Chandlers for sale – Oct. 2022

April 26, 2011

11 Chandlers for sale by online auction at:

(10 more to come)

“Chandler” Early American Pastel Artist”

by Peter F. Neely, London, Ontario, Canada ©1987


Table of Contents


The Man

Devotee, Humanitarian

Chandler, The Artist

Pastels by Chandler (samples)

Commercial Operation

Style of Chandler prints

Chandler Letterhead

Copy of Business Card

Picture Prints

Copy of Chandler prints


The Canadian Connection



Residences of Wm. H. Chandler

Business locations


The Art

August 16, 2009

Here are some examples of william Henry Chandler’s pastel art.

The Artist

August 16, 2009

The following is what we have found, written by Michael Ivankovich, a collector, author, dealer and auctioneer specializing in early 20th century hand-colored 
photography and prints.

Does anyone know what year this was posted?

William Henry Chandler… 
America’s Foremost Pastel Artist

“In our travels looking for early 20th c. hand-colored photography and prints we see a wide variety of original art 
including oils, watercolors, and pastels. Without a doubt we see more original pastels signed “Chandler” in the open 
market today than nearly any other form of early 20th c. original art.

Who was Chandler? If you try to research Chandler you will probably find very little written about him. Our 1994-95 
three-volume copy of Davenports which lists 130,000+ artists doesn’t even mention a William Henry Chandler. Nor does 
our 1998 ADEC Art Price Index, our Huxford’s Fine Art Value Guide, or our Currier’s Price Guide to American Art at 
Auction. And not until our 1999 Davenport’s do we find a very minor reference to this artist.  Our 2000 ADEC Art Price 
Index still doesn’t mention William Henry Chandler.

We first became interested in Chandler when a friend acquired one for a modest amount in the mid 1980’s. Unable to 
find any background information on this Chandler, we by chance found a letter in the Maine Antiques Digest  (MAD) “The 
Meeting Place”(August, 1988) which discussed Chandler and mentioned a 32-page booklet that had just been published on 
the artist. We ordered it, read it, and then pretty much filed it away. Our primary interest at the time was hand-colored 
photography and we assumed that Chandler pastels would soon move out of our price range.

We re-discovered Chandler as we began our expanded research into the much broader early 20th c. print market. And 
somewhat surprisingly, their price hadn’t increased all that much. Although we found a small core of individuals who had 
been actively accumulating Chandler pastels & prints, most people still had no idea who Chandler was.

Why, when seemingly everything else worth collecting in the antiques & collectibles market has skyrocketed in price, 
would Chandler pastels still remain un-discovered by the mainstream market? We suspect that it is because collectors 
typically collect “the name”. And since there was no other written documentation on Chandler anywhere else except for 
the extremely limited distribution of the 1988 Chandler booklet, most people simply passed his work by, or refused to 
pay any serious money for it, assuming that there wasn’t much of a market for it.

In our opinion, this is all about to change. Very Soon.

To find out what changes had occurred within the Chandler market in the past 10 years I took a chance and wrote a 
letter to Mr. Peter Neely, the initial Chandler Researcher and Author of the original 1988 “Chandler – Early American 
Pastel Artist” booklet. Somewhat surprisingly, he was still at the same address and he responded to my letter. We 
exchanged a few more letters, he answered many of my questions, and he provided me with an addendum to his original 
Chandler research.

Here is the story on William Henry Chandler…America’s Foremost Pastel Artist. 
 William Henry Chandler (1854-1928) was born on June 9, 1854 in New York City. One of seven children born to Mr. & 
Mrs. Asa Byram Chandler, they lived in Elizabeth NJ, East Orange NJ, and Summit NJ as he was growing up. Born into a 
deeply religious Christian household, William displayed an interest in art during his youth but had other interests as well. A 
hunting accident early in his life left him with a lifelong limp. And a strong religious belief remained with him for his entire 

As a young man Chandler moved to Chicago and obtained artistic work as a cameo engraver in a pearl button 
manufacturing business. While in Chicago he met and married his first wife, Jennie Freeman. Together they had three 
children (Kathleen, Annabel, and Nellie). Tragedy struck the Chandler household hard as Nellie died when only a few months 
old. And then Chandler’s wife Jennie died shortly thereafter from typhoid fever. 
   With his wife gone and two remaining children to raise, Chandler returned to northern New Jersey where he lived for the 
rest of his life and raised his daughters with the help of his sister.

