Andrew Osta

ROGELIO DE EGUSQUIZA Spanish, 1845 - 1915 A REVERIE DURING THE BALL signed and dated "Rogelio Egusquiza, 1879" (lower right) oil on canvas 21-3/4 X 3...

Heinrich Gollob (1886 - 1917) - Austrian painter. Gollob's attention to detail demonstrates his talent for bringing landscapes to life through vibrant colors, textures and the play o...

Exhibited: London, Royal Academy, 1800, no. 93 What was happening in British history painting in around 1800? In recent discussions of the emergence of a British School of history painting following the foundation of the Royal Academy in 1768, this is a question which is rarely posed and one which is not easily answered. Examination of surviving Royal Academy exhibition catalogues reveals a profusion of artists’ names and titles, few of which remain immediately recognizable, whilst endeavours to explain the impact of exhibition culture on painting - such as the 2001 Courtauld show Art on the Line - have tended to focus on the first and second generation of Royal Academician, rather than young or aspiring artists in the early nineteenth century. This makes the discovery and identification of the work under discussion of exceptional importance in making sense of currents in English painting around 1800. Executed by Edward Dayes...

Brass plate leads to Russian artist Pavel Pavlovich Dzhogin (1834 - 1885). This 19th century oil painting beautifully captures a serene rural scene with travelers on a cart traveling...

Mary holds her son in loving arms. Her face shows a quiet peace and a resurrection of hope that death will not have the final word. The divine beauty of Michelangelo's sculpture "Pie...

Signed lower right “Henningsen” and dated 1881 at reverse. Attributed by Erik Ludvig Henningsen (1855 - 1930) was a Danish painter and illustrator. Masterly painted genre scene “testing grandfather’s pipe” depicting lively domestic moment. The little prankster wants to be like his grandfather, but how can he not try his grandfather’s pipe, which he loves so much and does not let go of even in his sleep. The curious and brave sly man, despite the consequences, took off his shoes to approach quietly... One can imagine his disappointment and emotions after he accomplished what he had planned... The boy's faithful friend, a small dog, looks at all this with interest and curiosity. Loved and admired for his talent to realistically portray life and tell a story at the same time, Henningsen took great pride to never include any personal feelings or philosophy, but to stay neutral to the subject matter for whichever painting he was doing. Antique oil painting on canvas, signed, framed. Size: 43 cm x 35 cm (roughly 16.9 x 13.8 in), frame 52 x 43.5 cm (roughly 20.5 x 17.1 in). Very Good pristine condition with minimal wear. Please study good resolution images for cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 1 kg is going to measure some 2 kg packed for shipment. Erik Henningsen was educated at the Copenhagen Royal Academy of Art. He Traveled and studied in Germany, Italy, France and Holland, and received numerous awards and medals throughout Europe. He later became a member of the Royal Academy of Art. Exhibited in Charlottenborg, Copenhagen, Vienna, Paris, Berlin, Munich, Lubeck, and many more. Erik Henningsen is always mentioned in the same breath as his older brother, painter Frants Henningsen. Both with their traditionally classic approach to realism, anecdotal undertones and bold use of dark colors, they were the most loved and celebrated illustrators of life and times; often depicting the hardships and trials of that day and age. One of Erik Henningsen’s large...

Farmhands working in a field on a hot summer's day. Building on iconic depictions of farmworkers by Millet, Huys sought to imbue his figures with a sensitivity and reverence that ...

signed lower right

Signed Lower Right Cyprien-Eugène Boulet (1877 - 1927)

