Hudson River School Art

American impressionist landscape oil painting. Oil on board. Framed. Measuring: 21 by 18 inches overall, and 19 by 16 painting alone. Excellent condition, ready to hang and enjoy.

Cyrenius Hall was an artist who painted Western landscapes in a luminous style. He first went to Portland, Oregon in 1853 and 1854 over the Oregon Trail. From there he executed views...

Original pastel on heavy card stock (made in Paris) by the well known Hudson River artist, George Douglas Brewerton. A view of Mount Shasta in Northern California. Signed lower left. Circa 1880. Condition is excellent. The artwork is housed in its original scroll decorated frame. Overall framed measurements are 33.25 by 19 inches. Provenance: A East Coast Florida estate. George Douglas Brewerton received lessons in art from Prof. Robert W. Weir at West Point where his father was Superintendent. In 1874, he was detailed to San Francisco as an officer in the Stevenson Regiment. In 1848, he underwent many adventures in Western deserts and mountains with Kit Carson, who crossed the country with news of the California Gold Rush. After serving as an aide to Gen. Rufus Saxton during the Civil War, Brewerton called himself “Colonel,” although he never received an army commission...

Walter Blackman (1847–1928) Apple Blossom in a Vase Signed lower left Oil on canvas applied to board 10 × 8 inches Walter Blackman was born in New York in 1847 and pursued formal s...

Signed Lower Right Known for his marine, history, and portrait paintings, Franklin Briscoe was born in Baltimore, Maryland and at age four moved with his family to Philadelphia where he later became a student of Edward Moran and where eventually he settled his studio. Briscoe made extended ocean voyages, including trips to Europe where he saw much painting in galleries, and from these adventures and observations developed his landmark paintings of the ocean and ships in all kinds of weather conditions. In 1885, he painted an historical mural that was in ten panels, a total of 230 feet long, and 13 feet tall--"The Battle of Gettysburg...

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...

IN PRISTINE CONDITION. A color Chromolithograph published by the Atchison, Topeka and Santa Fe Railroad in 1912 after the original oil painting, “Gr...

Franklin DeHaven Late Afternoon, Autumn Signed and dated lower left Oil on canvas 11 x 15 1/2 inches Franklin DeHaven was born in Indiana in 1856 and moved to New York City around ...

THE WATERFALL - Oil on canvas cm. 55x70 by Paolo De Robertis, Italy 2002. The painting is inspired by the paintings of Thomas Hill, an American landscape painter belonging to the H...

Important framed 19th century Hudson River School landscape. Possibly estate stamped. Housed in an impressive period frame. Oil on canvas.

Victor de Grailly Niagara Falls, circa 1840-45 Oil on canvas 28 7/8 x 21 1/4 inches Provenance: Mark Borghi Fine Art, New York Private Collection, Nyack, New York Little is known a...

Walpi Hopi Village, Arizona First Mesa Landscape by Marion Kavanaugh Wachtel. Significant southwestern painting of Hopi at Walpi Mesa in Arizona...

Much about this late 19th-century painting remains a mystery, including the name of the artist who only left their identity in a single-letter monogram. But the work's moody embrace ...

Frederick J. Sykes (1851-1905) was a remarkable artist of the Hudson River School, renowned for capturing the serene beauty of tranquil landscapes. His work often featured New Englan...

With masterful precision and a keen eye for atmosphere, Frederic Rondel captures the rugged beauty of the coastline in Walking Along a Rocky Shore. The painting depicts a windswept s...

