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Period: 19th Century
Recognized Seller Listings
View on the River Stour ('The White Horse, River Stour')
Located in London, GB
John Constable
View on the River Stour ('The White Horse, River Stour')
1830
Mezzotint by David Lucas, as directed by John Constable, printed on wove paper
Sheet Size: 26.7 x 35.8 cm...
Category
19th Century Art
Materials
Mezzotint
Trout Fisherman in a Mountain Stream
Located in New York, NY
Signed and dated lower left: W. Whittredge 1861
Category
Hudson River School 19th Century Art
Materials
Oil
Sailing Outside Boston
Located in New York, NY
Signed lower right: Geo. Curtis.
Category
19th Century Art
Materials
Oil
UNE JETEE EN ANGLETERRE
Located in Portland, ME
Buhot, Felix (French, 1847-1898). UNE JETEE EN ANGLETERRE. B & G 132, State two of eight. Etching with drypoint, aquatint and roulette, 1879. Signed in pencil, and with the red owl...
Category
19th Century Art
Materials
Drypoint, Etching, Aquatint
'Windsor Castle from the Long Walk' and 'River Scene' (Pair)
Located in Belgravia, London, London
Oil on board (Pair)
Board size: 9.25 x 14.25 inches each
Framed size: 14.75 x 19.75 inches each
Both signed
Category
19th Century Art
Materials
Oil, Board
The Proposal
Located in Belgravia, London, London
Oil on mahogany panel
Panel size: 47 x 36 inches
Signed lower right
Category
19th Century Art
Materials
Oil, Wood Panel
LE STRYGE
Located in Portland, ME
Meryon, Charles. LE STRYGE. D.23, S.27. Etching, 1853. 6 3/4 x 5 1/4 inches; 171 x 130 mm., with wide margins. Schneiderman's Seventh, Delteil's Sixth state (of 10), or possibly an i...
Category
19th Century Art
Materials
Etching
Original Japanese Watercolor and Woodblock Print of Orchid and Swallows
Located in Burbank, CA
Orchid and small swallows (Hokuri, kotsubame). Original preparatory watercolor next to the finished original Japanese woodblock print. This is a highly finished preparatory watercolo...
Category
Art Deco 19th Century Art
Materials
Woodcut, Watercolor
Tamaya Nishi, Hana-murasaki (Purple Flower)
By Keisai Eisen
Located in Fairlawn, OH
Signed: Keisai Eisen ga;
Seal: Kiwame
Series: Contemporary Scenes in the Pleasure Quarters
Publisher: Wakasaya Yoichi
Note: This is a famous ...
Category
19th Century Art
Materials
Woodcut
Still Life with Apples
Located in New York, NY
Signed and dated (at lower left): W. R. Miller 1891; (at lower right): No. 10
Category
American Realist 19th Century Art
Materials
Canvas, Oil
Saint Michel et le Dragon
Located in Paris, FR
Emmanuel Fremiet, 1824-1910
French
Saint-Michel et le Dragon
Signed “E. Fremiet”, Barbedienne Foundry
23 5/8" high x 5 1/2" wide
FREMIET Emmanuel: ...
Category
19th Century Art
Materials
Bronze
Waiting by Jozef Israëls - Landscape oil painting
Located in London, GB
Waiting by Jozef Israëls (1824-1911)
Oil on canvas
95.3 x 133.9 cm (37 ½ x 52 ¾ inches)
Signed lower left, Jozef Israels
A monumental painting by one of...
Category
Barbizon School 19th Century Art
Materials
Canvas, Oil
Au bord de la mer (At the Sea Side)
Located in Fairlawn, OH
Au bord de la mer (At the Sea Side)
Etching and drypoint, 1880
Signed in the plate middle left edge (see photo)
Edition: c. 100
A very rich impression, full of burr and contrasts
Pri...
Category
Impressionist 19th Century Art
Materials
Etching
Pear Engraving
Located in New York, NY
Redouté, Pierre Joseph.
Poire Tarquin. Le Choix des Plus Belles Fleurs.
