Hudson River School Paintings

Virginia Granbery (1831-1921) was an accomplished American artist known for her work in watercolor and oil paintings. Granbery's works predominantly featured landscapes, floral studi...

William Hart was an influential figure in the art world, best known for his contributions as a landscape painter during the 19th century. Born in Paisley, Scotland, in 1823, Hart imm...

John Fery (1859 - 1934) Western Lake Landscape, circa 1920 Oil on canvas 21 x 23 1/4 inches Signed lower left Provenance: Private Collection, New York Born in Austria, John Fery earned a strong reputation for dramatic paintings of western mountain landscape in the United States. Glacier National Park in northwest Montana was a popular subject for him. He was raised in a prominent, wealthy family that lived on an estate about nineteen miles northeast of Salzburg. His mother was Hungarian, and his father was born in Bohemia. S ome sources have written that he studied art in Dusseldorf, Germany with Peter Jansen, and also in Munich, Venice and Karlsruhe. But his "name does not appear in the records of the major art schools in any of these places, nor is there any record of his name at either the Vienna or Budapest academies." (Merrill 26) It is possible, however, that he received private instruction, and because of the sophistication of his painting, sources think it unlikely that he was self taught. An early interest in wilderness scenery led him to painting American landscapes and hunting scenes. In the mid 1880s, he came to America and lived in the German community in Milwaukee, and then in 1886, brought his family to the United States. His wife, Mary Rose Kraemer (1862-1940), was born in Switzerland, and they had one child born near Munich and two others born in the United States. From 1886 to 1888, they lived in New York, and by 1890, Fery had made his first trip West. He visited Yellowstone Park in 1891, and indicated in his writings that he had been there even earlier. From 1892 to 1893, he led European nobility on hunting expeditions to the American Northwest, made possible by the completion of the Northern Pacific Railroad...

Signed lower right in arrowhead: R.A. Blakelock

"Little House in the Upstate New York Mountains" by C.H. Schmidt is a captivating painting that evokes a sense of rustic charm. Set against the backdrop of the majestic mountains of ...

This stunning, original signed landscape painting by Charles Partridge Adams (1858-1942) captures the breathtaking beauty of a Colorado sunset along the Front Range, near Denver. The...

Signed lower right in arrowhead: R A Blakelock; on verso: A Spring Garden

Signed illegibly lower right

Theodore E. Pine (1828-1905) was an American artist known for his portraits and genre paintings. Pine specialized in portraiture, capturing the likenesses and personalities of his su...

"Rocky Seascape" by Lemuel D. Eldred is a captivating painting that masterfully captures the raw beauty and power of the sea. Eldred, an accomplished 19th-century American marine art...

Richard Law Hinsdale (1832–1874) was an American painter known for his contributions to landscape and genre painting during the mid-19th century, mostly in the Hudson River School. He received brief instruction from Alexander Emmons, Philip Hewins and Jared B Flagg as well as being exhibited in American art...

Painted by Hudson River School artist William Richardson Tyler, "Low Tide, Crab Gathering" is oil on canvas and measures 8 x 13 inches. The painting is signed by Tyler at the lower l...

George Harvey was born in 1800 in Tottenham, England but moved to the United states at 20 years old and spent several years in the west before he established himself in New York City...

Pristine and purely American in its aesthetic due to the fact that the artist concentrates on one type of fruit. Europeans were much more opulent in their approach to still lifes an...

This Hudson River School autumn landscape is done by the famed artist David Johnson. He studied at the national Academy of Design in New York. He was best known for the development o...

"New England Sunrise," 1910 by Hudson River School painter Lockwood DeForest (American, 1850-1932) is oil on artists card-stock and measures 9.75 x 14 inches. The work is signed by DeForest and dated Sept. 17, 1910 at lower left. 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...

George Owen's "Resting Beneath the Trees by the Stream" is a quintessential Hudson River School painting that encapsulates the majesty and sublime beauty of the American landscape. T...

David Johnson was born in 1827 in New York City. Beginning in 1845, he studied for two years in the antique school of the National Academy of Design. His classmates and colleagues in...

Signed lower left in arrowhead: R. A. Blakelock

Impressive early American Hudson River School landscape oil painting by Jasper Holman Lawman (1825 - 1906). Framed. Oil on board. Signed. Image size, 10H by 16L.

Antique American Hudson River School artist working in Italy. Oil on canvas. Framed nicely. No signature found.

