Charles Ellis Art

Step into the bustling energy of a portside moment with René Genis’ “Les Grues” (The Cranes)”, a captivating oil-on-mat-board painting that transforms the in...

Family scene. Oil sketch on cardboard. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck was the son of Jules Evariste van Biesbroeck, a painter of Ghent, but was born in Italy, in Portici, near Naples, while his parents were staying there. (In the 19th century many artists made educational trips to Italy). It was a long visit: the child was two years old by the time the family returned to Ghent.[1] After a short period of practice with his father, van Biesbroeck was enrolled in the Academy of Fine Arts in Ghent. His first painting, "The Shepherd" (French: Le pâtre), was sold at the Triennale in Ghent. In 1888, when he was only 15 years old, he made his debut at the "Salon des Champs-Elysées" in Paris with his monumental work "The Launch of the Argo" (French: Le lancement...

Algerian women in an interior. Oil on panel. Signed. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck...

Andre Cottavoz (French, 1922-2012) Untitled, Paris scene with multitude of French flags. Canvas on board, framed. Frame: 20 1/2" x 22" x 1 1/4, Board 13 3/4" x 15"

"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...

William S. Butz (American, active Woodstock, N.Y., 1911-39) Field with Trees in Hilly Landscape Oil on canvasboard, 8 3/4 x 11 inches Framed: 15 x 17 inches (approx.) Signed on verso...

Ray Richardson is a contemporary British artist known for his cinematic paintings. The artist employs icons of working-class London, including bull terriers, soccer pitches, and grit...

Rene Genis (French 1922-2004) “bouquet au fons rouille” / bouquet with rusty frons. Oil on woven paper stock with deckled edges laid down on matt board. Signed lower right, titled v...

This oil painting on canvas, created by an artist from the 17th Century Flemish School, depicts one of the most significant scenes from Greco-Roman mythology: Aeneas saving his famil...

Thomas Birch is considered one of the earliest American Marine painters of importance both in his own time and historically, forming the foundation of what would become a great American Maritime movement in the successive years of the 19th century. Born in England, Birch started as a landscape painter but after the War of 1812 he turned to marine subjects, taking inspiration from the best of both English and Dutch maritime traditions but refining these techniques into a very recognizable style all his own. The work featured here is a classic of Birch's later period, when he focused specifically on maritime subjects, mainly the busy waterways of Philadelphia Harbor. Here we see one of those scenes- a series of ships plying their trade, all framed by the city as it sits across the Delaware River, with the tall, white spire of what is either Independence Hall or Christ Church to the left of the main vessel. The details of the city are particularly good in this painting, with the wharf building to the left and the long line of buildings all along the shore. The American Merchant Bark at the center of this painting is rendered in excellent detail, from her house flag and pennant, to her rigging and sails, and down to her deck filled with the activity of crewmembers readying the ship to head out, her gilt billet...

GOVERT VAN EMMERIK (1808-1882) View on the Governor’s Palace in Paramaribo, Surinam Signed and dated 1856 Oil on canvas, 70 x 90 cm In large gilt...

'Agay, le château et le Sémaphore'. Oil on canvas. +/- 1922 Signed lower right Measurements : 60 x 73 cm. This painting will be recorded in the second volume of the Catalogue Raisonn...