JAMES CHAPIN

"Man on First" James Chapin, Baseball Sports, Figurative WPA, American Scene

1948

Dorothy Eaton Tully Lumber Mill, Orange, Massachusetts, 1935 Signed and dated lower right Oil on canvas 17 1/2 x 23 1/2 inches Dorothy Eaton was born in East Orange, New Jersey in 1893. She studied at Smith College...

Nigel Cooke (Born 1973) Pyroclastic Fever, 2002 Oil on canvas 60 1/2 x 84 1/2 inches Signed, titled and dated "NIGEL COOKE 'PYROCLASTIC FEVER' 2002 Nigel C...

Frederick James Boston (1855 - 1932) The Letter Oil on canvas 20 x 16 inches Signed lower left The first instructor of art at the Brooklyn Institute of Arts and Sciences, Frederick ...

Kathleen E. Figgis (British, 1904-1939) Lady at the Piano Oil on canvas 30 x 25 inches Signed and dated lower right Kathleen E. Figgis was born in 1875 and died in 1960. She exhibi...

Georgina Klitgaard Pueblo Indians, Taos, New Mexico Signed lower right Oil on canvas 18 x 24 inches Georgina Berrian was born in Spuyten Duyvil, New York in 1893. She was educated a...

Carl Nordell (1885 - 1957) The Pensive Beauty Oil on canvas 40 x 32 inches Signed lower left Nordell was born in Copenhagen on 23 September 1885. In 1892 the Nordell family settled in Westerly, New Jersey, where Carl Johan, one of several children, received his education. Reportedly, a local gambler and art collector, Richard Canfield was so impressed with young Nordell's talent that he assisted him to gain admittance to the Rhode Island School of Design. Carl was a tireless student and serious in his studies of art, literature, and philosophy. Friends nicknamed him "The American Frans Hals," as a result of his study of that Dutch master. After graduating from the school in 1905, Nordell continued his training at the Art Students League in New York City for the following two years. There he received criticism and instruction from George Bridgman (1864-1943), a noted teacher of anatomy, and Frank Vincent DuMond (1865-1951), a landscapist associated with Old Lyme. The popularity of Impressionism in America at this time had reached its peak, and the style was of paramount influence in Nordell's advanced studies. Around 1906, Nordell visited an exhibition of paintings by the Ten, most of whom were American Impressionists. Moved by the work of Tarbell and Joseph R. De Camp, he sought instruction from them at the School of the Museum of Fine Arts, Boston. Nordell worked diligently under Tarbell and experimented with the genre of women in interiors, or Intimism. In 1909, Nordell received the Paige Traveling Scholarship, which provided for two years of continued study in Europe. He became one of the hundreds of Americans to receive criticism from Jean-Paul Laurens at the Académie Julian in Paris. From this base, he made study trips to visit major museums and galleries in Italy, Holland, Spain and Germany and during this period Nordell's style reached a level of uniqueness, though he definitely remained under the general influence of French Impressionism. By the time of his return to Boston in 1911, Nordell had successfully incorporated the use of broken color, a high-keyed palette, and the practice of working en plein air to achieve an accurate representation of light and atmosphere. In October of that year, the Boston Art Club presented eighty-seven of Nordell's watercolors and oils to the viewing public. Some of the watercolors seem revolutionary in their spontaneity. Nordell continued his career in Boston at Fenway Studios and exhibited in national competitions, including the annuals of the National Academy of Design, the Art Institute of Chicago; at the 1912 biennial of the Corcoran Gallery he won the fourth Clarke Prize. Nordell's finances were augmented by portrait commissions of some of Boston's affluent citizens. The artist was so intent on recording the sitter's likeness that in this genre, he deviated from his usual impressionist technique. In the women-in-interior genre, he frequently depicted a fully draped woman seated in profile or at an oblique angle to the picture plane. These pensive and attractive young ladies usually gaze into space and become an integral part of the pleasant ambiance of the scene. In this way, Nordell remained within the Genteel Tradition as it was manifest in Boston. The artist exhibited several such works in the Panama-Pacific International Exposition in San Francisco in 1915, and won a silver medal for his efforts. In 1918, a one-man exhibition of fifty works was presented at the Boston Art Club. Nordell remained active in the Boston area art clubs and societies through the early 1920s. In the winter of 1921 Babcock Art Galleries presented him with yet another one-man show. During this period, Nordell increased the production of prints and won the Salmagundi Club's Shaw Prize for etching in 1923. Sometime after 1927 he began taking summer sketching trips to Chautauqua Lake...

Dramatic oil on canvas surrealist painting by John Abrahamson (American 20th Century) depicting a nude male with the motto Partitus Ero or I wager in Latin. Abrahamson is known for h...

Collections: Robert Isaacson; James Draper, New York, 2014. Exhibited: Cambridge, The Fitzwilliam Museum, Beggarstaffs: William Nicholson and James Pr...

A FEAST OF THE GODS WITH VENUS AND BACCHUS Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; John and Eileen Harris, acquired from the above, to 2015. Literature: Jacob Simon and Ellis Hillman, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, cat. no.12 (as by Louis Laguerre); Elizabeth Einberg (ed.), Manners and Morals: Hogarth and British Painting, 1700-1760, exh. cat., London (Tate Gallery), 1987, cat. no.10 (as by Louis Laguerre); Tabitha Barber and Tim Bachelor, British Baroque: Power and Illusion, exh. cat., London (Tate Britain), 2020. Exhibited: Twickenham, Marble Hill House, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, no.12 (as by Louis Laguerre); London, Tate Gallery, Manners and Morals: Hogarth and British Painting, 1700-1760, 1987, no.10 (as by Louis Laguerre); London, Tate Britain, British Baroque: Power and Illusion, cat. no 92, 2020. CUPID AND PSYCHE BEFORE JUPITER Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; Anthony Hobson, acquired from the above, to 2015. These recently re-united paintings are the most ambitious surviving baroque ceiling sketches made in Britain in the early eighteenth century. From the Restoration until the rise of Palladianism in the 1720s decorative history painting formed the preeminent artistic discipline in Britain. It was a field dominated by Continental artists including the Italian Antonio Verrio and the Frenchmen Louis Laguerre and Louis Chéron...

Provenance: Ibid Projects Private collection, Los Angeles

Mikhail Yakhilevich (Israeli, Russian) Boating 116x89 cm oil on canvas Michael Yakhilevitz was born in 1956 in Moscow. He graduated from The Stage Design Department of The Moscow Ar...

Mother Mary, 2017 John Hartley discovered his life's passion while growing up in Piqua, Ohio. Encouraged to develop his talents in an academic environme...