Frederick Freder

"The Sacred City of Kairouan, Tunisia, " Frederick Freder, Orientalism Desert

1922

George Picken (1898 - 1971) The Octagon at Blackwell's Island (Roosevelt Island, New York City), 1928 Oil on canvas 22 x 27 inches Signed lower right Pr...

Emile Albert Gruppe (1896 - 1978) View of Boats in Gloucester Harbor, Cape Ann, Massachusetts circa 1925 Oil on canvas 25 x 30 inches Signed lower right Emile Gruppe was an unusually prolific artist. He was at his easel almost every day and created thousands of paintings over a career that lasted 60 years. At his peak, he was completing almost 200 oil paintings a year. Yet he has never failed to find an audience for his depictions of New England in autumn and winter, or his harbor scenes of Rockport and Gloucester in Massachusetts. Gruppe was born in 1896 in Rochester, New York to an artistic family--his father, brother, sister and nephew were all artists. Emile spent his youth in Katwyk an Zee, a fishing village in Holland, where his father, Charles Gruppe, worked as both an artist and an art dealer. Emile lived in the Netherlands until he was 17, when the family returned permanently to the United States to avoid World War I. In New York City, Gruppe attended classes at the National Academy of Design and at the Art Students League, where he studied under Charles Chapman and George Bridgman. He also studied with John Carlson in Woodstock, New York, where he gained an appreciation for outdoor painting. Carlson “turned me into a painter,” he later said. Gruppe helped found the Rockport Art Association in 1921, but he is most closely linked to Gloucester where he lived from about 1940 until his death. He operated the Gloucester School of Painting from the 1940s into the 1970s and helped turn the Rocky Neck area of East Gloucester into a world-famous art colony. The school boasted an impressive faculty but Gruppe’s own exuberant plein-air demonstrations were often the highlight of the week. Gloucester, with its fleet of whimsically painted fishing vessels, crowded wharf buildings and shacks, and picturesque inhabitants, never ceased to fascinate Gruppe. He also helped popularize Rockport’s famous fishing shack known as Motif #1, sometimes called “the most often-painted building in America.” By the 1940s, Gruppe was one of the most prominent of the Cape Ann artists...

Herman N. Hyneman (1849 - 1907) Elegant Lady in Winter, Trinity Church, New York City Oil on canvas 22 x 15 inches Signed lower right Provenance: Freemans, 2005, Lot 76 Herman N. Hyneman was a noted American portrait and figure painter with ties to both Philadelphia and New York. He was born July 27,1849 to Leon and Adeline Hyneman in Philadelphia. ("Who Was Who in American Art" lists his birth date as either 1849 or 1859, but we have confirmed that the birth date is 1849). Virtually nothing is known about his early years, but given the fact that the family resided in a wealthy section of Philadelphia and the fact that he traveled to Paris to study in the studio of Leon Bonnat when he was but 20 years old, it is presumed that the family was financially comfortable if not well to do. Hyneman exhibited at the Paris Salon in 1879 and 1881, which was quite an accomplishment given his tender age. He returned to the United States in 1882 and after a year in Philadelphia, he established a studio at 58 West 57th Street, New York, NY, where he painted portraits to support himself and scenes of beautiful fair-skinned women walking in the snow to exhibit at major exhibitions throughout the United States. Hyneman exhibited at the the Brooklyn Art Association in 1882, 1883 and 1884 and at the Pennsylvania Academy of Fine Arts in 1883 and 1888. Beginning in 1882 and continuing up until 1905, he exhibited regularly at the National Academy of Design. Despite the fact that he exhibited fourteen paintings at the National Academy over a span of three different decades, he was never elected as a member. In the 1880's his paintings sold for between $100 and $1500, which were substantial sums for that period. Hyneman also exhibited at the Salmagundi Club and the Philadelphia Art Club and was a member of each organization. He won a medal at the American Art Society in 1904 and also exhibited at the Chicago Art Institute. A handwritten label on one of his paintings indicates that he also exhibited in Budapest, Hungary. In 1892, Hyneman married the noted artist Juliet Jolley (aka Jolly), who had previously modeled for him. Thereafter, they shared a studio and on at least one occasion exhibited together. The February 5, 1896 edition of the "New York Times" reported on a "pleasant studio reception" at 58 West 57th Street where the paintings of both Herman and Juliet were shown to members of New York Society including Mr. And Mrs. Edwin Blashfield. At least one of Hyneman's Painting " A Sensation on Wall Street" which depicted a lovely young woman in fur coat with Muff in front of the Stock Exchange, was made into a post card and reproductions of his paintings are known to exist, although not plentiful. At least one etching is known, "Desdemona," which was reproduced in a book by Frederic Stokes. Herman Hyneman...