Unknown White Mountain Artist White Mountain Landscape, 19th Century Oil on board 5 x 9 1/4 in. Framed: 7 3/4 x 11 3/4 in.

Label on stretcher bar: No. 175. / AMERICAN ART-UNION. /Road-Side View / Painted by / Seth Eastman / Distributed December 20, 1850.

William H. Langworthy (1836–1900) was an American painter known for his contributions to landscape and genre painting during the late 19th century. Little is known about Langworthy's...

Southern California Lake. Signed "J Kleitsch," which could possibly be by Joseph Kleitsch. Oil on canvas in a period giltwood frame. Image size, 16"H x 28"L. Joseph Kleitsch was c...

William Edward Norton (1843 - 1916) Ship Portrait, 1876 Oil on canvas 10 x 16 inches Signed and dated lower left Born in Boston, William Norton became a noted marine painter, stirred by his youth when he sailed on family-owned ships. He studied at the Lowell Institute in Boston, and with George Inness, and then established a studio in Boston. In the early 1870s, he went to Paris and became a student with Chevreuse and A. Vollon, and then he settled in London where he exhibited throughout the last quarter of the 19th century. His reputation there was based on his scenes of the Thames River, and ocean and coastal views. In 1901, he and his wife returned to the United States and settled in New York City. He also painted at Monhegan Island, Maine, where a treacherous ledge on the southern side of the island is named "Norton's Ledge" for him. He was a member of the Boston Art Club with whom he exhibited from 1873 to 1909. He also exhibited with the Pennsylvania Academy, the Royal Academy in London, the Paris Salon, the 1893 Chicago Exposition...

Spring Picnic in the Vineyard, Contemporary Impressionist Landscape Beautiful oil painting of a variety of fruits with cups in a field of grass by Alexander Rapoport (Russian-Ameri...

Charles Henry Chapin - American (1830 - 1889) “High Peaks of the Adirondacks” Note: Peaks include Mount Marcy, Haystack Mountain, Basin Mountain, as viewed from the Ausable Lake Area...

Signed lower left: R. Gignoux

Prominent Luminist Hudson River School painter.

"Cattle by the Sea," c. 1867 by historic woman artist Ann Sophia Towne Darrah (American, 1819-1881) was exhibited at the Pennsylvania Academy of the Fine Arts in 1867. Painted in oil...

George Hobbs’ A Garden in Montone, France invites viewers into a serene moment of everyday beauty nestled in the heart of the French countryside. The composition features a narrow la...

Signed and dated 1877. Mortimer Smith, a lesser-known yet skilled artist of the Hudson River School, captured the untamed beauty of the American landscape with remarkable depth. This painting presents a seacoast scene with a solitary fisherman, with his boat during the tide. The rugged cliffs frame the composition, their weathered surfaces telling the story of time and nature’s relentless forces. Sunlight filters through the mist, casting a halo glow in the sky, while waves crash against the shore in rhythmic motion. Smith’s brushwork conveys both the serenity and power of the natural world, inviting the viewer to step into the scene under nature's power and beauty. Although born in Jamestown, New York, Mortimer Smith would become well-known as a Detroit architect and artist by the end of the nineteenth century. Little is known of Smith's earlier years; however, scholars speculate that he studied in Oberlin and Sandusky, Ohio before moving to Detroit in 1855. There, the artist flourished and became famous for his crisp landscapes of local scenery, including his beloved winter scenes. In addition to his artistic career, Smith founded a successful architectural firm by the name of Smith, Hynchman and Grylls; Smith's reputation in the visual arts was often overshadowed by his draftsmanship as an architect. Nevertheless, he was a vital force in Detroit's arts community exhibiting his works in venues including the Detroit Art...

This 19th-century American School river landscape painting by an unknown artist embodies the essence of the era’s reverence for nature and the burgeoning national identity. These wor...

Levi Wells Prentice (1851 - 1935) Gooseberries, circa 1899 Oil on canvas 6 1/4 x 12 1/4 inches Signed lower right Provenance: Donna Schlesak, Burlington, Wisconsin Self-taught ar...

Marco Aurelio Tricca (American, 1880-1969), Pastoral Landscape Scene, Oil on Canvas mounted on Board, 1929, signed and dated to verso, carved wood frame. Image: 24" H x 30" W; frame:...

Samuel Coleman's "Fishing Along the Meder River at the Edge of Vic, Spain" is a captivating painting that beautifully captures both the charm of the riverside, and the beauty of the ...

