Ralph Holmes

San Gabriel Mountain Landscape in Black and White - Graphite Pencil on Paper

1940s

Delicate and precise drawing by Lester G. Hornby (American, 1882-1956). Several boats are depicted at Convento de Santa María de la Rábida. The drawing is highly detailed, with the confident marks of an accomplished artist. Two buildings can be see to the left hand side of the drawing - a wharf house and the La Rabida Monastery. A man tends his fishing boat and few other boats are anchored in the water, including two caravels (a small, fast Spanish or Portuguese sailing ship of the 15th–17th centuries.) The Friary of La Rábida (in full, Spanish: Convento de Santa María de la Rábida) is a Franciscan friary in the southern Spanish town of Palos de la Frontera, in the province of Huelva and the autonomous region of Andalucia. Signed "L. G. Hornby" in the lower left corner. Presented in a new grey mat with foamcore backing. Original tag from Albert Roullier Art Galleries in Chicago has been preserved on verso. Mat size: 11"H x 14"W Paper size: 10"H x 9"W Lester George Hornby (American, 1882-1956) received his early training at the Rhode Island School of Design and the Art Students League in New York. He then journeyed to Paris where he developed his technique further at the major art academies there. Hornby’s progress was rapid; he received his first international recognition in Paris in the prestigious Salon d’Automne of 1907. Completely captivated by Paris and the French countryside, Hornby spent most of his productive years in France, returning intermittently to America. In his later years, he played an active role as teacher and artist in the Rockport art colony. He lived there with Bertha Grover Goodrich, his last wife. They lived in Rockport, Massachusetts until his death in 1956. Together they built the "old on purpose" house using old materials to build a "new" "old" house. Lester is the one who gave the name "Motif #1" to the old fish house that has become so famous. During WWI Hornby was a war correspondent. As did most artists at the time who did illustrations in relation to the war, Hornby had to have war- related pictures approved by the government before being published. In one case the war department refused to give permission because they felt his illustration was so accurate and well done that the enemy would have access to too much information. Hornby worked in the trenches with the men and his work reflects this. At a Philadelphia exhibit of color etchings in 1909 the critic called Hornby "the foremost exponent of this branch of graphic art that America has produced.” The critic Rowland Thomas wrote in 1910 "Hornby is beyond doubt a master etcher with such power of eye and hand as our generation has hardly known before. Not since Whistler posed with the Universe on his needle point has anyone scratched on solid metal lines of such electrifying, such insolently simple conciseness as these- a new old Paris leaps transfigured and revealed for those who will glory in her." Boston critic W.H. Downes found "Hornby's etchings among the best and most artistic being done by any American, and some of the Marne set are masterpieces." A 1928 exhibit of watercolors at the Vose Gallery in Boston won a rave from critic A.J. Philpott "He has been compared to Joseph Pennell but that is not a fair comparison. Hornby is a much more versatile genius than Pennell ever was!" Hornby's work is in the permanent collections of 21 museums worldwide, including the Addison Gallery of American Art, Boston Public Library, Boston Athenauem, Art Institute of Chicago, Detroit Institute of Arts, Rhode Island School of Design, Yale University, Rockport Art Association, and Philadelphia Museum of Art. Member: American Art Association of Paris, Boston Art Club, Guild of Boston Artists, Boston Watercolor Club, Brooklyn Society of Etchers, Chicago Society of Etchers, Caof. Society of Etchers, New York Society of Etchers, Gloucester SA, Painter-Gravers of America, Providence Art Club, Providence Watercolor Club, Rockport Art Association, NSAA, SC., Soc. Amis de l'Eau-Forte, Paris. Exhibits: Paris Salons, Dresden International Exhibition, doll & Richards Gallery, Boston Public Library, Irving & Casson, Roullier Gallery, Kennedy Gallerys, Grace Horne Gallery, Goodspeed's Boston, Venice International Exhibition, Lotos Club, Anderson Gallery, Swedish International Exhibition, Fine Art Society, London, Boston City...

San Francisco moorings, a late 19th century double-sided pencil sketch by Raymond Dabb Yelland (American, 1848 - 1900), 1987. Signed "R.D. Yelland" lower right. Dated "87" lower left. Drawing on both sides of paper. Wood frame. Image size, 8.5"H x 12"L. A master marine painter, Yelland painted in Gloucester Harbor. He sailed to San Francisco in 1874 to take a teaching position in art at Mills College in Oakland. From 1877 to 1894, he taught at the California School of Design. He was a decisive influence on a younger generation of California artists. Full Bio: Raymond Dabb Yelland was born in London, England on February 2, 1848. At the age of three, he immigrated with his family to New York City where he was raised and attended public schools. By the age of twelve, he had settled on art as a career. He was born as Raymond Dabb, but due to the negative connotation of his name, his mother's maiden name, Yelland, was added. After serving under Sheridan in the Federal Army during the Civil War, Yelland attended Pennington Seminary in New Jersey. He studied art at the National Academy of Design from 1869 to 1871 with Page and Brevoort, and then taught at the Academy for one year. With his new bride, he sailed around the Horn in 1874 to San Francisco where he would assume the position of an art instructor at Mills College in Oakland. In 1877, he traveled to England, and later continued his studies in Paris with Luc Oliver Merson. Upon his return to California, Yelland became assistant director of the San Francisco School of Design, and in 1888, assumed its directorship. While at that school, he also taught at the University of California, Berkeley, for many years. His many pupils included Homer Davenport, Alexander Harrison...

