An Original Painting By Roswell Morse Shurtleff 1838 1915

Collectors of 19th-century American landscapes occasionally encounter an original painting by Roswell Morse Shurtleff (1838–1915), an artist admired for intimate, carefully observed woodland scenes. This guide outlines how to identify, evaluate, and appraise his work, with specific attention to subject matter, signatures, condition issues, and market dynamics.

Who Was Roswell Morse Shurtleff (1838–1915)?

Roswell Morse Shurtleff was an American landscape painter active from the post–Civil War era into the early 20th century. While he shares the era and subject affinities of Hudson River and White Mountain School painters, his best work is more intimate than panoramic: forest interiors, stream beds, mossy boulders, and clusters of birch and beech where filtered light animates a restrained, earthy palette.

Collectors value Shurtleff for:

• Careful draftsmanship and controlled brushwork.
• Sensitive treatment of woodland light—dappled, late-afternoon, often understated.
• Truth-to-nature studies that feel observed rather than theatrical.

His paintings fit comfortably into collections of northeastern American landscape art, alongside contemporaries known for tonal or woodland subjects. In today’s market, his name recognition is solid among specialists and regional collectors, and high-quality examples continue to find buyers in both auction and private sale settings.

Visual Traits That Help Identify His Work

Although subject and handling vary across his career, the following signatures of style are commonly observed in authentic paintings by R. M. Shurtleff:

• Composition

  • Intimate scale scenes featuring forest interiors, brooks with exposed roots, leaf-littered paths, lichen-covered rocks, and stands of slender birch or beech.
  • Compositions often anchor the foreground with a boulder, fallen trunk, or stream bend; background spaces recede softly through tree trunks and muted sky glimpses.
  • A stable horizon and eye-level vantage point convey quietude rather than spectacle.

• Palette and Light

  • Earthy, mineral colors: umbers, siennas, olive greens, slate blues, and soft grays.
  • Autumnal notes—russets and golden ochres—appear frequently, handled with restraint.
  • Atmosphere is typically calm with diffused light; glare and high-chroma passages are uncommon.

• Brushwork and Paint Handling

  • Measured strokes and layered paint; foliage is built with small, controlled touches rather than broad, flamboyant gestures.
  • Scumbles and thin glazes articulate bark, moss, and water reflections.
  • Surface often shows a balanced mix of opaque paint in trunks/stones and translucent passages in leaves and water.

• Medium, Support, and Size

  • Oils on canvas predominate; smaller oils on panel appear, especially for studies.
  • Common dimensions fall in the modest range (e.g., roughly 12 x 18 in, 16 x 24 in, 20 x 30 in); large exhibition-scale canvases are less typical but not unknown.
  • Period stretchers with keyed corners are common; tacking edges may show original tack holes if not relined.

• Frames

  • Period gilt frames with restrained classical ornament often accompany his works. While a frame can be replaced, an original 19th-century frame in good condition adds curatorial appeal and value.

These traits, taken together with a period-consistent signature and materials, create a compelling attribution profile.

Signatures, Inscriptions, and Labels

Most market-encountered oil paintings by Shurtleff are signed. Knowing what to look for—and how to scrutinize it—is crucial.

• Signature Forms

  • Typical form: “R. M. Shurtleff,” often at lower right, executed in a brown or dark pigment that integrates with the composition.
  • Variants: “R.M. Shurtleff” (with or without periods/spaces) or, less commonly, “Roswell M. Shurtleff.”
  • Dates: Occasionally appended; style and placement should harmonize with the rest of the signature and the painting’s aging pattern.

• Forensic Checks

  • Magnification: A period signature should sit within the craquelure network or show age-consistent micro-cracking; a fresh signature floating atop aged varnish is suspect.
  • Ultraviolet (UV) light: Later-added signatures often fluoresce differently from original paint/varnish. A signature beneath an older varnish or showing uniform fluorescence with surrounding layers is favorable.
  • Pigment sinks: 19th-century signatures sometimes show slight sinking-in; modern restorer’s paint may look richer and more uniform.

• Verso and Labels

  • Back inscriptions may include titles, dimensions, artist name, or studio notes in graphite, ink, or grease pencil.
  • Old dealer, framer, or exhibition labels from northeastern U.S. cities add helpful context. Watch for period-appropriate typography, paper aging, and placement.
  • Stretcher and frame marks (inventory numbers, chalk annotations) can corroborate provenance when they align with paper trail documentation.

• Cautions

  • Signatures alone do not guarantee authenticity; weigh them alongside stylistic analysis and material examination.
  • Be cautious with erased or abraded signatures that have been “strengthened” in later restorations.

Condition Issues That Influence Value

A nuanced condition assessment is central to valuation, especially for 19th-century American oils:

• Varnish

  • Natural resin varnishes (e.g., dammar) yellow over time, muting blues and greens. Professional varnish removal and revarnish can transform presentation—but must be done by a qualified conservator.
  • Overly glossy, modern varnish can obscure surface nuance; a conservation-grade, reversible varnish is preferred.

• Craquelure and Paint Layer Stability

  • Age-appropriate craquelure is expected. Issues arise with active “tenting,” cupping, or cleavage, which require intervention and affect value.
  • Heavily trafficked sky or smooth dark areas may show abrasion from historic overcleaning; scattered losses in foliage are also common.

• Structural Changes

  • Relining: Neutral for value if well executed; negative if heavy wax relining has flattened impasto or transferred weave prints.
  • Overpaint: Acceptable in small, well-matched fills; extensive overpaint, especially in key passages, is a red flag and should be reflected in price.

• Frames

  • Original period frames in good condition can add meaningful value. Missing ornaments and regilding are common; sympathetic restoration is acceptable.

