eyed collector

‘In this portrait Stuart reached the climax of his art, and his portraiture its noblest expression,’ writes Gustavus A. Eisen in his 1932 Portraits of Washington. Gilbert Stuart painted this portrait of the first president of the United States in 1795, and he would go on to paint the portraits of six further presidents. This work is one of only 14 extant examples of this type of portrait, 10 of which come from museum holdings, including this which comes from the Metropolitan Museum of Art. It is also an early example of what is known as the ‘Vaughan’ type portrait of Washington, a reference to John Vaughan who is thought to have commissioned the first. Having been owned by the Philips family, close friends of the Washingtons and supporters of the American Revolution from England, this painting’s provenance speaks to how the heroism of the president was perceived both domestically, and across the pond. Portraits of the first US president are ubiquitous, but the combination of its provenance and sheer artistic skill make this one entirely unique.

A trip to explore the natural world of South America isn’t always around the corner, but with Martin Johnson Heade’s masterpiece it could be as easy as walking into the drawing room. The celebrated landscape artist Martin Johnson Heade took his first trip to South America in 1863, following in the footsteps of painters like Frederic Edwin Church, John Gould and John James Audobon. Inspired by their highly successful publications, Heade sought to depict the hummingbird family in places such as Brazil, Colombia, Panama and Jamaica.

After his return in 1870, his focus shifted to orchids. Cattleya Orchid with Two Brazilian Hummingbirds is one of the finest examples of these later works, depicting two hummingbirds around the flower. Rendered with highly-detailed precision, the painting demonstrates Heade’s interest in both the scientific and artistic, underscoring his belief in the transcendental power of the natural world.

In June 1864, Union forces began what would become a ten month campaign of the Confederate capital in Richmond, Virginia. Its conclusion — the surrender of Robert E. Lee at the Appomattox Court House — would signal the beginning of the end of the American Civil War.

The present manuscript was penned on the day of this surrender, 9 April, 1865, making it the earliest record of this event. It is an official document of the ceasefire, written as part of the first set of documents from the courthouse by Eli S. Parker, an adjutant to then-General Ulysses S. Grant. Likely due to the fragility of the paper, this is the only known remaining manifold of the presumed four copies that were made that day. In advance of the 2024 dystopian thriller Civil War, history buffs can get a thrill from this document that changed the course of America.

When in New York City, the Catskills are only two hours away, but even when gazing over the mountains the beauty that Thomas Cole depicts seems to represent a world of its own. Considered the father of American landscape painting, Thomas Cole was born in England in 1801, before emigrating with his family to Philadelphia. Cole moved to the town of Catskill, New York in 1827 and fell in love with the region’s resplendent Catskill Mountains, which notably became one of the only locales he painted repeatedly. The present View Near Catskill was composed during this period of early exploration, and is one of only two works remaining in private hands from his Catskill Creek series. Like his other works, it was made in the shadow of America’s industrialisation, but portrays the natural world in all its splendour, depicting a fisherman among the landscape.

This portrait of Mrs. Martha (Hall) Dorsey and Mary Ann Dorsey was painted by Joshua Johnson some time between 1804 and 1805. Johnson, considered the first professional African-American portrait painter, was known and sought-after by Baltimore’s families of status, and many of his works from 1803-1816 are among his most sophisticated. His life, however, is relatively enigmatic. An advertisement in 1798 for his work described him as a ‘self-taught genius’, who is thought to have honed his skills by studying works in Baltimore’s museums and also by working as a furniture decorator to supplement his income as an artist. The Dorseys are rendered in Johnson’s characteristic visual style, marked by a delicate and thin application of paint, under which his graphite outlines remain visible. A remarkable work of traditional American art, it’s the perfect piece to occupy prime real estate above a cabin fireplace on a cold night.

Executed by the Philadelphia portraitist Thomas Sully and his daughter Jane in 1834, this portrait of Benjamin Franklin depicts the founding father at roughly 61 years old. Portrayed alongside a bust and books of Sir Isaac Newton to show his interest in science and education, Franklin is shown reading a document. This work is based on an original by David Martin from 1767 which is now held in the White House collections.