Jim’s of Lambertville is proud to offer this artwork by: Edward Willis Redfield (1869 - 1965) Edward W. Redfield was born in Bridgeville, Delaware, moving to Philadelphia as a young child. Determined to be an artist from an early age, he studied at the Spring Garden Institute and the Franklin Institute before entering the Pennsylvania Academy from 1887 to 1889, where he studied under Thomas Anshutz, James Kelly, and Thomas Hovenden. Along with his friend and fellow artist, Robert Henri, he traveled abroad in 1889 and studied at the Academie Julian in Paris under William Bouguereau and Tony Robert-Fleury. While in France, Redfield met Elise Deligant, the daughter of an innkeeper, and married in London in 1893. Upon his return to the United States, Redfield and his wife settled in Glenside, Pennsylvania. He remained there until 1898, at which time he moved his family to Center Bridge, a town several miles north of New Hope along the Delaware River. Redfield painted prolifically in the 1890s but it was not until the beginning of the twentieth century that he would develop the bold impressionist style that defined his career. As Redfield’s international reputation spread, many young artists gravitated to New Hope as he was a great inspiration and an iconic role model. Edward Redfield remained in Center Bridge throughout his long life, fathering his six children there. Around 1905 and 1906, Redfield’s style was coming into its own, employing thick vigorous brush strokes tightly woven and layered with a multitude of colors. These large plein-air canvases define the essence of Pennsylvania Impressionism. By 1907, Redfield had perfected his craft and, from this point forward, was creating some of his finest work. Redfield would once again return to France where he painted a small but important body of work between 1907 and 1908. While there, he received an Honorable Mention from the Paris Salon for one of these canvases. In 1910 he was awarded a Gold Medal at the prestigious Buenos Aires Exposition and at the Panama-Pacific Exposition of 1915 in San Francisco, an entire gallery was dedicated for twenty-one of his paintings. Since Redfield painted for Exhibition with the intent to win medals, his best effort often went into his larger paintings. Although he also painted many fine smaller pictures, virtually all of his works were of major award-winning canvas sizes of 38x50 or 50x56 inches. If one were to assign a period of Redfield’s work that was representative of his “best period”, it would have to be from 1907 to 1925. Although he was capable of creating masterpieces though the late 1940s, his style fully matured by 1907 and most work from then through the early twenties was of consistently high quality. In the later 1920s and through the 1930s and 1940s, he was like most other great artists, creating some paintings that were superb examples and others that were of more ordinary quality. Redfield earned an international reputation at a young age, known for accurately recording nature with his canvases and painting virtually all of his work outdoors; Redfield was one of a rare breed. He was regarded as the pioneer of impressionist winter landscape painting in America, having few if any equals. Redfield spent summers in Maine, first at Boothbay Harbor and beginning in the 1920s, on Monhegan Island. There he painted colorful marine and coastal scenes as well as the island’s landscape and fishing shacks. He remained active painting and making Windsor style furniture...

Signed lower right. Complemented by a hand carved and gilt frame. Exhibited at the National Academy of Design, 1928

Painting signed lower right "M Kruseman". What sets this painting apart is the large number and complexity of details that the artist managed to include in the scene without visually overwhelming the viewer. The color palette of the landscape is very realistic and harmonious. The foreground of the picture there are people standing by a sleigh drawn by one horse, in front of a charming small castle with turrets, nearby boats frozen in the ice at the pier are visible. The background, on the left side of the scene, we see houses and three windmills standing tall against the winter sky, adding a touch of Dutch countryside charm to the composition. From the frozen surface of the water, the whimsical silhouettes of trees to the intricate details on the façade of the castle and windmills - every element of the painting is a testament to the skill and talent of the artist. Antique oil painting on canvas, signed, framed. Size app.: 40,5 x 57.5 cm cm (roughly 15.9 x 22.6 in), frame is 60 x 75.5 cm (roughly 23.6 x 29.7 in). Very good ready to hang condition with age wear and retouches to frame (notable at close examination). Please study good resolution images for cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 4.7 kg is going to measure 8 kg packed for shipment. Signature leads to the artist Fredrik Marinus Kruseman (1816 - 1882), Dutch painter who specialized in Romantic style landscapes (sold as is). Received his first drawing lessons from Jan Reekers (1790 - 1858) and attended the Vocational School in Haarlem from 1832 to 1833. That year, he began to study painting with Nicolaas Johannes Roosenboom and, in 1835, moved to the Gooi, where he took advanced studies with Jan van Ravenswaay. He also studied briefly with the landscape painter, Barend Cornelis Koekkoek.