Charles Watson Art

A really charming study of a ewe standing proudly in the foreground of an English rural landscape with a country church off in the distance. Painted in a naive yet very appealing sty...

Incredible signed early American dog portrait painting. Oil on board. Signed. Housed in a period gold giltwood frame.

Hunt Slonem "Manor" Pink Diamond Dust Bunny A single rabbit gestured in pink and white on a matching background in a vintage frame Unframed: 10 x 8 inches Framed: 15 x 13 inches *Pa...

Hunt Slonem "Purple Heart" Bunny A single rabbit gestured in purple on a matching Diamond Dust background with Diamond Dust in a vintage frame. Unframed...

FERJO Intérieur surréaliste Signed Oil on Canvas 51 x 61 cm Ferjo, Brazilian (1946 - ) Ferjo Technical achievements in art not only in painting...

A fine pair of antique Italian oil on panel paintings Nature Morte of two pairs of gamebirds, in the Trompe-l'oeil style, by Michelangelo Meucci (1840-1909), signed & dated Firenze 1...

Hunt Slonem "Pink Moth Day" Purple Butterflies Multicolor butterflies on a purple background in a vintage frame. Unframed: 26 x 21.5 inches Framed: 38.5 x 34.5 inches *Painting is f...

Michele Kortbawi Wilk's "Reign" is a 2024 oil on linen with silver leaf, measuring 12 x 12 inches, that depicts a white horse mid jump with a crown dangling from a string in its mout...

Acrylic on canvas without frame Shipping from Spain

Sally Michel Avery (1902 - 2003) Bucolic Landscape with Cows, 1963 Oil on canvasboard 9 x 12 inches Signed and dated lower left Provenance: The art...

William M. Hart (1823 - 1894) Interior of a Stable Oil on canvas 17 x 12 inches Provenance William Macbeth Gallery, New York Mrs. Mabel Brady Garvan Collection Christie's New York, Sporting Art, November 28, 1995, Lot 116 Ann Carter Stonesifer, Maryland Estate of above Brunk Auctions, Asheville, North Carolina, January 27 2018, Lot 777 Exhibited New York, The Metropolitan Museum of Art, Life in America, April 24 - October 29, 1939, no. 123, illustrated. New York, Macbeth Gallery, 1892: Sixtieth Anniversary Exhibition, April 1952, p. 5, no. 18. Literature Turner Reuter Jr, Animal and Sporting Artists in America, Middleburg, Virginia, 2008, p. 306. Gary Stiles, William Hart: Catalogue Raisonné and Artistic Biography, no. 1126, illustrated. It should be noted that the Francis Patrick Garvan and Mrs. Mabel Brady Garvan collection, of which this painting was a part of, was one of the foremost American Art collections and now makes up a large part of the Smithsonian American Art Museum and the Yale University Art Gallery collections. Born in 1823 in Paisley, Scotland, William Hart emigrated with his parents to the United States at the age of nine and settled in Albany, New York. It was here that Hart first began his artistic training when he was placed under the tutelage of Messrs, Eaton & Gilbert, the prestigious coach-makers from Troy, New York. During this time, Hart learned how to decorate coach panels, covering them with either landscapes or figurative compositions. At the age of seventeen, he was eagerly contemplating an artist’s profession. Consequently, he left the mechanical trade of coach-making and began expanding his artistic pursuits to more refined endeavors. Hart followed coach-making with decorating window shades and later developed an interest in portraiture. Around 1840, he established his first formal studio in his father’s woodshed in Troy. There, he created many likenesses of individuals, affording him a nominal income. Once, he remarked that he felt prouder over his first fee of five dollars for painting a head then for the larger sums he would command later in his career. Nevertheless, his wages from portraits during this early period proved insufficient. Thus, he expanded into landscape painting, allowing him to barter his works or sell them for modest prices. In 1842, Hart moved to Michigan in an attempt to further his success; portraiture remained his primary means of support. Unfortunately, his experiences in the West were disappointing. Hart spent three years living a rough existence until he finally returned to Albany in 1845. Upon his return, he fully devoted himself to the art of landscape painting. Despite his failing health, he worked diligently to perfect his skill until 1849 when he traveled abroad to his native land of Scotland. This trip was made possible through the generosity of his patron and advisor, Dr. Ormsby of Albany. For three years, he studied in the open-air, creating brilliant sketches of the Scottish Highlands and the surrounding British Isles. Returning to Albany once more in 1852, Hart enjoyed improved health and was reinvigorated with purpose. The following year, he moved to New York and opened a studio, promoting himself as a specialist in landscape painting. Hart became a regular contributor to the National Academy of Design. His works received a great deal of attention from artists and connoisseurs alike, all of whom praised him for his fresh, self-taught style. In 1855, he was designated as an associate of the National Academy of Design; three years later he was elected to Academician. In 1865, he was unanimously chosen to be the first president of the Brooklyn Academy of Design. It was during his tenure there that he delivered his famous lecture The Field and Easel, which emphasized the distinguishing principles of landscape art in America. Hart argued that landscape painters should express the “look of the place” being depicted.Critics during the 1870s noted his sensitive balance between capturing a strict “real” interpretation of nature and that of a more “ideal” sentimental tone. For instance, in 1869, Putnam Magazine noted that Hart brought back “exquisite studies” of the surrounding Tappan...

Hunt Slonem "Maxim" Single Black and White Bunny A single rabbit gestured in black on a white background in a vintage frame Unframed: 10 x 8 inches Framed: 13.5 x 11.5 inches *Paint...