Robert Azensky Fine Art is pleased to offer original 1909 sketch study of oil painting "Homesteader Colorado Mountain" painting by Frank Tenney Johnson. It's always special to see the evolution of a painting through the plein air sketches ("studies") by the artist prior to its painting. Frank Tenney Johnson traveled throughout the Colorado Rockies sketching and painting western landscapes and native American and cowboy figurative art. Medium: Charcoal on paper Signature: Lower left corner Date: "1909" below signature Condition: Tonal aging and minor edge wear consistent with age and use. See images. Presented in black painted wood frame Mat size: 14"H x 11"W Paper size: 9"H x 6"W Image size (visible with mat): 8"H x 5.25"W Frank Tenney Johnson was born in Coucil Bluffs, Iowa, in 1874 not far from the Overland Trail. During his childhood, he saw the steady stream of people heading west in all forms of horse-drawn conveyance. This early exposure to the American West was critical in leading Johnson towards the Western landscape as an inspiration for his work. The resulting body of work is a moody and romantic depiction of a long-gone America, rendered in a style that has become practically a genre all its own. At the age of ten, Johnson moved from Iowa to Milwaukee, WI. There, he took an apprenticeship with F.W. Heinie, a prominent panoramic painter. After a year with Heinie, Johnson apprenticed for Richard Lorenz, a painter and former Texas Ranger who specialized in depictions of horses and western scenes. It was probably during his time with Lorenz that Johnson decided to focus on western subjects himself. He also started illustrating for regional papers and publications, in order to save money for further training. Further training, as with many of the artists who populated New Mexico in the early twentieth century, took place at the Art Students League in New York, where Robert Henri, William Merritt Chase, John Twachtman, Kenneth Hayes Miller and F. Louis Mora were in the process of teaching perhaps the last great batch of pre-modernists. Though highly stimulated by the training, Johnson was only able to stay for five months, after which he returned to Milwaukee to work and save money in an effort to return to New York. He was able to do so after a time and, upon returning, established an important professional relationship with Emerson Hough, the editor of "Field & Stream" magazine. At Hough's urging (and on Hough's dime), Johnson traveled to Hayden, Colorado, where he tagged along with a group of cowpunchers in order to sketch their way of life. Though primarily an artist, Johnson also wrote accounts of his time in Colorado for "Field & Stream." After Colorado came Cheyenne, Wyoming, where Johnson attended a "Frontier Days" celebration; after Wyoming, Johnson traveled to New Mexico, where he observed the Navajos and their threatened way of life. This trip changed Johnson from an academic artist with an appreciation for the west to a truly western artist. Of particular interest to him, in stark contrast to other western artists of the time like Frederic Remington and C.M. Russell, were the more quotidian scenes of the West. Specifically, Johnson focused upon scenes featuring horses, especially at night. Johnson painted a great number of pieces that featured horses tied up outside of saloons, inns or trading posts for the night, the moonlit night punctuated by the warm glow from the lamps inside. In this, he can be considered a pioneer, as his night pieces still serve as the archetype for such work in western art. Johnson became quite successful through his work for "Field & Stream." He was chosen to illustrate books by the prominent writer Zane Grey, and his gallery shows sold briskly. In fact, one particular show, at the Grand Central Art Galleries at the Biltmore Hotel in New York, sold out opening night. In fact, one man had bought out the entire show: Amon Carter. Having achieved financial security and comfort, Johnson followed his good friend Clyde Forsythe to Alhambra, CA, where the two established residency and shared a studio. California treated Johnson well. He and Forsythe founded the gallery at the Los Angeles Biltmore...

Painted by Hudson River School artist Joseph Antonio Hekking (1830-1903), "Adirondack Stream in Fall" is oil on board and measures 8.5 x 6.5 inches. The painting is signed at the low...

James Renwick Brevoort (1832–1918) was an influential American landscape painter associated with the Hudson River School, a mid-19th century art movement known for its romantic portr...

Remarkably, this painting tells its own story on the verso. To save your eyesight, here's what it reveals: James McDougal Hart (1828-1901) Landscape, animal, and portrait painter. A ...

Copyright 2023 Michael F. Meyer All rights Reserved. This painting, signed RSD on right side, has been verified by the late expert on Robert S. Duncanson, Joseph Ketner and comes with an authentication letter. This painting has exhibited and is published in Robert S. Duncanson and His Courageous Southern Travels. This painting is one of the many beautiful southern landscape scenes that Robert S. Duncanson painted in his courageous travels south. "Robert S. Duncanson born in 1819, was an African American Hudson River School artist who painted the south before the Civil War, until his death in 1872. Although widely famous during his lifetime, this forgotten artist’s courageous journey through the antebellum south has never before been exhibited or researched until now. His brilliance was in creating captivating landscape paintings that come alive to the viewer, by focusing on the minute details of nature and of the stories he wished to communicate. Robert Duncanson...