Reflections in the Pond 19th Century Pencil Drawing by Alfred Villiers Farnsworth 19th century drawing in pencil of reflections in a pond ...

Significant 1940s work titled "Toiler's House" by George Demont Otis (American, 1879-1962). Titled "Toiler's House on the bottom left and signed "George Demont Otis" on the bottom right. Presented in a black wood frame. Image size, 12"H x 18"W. Otis was born in Memphis, Tennessee where he was orphaned at age six and was raised by his grandmother in Chicago...

Serene mid-century seascape of a vivid cyan blue coastal tide pool by Joseph Yeager (American, 20th Century). Signed "Joe Yeager" in the lower right corner. Title "Tide Pool Runoff" ...

Detailed depiction of a building undergoing renovations by Joseph Yeager (American, 20th Century). Unsigned, but was acquired with a collection of Yeager work directly from the estate. This piece is on heavy bond paper with ragged edges, and is partially unfinished. No frame. Joseph "Joe" Yeager (American, 20th Century) was raised in Cleveland Ohio, where he went to art school at night and started his art career at 19. He was a commercial artist for the Cleveland Press...

Morning Near Arizona, (Desert Landscape) is an original color pencil drawing from 1888 by George Elbert Burr (1859-1939). Portrays a spring/summer landscape with a tree and fauna, cl...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope Sc...

Charles Marion Russell (1864 - 1926) Old Russell House Pencil on paper 3 1/2 x 6 1/2 inches Provenance: Kennedy Galleries, New York Raydon Galleries, ...

Jim’s of Lambertville is proud to offer this artwork. Signed. Complemented by a hand carved and gilt frame. William L. Lathrop (1859-1938) Deemed “Father of the New Hope Art Colony”, William Langson Lathrop was born in Warren, Illinois. He was largely self-taught, having only studied briefly with William Merritt Chase in 1887, at the Art Students League. Lathrop first moved east in the early 1880s, and took a job at the Photoengraving Company in New York City. While there, he befriended a fellow employee, Henry B. Snell. The two men became lifelong friends and ultimately, both would be considered central figures among the New Hope Art Colony. Lathrop's early years as an artist were ones of continuing struggle. His efforts to break through in the New York art scene seemed futile, so he scraped enough money together to travel to Europe with Henry Snell in1888. There he met and married an English girl, Annie Burt. Upon returning to New York, he tried his hand at etching, making tools from old saw blades. Even though his prints were extremely beautiful, he still was impoverished. Lathrop would return to his family in Ohio, before once again attempting the New York art scene. In 1899, with great trepidation, he submitted five small watercolors to an exhibit at the New York Watercolor Club. He won the Evans Prize, the only award given, and four of the five paintings were sold the opening night. At age forty Lathrop’s career would finally take off and he became an “overnight success Lathrop came to Phillips Mill for the first time in1898, to visit his boyhood friend, Dr. George Marshall. Shortly after, he and his family purchased the old miller’s house from Dr. Marshall. The Lathrop’s home became a social and artistic center for the growing New Hope colony. Tea and fascinating conversation was the “order of the day” every Sunday. This was a scene fondly recalled by many younger art students that Lathrop taught privately at Phillips Mill. It was common to see groups of his students painting and sketching along the banks of the canal or aboard his canal boat. He had previously taught in the Poconos and at the Lyme, Connecticut Summer School in1907, but Phillips Mill always remained Lathrop’s permanent address. In 1928, a committee headed by Lathrop was formed to purchase the old Phillips Mill building as a place to hold community gatherings and art exhibitions. The committee had success and in 1929 the Phillips Mill Community Association was formed. This became the center of the New Hope Art Colony holding annual exhibitions and still operating today. In 1930, Lathrop had built a sailboat he named the “Widge”. For eight consecutive seasons he sailed it along the coast of Long Island...

Jim’s of Lambertville is proud to offer this artwork. Signed lower left. Pencil drawing. Complemented by a hand carved and gilt frame. Daniel Garber (1880-1958) ...

Image dimensions: 7 ¼ x 10 ½ inches Framed dimensions: 16 ½ x 20 inches To produce his murals, Sargent painted monumental canvases in his studios in London and Boston, adhering them...