The Art of William Henry Chandler

Starting around 1887 Chandler began producing his original art as an alternative to the larger-scale print runs of 
Currier & Ives, Taber-Prang, and other major print-makers of the time. Chandler operated under the trade name of “W.H. 
Chandler and Co.” in New York City’s Lower Manhattan, a business that he ran with his brother, Frank Chandler 
(1857-1912). William Chandler was responsible for creating the original art while Frank was responsible for the framing, 
packing, shipping, and at times, for retail and wholesale art sales. Although his business started small, it eventually grew 
to where he was employing nearly 20 people at its peak.

Most artistic work took place in a large open room called “The Loft” where up to 20 easels were usually set up at any 
given time. A variety of employees could be working on up to 3 easels concurrently. Some artists worked directly in the 
studio while others worked out of their homes on a per-picture basis. The vast majority of the studio’s output was in the 
form of pastel chalk art, although oils, watercolors, and charcoals were occasionally sold as well.

The chalk used on Chandler pastels was imported from France in a variety of colors. A Chandler employee then blended 
these imported colors into a wide variety of bright and pleasing pastel colors, adding a bonding liquid, and then molding 
the chalks into easily-usable pastel sticks. The same employee prepped the various sized pastel boards before use, 
preparing them with glue and sand so the final pastel colors would adhere better. After the picture was completed by the 
artist, it would be sprayed with a fixative to help the chalk to adhere better, and then usually sent to be framed by 

Most Chandler pastels come in the form of landscapes. Although supposedly modeled after the rivers and mountains of 
New York or New England, in my opinion many seem to be modeled after places much farther away. Most landscapes 
feature some form of water such as a lake, stream, river, or waterfalls. Mountains were usually included, often with 
another focal point such as a cabin, house, trees, mill, boats, cottages, etc. Flying birds or sailboats were often added in 
the distance for visual effect.

Chandler’s most uncommon scenes include such topics as floral still lifes, fruit bowls, and hanging wild game such as 
fish or rabbits. We have even seen a still life with a fish bowl on a table. Chandler ocean seascapes and foreign scenes 
are also considered rare.

Chandler pastels were sold through art stores, art dealers, gift shops and department stores such as Marshall Fields, 
Sears, Higbee’s and The May Company in the United States, and through Simpson’s, Eaton’s, and Hudson Bay in Canada. 
Chandler prints were sold through the Taber-Prang print catalog and through various calendar and print publishers. Initial 
sales contacts were made by Frank Chandler, other sales representatives, and often by Chandler himself.

As his reputation grew, Chandler exhibited his work at the 1900-01 International Exposition in Paris. His name appeared 
on the membership list of the prestigious Century Association of New York, among other professional groups. A signed 
Chandler pastel even hangs today in the Royal British Columbia Museum Parliament Buildings in Victoria, British Columbia, 

Between 1917-1918 Chandler spent a limited time in Canada producing his work. Apparently around that time Canada 
had levied a 25% import tax on certain American goods which made it prohibitively expensive to import certain goods 
from the U.S. into Canada. Some American businesses attempted to set up a Canadian subsidiary in order to avoid this 
import tax (e.g., Wallace Nutting briefly set up a Canadian operation). However, Chandler’s Canadian operation was 
short-lived and he returned to New York after only a few months.

Chandler Lithographic Prints

Original pastel art obviously cost more and had a much more limited distribution than machine-produced prints. At the 
turn of the century Chandler developed several arrangements with certain lithographers and print makers whereby some 
of his original pastels would be converted into art prints, calendar prints, or other print form. Between 1887-1903, 
Chandler’s work was produced as color or chromolithograph prints by such publishers as Hallen and Weiner (NY), Joseph 
Hoover (Phila), and Mueller and Lucksinger Co. (NY). His work appeared as machine-produced prints in the Taber-Prang Art 
Catalog as well. Art prints were often 15×20″ in size, although many were cropped over the years to fit into specific 
frames. Calendar prints and other print forms were usually produced in a multitude of sizes.