Alfred S. Wall (American, 1825-1896) Untitled (Building the Railroad), 1859 Oil on canvas 14 1/2 x 18 1/2 inches Signed and dated lower left For Christmas, 2008, the Pittsburgh Post-Gazette featured Alfred Wall's painting, Old Saw Mill from the collection of the Westmoreland Museum of American Art in Greensburg, PA. It was painted in 1851 in the town of Lilly, Pennsylvania in the Allegheny Mountains. The newspaper description stated that "though the saw mill is long gone, it still conveys all the warmth and coziness of this time of year. The article, written by Patricia Lowry, continued: At first glance, Alfred S. Wall's painting of a saw mill in snowy woods triggers nostalgia for the coziness of a log cabin, the smell of a wood-burning fire and the warming of chilled hands and feet beside it. But as sentimental as it seems on the surface, Mr. Wall's painting has a deeper and unexpected context. This is more than a painting about sled-riding children and early industry planted in the middle of virgin forest. Intended or not, this is a painting about conquering the great divide of the Allegheny Mountains. For the third consecutive year, the Post-Gazette features a winter-scene painting on the cover of the Christmas Day newspaper. This year's painting, Old Saw Mill, was selected by co-publisher and editor-in-chief John Robinson Block and executive editor David Shribman during a visit to the Westmoreland Museum of American Art in Greensburg. Mr. Wall, listed as a portrait painter in the 1850 census, was about 26 when he painted Old Saw Mill in 1851. The self-taught artist was born in Mount Pleasant, Westmoreland County, to William and Lucy Wall, who'd emigrated from England around 1820. An artistic sensibility ran in the family: William was a sculptor who carved ornate tombstones here; Alfred's children, A. Bryan and Bessie, were landscape painters, as was Alfred's older brother, William Coventry Wall. For more than a century the Walls formed a prominent art dynasty in Pittsburgh, and Alfred, eventually a partner in the city's most prestigious art gallery, was well known as a painter, dealer and restorer. In Old Saw Mill, two wood cutters, each holding an axe, meet outside the mill; one points in the direction of the forest. On the other side of the stream, one child pulls another down the hillside on a sled. Just behind the hill's slope, the roof of a building appears, perhaps the home of the sawyer. The luminous, late afternoon light comes from the northwest, casting lengthening shadows on the snow under a darkening sky. The saw mill in "Old Saw Mill" likely would have been impossible to track down had Mr. Wall, presumably, not written on the back of the painting: "old saw mill near Jct. 4, Portage RR, Pa." "There was no Junction 4," said Mike Garcia, park ranger at the Allegheny Portage Railroad National Historic Site, about 90 miles east of Pittsburgh near Gallitzen, Cambria County. "But there was an Inclined Plane No. 4 at Lilly, and there was a saw mill there." In fact, there were at least six saw mills at Lilly over the years, said longtime resident Jim Salony, president of the Lilly-Washington Historical Society. But when he saw an image of the painting, Mr. Salony had no trouble coming up with a location. While there are no known photographs of the saw mill, he believes it stood near the intersection of Portage and Washington streets, next to Bear Rock Run. Mr. Salony, retired academic dean at Mount Aloysius College, didn't know exactly when the mill was torn down, but it's been gone since at least the late 1800s. He was pleased to learn of the painting, even though that knowledge came too late for inclusion in a new book about Lilly, The Spirit of a Community, for which he served as primary author and editor. It runs to more than 700 pages. For a little town -- population 869 last year -- Lilly has a lot of history. Nestled in a bowl on the western slope of the Allegheny Mountains about 3 miles south of Cresson, Lilly was first settled in 1806 by Joseph Meyer and his family, who named their 332-acre land patent Dundee. Although the Meyers had left by 1811, other settlers followed, but the community didn't flourish until the 1830s, when the Allegheny Portage Railroad began its 23-year-run through the town. For 200 years the Alleghenies had stood as an impediment to trade and travel between Pittsburgh and the east. A canal from Philadelphia to Pittsburgh would change that and compete with New York's Erie Canal. But a portage railroad would have to be built, on which teams of horses would lead the canal boats over the mountains. Engineer Sylvester Welch began his surveying from the small settlement at Lilly. The railroad would require 10 inclined planes, some quite steep, between Hollidaysburg and Johnstown. To build it, trees had to be cut along a 120-foot-wide right-of-way for 36 miles, along which track and engine houses had to be built. William Brown, who owned the saw mill on Bear Rock Run, built at least one of the engine houses at Inclined Plane No. 4; an 1834 contract also included fencing the dwelling lots at the head and foot of the plane. Lilly is located at what was the foot of Inclined Plane No. 4., giving the community one of its early informal names, Foot of Four. Named in 1883 for Richard Lilly, who'd completed the grist mill there, Lilly had another early name: Hemlock, so dubbed by a Portage Railroad traveler who smelled the bark stripped from the trees at the saw mill. Because there isn't another Allegheny Portage Railroad location like it, where a cut in the mountains opens into a bowl, Mr. Salony thinks it was Lilly that Charles Dickens wrote about following his trip from Harrisburg to Pittsburgh on the Pennsylvania Canal in late March 1842, describing what he saw after emerging from "the bottom of the cut": "It was very pretty while traveling, to look down into a valley full of light and softness, catching glimpses through the tree-tops of scattered cabins; children running to the doors; dogs bursting out to bark, who we could see without hearing; terrified pigs scampering homeward; families sitting out in their rude gardens; cows gazing upward with a stupid indifference; men in their shirt-sleeves looking on at their unfinished houses, planning out to-morrow's work; and we riding onward, high above them, like a whirlwind." To get to Lilly, Mr. Wall may have taken the Pennsylvania Canal from his home in Allegheny City, now the North Side. He'd married young, at 21, to Sarah Carr in 1846, the same year he began his career as an artist. By 1880 they were living in a brick townhouse at 104 (later 814) Arch St., now demolished. Across the river in Pittsburgh he shared a studio at 67 Fourth Ave. with his brother William; they later moved to Burke's Building, today the city's oldest office building at 209-211 Fourth. But often they worked outdoors, sometimes as part of the colony of artists that grew up around painter George Hetzel beginning in the late 1860s at Scalp Level...