Although it does not descend through the Franklin family directly, it was acquired by the Pepper family in the earlier twentieth century as part of a collection assembled by Benjamin Franklin Pepper, a descendent of Franklin, and provost of the University of Pennsylvania. Let Franklin’s erudition elevate your study with more than 200 years of wisdom.

Chippendale is officially in. Not sure where to start? Take a seat. The present Chippendale carved chair dates back to the 18th century, when it was made for Esther Deshler, part of a prominent family who emigrated to Pennsylvania from Baden, Germany. Her husband, John Morton, an Irish Quaker, went on to become one of the most prominent figures in Pennsylvania. It is believed to be the work of John Pollard (1740-1787), due to the mastery of its ornamental carvings and precision of its form. Pollard, whose craftsmanship is among the best in 18th century America, likely made this during the height of his career in Philadelphia. As such it is a stunning preservation of colonial American furniture design.

The present Sunset on the Prairies was likely rendered around 1861, following Albert Bierstadt’s first journey through the American West two years prior. One of his most-well known paintings, it depicts Native Americans heading home in the light of the setting sun. This painting shows Bierstadt’s skill with Luminism through the soft warm glow of the sunrise in the distance. From Old Masters to Contemporary Art, a painted sunrise never fails to transfix.

This is the golden ticket for any collector obsessed with America’s witchcraft trials. Dated circa 1680-81, the present manuscript, endorsed by Massachusetts Bay Colony Governor Simon Bradstreet, is a deposition in a case of witchcraft against Mary Hale, written by her granddaughter Joanna Benham. Benham had been courted by a mariner named Michael Smith, and she declined his advances. When he moved on, her grandmother Hale began stalking the boarding house where he was staying. Taking notice of this, Smith accused her of witchcraft, resulting in this accusation.

Although she was acquitted, she would later be implicated in his death which occurred after he consumed a warm drink she prepared for him. Both her daughter, Winifred Benham, and her granddaughter of the same name would also be accused of witchcraft, and eventually acquitted.

Ralph Cahoon came to painting through his wife, Martha Farham, whom he married in 1932. The daughter of a talented furniture decorator, she taught Cahoon the art and eventually they both began painting folk scenes like this one. Inspired by a 19th century engraving by Enoch Gridley, Cahoon presents a poignant yet whimsically rendered memorial for the first American president. Hot air balloons are a familiar trope throughout his work, as seen here emblasoned with the names of battles of the Revolutionary War. This monument of Washington is as at home among Warhol's early work as it is among Americana.

This 17th century tankard was designed by America's first native-born silversmith, Jeremiah Dummer. Starting as an apprentice at the age of 14 to John Hull, the first mintmaster of the Massachusetts Bay Colony, he began his own highly successful practice almost a decade later. His work is highly esteemed, as he combined English silver fashions — such as the lion-form thumbpiece on this example — with masterful construction. In addition to silver, he was a successful engraver, chosen in 1710 to engrave and print the first paper currency of Connecticut. When using this tankard, you can proudly pour 300 years of American heritage.

This carved giltwood eagle was formerly in the collection of Rudolf Nureyev, the Soviet-born ballet dancer widely considered to be among the greatest — if not the greatest — of all time. His apartment at the storied Dakota building on the Upper West Side was home to countless treasures of art and design. Its contents, sold by Christie’s in 1995, included sofas once owned by Maria Callas, a Victorian bathtub, and various Old Master Paintings. This 18th century giltwood eagle, displayed prominently among these treasures, carries Nureyev’s story. This golden eagle is a sentinel to guard over your flock, or collection, of Americana works.

During the Prohibition era, vessels for storing alcohol had to be more than containers, they had to be pieces of art that wouldn't look out of place in a speakeasy, or a home. This model, designed in 1927 by E.G. Webster and Son, exemplifies the dual purpose that these objects served in their era. Perfect for shaking a martini on the beach at Cape Cod, it depicts the first lighthouse in North America: Boston Light, located on Little Brewster Island in Boston Harbor. Built in 1716 and destroyed during the American Revolution, it was rebuilt in 1783 and is currently the last actively staffed lighthouse in the United States.