Jim Rodgers Paintings

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...

A very dramatic marine scene with the translucency of the waves captured with incredible skill and vision. Attributed to Miles Edmund Cotman (1810-1858) Shipping in rough seas Oil on board 7 x 10 inches The eldest son of John Sell Cotman...

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...

This very fine quality 19th century oil on canvas in dark brown wood frame with gold leaves details throughout is signed by Joseph Brunner (Vienna 1826-...

Beautiful early 20th century figurative landscape of a woman carrying a basket of wood kindling by a rushing river, high in the Italian hills by Enrique Brocco (Italian, 20th Century...

"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...

Oil study by a lake and mountains during sunset by Edward Rosenberg (1858-1934). This is a an oil study for a larger painting that Rosenberg did. A te...

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...

“Growing” is 40”x30” The impasto surface stages a predominance of bold greens in the shadowy figure. Frank Arnold’s paintings exhibit the highest quality materials for a truly archiv...

A fine small plein air study of three women picking flowers on the meadow next to white cliffs and sea. In the horizon where the sky ends, the contours of mainland is visible as a sh...

This oil painting of mare and two foals is set in an idyllic landscape with mature old tree, stone well and cottage in the background; by Robert Alexander, signed and dated indistinc...

Loch Awe and Kilchurn Castle is a landscape oil painting on board by 19th century artist Edward Train (1801 -1866). Train was a British artist, painting mostly landscapes in northern England and, like this one, in Scotland. The painting is signed E. Train (lower left) and dated 1850 or 1856, the last number being too faint to be certain. From 1850 to 1880 Train flourished as an artist, but his work was exhibited in galleries in northeastern England and Edinburgh from the 1830s. Born in Gateshead, Tyneside, Train left to take an apprenticeship with a London engraver. In the 1830s Train traveled with an expedition to the Hebrides and Shetland Islands. Here he became fascinated with the Scottish scenery that would become part of his repertoire of landscape art. Loch Awe lies in the west of Scotland in Argyll and Bute. Kilchurn Castle, built in the 16th century, lies on a peninsula inside the Loch, on the water's edge. Train would have traveled to the Highlands and painted the dramatic scene from the east banks of Loch Awe, across from the Castle. This painting captures the Highland mountains, loch and castle that was very much the ouevre of this artist's work. Train painted the Highlands decades before other renowned landscape artists of the 19th century, such as Alfred de Breanski, Louis Bosworth Hurt, Douglas and Duncan Cameron...