Paris, 1827.
Original engraving hand colored at the time of publication.
Category
19th Century Art
Materials
Paper
Coastal Scene with Ships on Ocean
By Thomas Birch
Located in New York, NY
Signed lower left: T. Birch
Category
19th Century Art
Materials
Oil
Untitled (Woman working in the fields)
Located in Fairlawn, OH
Untitled (Woman working in the fields)
Graphite on wove paper
Unsigned
Exhibited: Spanierman Galleries, In Praise of Women, Oct. 21-Nov. 20, 2010
Illustrated: Lisa N. Peters, In Praise of Women, Spanierman Galleries (see catalog entry in photos)
Condition: Excellent
Sheet size (sight): 14 1//2 x 10 5/16 inches
Provenance: Spanierman Galleries, New York
The young woman is a known model for Knight. She is depicted in numerous paintings. The striped skirt and wooden shoes she wears also is repeated in Knight's oeuvre.
"Daniel Ridgway Knight was born in Philadelphia to a Quaker family and studied at the Pennsylvania Academy of the Fine Arts from 1858 to 1861, the year he became a founding member of the Philadelphia Sketch Club. He went to Paris and studied at the Ecole des Beaux-Arts from 1861 to 1863 with Charles Gleyre (1808-1874) and Alexandre Cabanel (1823-1889), and attended the Accademia di San Lucca, then in Venice, in 1863. Knight returned to Philadelphia that year, married, and served in the Union Army during the Civil War. He went back to France in 1871 and lived there for the remainder of his long and successful career. He settled in Seine-et-Oise near Poissy to study with the noted academic painter Jean-Louis-Ernest Meissonier (1815-1891) in 1873, and the two artists became close friends. Influenced by his French contemporaries Jules Bastien-Lepage (1848-1884) and Jules- Adolphe-Aimé-Louis Breton...
Category
Abstract Impressionist 19th Century Art
Materials
Graphite
Pair of Shell Watercolors
Located in New York, NY
Pair of original 19th Century watercolors displayed in custom w=k black stained frames.
Category
19th Century Art
Materials
Paper, Watercolor
Bretagne
By Emile-Auguste Wery
Located in Fairlawn, OH
Bretagne
Color lithograph, 1897
Signed in the stone lower right edge (see photo)
Published in L’Estampe Moderne
with their blindstamp lower right corner, Lugt 2790 (see photo)
Edition 2000
Printed by Chapenois, Paris
Condition: Excellent
Image size: 10 x 12 7/8 inches
Émile Auguste Wéry, born in Reims on September 3, 1868 and died in Paris in 1935, was a French painter. He was a pupil of Léon Bonnat, Jules Lefebvre and François Flameng...
Category
Art Nouveau 19th Century Art
Materials
Lithograph
Horse Pulling Hay Cart by Félix Pissarro - Animal etching
Located in London, GB
Horse Pulling Hay Cart by Félix Pissarro (1874-1897)
Etching
19.5 x 15 cm (7 ⅝ x 5 ⅞ inches)
Exhibition
London, Stern Pissarro Gallery, Camille Pissarro & hi...
Category
Post-Impressionist 19th Century Art
Materials
Etching
Unknown title (castle with wall, stream and footbridge)
By David Cox
Located in Fairlawn, OH
Unknown title (castle with wall, stream and footbridge)
Watercolor on laid paper, mounted to support of old Albumin photograph mount
Signed and dated lower left (see photo)
The watercolor is mounted on support that is the backing for a vintage albumin photograph of Moulin Huet, Guernsey, Channel Islands, c. 1850's
Condition: Mounted to verso of albumin photograph mount (see photo)
Glue residue outside of image/sheet on recto
Colors fresh
No other issues to note
David Cox (29 April 1783 – 7 June 1859) was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of Impressionism.
He is considered one of the greatest English landscape painters, and a major figure of the Golden age of English watercolour.
Although most popularly known for his works in watercolour, he also painted over 300 works in oil towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter.
His son, known as David Cox the Younger (1809-1885), was also a successful artist.
