Adolf Arthur Dehn

“Aiguebelette, Savoie”

1925

Finely executed watercolor and gouache landscape with figures by the Swiss artist, Louise Clauseau (Swiss). Signed under the mat by the artist and dated June, 1852. The watercolor ...

Beautiful oil on fiberboard painting of a view of Switzerland done by the American artist, John William Casilear. Signed with monogram lower left. Condition is excellent. Circa 1857/1858. The painting is housed in a contemporary frame. Overall framed measurements are 6 5/8 by 8 5/8 inches. lProvenance: Long Island, New York collector. Biography John William Casilear was born in New York City on June 25, 1811. Like his fellow Hudson River School landscapists Asher B. Durand and John F. Kensett, he worked as an engraver before turning to painting. In 1826 Casilear was apprenticed to the engraver Peter Maverick (1780-1831), and at first he primarily executed bank notes. Durand encouraged him to attempt other subjects, however, and during the 1830s he madeengravings after some of the most prominent paintings of the day, including Daniel Huntington's The Sybil (New-York Historical Society). In 1832 he began submitting engravings to the National Academy of Design exhibition and he first showed paintings there in 1836. In 1833 Casilear was elected an Associate of the Academy; he was elevated to full Academician status in 1851. In 1840 Casilear accompanied Durand, Kensett, and another painter, Thomas P. Rossiter (1818-1871), on a trip to Europe. There the artists studied and copied paintings...

Oil on canvas painting in a Post Modern style by the American artist, Paul D. Running. Signed lower right. Titled verso. Condition: Good. The town in the painting is Weggis, a resort town on Lake...

Very fine graphite on archival paper drawing of a typical mountain side house in the town of Hayingen, Germany by the prominent artist, Johannes Kleinschmidt. Signed in ink lower le...

Work on paper

"Lac d'Annecy II" Landscape Watercolor Painting 10" x 12" inch by Inji Efflatoun Dated Inji Eflatoun pursued free studies in art. Since 1942, she has participated in the exhibition...

Work on paper Brown wooden frame with glass pane 56 x 70 x 1.6 cm

A watercolor depicting a mountain view and the lake Gruyère, (Lac De La Gruyère) in Switzerland by the American Impressionist and Tonalist Mary Rogers Williams (1857–1907). Signed M.R. Williams. On the verso, the artist wrote: ‘Painted in Gruyère July 1902.’ This is a newly discovered work by a rare woman artist who seldom appears on the art market. Small in scale, yet rich in atmosphere, power, and depth—a genuine little gem. Mary Rogers Williams was born in 1857, in Hartford, Connecticut, the fifth of six children to a local baker. Orphaned by the age of fourteen, she pursued art with remarkable determination, studying at Hartford’s Decorative Art Society and the Art Students League in New York under William Merritt Chase. Her early mentor was James Wells Champney. In 1888, she joined Smith College as associate professor of art, where she taught for nearly twenty years to help support her family. Alongside her academic career, she maintained a serious and evolving artistic practice, though much of it was pursued within the limitations of her era’s gender roles and financial pressures. Her work is often classified as a blend of Tonalism and Impressionism—movements that were just taking shape during her lifetime. Tonalists used subdued palettes to evoke mood rather than detail, while Impressionists leaned toward brighter colors and broader subjects. Williams, working independently of art-world factions, forged a style rooted in mood, light, and atmosphere. She painted luminous pastels, watercolors, and oils—portraits, landscapes, and intimate studies of daily life. Despite knowing figures like Whistler, William Merritt Chase, and Childe Hassam, she rarely aligned herself with any artistic “school” and found many male contemporaries pretentious or repetitive. She famously dropped out of Whistler’s Paris school, calling him “a pompous fop surrounded by fawners.” Though Mary Cassatt and Williams were both American Impressionists living in Paris, they never met—Cassatt enjoyed wealth and elite circles, while Williams was a self-reliant educator without patrons. Williams traveled extensively throughout Europe—from the Arctic Circle to the ruins south of Naples—often alone or with her sister. She bicycled through fjords, hiked to medieval towns, and visited chateaux and harbors, all while sketching prolifically. She is likely the only 19th-century woman artist whose travels and daily life can be traced in such vivid, personal detail: what she ate, how she felt about fellow travelers, what she paid for trams, how the air smelled, what she wore, and how she missed home. She documented everything—museum visits, church restorations, conversations with hotel guests, and her frustrations with men’s treatment of women artists. These letters, rediscovered in 2012 in a family boathouse, provide an extraordinary insight into not only her art but the intellectual and emotional texture of her life. Her writings reveal not only artistic insight but the immense workload she carried. At Smith, she taught studio art and art history, organized faculty events, curated student exhibitions, wrote essays, handled housework, and even cooked and cleaned for her own lodgings. On vacations, she cooked for her family; in Europe, she waxed floors, painted walls, repaired clothing, and stoked fires—all while maintaining her painting and travel schedule. Unlike many of her male peers, she had no assistants, no household staff, and little inherited wealth. Yet, as her letters reveal, she never saw herself as a victim—she relished challenges and even the absurdities of her era, from Italian waiters pushing marriage to department heads at Smith dismissing women’s artistic capacity. Despite these challenges, Williams exhibited widely during her lifetime: Paris Salon (1899) National Academy of Design (1903–04) Pennsylvania Academy of the Fine Arts New York Water Color Club, American Water Color Society, Art Association of Indianapolis, and more. She was praised in The New York Times, Hartford Courant, and Springfield Republican, and compared by peers to figures like Emily Dickinson—another New England woman of quiet yet profound artistic power. But unlike Dickinson, Mary Williams...