Y. Simonetti

Tempio Di Giove E Foro Civile, Pompeii, 1900

1900

William Beattie-Brown is a 19th century Scottish artist, and a master landscape painter using tonal color in a naturalistic style. 'Old Bobbin Mill on ...

Lovely 19th century watercolor painting with an angler in a mountain stream landscape painting, this is signed William Bradley with a place and date on the lower left hand corner. Mists fall over the central mountain rising above the stream with rocks and boulders. A mountain ridge is on the left, and trees above boulders on the right. William radley Lamond was a self taught artist flourishing from mid to late 19th century. This would be a later work by this artist. The attribution is based on the period, the style the landscape subject and signature. The painting is presented in an attractive new wooden frame with fresh glass...

Peter Caledon Cameron (American, born Scotland, 1852-c. 1920) Absecon Island, New Jersey, 1894 Watercolor on paper, 17 1/2 x 27 inches (sight) FRAMED: 26 1/2 x 36 1/2 inches Signed and dated at lower left: "ABSECON.ISLAND./ N.J-U.S.A Cameron/1894" N.J-U.S.A Cameron/1894" Born in Perth, Scotland, Peter Caledon Cameron won awards for drawing and penmanship at a Glasgow public school. He claimed that at the age of fourteen his watercolors were already "in demand," and that before turning twenty he had "crossed every ocean in the world, sketching and painting as he went." He attended the Government School of Design in London and was certified as an art master in 1883. Cameron immigrated to the United States that year, settled in Philadelphia, and commenced work on large history paintings such as Niagara in Winter (unlocated) and Vesuvius in Grand Eruption (unlocated) that he exhibited in various northern cities. He exhibited one painting at the Pennsylvania Academy of the Fine Arts in 1902. Nothing is known of his activities later in life. In a lengthy inscription that accompanies this watercolor, Cameron noted that Absecon was "a piece of the best sand-dune region characteristic of the whole coast of New Jersey State from Sandy Hook point in the North to Cape May Point in the extreme south." This was one among a number of studies the artist made for a large oil painting titled "Captain Kidd Burying His Treasure" (unlocated). The famous Scottish privateer Captain William Kidd...

The idyllic atmosphere of this Mexican scene is located in Mexico, west of Mexico City and south of Guadalajara. “Red Hills Near Patzcuaro” is set in a golden light. and was one of three paintings by the artist while the artist visited Patzcuaro, Mexico. The humans depicted lend an atmosphere to the painting and an indication of location - dressed in native Mexican peasant dress - without being obtrusive and causing the viewer to concentrate on them. The intense red hills of Patzcuaro are the feature in this painting along with the pinon and juniper trees and the Chamisa shrub. This piece has been professionally reframed with acid-free matting and museum glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles Culver...

The idyllic atmosphere of this country scene falls within a couple of styles one being regionalism, an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting scenes of rural and small-town America primarily in the Midwest and frequently associated with Grant Wood and Thomas Hart Benton. The other style is romanticism wherein the scene depicted is a more desired or dramatic version of what actually is. “Untitled (Winter Road)” is a quiet country scene depicting a road leading into the distance either going to or coming from a local farm. The snow does not particularly seem fresh suggesting a melt and the coming of spring. This piece has been professionally reframed with acid-free matting and conservator glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles...

“Late Afternoon Landscape” is set in the golden light of evening painted in the mid-west town of Utica, Michigan. It has the atmosphere of when work is done and peace and quiet blanket the countryside. The The farm machinery has ceased its racket as has the family dog wandering about for one last sniff. This piece has been professionally reframed with acid-free matting and conservative glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles Culver...

The idyllic atmosphere of this local dock scene falls within a couple of styles one being regionalism, an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting scenes of rural and small-town America primarily in the Midwest and frequently associated with Grant Wood and Thomas Hart Benton. The other style is romanticism wherein the scene depicted is a more desired or dramatic version of what actually is. “Untitled (Dock Scene)” is typical of a small town dock scene from Michigan where Culver lived or from places as far away as Maine, but what makes it important is its easy familiarity: water, gulls or terns, slanting wood shanties, scruffy dirt patches and course grasses. It is not idealized, but does set the tone of fresh air, the scream of birds and the sun on water. This piece has been professionally reframed with acid-free matting and museum glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles Culver...

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remark...

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remark...

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remark...