Early life in Birmingham, 1783–1804
Cox's birthplace in Deritend, Birmingham, illustrated by Samuel Lines
Cox was born on 29 April 1783 on Heath Mill Lane in Deritend, then an industrial suburb of Birmingham. His father was a blacksmith and whitesmith about whom little is known, except that he supplied components such as bayonets and barrels to the Birmingham gun trade. Cox's mother was the daughter of a farmer and miller from Small Heath to the east of Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his forge, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites...
Category
Romantic 19th Century Art
Materials
Watercolor
La Fille au Violon
Located in Fairlawn, OH
La Fille au Violon
Color lithograph, gypsograph with embossed publisher's stamp
Signed and numbered in ink (see photo)
From: L'Estampe Originale, Paris, Vol. VII
Published by Andre M...
Category
Art Nouveau 19th Century Art
Materials
Lithograph
Woman with Bicycle: Two Views
Located in Fairlawn, OH
Woman with Bicycle: Two Views
Graphite on paper, c. 1890
Unsigned
Graphite study of standing female nude verso
Provenance:
Rookwood Pottery Factory ...
Category
American Realist 19th Century Art
Materials
Graphite
Wistful Thoughts
By Charles Edward Wilson
Located in Belgravia, London, London
Watercolour on paper
Paper size: 21 x 13.5 inches
Signed lower right
Category
19th Century Art
Materials
Paper, Watercolor
Beauties (Pair)
Located in Belgravia, London, London
Oil on panel
Panel size: 15.25 x 11.25 inches
A signed lower right, B signed lower left
Category
19th Century Art
Materials
Oil, Panel
Whilst the Sleeping Dog Lies
Located in Belgravia, London, London
Oil on canvas
Canvas size: 20.25 x 27.25 inches
Signed lower left
Category
19th Century Art
Materials
Canvas, Oil
The Handsome Suitor
Located in Belgravia, London, London
Oil on canvas
Canvas size: 33.5 x 49 inches
Signed lower right
Category
19th Century Art
Materials
Canvas, Oil
Japanese Tea Garden
Located in New York, NY
Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8).
Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly.
In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters.
In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23).
In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”).
Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5).
During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable wood panels, he created about sixty scenes of daily life, among them this picturesque vignette of a Japanese tea garden...
Category
19th Century Art
Materials
Oil, Wood Panel
Street in Smyrna
By Marius Bauer
Located in Storrs, CT
Street in Smyrna. 1889. Etching. Wisselingh 34. 7 x 5 1/4 (sheet 12 7/8 x 8 7/8).Edition 100, number 49. A rich, tonal impression printed on Strasbourg cream laid paper on the full s...
Category
Old Masters 19th Century Art
Materials
Drypoint, Etching
Autumn Scene with Lake
Located in New York, NY
William Mason Brown painted landscapes before becoming known as a painter of meticulously detailed still lifes.
Category
Hudson River School 19th Century Art
Materials
Oil
Renouveau
Located in Fairlawn, OH
Renouveau
Color lithograph, 1897
Signed in the stone lower right (see photo)
Published in L’Estampe Moderne
with their blindstamp lower right corner, Lugt 2790, (see photo)
Edition ...
Category
Art Nouveau 19th Century Art
Materials
Lithograph
Blowing Bubbles
Located in Belgravia, London, London
Oil on panel
Panel size: 21.5 x 17.25 inches
Signed??
Category
19th Century Art
Materials
Oil, Panel
FLOWERS - Monotype from 1997 Smithsonian Exhibition
By Karl Yens
Located in Santa Monica, CA
KARL YENS (1868 – 1945)
(FLOWERS) 1919
Color monotype signed, dated and annotated: “monotype 1919.” 17 ½” x 11 ½”
Monotypes are unique works of art that fall between printmaking a...
Category
American Impressionist 19th Century Art
Materials
Monotype
Canada Lynx by Audubon
Located in New York, NY
Original stone lithograph with hand-coloring from "The Quadrupeds of North America. Octavo Edition" by John James Audubon. Plate XVI. Phila...