• Odors and Environment

  • Mustiness, nicotine deposits, or soot can indicate suboptimal storage and may hide condition issues. Surface grime is typically reversible; mold requires specialized care.

Condition is not just a list of flaws; it is a narrative of what the painting has endured and how responsibly it has been cared for.

Market, Rarity, and Value Drivers

Prices for 19th-century American landscapists vary widely based on name recognition, quality, subject, and condition. For Roswell Morse Shurtleff:

• Quality of Execution

  • “A” works: Harmonious compositions with assured drawing, nuanced light, and unforced color—often forest interiors with lively water and crisp tree anatomy—command stronger results.
  • “B” works: Competent but less inspired passages, formulaic foliage, or awkward figure/animal additions generally realize less.

• Subject and Date

  • Collectors respond well to autumnal woodland scenes, intimate brooks with reflections, and birch clusters catching side light.
  • Signed and dated works can be easier to place historically, but undated examples are common and not inherently inferior.

• Size and Format

  • Medium-size oils tend to be most liquid: large enough for wall presence, small enough for residential display.
  • Studies on panel, while often charming, usually sell below larger exhibition-ready canvases.

• Provenance and Exhibition History

  • Documented ownership through known collections, period invoices, or exhibition lists bolsters confidence and price.
  • Surviving period labels or stamped stretchers help, provided they are consistent and not spurious.

• Frame and Presentation

  • A period-appropriate gilt frame and recent professional conservation can yield a price premium by reducing buyer risk.

• Venues and Price Bands (general guidance, not guarantees)

  • Small oils and studies: often in the low-to-mid four figures.
  • Medium oils with desirable subjects and good condition: commonly mid four to low five figures.
  • Exceptional examples with strong provenance: can exceed those ranges in the right venue.
  • Works with condition or attribution concerns will trade at a discount.

Auction prices reflect competitive demand at a point in time, while retail gallery prices include curation, conservation, and placement services. Private sales can land anywhere in between depending on urgency and leverage.

Appraisal and Due Diligence: A Practical Path

If you believe you have an original painting by Roswell Morse Shurtleff, proceed methodically:

1. Documentation and Imaging

   • Record exact dimensions (canvas sight size and framed).
   • Photograph the front under even light, raking light (to show texture), and UV. Photograph the verso, corners, labels, and stretcher.
   • Note signature location, form, and any dates or inscriptions.

2. Physical Examination

   • Assess varnish, craquelure, surface dirt, abrasions, and any lifts or losses.
   • Check canvas tension, tacking edges, stretcher keys, and evidence of relining or patches.
   • Inspect the frame for originality, stability, and compatibility.

3. Provenance Research

   • Gather bills of sale, family letters, collection inventory entries, or exhibition mentions.
   • Cross-check names, dates, and places on labels with any known family or dealer histories.

4. Comparative Analysis

   • Compare composition, palette, and brushwork with known examples attributed to R. M. Shurtleff.
   • Pay special attention to tree anatomy, handling of water, and the subtlety of light transitions.

5. Condition and Conservation

   • Obtain a conservator’s condition report with treatment recommendations and UV/IR notes if necessary.
   • Avoid DIY cleaning; solvent interaction with 19th-century varnish can be unpredictable.

6. Valuation

   • Compile recent sales of comparable size, subject, date, and condition.
   • Adjust for venue, frame, conservation status, and provenance strength.
   • Distinguish between fair market value (FMV) for tax/estate and retail replacement value for insurance.

7. Expert Opinion

   • When stakes are high, seek an appraisal from a qualified specialist in 19th-century American art. A written appraisal should state purpose, methodology, and limiting conditions.

A Practical Checklist

• Verify signature form and placement; inspect under magnification and UV.
• Photograph front, back, labels, and signature; document exact measurements.
• Evaluate condition: varnish, craquelure stability, overpaint, relining.
• Note subject desirability: intimate woodland scene, stream, birches, autumn light.
• Confirm materials are period-consistent: canvas/weave, ground, stretcher, frame.
• Gather provenance: bills of sale, exhibition notes, dealer/framer labels.
• Compare to known works for style and quality benchmarks.
• Obtain a conservator’s report before cleaning or varnish removal.
• Build comps and adjust for size, condition, venue, and provenance.
• Choose appraisal type: fair market vs. insurance replacement.

FAQ

Q: My painting is unsigned. Can it still be by Roswell Morse Shurtleff? A: Possibly. Some period works were unsigned or signatures may have been lost during cleaning. Attribution should rely on a convergence of stylistic, material, and provenance evidence, ideally supported by a specialist’s opinion.

Q: Should I clean the painting before appraisal or sale? A: No. Present it as-is and obtain a conservator’s condition report first. Cleaning can change value materially; in some markets, professionals prefer to manage conservation to their standards.

Q: How much does an original frame matter? A: Significantly. A period-appropriate gilt frame in stable condition can enhance both visual impact and price. If a frame is later or damaged, a sympathetic period replacement can still add value.

Q: What’s the difference between fair market value and insurance value? A: Fair market value estimates what a willing buyer and seller would agree upon in an open market, typically anchored by recent auction comparables. Insurance (retail replacement) value reflects the cost to replace the work from a dealer at short notice and is usually higher.

Q: Are watercolors or drawings by Shurtleff common? A: Works on paper surface less frequently than oils and generally command lower prices, but desirable subjects, good condition, and strong provenance can make them attractive to collectors.

By combining careful visual analysis with rigorous documentation and market context, you can arrive at a confident, defensible appraisal for an original painting by Roswell Morse Shurtleff (1838–1915).