And although logic would dictate that Chandler prints should be far more common than Chandler pastels, that has not 
been my experience. Although in my travels I tend to see more original Chandler prints than pastels, Chandler prints do 
seem to be relatively uncommon in today’s market, probably for two reasons. First, the vast majority of 
turn-of-the-century prints have been discarded, either because of damage or because their initial low price meant they 
weren’t highly prized by the original owners. Very few people ever discard original art. Secondly, often times the Chandler 
name was often omitted from the print by the publisher, or cropped off during subsequent framing and re-framings, 
thereby making the print less valuable or collectible.

Either way, you should recognize that Chandler prints are not nearly as collectible or valuable as Chandler pastels. And 
although it’s hard to believe, an unexpectedly large percentage of collectors and dealers don’t know the different 
between an original pastel or a chromolithograph print. I have been in many dealers booths where a beautiful Chandler 
pastel was priced lower than a Chandler print so beware…bargains are still out there.

Some Observations on Chandler Pastels

ORIGINALITY: All original Chandler pastels are unique; no two are exactly alike. It would be our opinion that Chandler 
himself probably set the standards for most scenes, perhaps drawing an original model picture that the other artists 
were supposed to follow as closely as possible. However, since each Chandler pastel is an original piece or art, and 
although certain images may look similar, each is unique and you will always find subtle differences between similar 
looking works.

CATEGORIES AND RARITY: Chandler pastels fall into several primary categories. In my opinion, these categories, from the 
most common to the most unusual, would include: 
 – Landscapes with water and mountains 
- Landscapes with mountains but without water 
- Landscapes without mountains or water 
- Landscapes including buildings (other than distant cabins) 
- Still Lifes, with Fruit, Wild Game, or Flowers 
- Foreign Scenes (eg, English thatch-roofed cottages) 
- Ocean or Seascape Scenes, with or without boats

TITLES: Most Chandler pastels seem to be untitled. Whereas Chandler prints would have been given a title by the publisher 
to assist in sales & marketing, we have seen little evidence that most original Chandler pastels carried any specific title 
when sold.

FRAME AND PASTEL SIZES: Pastel sizes were usually large format. Although we have seen a few in sizes as small as 
8×12″ or smaller, most were in the 14×18″, 16×20″, 20×24″ size, or larger. And it was quite common to over-mat a 
pastel thereby requiring an even larger frame. Quite often Chandler pastels were framed in large ornate frames, which 
more often than not are damaged today.

SIGNED VS. UN-SIGNED CHANDLER PASTELS: In our opinion there are a significant number of “Un-Signed” original Chandler 
pastels still in circulation. According to Peter Neeley, when Chandler pastels were produced in pairs, usually only one was 
signed. And since most “pairs” have been broken up over the last 100 years, that would mean many original Chandlers 
are un-signed today. And although Chandler himself most likely signed all of his own art, it would also be our opinion that a 
fair number of original Chandler pastels completed by one of his employees may have left the studio un-signed.

PRICES: If you look hard you might still find an occasional Chandler pastel for under $100, although that is becoming an 
increasingly rare occurrence. I would generally say that most Chandler pastels today are priced within the $200-$400 
range, although sometimes better & rarer pieces in the best condition will bring $500 or more. However keep in mind that 
condition is extremely important as it relates to value and only the rarest pieces in the best condition will bring top 
dollar. Common pieces in average-to-below average condition will be worth considerably less.

Chandler Signatures

Most Chandler pastels are signed in one of five different ways: 
1) Chandler (far and away the most common form of signature) 
2) W.H. Chandler 
3) Wm. H. Chandler 
4) W.H.C. 
5) And, as mentioned earlier, when done in pairs usually only one picture was signed

Did Chandler himself sign each and every pastel that was ever produced in his studio? Personally I have seen a wide 
variety of Chandler signatures in my travels, seemingly not all signed by the same hand. I specifically posed that question 
to Peter Neeley and his response was that Chandler himself did indeed sign all pictures, and that he doubted whether the 
Chandler employees were ever allowed to sign the Chandler name. His opinion is backed up by comments from the 
Chandler family. Whether signed by Chandler himself, or periodically by one of his key employees, any piece of art signed 
“Chandler” came to connote a quality pastel drawing of a specific style and vintage.

