Unknown

Rounding the Mark

Circa 1920's

Pluie a Venice is painted in Hambourg's preferred palette of muted blue-green, grey, and gold with splashes of ruby red, deep blue, and emerald green. The soft colors work well for beach scenes and rainy days such as the ones portrayed in this painting. The impressionistic scene shows multiple pedestrians strolling down the boardwalk, shielding themselves from the rain with colorful umbrellas that provide pops of color and balance the overcast sky. The background contains a three-masted ship and Piazza San Marco's famous bell tower and Basilica. Hambourg uses the minimum number of brushstrokes necessary to portray ships, seagulls, buildings and people as well as reflections on the glistening sidewalk. The brushstrokes in the sky have an interesting texture that is controlled yet carefree and there is heavy impasto throughout. His portrayal is both realistic and romanticized. Hambourg was clearly influenced by the great Impressionist artists of earlier generations, perhaps none more than the one with a direct connection to his family. Hambourg's wife, Nicole Rachet, was born into a family with a large collection of works by Impressionist master Eugene Boudin. Rachet's grandfather was a contemporary and friend of Boudin's, and a collector of his work. In their later years, Hambourg and Rachet donated over 300 canvases by Boudin and other artists to the Eugene Boudin Museum in Honfleur, France. It was such a large and important gift that the collection bears...

A beautiful woman sits at an open window, gazing down at a small bird who has landed nearby in this serene portrait by Charles Levier. Warm orange tones are played off their complements in shades of blue, the artist utilizing several different layers of oils to create a subtle and relaxed view of a spring day near the sea. Beyond the window a small chapel sits on a peninsula, surrounded tranquil blue waters. This work, like many of Levier's, belongs to the French figurative movement of the Glorious Thirty (Les Trente Glorieuses) - the golden period of thirty years after WWII which were a time of great hope and prosperity in France. Inspired by Hollywood cinema, Charles Levier sought harmony in composition and purity of color and form. His said that his creations represented "a light and delicate world, of dark and subtle shades and colors." Levier worked in a somewhat abstracted, cubist style. Additionally he often employed the French technique of "cloisonnism" (after the French for "partition"), a style of post-Impressionist painting with bold and flat forms separated by dark contours, also seen in this work. The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indépendants, in March 1888 and was commonly used by artists like Émile Bernard, Louis Anquetin, Paul...

This large and epic battle scene commemorates one of the most unusual actions of the Napoleonic Wars. The British Honourable East India Company’s China...

This large and exciting scene features an American Revolutionary War battle in Chesapeake Bay. With great color and lively brushwork this painting was done at a large scale which captures a grand vista of the Bay along with many small vignettes to draw the eye. No less than ten other ships surround the two combatant vessels as they exchange cannon fire...

This impressive painting by Edward Moran does justice to the epic America’s Cup Challenge of 1885. Moran’s point of view captures the day’s enormity to the world’s yacht racers and designers. This account portrays PURITAN’s second and decisive victory of the match on the 40-mile course, 20 miles leeward from the Sandy Hook Lightship and back. PURITAN reached the line a scant 1 minute 38 seconds in front, the closest margin of victory to date. Well publicized and awaited on both sides of the Atlantic, the race held the public’s interest while knowledgeable yachtsmen waited to see if Boston’s Edward Burgess had innovated the centerboard sloop design to a degree capable of holding off the challenge of a true English cutter. GENESTA was designed by John Beavor-Webb, for her owner, Sir Richard Sutton...

A beautiful painting with historic importance, three schooner yachts line up before the Sandy Hook Lightship for the start of the world's first Transatlantic Yacht Race held in 1866. In his book, "J.E. Buttersworth, 19th Century Marine Painter", biographer Rudolph J. Schaefer has noted six views by the artist of this event. This is largest of the known works of this important benchmark in American yacht racing. Identification of the racing schooners is assisted by the special colored flags worn by the yachts. Foremost in the painting, wearing the Blue was HENRIETTA, owned by renowned newspaper publisher and infamous yachtsman James Gordon Bennett, Jr. White was atop the mast of VESTA, owned by tobacco baron and racehorse aficionado Pierre Lorillard, who initiated the competition with a dinner party boast over turtle soup...

Signed post impressionist landscape oil on canvas by French painter Henri Le Sidaner. This stunning piece depicts two fishing boats moored in a fishing village at sunset. The last l...

Emilio Longoni (Barlassina 1859 - Milan 1932), Alpine Lake (1910) Oil painting on canvas pasted on board 20 x 41 cm signed lower right in Emilian frame late 16th century.

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE L'Orne au Pont de Vey by H. Claude Pissarro (b. 1935) Oil on canvas 38 x 46 cm (15 x 18 ¹/₈ inches) Signed lower ...

The painting (oil on canvas, 44.5 x 35 cm; with wood frame 64 x 54,5 cm) represents a moment on deception. It's signed Maccari on the bottom left, and it's dated 1956 and titled "ins...

Louis Eilshemius', American (1864 -1941), early works were influenced by the Barbizon School and Corot among others. This oil on canvas painting from 1890-1910 is from the era when h...

Signed post impressionist oil on canvas riverscape circa 1920 but Polish painter Nathan Grunsweigh. The work depicts a view of the bridge over the River Seine in Paris. A beautifully...