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Johann Berthelsen, 1883-1972
The Little Church around the Corner

About the Item

Johann Berthelsen paints a large church overlooking a snow-filled city street in his artwork entitled, “ The Little Church around the Corner”

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In the Alleghenies
By William Louis Sonntag Sr. 1
Located in New York, NY
In his work, “In the Alleghenies,” William Lewis Sonntag depicts a mountain lake ringed with imposing peaks and autumn forest.
Category

19th Century Landscape Paintings

Materials

Canvas, Oil

Water View of New York, 1911
By Max Kuehne
Located in New York, NY
In his oil painting, “Water View of New York, 1911,” Max Kuehne paints the Hudson river from a vantage point atop the palisades. The New York skyline ris...
Category

1910s Landscape Paintings

Materials

Canvas, Oil

Coastal Scene
By William Trost Richards
Located in New York, NY
In his work, “Coastal Scene,” William Trost Richards depicts waves crashing against a rocky shore beneath a cloud-strewn, golden sky.
Category

Late 19th Century Landscape Paintings

Materials

Canvas, Oil

View on the Hudson, the Catskills in the Distance
By Francis Augustus Silva
Located in New York, NY
Signed lower right: F.A. SILVA.
Category

Late 19th Century Hudson River School Landscape Paintings

Materials

Canvas, Oil

Birch Trees in Snowy Woods
By Jonas Lie
Located in New York, NY
Eric Sloane depicts an axe stuck in a stump with split wood scattered below in his work “Chopping Block.”
Category

Early 20th Century Landscape Paintings

Materials

Canvas, Oil

Winter Landscape, 1860
By Frederick Rondel
Located in New York, NY
Signed and dated lower left: F. Rondel / 1860
Category

Mid-19th Century Landscape Paintings

Materials

Canvas, Oil

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Southern California Foothills oil by Anni Baldaugh
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The Happy Farmer oil painting by Gregorio Prestopino
By Gregorio Prestopino
Located in Hudson, NY
Provenance: The Artist. Menikoff collection (friends of the artist) About this artist: Born in Little Italy in 1907, Gregorio Prestopino first set out to become a sign painter as the son of New York City immigrants. Instead, his talent provided a life-changing scholarship to the National Academy of Design, and for five years he studied drawing under C. W. Hawthorne. He spent the summer of 1934 at the MacDowell Colony in Peterborough, New Hampshire. His deep involvement with the colony led him to later serve as its director in 1954. Much of Prestopino’s work was in the vein of social realism. During the 1940s and 1950s he became deeply invested in portraying everyday Manhattan and Harlem scenes. He first became interested in the Ashcan school at the National Academy of Design, and remained committed to an interest in working with urban scenes. His lively treatment of people and events revealed his affinity for sixteenth-century artist Pieter Breughel. Later in his career, he focused on producing images of nudes and picturesque New Hampshire landscapes, and investigated the relationship between color and form. Prestopino exhibited at several biennials at the Corcoran Gallery, at the Art Institute of Chicago, the Museum of Modern Art. His work was frequently shown at the Pennsylvania Academy of Fine Arts, where he was awarded the Temple Gold Medal in 1946 and an additional prize in 1952. He was awarded a National Institute of Arts and Letter Grant in 1961, and in 1972 the National Academy of Design awarded him the Altman Figure Painting Award. Prestopino’s artistic cache skyrocketed when Life magazine published his images from New York’s maximum security institution Green Haven as part of its “Prison Series” in 1957. That same year his paintings and sketches of urban life were featured in the short film Harlem Wednesday. Directed by John and Faith Hubley...
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