Category
19th Century Art
Materials
Paper
THE DRAGON ARUM
Located in Santa Monica, CA
DR. ROBERT JOHN THORNTON (circa 1768- 1837)
THE DRAGON ARUM, 1801 (Dunthorne plate 161, pg. 250 i/iii; Nissen 1
955)
Mezzotint printed in Payne's grey...
Category
Old Masters 19th Century Art
Materials
Mezzotint
Marche aux Legumes a Pontoise
Located in Santa Monica, CA
CAMILLE PISSARRO (French 1830- 1903)
MARCHE AUX LEGUMES A PONTOISE, 1891 (D. 97ii/ii)
Etching and aquatint, Unsigned as published in Le Peintre-graveur Illlustre: Pissarro, Sisley,...
Category
Impressionist 19th Century Art
Materials
Aquatint
The Deluge - JOSEPH MALLORD WILLIAM TURNER (1775 - 1851)
Located in Santa Monica, CA
(after) JOSEPH MALLORD WILLIAM TURNER (1775 - 1851)
THE DELUGE, 1828. Mezzotint, Engraved by I. P. Quilly after a painting by J. M.W. Turner R.A.. Image ...
Category
Old Masters 19th Century Art
Materials
Mezzotint
The Yacht "Henrietta" 205 Tons. Modelled by Mr. Wm. Tooker, N.Y. Built by Mr. ..
By Charles Parsons
Located in New York, NY
Title continues: Built by Mr. Henry Steers, Greenpoint, L. I. Owned by Mr. James Gordon Bennett, Jr. Winner of the Great Ocean Yacht Race, With the ...
Category
American Realist 19th Century Art
Materials
Lithograph
A Mother Takes her Son for A Walk during the Russo-Japanese War.
Located in Storrs, CT
c. 1883. Kakemono: 28 3/8 x 9 7/16. Repairs and staining; fine color. An extremely scarce historical image. Signed Chikanobu. Housed in a 36 x 15 1/2-inch archival mat, ready for your choice of frame.
The Russo-Japanese War...
Category
Edo 19th Century Art
Materials
Color, Woodcut
Erinnerung (Remembrance) — Turn-of-the Century Romantic Etching
By Max Klinger
Located in Myrtle Beach, SC
Max Klinger, 'Erinnerung (Remembrance)', etching and aquatint, 1896. A fine, richly inked impression, on off white, wove paper, with full margins (1 3/4 to 3 1/8 inches), in excellen...
Category
Post-Impressionist 19th Century Art
Materials
Aquatint, Etching
View of Steel Mill
Located in Fort Washington, PA
Signature: Signed Lower Right
Category
19th Century Art
Materials
Mixed Media
Beacon Rock, Newport
Located in New York, NY
Monogrammed and dated lower right: JF. K. 63
Category
Hudson River School 19th Century Art
Materials
Oil
Autumn Landscape with Cattle
Located in New York, NY
Signed and dated lower right: J. F. Cropsey / 1879
Category
Hudson River School 19th Century Art
Materials
Oil
California Salmon.
Located in New York, NY
Kilbourne, S.A.
Game Fishes of the United States.
This plate: California Salmon.
New York, Scribner & Sons, 1878-81.
Original chromolithograph.
Category
19th Century Art
Materials
Paper
The Letter
Located in New York, NY
Signed lower right: CARROLL BECKWITH.
Category
American Impressionist 19th Century Art
Materials
Oil
La Duchesse de Marlborough, Consuelo Vanderbilt
Located in Storrs, CT
Paul César Helleu. La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed o...
Category
Modern 19th Century Art
Materials
Drypoint, Etching
Pair of Horse Lithographs
By David Low
Located in New York, NY
"The Old-Irish Hunter." and "The Cleveland Bay." from "The Breeds of the Domestic Animals of the British Islands." by David Low. London, Fairland, 1842.
Original lithograph hand-col...
