Theodore Waddell

Musselshell Angus Dr. No. 005

1989

In 1968 Waddell joined the University of Montana art faculty, teaching sculpture and design. For eight years he lived in Arlee MT, teaching at the Unive...

Theodore Waddell's sophisticated modernist paintings have attracted widespread recognition. A native Montanan cattle rancher, Waddell most often paints freely-rendered range animals ...

This is a framed original drawing on paper. Theodore Waddell's sophisticated modernist paintings have attracted widespread recognition. A native Montanan cattle rancher, Waddell most often paints freely-rendered range animals roaming the vast plains of Eastern Montana. In his work he draws a deliberate parallel between his subject and the elements of abstract art: cattle and horses...

This a large scale portrait of a filly nursing from a mare. There is a sense of light in the piece that hints at a landscape's horizon line, but the central focus are the two horses...

Theodore Waddell's sophisticated modernist paintings have attracted widespread recognition. A native Montanan cattle rancher, Waddell most often paints freely-rendered range animals...

Enthralled with the lore and spirituality of American Indian cultures, his work often depicts these traditional subjects in nontraditional ways. Hawkins captures the raw sense of ele...

We are delighted to offer for sale this very rare, now discontinued, Thomas Chippendale Library bookcase which is an exact authorised copy of one from Princess’s Diana’s family home, the Althorp Estate, it was part of the Living History collection, made by Theodore Alexander and retailed through Brights of Nettlebed and has touch activated top lights The Althorp estate is widely considered one of, if not the finest English country home left standing. You can see clips of the tours online, the place is an absolute marvel of English history. The estate is owned, and has been by the Spencer family’s for over 500 years, I’ll include the history below. The estate is currently in the stewardship of the Earl of Spencer, Princess Diana’s brother The bookcase itself is very fine, in flamed mahogany and has glass shelves and top spot lights which are activated by touching any one of the three right door hinges, each light has three dimness settings. The piece is fully stamped for Theodore Alexander the maker on the locks, Brights of Nettlebed for the retailer and the right drawer has what looks to be pewter, Althorp family crest inside. This bookcase breaks down into five easy to transport pieces, you have the base which is one unit, the three top bookcase sections are all separate and the top cornice is also one removable piece Condition wise this piece is exquisite, there is very little in terms of wear or use, it has been cherished since new and is a very fine piece indeed Dimensions Height:- 233cm, the brass urns on the very top can be unscrewed if ceiling height is an issue, they are 11cm tall each Width:- 167cm Depth:- 50.5cm Please note all measurements are taken at the widest point Althorp history Althorp (popularly pronounced /'??l???rp/ AWL-thorp) is a Grade I listed stately home and estate in the civil parish of Althorp, in West Northamptonshire, England of about 13,000 acres (5,300 ha). By road it is about 6 miles (9.7 km) northwest of the county town of Northampton and about 75 miles (121 km) northwest of central London, situated between the villages of Great Brington and Harlestone. It has been held by the prominent aristocratic Spencer family for more than 500 years, and has been owned by Charles Spencer, 9th Earl Spencer since 1992. It was also the home of Lady Diana Spencer (later Princess of Wales) from her parents' divorce until her marriage to Charles, Prince of Wales. Althorp is mentioned as a small hamlet in the Domesday Book as "Olletorp", and by 1377 it had become a village with a population of more than fifty people. By 1505 there were no longer any tenants living there, and in 1508, John Spencer purchased Althorp estate with the funds generated from his family's sheep-rearing business. Althorp became one of the prominent stately homes in England. The palace dates to 1688, replacing an earlier house that was once visited by Charles I. The Spencer family amassed an extensive art collection and other valuable household items. During the 18th century, the house became a major cultural hub in England, and parties were regularly held, attracting many prominent members of Great Britain's ruling class. George John, 2nd Earl Spencer, who owned Althorp between 1783 and his death in 1834, developed one of the largest private libraries in Europe at the palace, which grew to over 100,000 books by the 1830s. After falling on hard times, John Spencer, 5th Earl Spencer, known as the Red Earl, in 1892 sold much of the collection to Enriqueta Rylands, who was building the University of Manchester Library. Many of Althorp's furnishings were sold off during the twentieth century, and between 1975 and 1992 alone approximately 20% of the contents were auctioned. The house at Althorp was a "classically beautiful" red brick Tudor building, but its appearance was radically altered, starting in 1788, when the architect Henry Holland was commissioned to make extensive changes. Mathematical tiles were added to the exterior, encasing the brick, and four Corinthian pilasters were added to the front. The grand hall entrance to the house, Wootton Hall, was cited by Sir Nikolaus Pevsner as "the noblest Georgian room in the county". The Great Dining Room in the east wing extension of the house was added in 1877 to designs by John Macvicar Anderson, its walls hung with faded, red damask silk. Numerous fireplaces and furnishings were brought to Althorp from Spencer House in London during the Blitz for safekeeping and still remain. The Picture Gallery stretches for 115 feet (35 m) on the first floor of the west wing, and is one of the best remaining examples of the original Tudor oak woodwork and ambiance in the mansion. It has an extensive collection of portraits, including Anthony van Dyck's War and Peace, a John de Critz...