1842 Wakechai (Crouching Eagle) A Saukie Indian Chief Lithograph with Applied Watercolor The lithograph depicts Wakechai, also known as Crouching Eagle, who was a member of the Sauk and Fox delegation. King renders Wakechai with exceptional detail. The Saukie Chief is adorned with fine accoutrements such as a white fur robe...

George Henry Smillie East Hampton, New York, 1884 Signed lower left Dated lower right Oil on canvas 15 x 24 inches Provenance Cigna Museum and Art Collection Questroyal Fine Art T...

Hudson River School Style - The Homestead and Grist Mill 1942 In the Hudson River School style by A (K) Mathieu (American, 19th-20th C). Harvest time at the Homestead with a hay wago...

"Hudson Highlands," by Hudson River School painter Lockwood DeForest (American, 1850-1932) is oil on artists card-stock and measures 9.5 x 14 inches. 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...

Rare early American sunset Hudson River School swimming hole painting. Framed. Oil on board. Image size, 7.25H by 10L.

A luminous early 20th-century watercolor landscape by Charles Partridge Adams depicting a dramatic Colorado sunset along the Front Range, where expansive prairie, a winding creek, an...

Mount Hood From Clear Lake, Early 20th Century Large-Scale Panoramic Landscape Large-scale panoramic oil painting landscape of Mount Hood from Clear Lake by William M. Lemos (Ameri...

Signed lower right: Bradford

Charming Hudson River school antique oil painting of a sailboat on a lake, circa 1880-90. Signed "R. Labarr." after Richard LaBarre Goodwin...

George Riecke (1848–1930) Pastoral Landscape with Sheep Oil on canvas, 26 × 46 inches (32 × 52 inches framed) Signed lower right George Riecke’s pastora...

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 m...

Original pastel on archival paper by the well known Hudson River artist, George Douglas Brewerton. A Northern California scene near Mount Shasta. Signed lower left and dated 1876. Recently professionally matted and framed in new antique silver style gallery frame. Overall framed measurements are 27 by 36 inches. Under glass. Condition is excellent. Provenance: A Pennsylvania collector. George Douglas Brewerton received lessons in art from Prof. Robert W. Weir at West Point where his father was Superintendent. In 1874, he was detailed to San Francisco as an officer in the Stevenson Regiment. In 1848, he underwent many adventures in Western deserts and mountains with Kit Carson, who crossed the country with news of the California Gold Rush. After serving as an aide to Gen. Rufus Saxton during the Civil War, Brewerton called himself “Colonel,” although he never received an army commission...

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...

A charming New England landscape, Town Along the River in Vermont by Charles Louis Heyde offers a beautifully observed view of rural life in the 19th century. Likely painted circa 18...

KA-NA-PI-MA, AN OTTAWA CHIEF., from History of the Indian the Indian Tribes of North America, ca. 1842, hand-colored lithograph The lithograph by Charles Bird King depicts Ka-na-pi...

Water Lilies, 1881 Oil on canvas, 7 1/2 x 12 inches (19.1 x 30.5 cm) Framed dimensions: 16 1/8 x 21 1/8 inches Signed and dated lower left: Geo. Henry Hall '81 George Henry Hall was...

1920s Connecticut Mountains & Stream Oil Painting Landscape, Signed "L. Hamilton" Scenic Connecticut Mountains landscape with stream in foreground with a small waterfall capture...

HARRY ROSELAND (1867–1950) The Prediction Signed lower left (please note: In the image of the signature shows to be faint but by the naked eye is clearly discernable) Oil on canva...

This captivating artwork, titled "Children Feeding the Horse", is masterfully executed in rich tones. It depicts two children tenderly feeding a gentle white horse against a familiar...

George Henry Hall (1825–1913) "Raspberries & Peonies with Basket" Signed lower right and dated 1862 & 63 Oil on board Sight size: 10.5 × 13.75 in. Frame size: 19 x 22 in. Frame: P...

