Jasper Francis Cropsey Art

Hudson River School, Mountain Landscape, Oil on Canvas, late 19th century, signed "A.E. Willey" lower right, giltwood frame. Image: 12.25" H x 18.25" W; frame: 16" H x 22" W. Proven...

Serene early 20th century landscape of a winding creek in verdant country side with a distant farmhouse in the background, by an unknown artist (American, 20th Century), c. 1920. Pre...

Gorgeous tonalist oil painting woman walking in field by pond with home in background by Willis Seaver Adams (American, 1844-1921), circa 1880. Trees and an amazing sky in the background add depth and interest to this beautiful piece. Signed "W. S. Adams" lower right corner. Condition: Previous restoration includes relining of canvas. Frame is vintage gilt molded and wood frame and shows previous repair of molding losses. Image size: 20"H x 24"W. Auctions records for the artist exceed $6,000. Willis Seaver Adams was known for his landscapes of the Connecticut River Valley. A relative recluse for much of his artistic life, his loneliness can be seen in much of his works. Oil miniatures were the focus for almost all of his later works. He is credited with over 425 oils, watercolors, and drawings. Willis Seaver was born in 1844 on a farm in Suffield, near the Connecticut River. He intermittently attended the Suffield Academy, and always wanted to be a painter. A wealthy doctor became his patron, and financed his studies in 1868 at the Royal Academy in Antwerp. When the doctor passed away, Adams returned home and struggled to make a living painting. After working for a photographer for three years, he opened his own studio. Adams helped organize Cleveland's first watercolor exhibit in 1876. Soon thereafter, he completed a portrait of Rutherford B. Hayes, then governor of Ohio, prior to his becoming President of the United States. This portrait enhanced Adams notoriety. In 1878, Adams traveled to Italy where he opened a studio in Venice, and became friendly with neighbor James Whistler. Prior to returning to Springfield, Adams lived in Florence, Italy for three years. He returned to became an instructor for the Springfield Art Association, and began to exhibit his works at the galleries of James D. Gill. His first one-man exhibit was held there in 1894. Other successful exhibitions took place in Chicago, New York, and Boston. Although his works garnered respectable prices and reflected his success, Adams felt he was due more recognition. In 1906, he moved to Greenfield, Massachusetts and converted a barn into a studio. There, he fell into relative obscurity, accompanied mainly by his dog, Collie. In 1921, Adams passed away. Examples of Willis Adams works can be seen at the Kent Memorial Library, the Wadsworth Atheneum, and the Suffield Academy. Several Suffield residents are thought to own Adams paintings.

“Quebec City, 1853” by Edmund C. Coates (American, 1816-1871). A luminous 19th-century view of Quebec City by the American painter Edmund C. Coates, known for his detailed Hudson Ri...

A charming 19th–early 20th century oil on canvas capturing a tranquil mountain landscape. Executed in a loose, impressionistic hand, the work depicts rolling hills in warm earthy ton...

Antique American Hudson River School coastal seascape. Most likely a view of Maine. Oil on board. Image size, 8 by 12 inches.

This finely executed 19th century oil painting exemplifies the pastoral grandeur and romantic vision associated with the Hudson River School. While the painting is unsigned, it was c...

Antique impressionist painting of a coastal seascape. Oil on canvas, circa 1900. Signed illegibly. Framed. Image size, 18L x 12H.

Nicely framed 19th century forest interior landscape painting. Oil on canvas. Ready to hang. Image size, 13"L by 17"H inches painting alone.

Antique American realist cow farm landscape oil painting. Oil on canvas. Framed. Measuring: 29 by 41 inches overall, and 24 by 36 painting alone.. In excellent original condition. ...

Antique Quintessential American Hudson River School landscape by an unknown Hudson River School artist. This painting features its original period gold frame, and a charming scene o...

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...