Problems Facing Chandler Pastels

Unfortunately, 100-year old pastels are much more fragile than oils or canvases and face a myriad of problems that 
sometimes need to be addressed, some of which include:

WOOD BACKING: Many original Chandler pastels were backed with several pieces of soft wood which may have made sense 
in the short term, but have caused significant damage in the long-term. The biggest problem caused by the wooden backs 
is what I call “acid burn”. The wood’s chemical content has literally leaked through the pastel board, usually near the 
cracks between the individual wooden pieces, and now appears as a darkening on the image itself. What should be done? 
We would recommend that the wood be immediately removed and replaced with some type of acid-free backing which will 
prevent any further deterioration. Whether you should seek out some type of pastel conservator to remedy the image 
deterioration will depend upon your personal preferences. More often than not any restoration cost may exceed your 
original purchase price so this will be an individual decision.

STAINS, TEARS & IMAGE BLEMISHES: Because of the age and fragility of the pastel, quite often there is image damage, 
ranging from relatively minor to majorly significant. As a rule of thumb, we would recommend that you stay away from 
anything having any serious damage. Minor damage can sometimes be removed with cropping or professional image 
restoration. Just be reminded that any restored image will usually be worth less than an un-restored piece.

PASTEL COMING INTO CONTACT WITH THE GLASS: After nearly 100 years of being in its original frame it is quite common 
for the pastel to meet the glass, thereby leaving a small pastel smudge on the glass. This is a very common problem and 
the smudged pastel is easily removable. When replacing the old backing it is very easy to Windex the glass before 
carefully replacing the pastel and acid-free backing into the frame. And more often than not, the improvement in beauty 
will be remarkable.

CRUMBLING OR DAMAGED FRAMES: Seemingly most original Chandler pastels were framed within large and elaborate 
frames which now after nearly 100 years have become damaged. This damage is usually in the form of broken corners, 
damaged ornamentation, or edge flaking or chips. In our opinion we would prefer to keep the Chandler within its original 
frame. Sometimes Old English will do the trick. However, since the frame is a major key to the pastel’s beauty, we are 
not adverse to replacing an unsightly frame with one that will restore its beauty. Where possible we try to locate another 
period frame of comparable size but when that is impossible, we sometimes prefer a newer frame that complements the 
beauty rather than leaving it in its original and unsightly frame. This is a matter of personal taste and I would recommend 
that you proceed in the manner that will enable you to enjoy your Chandler pastel in the best way possible.

IT’S OKAY TO CLEAN YOUR PASTEL: Although some may disagree with us, we wholeheartedly believe that it is acceptable 
to take a pastel apart, clean the glass, re-sprig the pastel back into a cleaned frame, and then add a new paper backing 
to insure that no new dirt or dust returns beneath the glass. As purists, we would prefer a beautiful, original, and 
untouched picture. As realists, we have come to recognize that most Chandlers need a little cleaning in order to restore 
their original brilliant look.

Chandler & William M. Thompson… 
The Closing Chapter

William Henry Chandler died on February 26, 1928 and was buried at the Rosedale Cemetery in Orange, New Jersey. 
   Chandler had lived his entire life as a devout Christian, a great humanitarian, and had spent his entire life dedicated to 
God’s work. While in Chicago, he worked with small children in a mission school; while working in New York, he continued his 
humanitarian work with the derelicts and downtrodden in New York’s Bowery district. He was very active in the affairs of 
the Oakes Memorial Methodist Church while he was living; they saw fit to honor William Henry Chandler in 1964, 36 years 
after his death, for his fine work in establishing their Sunday School and for his many other accomplishments. 
   Upon his death, Chandler’s business was purchased by another name that you may recognize…William McMurray 
Thompson, whose pictures are often confused with R. Atkinson Fox. Thompson had started as a clean-up boy in 
Chandler’s studio, later apprenticed under Chandler, and then he purchased the entire studio upon Chandler’s death in 
1928. But the story of W. J. Thompson will have to wait until another column.”