George Smillie (1840-1921) was an American landscape painter renowned for his serene and meticulously detailed depictions of the natural world. Smillie’s work is characterized by its...

James Brade Sword (1839 - 1915) Couple in the Field Oil on canvas 16 x 20 inches Signed lower left After a childhood in Macao, China, James Brade Sword started out in life, after hi...

John A Mooney is a Virginian artist who has been known to paint trompe loeil and landscape paintings. Born in Buffalo, New York, John A. Mooney (1843-1918) traveled to Georgia to enl...

"Columbia River Gorge" by Cyrenius Hall is a quintessential example of the Hudson River School. Hall, known for his masterful landscapes, captures the awe-inspiring grandeur of the C...

A wonderful landscape by American artist Thomas Mickell Burnham (1818-1866). Burnham was born in Boston, MA and received informal art training early on, traveling abroad before relo...

This painting is listed in the W.H. Cadbury and H.F. Marsh book Arthur Fitzwilliam Tait: Artist in the Adirondacks, Newark, Delaware, 1986, no.59.36t. It is hand-signed "AF Tait...

Painted by Hudson River School artist Mary Josephine Walters (1837-1883), "Autumn River with Punt in the Reeds" is oil on canvas and measures 13.25 x 23.75 inches. It is inscribed in...

Leading Hudson River School Painter Famous for New England Views.

James McDougal Hart (1828-1901) was a prominent American landscape painter and a key figure in the Hudson River School. His landscapes are characterized by their serene and idyllic q...

Enoch Wood Perry, Jr. (1831 - 1915) A Quiet Afternoon, 1876 Oil on canvas 15 1/4 x 21 inches Signed and dated lower right Born in 1831 in Boston, Enoch Wood Perry, Jr, is internati...

Thomas Ralph Spence’s "A Thunder Shower on Lago Maggiore, North Italy" captures a dramatic moment of nature’s power over the serene landscape of Lago Maggiore. Known for his architec...

JAMES MCDOUGAL HART (1828–1901) View of Lake Champlain, c. 1857 Oil on canvas 26 3/16 x 36 1⁄4 inches Signed lower center Exhibition History: National ...

Signed and dated lower left: W.R. Miller. 1877.

This Oil on Wood American Landscape painting is done by John Mackie Falconer (1820-1903) and is signed center left. The scene is of New Haven Connecticut l...