Julius Montalant (1823 - 1898) Harbour of Rio Janeiro, 1843-1850 Oil on canvas 17 x 24 inches Signed and dated lower right; conservator's inscription on the reverse Born in Virginia, probably Norfolk, Julius Montalant is known for his drawings and paintings inspired by his travels on board navy ships. Attached to the USS St. Louis around 1844-45, he sketched ports of call he visited, including Brazil, Chile, New Zealand, Australia, and China. Many of his works are held in the Museum of the U.S. Naval Academy. Navy records indicate his rank as 'C. Clerk', which may mean that he held a civilian position. During the 1850s he lived in Philadelphia, and in 1851-61 he exhibited at the Philadelphia Art Union and the Pennsylvania Academy of the Fine Arts. Included were paintings of North America, Greece...

Jasper Francis Cropsey paints a view out from the Palisades onto the Hudson River in his artwork entitled, “Under the Palisades.”

Signed and dated oil on canvas landscape by Hudson School River painter Winkworth Allan Gay. The work depicts a view of the boats of the Boston Yacht Club in Massachusetts Bay. We be...

"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 DeForest 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 DeForests made frequent trips abroad. Excursions to the great museums, which were prominent on the DeForests 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 DeForest 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. DeForest 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, DeForest took a studio at the Tenth Street Studio Building in New York. During these formative years DeForest 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 DeForest 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...

Eugène Joseph Verboeckhoven, a luminary of 19th-century Belgian art, wielded his brush with unparalleled mastery, capturing the timeless allure of pastoral landscapes and noble anim...

"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...

John Bunyan Bristol (1826-1909) American, Hillsdale, NY - New York, NY Hudson River School Painting “On the Hudson” 19th century Oil on canvas 30 x 19 in. unframed
27 x 39 framed Sig...

This serene landscape by a Hudson River School artist captures the quiet tension between storm and calm, rendered with luminous color and delicate brushwork. A soft sunset glows behi...

A wonderful Autumn landscape likely of the Hudson River Valley by the revered American artist William Louis Sonntag (1822-1900). Sonntag was born near Pittsburgh, PA and moved to Cincinnati, OH in the 1840’s to study art. He studied for a brief time with G. Frankenstein at the Cincinnati Academy of Fine Art and his idealized paintings of American wilderness and visionary paintings of imagined European ruins were commercially successful. He traveled twice to Europe in the 1850’s to improve his skills, eventually settling in New York City. He joined the National Academy of Design, where he exhibited his works for forty years. His mature works identify him with the Hudson River School of landscape painters. A romantic and naturalistic painter of his surroundings, Sonntag also created idealized paintings of Roman ruins, recalling his European trips of earlier years. Sonntag was an Associate (1860) and Academician (1861) at the National Academy of Design, and a member of the American Watercolor Society, Artists Fund Society, and the American Art Union...

St. Valentine's Day -- The Old Story in All Lands Wood engraving, 1868 Published in: Harper's Weekly, February 22, 1868 Titled and signed in the block Image size: 13 5/8 x 9 inches C...

Prominent Luminist Hudson River School painter.

A prominent 19th century landscapist, Hudson River School painter James McDougal Hart's (1828-1901) A Day in November, 1863 is oil on canvas and measures 10.5 x 18 inches. The painti...

This coastal landscape is done by the famed painted William Frederick De Haas (1830-1880). This painting shows two men in a canoe paddling off the cliff shore in the foreground with ...

A wonderfully detailed New England landscape by Scottish American artist James Hope (1818-1892). Hope was born in Drygrange, Roxboroughshire, Scotland. After the death of his mother,...

This expressive painting by Francis William Edmunds offers a compelling glimpse into 19th-century American genre painting, a field in which Edmunds was a recognized master. Known for...

Painted by Hudson River School artist Joseph Antonio Hekking (1830-1903), "Autumn Stream" is oil on canvas and measures 14 x 12 inches. The painting is signed at the lower left. The ...

Summer Fishing Scene by Hudson River School artist John Carleton Wiggins (1848-1932) is oil on canvas and measures 12 x 20 inches. The painting is signed by Wiggins at the lower left...

Monogramed and dated lower right: JF.K. / ‘64.

Estate stamp on verso; on stretcher bar: SEP 9th 1855

Signed lower right: W Bradford