Davistown Museum/Liberty Tool Company

Fine Arts and Prints for Sale

See our catalog for a full listing of art for sale!

20% of proceeds go to benefit the Davistown Museum

The Davistown Museum offers a 10% commission on any art sold by a third party! Contact us for details.

Contact Laure Day at the at 207-610-9062 or at Liberty Tool Company during store hours at 207-589-4771. Further information also available from Skip Brack at curator@davistownmuseum.org or e-mail Sett Balise at tech@davistownmuseum.org. Artwork may be viewed whenever the museum is open or by appointment with Laure Day. Most items are located in Liberty; some items are located in Hulls Cove.
We also have a lot of other items for sale ideal for hanging in an old Victorian bed and breakfast/restaurant on the Liberty Tool Co. site. More items for sale may be found on Etsy.

Portrait of Mlle. Carpentier by Hilaire-Germain-Edgar Degas

Oil on canvas, signed "Degas" on the front lower left hand corner, also signed "Degas" on the back of the frame with the inscription "Mlle. Carpentier." This painting has been in the Jonesport Wood Co. collection for over a quarter of a century. It has an interesting possible Havermayer provenance via a Beverly Farms, MA, property sold circa 1990.
16" x 20". For more information on this piece, click here.

This piece was deaccessioned.

Milton Avery {1893-1965}
Landscape: Cole Pond, Rawsonville, Vermont, 1945
Oil on canvas, 22"w x 33 1/2"h
signed "Milton Avery 45" in lower left corner
Painting in good condition

This piece was deaccessioned.

This Avery landscape was painted at Cole Pond in Rawsonville, VT, in the late spring or early summer of 1945, before Milton went to Gloucester, MA to paint – a frequent summer hangout for Milton and many other painters. Milton had previously spent the summer of 1939 at Cole Pond, and unique landscape may have been painted for a neighbor or friend who also spent time at Cole Pond that summer. One among thousands of Avery’s quick sketches and paintings, this canvas illustrates his occasional use of the bare ground of the canvas as background, and also incorporates his habitual use of orthogonals and his occasional use of linear slashes to express structure – in this case the structures of the houses on the far side of Cole Pond. This painting is an important expression, despite its realism, of Avery’s ability to express space and form with color, his penultimate achievement as one of America’s most important abstract painters. This painting hung in a darkened second floor hallway of a Boston suburb for almost 40 years before it came into the possession of the curator of the Davistown Museum (1984).

(please see our biography page for more photographs and information about Milton Avery).

William Ratcliffe (1870 - 1955) 
London Bridge, ca. 1905
Oil on canvas, 17 1/2" w X 12"h
signed lower right
In great condition -- Photos: 1 2 3 4

$ {P.O.R}

William Ratcliffe was a student of Walter Sickert and one of the first English Impressionists, if one excepts T. M. W. Turner.  As one of the first impressionist paintings made in England, this is a most interesting little fragment of English art history.

William Glackens (1870 - 1938)
Nude, {n.d.} 
pastel, 18 1/2"w x 11 1/2"h
signed (upper left corner), 
Good condition, reframed by the Jameson Gallery, Portland, Maine.

$ {P.O.R}

Absolutely gorgeous, this pastel will be on loan for display at the Museum Gallery in Liberty. 

See our biography page for more information on Glackens.

Unknown {In the style of Thomas Eakins (1844-1916)}
The Swimming Hole, ca. 1890
Oil on board, 9 1/2"w X 13 1/2"h
Painting in good condition

This piece will be auctioned by the Thomaston Place Auction Galleries in August 2022.

This is a great little painting; is it a study by Eakins or by his students, or by another hand?  We have yet to bring this painting down to the Philadelphia Museum of Art to get their opinion.  The painting has been on display in the main hall of the museum since we opened; please visit the museum and give us some feedback if you have knowledge of the work of Tom Eakins and his students.