Painted by Hudson River School artist Ida H. Stebbins (b. 1851), "View of South Pond, New York," 1879 is oil on canvas, measures 23 x 33 1/2 inches, and is signed and dated 1879 at the lower left. The work is framed in an elegant Barbizon style frame and ready to hang. Ida H. Stebbins was born in January 1851 in Chelsea, Massachusetts to Mary and Isaac Stebbins, a teacher. Though scant records remain of Stebbins’ artistic training or career, various personal details of her life have been gleaned from contemporary newspapers and federal documents. By the time View of South Pond, New York was painted in 1879, she was living in Boston. Like many artists of her generation, Stebbins likely traveled throughout the Northeast region, gaining inspiration for her paintings from the landscape of New England and New York. Stebbins was likely visiting upstate New York when she painted this sweeping view of South Pond and the surrounding mountains near Long Lake in the Adirondacks just south of Deerland. Here, Stebbins captures the stunning vermillion, burnt orange and brown tones of the autumn landscape with the style and precise rendering often seen in paintings produced by the Hudson River School. Shortly after the completion of View of South Pond, New York, Stebbins married Frank H. Slack, a clerk, in her hometown of Chelsea on December 14, 1881 at the age of thirty. The couple moved to Hotel Comfort in Boston, where their son, Roland Stewart Slack was born on May 22, 1883. It seems likely that her husband died in the mid-1880s since on December 3, 1889, records indicate that Ida and Roland changed their last name back to her maiden name of Stebbins. Roland Stewart Stebbins (1883-1974) inherited his mother’s interest in art, studying at the Pennsylvania Academy of the Fine Arts, Columbia University in New York, and the Art Students League of New York. He also studied at the Académie de la Grand Chaumière and the Munich Academy of Fine Arts. Today, he is remembered for his marine and genre paintings and for his legacy as a respected professor of art education at the University of Wisconsin, Madison. On January 1, 1890, Ida married her second husband, Timothy Jarvis, in Somerville, Massachusetts. Their daughter, Ida Hazel Jarvis, was born soon after in 1893. However, the child suffered paralysis from a brain tumor...

Signed lower left: Blakelock

Signed lower right & dated 1888.

Edmund Darch Lewis (1835-1910) Mount Washington, New Hampshire 50 x 58 inches, signed & dated 1859 Description The area near Mount Washington in New Hampshire was visited by many ...

Edward Moran (American, 1829 - 1901) Boy with Dog on Dock Oil on canvas Signed lower left 22 x 36 inches Provenance: Sotheby's Sale no. 3255 Oct. 27-28, 1977 Page 58 Price on reques...

George Inness (1825 - 1894) A Cloudy Day, 1886 Oil on canvas 25 x 30 inches Signed and dated lower center Provenance: The artist Estate of the above Fifth Avenue Galleries, New York, Executor's Sale of Paintings by the Late George Inness, N.A., February 12 - 14, 1895, Lot 132 Joseph H. Spafford, acquired from the above Mrs. Spafford, by bequest from the above Leroy Ireland, New York, 1951 Ernest Closuit, Fort Worth, Texas Meredith Long & Company, Houston, Texas, circa 1960 Private Collection Shannon's Fine Art, American and European Fine Art Auction, October 27, 2016, Lot 42 Exhibited: New York, American Fine Arts Society, Exhibition of the Paintings Left by the Late George Inness, December 27, 1894, no. 90.  Literature: LeRoy Ireland, The Works of George Inness: An Illustrated Catalogue Raisonne, Austin, Texas, 1965, p. 336, no. 1324, illustrated. Michael Quick, "George Inness: A Catalogue Raisonne," Vol. II, New Brunswick, New Jersey, 2007, pp. 282-83, 311, no. 966, illustrated.  George Inness, one of America's foremost landscape painters of the late nineteenth century, was born in 1825 near Newburgh, New York. He spent most of his childhood in Newark, New Jersey. He was apprenticed to an engraving firm until 1843, when he studied art in New York with Regis Gignoux, a landscape painter from whom he learned the classical styles and techniques of the Old Masters. In 1851, sponsored by a patron, Inness made a fifteen-month trip to Italy. In 1853 he traveled to France, where he discovered Barbizon landscape painting, leading him to adopt a style that used looser, sketchier brushwork and more open compositions, emphasizing the expressive qualities of nature. After working in New York from 1854 to 1859, he moved to Medfield, Massachusetts, and four years later to New Jersey, where through a fellow painter he began to experiment with using glazes that would allow him to fill his compositions with subtle effects of light. Duncan Phillips remarked on Inness’s mellow light as a unifying force, saying, “…he was equipped to modernize the grand manner of Claude and to apply the methods of Barbizon to American subjects." At this time also, Inness developed an interest in the religious theories of Emanuel Swedenborg...