Category
19th Century Art
Materials
Paper
The River Barge
By David Cox
Located in Fairlawn, OH
The River Barge
Pen and ink on paper on laid paper, mounted in English drum mount , c. 1810
Unsigned
Condition: Slight sun staining to sheet and mount in th...
Category
Romantic 19th Century Art
Materials
Ink
Le Général Bonaparte, Campagne d'Egypte, 1798
Located in Paris, FR
Antoine-Louis Barye
1796-1875 French
Le Général Bonaparte (The General Bonaparte in Egypt)
Bronze with golden patina
Signed "Barye" and "F Barbedienne Fondeur" on the base
This masterpiece represents the General Bonaparte during the Campaign of Egypt in 1798.
BARYE Antoine...
Category
19th Century Art
Materials
Bronze
Portrait of a Man Facing Left
Located in Fairlawn, OH
Portrait of a Man Facing Left
Monotype printed in brown ink, c. 1880-1914
Signed in ink lower left: Chase (see photo)
Provenance:
Helen Chase Storm (the artist's daughter)
Jackson Chase Storm (her son)
Chapellier Galleries (as agent)
James Bergquist, Boston
References And Exhibitions:
Exhibited at the Museum of Fine Arts, Boston and the Clark Art Institute, Williamstown, MA. (See MFA paperwork in photos)
Reference:
Ronald G. Pisano, Completed by D. Frederick Baker and Carolyn K. Lane, William Merritt Chase: Still Lifes, Interiors, Figures, Copies of Old Masters, and Drawings, Catalogue Raisonne, Vol. IV (New Haven and London: Yale University Press, 2010), Vol. 1, M. 8. (See photos of entry)
William Merritt Chase (1840-2016)
Born in Nineveh, Indiana Died New York, New York
In 1883 Chase was involved in the organization of an exhibition to help raise funds for a pedestal for the Statute of Liberty. The exhibition featured loans of three works by Manet and urban scenes by the Italian Impressionist Giuseppe de Nittis. Both artists influenced Chase's Impressionistic style that gave rise to a series of New York park scenes. It is also thought that he was influenced by John Singer Sargent's In the Luxembourg Gardens (1879) which was exhibited in New York at this time. Indeed, Chase had met Sargent in Europe in 1881, the two men becoming lifelong friends with Sargent painting Chase's portrait in 1902.
On another European trip in 1885, Chase met James McNeill Whistler in London. While Whistler had a reputation for being difficult, the two artists got along famously and agreed to paint one another's portrait. Eventually, however, Whistler's moods began to grate with Chase who wrote home stating "I really begin to feel that I never will get away from here". For his part, Whistler criticized Chase's finished portrait and, according to Hirshler, "complained about Chase for the rest of his life". While no record exists of Whistler's portrait of Chase; Chase's portrait of Whistler remains a well-known piece in his oeuvre.
In 1887 Chase married Alice Gerson, the daughter of the manager of a lithography company. Though some fifteen years his junior (Chase was 37), he had known Alice for some time through her family's devotion to the arts. The pair, who would enjoy a happy marriage with Alice in full support of her husband's career, settled initially in Brooklyn...
Category
Impressionist 19th Century Art
Materials
Monoprint
Viewing snow at Mount Matchi. (Matsuchiyama no yukimi.)
Located in Storrs, CT
Torii Kiyonaga. (after). Twentieth-century woodcut printed on silk, based on the original Kiyonaga 1784 woodblock. 13 1/2 x 6 1/2 (image and sheet). Scattered foxing. Signed "Torii K...
Category
Edo 19th Century Art
Materials
Color, Woodcut
Cougar by Audubon
Located in New York, NY
Original stone lithograph with hand-coloring from "The Quadrupeds of North America. Octavo Edition" by John James Audubon. Plate XCVII. Ph...
Category
19th Century Art
Materials
Paper
Rêverie
By Albert Lynch
Located in Paris, FR
Albert LYNCH (1851-1936)
French
"Rêverie"
Oil on canvas
Signed lower left
Canvas: 43 1/4" high x 24 3/4" wide
Frame: 49 5/8" high x 30 3/4" wide
Albert LYNCH: Born in Lima in 1851, Albert Lynch studied art at L'Ecole des Beaux-Arts de Paris and in the studios of the figure painters Gabriel Ferrier and Henri Lehmann...