Henry Charles Hannig (1883 - 1948) The Green Parasol Oil on canvas mounted on board 6 x 7 3/4 inches Provenance: R.H. Love Galleries, Chicago, Illinois Private Collection, Lake Orion, Michigan Hannig, born in Hirschberg, Germany on 27 February 1883, came to America with his parents at the age of seven. He attended school in the southwest suburbs before the family settled in Chicago. Young Henry enrolled in the Chicago Academy of Fine Arts where Lawton Parker became his mentor. He made ends meet by working in industrial design and illustration. By 1908 he was a pupil in the School of the Art Institute of Chicago where students followed the traditional European drawing curriculum, beginning with the copying of master engravings and drawing after plaster casts, then concentrating on the nude figure. Students worked toward the goal of winning various academic prizes. One of Hannig's fellow students was Louis Ritman...

Gerrit Beneker (1882 - 1934) Wellfleet, Cape Cod, Massachusetts, New England, 1926 Oil on canvas 20 x 16 inches Signed, titled, and dated lower left Provenance: Louis H. Barnett, Fort Worth, Texas In 1905, Gerrit Beneker began his art career as an illustrator. He married Flora Judd, his high school sweetheart from Grand Rapids and they moved to Brooklyn, NY. Gerrit's early passion was to create an art that would inspire and provide honor to the workingman. As such, he had no interest in painting portraits of pretty women, which were so often seen on the magazine covers of the day. Rather he wanted to seek out workingmen on the bridges, tunnels and skyscrapers of NYC, and paint them in their environments. He completed over 150 magazine covers, numerous ads including many for Ivory Soap...

Paul Désiré Trouillebert Canal Pinelli, Venise Signed lower left Oil on canvas 18 3/4 x 12 3/8 inches Provenance: Artist's studio sale, 1887, no. 4 With M. Newmann London Sale, Christie's, London, Save the Children Fund, May 16, 1961 (according to an inscription on the reverse) Private Collection, United Kingdom Literature: Marumo et al, Paul Désiré Trouillebert: Catalogue Raisonné de l'œuvre peint, Stuttgart, 2004, cat. no. 0362 p. 336, illustrated. Paul Désiré Trouillebert was born in Paris in 1829 and died in the city June 28, 1900. He is considered a portrait, genre and landscape painter from the French Barbizon School. He was a student of Ernest Hébert [1817-1908] and Charles-François Jalabert [1819-1901], and made his debut at the Salon of 1865, exhibiting a portrait. At the Paris Salon of 1869, Trouillebert exhibited “Au bois Rossignolet”, which was a lyrical Fontainebleau landscape that received great critical acclaim. Trouillebert concentrated on portraits until about 1881, when he began to focus on atmospheric silvery landscapes steeping in cool damp color. In 1882, he exhibited a large landscape titled “Baignneuses” which was well received and helped him gain a reputation as a landscape painter. Another noted work was commissioned by Edmé Piot, a public works contractor. The painting, “Travaux de relèvement du chemin de fer de ceinture: le pont du Cours de Vincennes” (Cleveland Museum) was of a railway project initiated in 1851, after Napoleon III came to power. The commission included four related views of the Paris railway construction, which was completed in February 1889. After the 1860’s, the misty Barbizon landscapes by Jean-Baptist- Camille Corot’s [1796-1875] had become astonishingly vogue, which brought about a trove of imitators. His followers and students; Henri Joseph Constant Dutilleux [1807-1865], George Devillers, Achille François Oudinot [1820-1901], Edouard Brandon [1831-1887] and Trouillebert were not trying to mislead the public, he was their idol. However, the greatest confusion has always been over works by Corot and Trouillebert because both artists painted river landscapes at dawn or dusk with a very similar approach, palette and style. Like Corot, Trouillebert painted a wide variety of subjects, including genre scenes, portraits and nudes. Trouillebert would receive the most attention as a result of an 1883 court case involving one of his paintings. The painting “La Fontaine des Gabourets” had been sold by one of Paris’ more prominent dealers George Petit to writer Alexandre Dumas fils. Trouillebert’s signature and been removed and resigned Corot. The fake was discovered by Robaut and Bernheim-Jeune and returned to the original seller, Tedesco. Trouillebert, who had nothing to do with the fraud, brought legal action against the guilty parties to regain his reputation and clear his name. The trial made all of the papers and Trouillebert won his case. George Pettit...

This delightful turn of the century (early 20th century) oil on canvas painting represents an Italian landscape with one of the most famous squares in the world: Piazza San Marco in ...

"Houses And River" Signed A. Huntington (English School) Oil on canvas Measures: Canvas - 60x110 cm (Gilt Wood Frame - 76x126 cm) Private collection. Framed

Theo Meier (1908-1982) View of the Village of Iseh, painted from the house of Theo Signed and dated 48 Theo Meier lower left Oil on canvas, 68.5 x 50 cm In original frame carved by the artist. Note: Theo Meier arrived in Bali in 1936 with the intention of going on to Tahiti where he had been before. However Bali turned out to be the paradise he had been searching for in his dreams and he had no desire any more to move elsewhere. Bali at that time was still a very traditional place where society lived according to an acient religious system and in a luscious tropical setting the modern world was ignored. Here he met Walter Spies...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...