Unknown

French Pencil Drawing of Tree

Circa 1920

Skillful pencil landscape drawing of travelers on the road bordering the small town of Villers-Saint-Paul north of Paris,France by artist Diogène Ulysse N. Maillart (1840-1926), 1908...

Dreamy watercolor landscape of a figure heading to the shore to fetch water under a dazzling sky, circa 1910. Original artwork on paper displa...

Vintage French watercolor featuring one of the Place de la Concorde's famous fountains with the Luxor Obelisk in the background, by P. Bourlier, circa 1930. The artist's perspective ...

Delightful drawing of a grand old watermill, 1942. Dated lower left. Displayed on a white mat with a gold border and fits a standard-size frame. Archival plastic sleeve and Certifi...

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

This charming 19th-century drawing by British artist Edmond Albert Joseph Tyrel de Poix (1840-1916) depicts a mother and child standing by a mill pond before a rustic watermill. De Poix was a gentleman artist descended from French nobility...

Street scene village market, well executed watercolor and pencil drawing, artist titled and signed illegibly, attributed to Moisey Kogan Russian 1924-2001. Image size about 27"x18"F...

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...