Category
Pre-Raphaelite 19th Century Art
Materials
Canvas, Oil
Hélène of Septeuil (enfant au perroquet) (child with a parakeet).
By Mary Cassatt
Located in Storrs, CT
Hélène of Septeuil (enfant au perroquet) (child with a parakeet). c. 1889-1890. Drypoint. Breeskin, 134.v. 9 3/8 x 6 1/4 (sheet 15 3/4 x 9 7/8). A rich impression with burr and plate...
Category
Impressionist 19th Century Art
Materials
Drypoint, Watercolor
On the Beach at Long Branch - The Children's Hour
Located in Fairlawn, OH
On the Beach at Long Branch - The Children's Hour
Wood engraving, 1874
Published in "Harper's Weekly" August 15, 1874 (p. 672)
Image size: 9 1/4 x 13 5/8 inches
Provenance: Wunderlic...
Category
Hudson River School 19th Century Art
Materials
Woodcut
THE LITTLE COURT - CLOTH FAIR
Located in Portland, ME
Whistler, James A. M. THE LITTLE COURT CLOTH FAIR. Spink 22. Lithograph, 1887. A lifetime impression, one of 12 printed by Way and signed in pencil with the Butterfly.
Printed on Ivory colored wove paper without watermark. The sheet 11 9/16 x 6 inches. In very good condition with slight discoloration from the mat in the areas outside the mat window. Provenance: Collection of Otto Gerstenberg (see below) with his collectors stamp, Lugt 2785, the Secretary Montag's "M" and the inventory numbers 61248 KO5182 all on the verso; Horizon Gallery, Rockport, MA, with its label and annotations on the frame backing. Framed. Very rare.
The following are translations from the entry on Gerstenberg in Lugt:
Lugt 1921:
O. GERSTENBERG (born 1848), director of the Insurance Company "Victoria", lives in Berlin. Old and modern prints.
Otto Gerstenberg, born in Pyritz, studied mathematics and philosophy at the University of Berlin. After having been employed at the Prussian Statistical Office, in 1873 he entered the insurance company "Victoria" in Berlin as a mathematician-calculator, and became its director in 1888. He developed it in the following years and brought it up. to its present importance. Around 1900 he began to collect prints of which he now has a very large cabinet; as elders especially Schongauer, Dürer and Rembrandt, then Lucas de Leyde, Hirschvogel, van Dijck, Ostade and the French portrait painters. As modern it is necessary to point out, among the Germans »Greiner, Klinger, Leibl, Liebermann, Menzel, Stauffer-Bern; among the French, Corot, Daumier, Degas, Forain, Lepère, Manet, Meryon, Toulouse-Lautrec; among the English, Bone, Dodd, Goff, Haden, Strang; then an important work by Whistler and Goya and leaves by Rops and Zorn. Also has beautiful paintings.
Lugt 1956:
During the 1914-1918 war, the collectort had his collection transported to Switzerland and, when the war was over, he decided, quite reluctantly, to sell it. In the spring of 1922 the sale was concluded in Zurich with the merchants Gust. Mayer, of Colnaghi & C ° of London, and Mr. A. MacDonald, then a partner of Harlow & C ° of New York, who bought the set at a price corresponding roughly to the total prices paid by Gerstenberg. This was a large sum, because he had acquired several of his finest pieces in the big sales between 1900 and 1914 against the big enthusiasts of the time such as Morgan, Gutmann, Rothschild etc. It was Gaiser, of the firm H. G. Gutekunst in Stuttgart, who had generally carried out his orders in the sales. MacDonald believed he had a buyer for the set in America, but when the collection arrived there those hopes were dashed by a change in economic conditions. He then sold the parts separately.
