Walter Launt Palmer

Winter Stream by Walter Launt Palmer (American, 1854-1932)

"Dusk Forest Scene, Catskills," 1875 by Hudson River School painter Lockwood DeForest (American, 1850-1932) is oil on artists card-stock and measures 9.5 x 7 inches. The work is signed by DeForest, and dated May 13, 1875 at lower right. The work is framed in an elegant, period appropriate frame, and ready to hang. Lockwood de Forest was born in New York in 1850 to a prominent family. He grew up in Greenwich Village and on Long Island at the family summer estate in Cold Spring Harbor. As was customary for a cultivated family in the Gilded Age, the de Forests made frequent trips abroad. Excursions to the great museums, which were prominent on the de Forests agenda, deepened the young Lockwood's familiarity with European painting and sculpture. Though he had begun drawing and painting somewhat earlier, it was during a visit to Rome in 1868 that nineteen-year-old de Forest first began to study art seriously, taking painting lessons from the Italian landscapist Hermann David Salomon Corrodi (1844–1905). More importantly, on the same trip, Lockwood met one of America’s most celebrated painters, (and his maternal great- uncle by marriage) Frederic Edwin Church (1826–1900), who quickly became his mentor. DeForest accompanied Church on sketching trips around Italy and continued this practice when they both returned to America in 1869. Early on in his career, de Forest made a habit of recording the date and often the place of his oil sketches, as to create a visual diary of his travels. Lockwood’s profession as a landscape painter can be primarily attributed to Frederic E. Church and his belief in the young artist’s talent. De Forest often visited Church in the Hudson River community of Catskill where, in addition to sketching trips and afternoons of painting, he assisted with the architectural drawings and planning of Olana. In 1872, de Forest took a studio at the Tenth Street Studio Building in New York. During these formative years de Forest counted among his friend’s artists such as Sanford Robinson Gifford (1823–80), George Henry Yewell (1830–1923), John Frederick Kensett (1816–72), Jervis McEntee (1828–91), and Walter Launt Palmer (1854–1932). Over the next decade de Forest experienced success as a painter. He exhibited for the first time at the National Academy of Design in 1872, and made two more painting trips abroad, in 1875–76 and 1877–78, traveling to the major continental capitals but also the Middle East and North Africa. His trip to the Middle East and the library at Church’s home, Olana, established his interest in design during his mid-twenties. From about 1878 to 1902, landscape painting was overshadowed by his activities and preoccupation with East Indian architecture and décor, a style that became quite fashionable in late nineteenth century America. From 1879-1883, de Forest founded Associated Artists along with Louis Comfort Tiffany, Candace Wheeler...

"Landscape with White Birch," is a pastoral New England Landscape painted in the Barbizon style by historic woman artist Agnes Bartlett Brown (American, 1847-1932). Painted in oil on board the painting measures 13.63 x 10.25 inches, and is signed on the verso. The work is framed in an elegant, period appropriate frame and is ready to hang. Agnes Brown and her husband, the landscape painter John Appleton Brown (1844-1902), made a formidable artistic pair. The two traveled and painted together constantly, beginning in 1874 with an extended trip to France where they were exposed to the Barbizon painting of Camille Corot (1796-1875) and his contemporaries. The couple returned to the United States the following year, where they settled in Boston. In the company of such American Barbizon painters as William Morris Hunt and Joseph Foxcroft Cole, the Browns honed their pastoral renderings of the New England landscape. As the wife of a well-respected painter, Agnes Brown benefited from her husband’s reputation, encouragement, and lifestyle. However these same privileges tend to obfuscate Agnes Brown’s independent legacy in the historical record as a painter in her own right. While Agnes Brown is rarely considered outside of the context of her husband, however, her paintings retain significant authority on their own. Landscape with White Birch, for example, carries weight as a stand-alone vignette. In Brown’s choice of an arched frame and use of expressive brush strokes to render surprising detail, this pastoral summer scene of a New England landscape ranks among those of her husband and other predominantly male members of the American Barbizon school.

Kevin Weckbach's (US based) "Summer Tide" is an original, hand-made oil painting that depicts a a rocky shore, the main focus on a large, split rock. Artist Statement: "Subject matt...

Vibrant modernist self-portrait by California artist Sandra Lobue-Erba (American, 1945-2007). Signed lower middle edge. Unframed. Image: 21"H x 20"W. Provenance: Purchased from art...