Régis François Gignoux Art

"Seascape," by Hudson River School artist George Herbert McCord (1848-1909) is oil on canvas and measures 18.07 x 30.13 inches. The work which comes from a private collection in Birmingham, Alabama is signed “G.H. McCord A.N.A.” at the lower left. The work is framed in a beautiful, period appropriate frame, and ready to hang. A member of the second generation of Hudson River School painters, George Herbert McCord is known for his atmospheric landscape and marine paintings which capture a variety of locales and are executed in a variety of media—including oil, pastel, and watercolor. McCord was born in 1848 in New York City, where he lived and worked his entire life. After 1883, he kept an additional studio in Morristown, NJ. McCord traveled throughout North America, painting in the Berkshire, Adirondack and Laurentian mountain ranges, the Hudson River Valley, the Coast of New England, the Upper Mississippi, and Florida, which had become popular among Eastern vacationers. He was among a select group of artists commissioned by the Santa Fe Railroad to paint the Grand Canyon, and also participated in a special painting excursion to the Erie Canal. His travels in Europe were equally expansive, taking him to England, Scotland (having been commissioned by Andrew Carnegie to paint the scenery around his castle there), France, the Netherlands, and Italy. McCord was well-educated, having attended Claverack College amidst the Catskills in Claverack, NY, which provided instruction in classical, French, German, English, music, painting, military, commercial, telegraphic and agricultural studies. He also studied with the accomplished painter and inventor of Morse code, Samuel F.B. Morse, and with the Scottishborn landscape painter, James Fairman. McCord was active in numerous art clubs and institutions in New York, including the National Academy of Design, which elected him an Associate member in 1880, the American Watercolor Society, the Brooklyn Art...

Oil on panel Signed and titled on verso.

Antique American impressionist fall forest oil painting. Oil on canvasboard. Finely painted and housed in a period giltwood frame.

Jim’s of Lambertville Fine Art Gallery is proud to offer this piece by Johann Berthelsen (1883 – 1972). Born in 1883 in Denmark to artistically inclined parents, Johann Berthelsen would become a widely successful singer, teacher, and painter. After his parents divorced, his mother brought Berthelsen and his siblings with her to the United States in 1890, eventually settling in Wisconsin. At eighteen, Berthelsen moved to Chicago in the hope of becoming an actor, but a friend at the Chicago Musical College convinced him to audition at his school. Berthelsen received a full scholarship and enrolled at the college, where he was awarded the Gold Medal twice. After graduating, he had an active career traveling across the United States and Canada performing in operas and concerts, before joining the voice faculty at his alma mater in 1910. In 1913, Berthelsen became the voice department director at the Indianapolis Conservatory of Music. While in Chicago, Berthelsen met the landscape painter, Svend Svendsen...

Beautiful Hudson River School Original gouache autumnal landscape of vivid sunset through forest by Charles Russell Loomis (American 1857 - 1936), circa 1880. Warm and cool tones wit...

Hudson River School inspired landscape in oil pastel of a countryside sunset "Spring Thaw" by Judy Reynolds 24 x 36 inches, 30 x 43 inches framed Signed, lower left This landscape ...

Untitled, c. 1900 Oil on canvas 16 x 24 in. Framed: 22 3/4 x 31 x 2 in. Signed lower right

Original signed framed vintage landscape painting by Charles Partridge Adams (1858-1942) of a Sunset along the Front Range of Colorado (near D...

A finely detailed oil landscape of the Delaware Gap attributed to French American artist Regis Francois Gignoux (1816-1882). Gignoux was born in Lyon, France, and began his studies i...

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...

Monogram lower right. But for sheer numbers, as well as degree of fame, the activity which is most closely linked with this Adirondack town is painting. Mrs. Peggy O'Brien, who has long studied Adirondack artists, finds over 400 have painted in these mountains and Keene Valley was the summer capital for many of them. The earliest in the valley are Asher B. Durand (1796-1800), considered a co-founder of the Hudson River School, John Casilear (1811 -1893) and John F. Kensett (1816 - 1871) coming in 1848. Frederick Perkins came in 1857, boarded at the Bruce home, and with Orson Phelps sat on Mt. Marcy and named Skylight, Basin and Saddelback Mountains. Roswell Shurtleff came first to Keene Valley in 1868 and returned each year for the rest of his life, being, with A.H. Wyant, the first artists to have summer places here. Wyant built on the hillside east of the AuSable, Shurtleff on the west. Winslow Homer joined John Fitch and Shurtleff in Keene Valley for hunting, fishing, and painting. John Adams Parker was here by 1866, subsequently building. Robert Monior came in 1875 and by 1882 had a house that became a center for art students. Samuel Coleman arrived in the 1860's. Homer Martin (1836-1897), Sanford Gifford (1823-1880), and Arthur Parton (1842-1914) are but a few more of the recognized American artists who painted the AuSable lakes and mountain of Keene in the nineteenth century. In fact, the Heidelberg Museum of the Paletinate's salute to the American Bicentennial was a 1976 exhibit of work by the first German to the American scenes, a man named Kappel, and featured scenes around Beede's. John Marin brought Keene Valley art into the twentieth century. Harold Weston, son of S. Burns Weston, wintered alone at his AuSable Club studio 1920-21 to start his painting career, and gave us later life a good local history as well as art sampling in his autobiography Freedom in the Wilds (1971). Present day artists living or working in the town include Bruce Mitchell...

Hudson River Inlet, 1885 by Hudson River School artist Frank Anderson (1844-1891) is oil on canvas. The work measures 15.13 x 24.25 inches ...