We will get an idea of the importance of this collection by the following enumeration of the most beautiful pieces: among the Dürer, the Adam and Eve (from the Buccleuch and Hubert collections), the Saint-Eustache, the Mélancolie (from the collection Behaim, Dumesnil and Scholtz), the Knight of Death (from the Barnard and Hubert collections) and the Life of the Virgin series (from the St. Aubin collection); Dürer's work was almost complete. Quite remarkable was the Rembrandts' series, in which we note the Piece aux cent florins, sur Japon (collection Weber and Hubert), the Three Crosses, 1st state and 2nd state (collection Artaria and Hubert), the Little Tomb ( coll. John Wilson) and another proof on Japan, Death of the Virgin in Irstate (Josi coll.), St. Jerome, B. 103, unstead (Josi, Aylesford, Buccleuch and Hawkins coll.), the St. François (coll. Theobald); the series of portraits by Rembrandt was superb: Rembrandt himself drawing, B. 22, Ir état (from the Worlidge, Brit. Mus., Dighton and Theobald collections) and the same in the second state on Japan (Morrison collection), all the states of Clement de Jonghe, Jan Asselijn, Irtat (Josi, Aylesford, Buccleuch and Hubert coll.), old Haaring, 2nd state (same sources) and the young, 2nd state in Japan (Brodhurst and Lanna collection) , the Lutma in 1st state on japan (Josi, Aylesford, Baccleuch and Hubert collection) and a superb 2nd state (from the Firmin-Didot and Hubert collections), the Six in 3rd state (Ploos van Amstel collection); in landscapes: the three Trees (coll. Theobald), the three Chaumières (coll. Morgan and Lesecq des Tournelles), the Landscape with the tower, Ir état (coll. Aylesford, Holford and Hubert), the Campagne du peseur d ' gold, on Japan (Barnard, Holford and Theobald collection) and a State of Landscape with the drinking cow, on Japan (Theobald collection). Then a series of 51 Schongauer, including several of the first order, 8 of Hirschvogel, the portraits by van Dijck himself in first states (except D. 10 and 15, the most beautiful of the collection Theobald), beautiful series by Claude and van Ostade.
The purchase included neither the important modern prints that Gerstenberg owned, nor his beautiful prints by Goya, nor a few drawings by the latter and Rembrandt. Gerstenberg was an enthusiastic collector who passionately loved his collection. When in 1922 the buyers announced their decision to acquire his old prints at the agreed price, he could not contain his tears. He later consoled himself by developing his series of watercolors and drawings of the French school of the nineteenth century, and he managed to own a magnificent set of Delacroix, Daumier, Degas, Monet and, in general, the Impressionists. . We do not know, at the present time, what happened to this part of his collection, but it is feared that part of it was lost or destroyed in the offices of the insurance company "Victoria" in Berlin or in its property in Silesia during the Russian invasion in 1945. The Toulouse-Lautrec which had been evacuated to Denmark were sold out of court after the war from 1939 to 1945. Gertstenberg died ,very old in 1935.
The mark reproduced by us in L.2785 has rarely been used, but the origin of the prints is more easily recognized by the initial M, followed by a number (see L.1840c...
Category
19th Century Art
Materials
Lithograph
Victorian Butterfly Watercolor
Located in New York, NY
Original watercolor from a Victorian album by an unknown artist. English, circa 1860.
Category
Victorian 19th Century Art
Materials
Paper
ACADEMIC MALE NUDE FIGURE STUDIES
Located in Portland, ME
Michallet (attributed). ACADEMIC MALE NUDE FIGURE STUDIES. Four Charcoal drawings, each on heavy wove paper, 19th Century. 24 1/2 x 19 1/8 inches (s...
Category
Academic 19th Century Art
Materials
Charcoal
Leaving the Mosque
By Marius Bauer
Located in Storrs, CT
Leaving the Mosque. 1892. Etching. 4 7/8 x 5 7/8 (sheet 8 3/4 x10 5/16). Number 78. A rich, tonal impression printed on cream laid paper. Signed and numbered in pencil.l. Housed in a...
Category
Modern 19th Century Art
Materials
Etching