"Study of Roosters" Charles-Emile Jacque (French, 1813-1894) Oil on cardboard Signed lower left 10 1/2 x 13 1/2 (19 x 16 framed) inches A favorite subject and rare study by one of ...

Milton Clark Avery (1885 - 1965) March Avery in a Beret, 1951 Black crayon and graphite on cream wove paper 11 x 8 3/8 inches Signed and dated lower lef...

This modern abstract landscape painting by Stanley Bate features a cool, muted palette, with abstracted forms of trees, a deep blue backdrop and a light white circle toward the top of the composition denoting the moon. The piece is framed in a floater frame with bronze face and black sides. It measures 10" x 14" and 11.25" x 15.25" x 1.5" framed. Signed by the artist in the lower right-hand corner of the painting and is wired and ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

John Berry is a well-known English artist who painted portraits of the royal family. During his career, he discovered Edward Curtis's photographs of Nati...

Beautiful still life painting by American artist, Joni Falk (b.1933). Designs in Clay (Acoma Seed Pot and Hopi Vase), 1979. Oil on illustration board meas...

Artist: Helene Alison, American (XXth) Title: Battlesea, The T-More Mare Year: 1977 Medium: Oil on Canvas, signed l.l. Size: 20 x 20 inches

This print was part of the Dutch edition of "Paardenrassen Kunstalbum", a portfolio with 41 lithographed plates based on paintings by Eerelman, which depict different breeds of draft...

Roman Gregory Chatov (Russian, b. 1900 - d. 1987) Oil on Board, Signed lower right - Nude woman next to a horse in the wind at night.

Presenting a rare original oil on panel by American artist Elwood Fordham. Fordham worked primarily in Los Angeles, specializing in genre subjects. "Two Horses...

Cityscape with archetypal figures. Bunny and horse images, colorful w/ pink, blue, green

This original artwork by Nathan Neven imparts a rendition of the New York skyline under the setting sun. The vista is rendered with expressionist brushstrokes, enlivening the panorama with marks that evoke the bustling energy of the metropolis. A warm glow from the sun is suggested reflected on the crowd of towers. The impression of this whimsical scene...

In this contemporary surrealist painting Nathan Neven juxtaposes a familiar city scene and classic architecture combined with the unusual presence of a zebras. This charming dream-like scene is adorned with additional abstract splashes of paint and vibrant washes in the background. Colourful stripes...

Charlie Baird original oil painting ‘Flock.’ Oil on canvas. Framed in a grey-white painted wooden frame – Width 1.5 cm, Depth 4.5 cm. Gulls in flight over sea. A painting featuring B...

This beguiling piece by contemporary artist Nathan Neven depicts a striking interior space filled with the interesting presence of wildlife. The artist executes the interior space with ornate features combined with a stylish checkerboard floor and vibrant brushstrokes on the walls which combine to produce a ostentatious allure. Abstract brushstrokes contrast with the classic figurative...

Expressionistic, gestural, free strokes depicting the energy of the sea foam as horses in the spring light.