“Venice Sailbosts”
By William Stanley Haseltine
Located in Southampton, NY
Original watercolor and gouache on archival paper of Venice sailboats by the well known American artist, William Stanley Haseltine. Signed with the artist’s three initials lower rig...
Watercolor, Gouache, Archival Paper
Saint-Malo, Brittany
By William Stanley Haseltine
Located in New York, NY
The career of William Stanley Haseltine spans the entire second half of the nineteenth century. During these years he witnessed the growth and decline of American landscape painting, the new concept of plein-air painting practiced by the Barbizon artists, and the revolutionary techniques of the French Impressionists, all of which had profound effects on the development of painting in the western world. Haseltine remained open to these new developments, selecting aspects of each and assimilating them into his work. What remained constant was his love of nature and his skill at rendering exactly what he saw. His views, at once precise and poetic, are, in effect, portraits of the many places he visited and the landscapes he loved. Haseltine was born in Philadelphia, the son of a prosperous businessman. In 1850, at the age of fifteen, he began his art studies with Paul Weber, a German artist who had settled in Philadelphia two years earlier. From Weber, Haseltine learned about Romanticism and the meticulous draftsmanship that characterized the German School. At the same time, Haseltine enrolled at the University of Pennsylvania, and took sketching trips around the Pennsylvania countryside, exploring areas along the Delaware and Susquehanna rivers. Following his sophomore year, Haseltine transferred to Harvard University. After graduating from Harvard in 1854, Haseltine returned to Philadelphia and resumed his studies with Weber. Although Weber encouraged Haseltine to continue his training in Europe, the elder Haseltine was reluctant to encourage his son to pursue a career as an artist. During the next year, Haseltine took various sketching trips along the Hudson River and produced a number of pictures, some of which were exhibited at the Pennsylvania Academy of the Fine Arts in the spring of 1855. Ultimately, having convinced his father that he should be allowed to study in Europe, Haseltine accompanied Weber to Düsseldorf. The Düsseldorf Academy was, during the 1850s, at the peak of its popularity among American artists. The Academy’s strict course of study emphasized the importance of accurate draftsmanship and a strong sense of professionalism. Landscape painting was the dominant department at the Düsseldorf Academy during this period, and the most famous landscape painter there was Andreas Achenbach, under whom Haseltine studied. Achenbach’s realistic style stressed close observation of form and detail, and reinforced much of what Haseltine had already learned. His Düsseldorf training remained an important influence on him for the rest of his life. At Düsseldorf, Haseltine became friendly with other American artists studying there, especially Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. They were constant companions, and in the spring and summer months took sketching trips together. In the summer of 1856 the group took a tour of the Rhine, Ahr, and Nahe valleys, continuing through the Swiss alps and over the Saint Gotthard Pass into northern Italy. The following summer Haseltine, Whittredge, and the painter John Irving returned to Switzerland and Italy, and this time continued on to Rome. Rome was a fertile ground for artists at mid-century. When Haseltine arrived in the fall of 1857, the American sculptors Harriet Hosmer, Chauncey B. Ives, Joseph Mozier, William Henry Rinehart...
Canvas, Oil
William Stanley Haseltine Oil Painting, Italian Landscape in Original Frame
By William Stanley Haseltine
Located in Milford, NH
A nicely detailed Italian landscape by American artist William Stanley Haseltine (1835-1900). Born in Philadelphia to a family of talented artists, Hasseltine began his studies at th...
Canvas, Oil
Marsh in Massachusetts, Oil on Board, Hudson River School, Circa 1860s
By William Stanley Haseltine
Located in Fredericksburg, VA
William Stanley Haseltine’s Marsh in Massachusetts, painted circa 1860s, is a refined and atmospheric oil on board that captures the quiet poetry of the New England landscape. Measur...
Oil, Board
$6,500
H 22 in W 30 in
"Summer Pier Fishing" American Scene Social Realism WPA Mid-20th Century Modern
By Syd Browne
Located in New York, NY
"Summer Pier Fishing" American Scene Social Realism WPA Mid-20th Century Modern Syd J. Browne (1907-1991) "Summer Pier Fishing" 22 x 30 inches Oil on canvas. c. 1930s Signed lower r...
Canvas, Oil
1920s Century Country Creek Landscape
Located in Soquel, CA
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...
Canvas, Oil
19th Century White Mountain Landscape, Unknown American School
Located in New York, NY
Unknown White Mountain Artist White Mountain Landscape, 19th Century Oil on board 5 x 9 1/4 in. Framed: 7 3/4 x 11 3/4 in.
Oil, Board
$1,380Sale Price|40% Off
H 19.25 in W 27.5 in D 1 in
Rare 19th Century Watercolor and Platinotype -- Coming Home
By Edward Lamson Henry
Located in Soquel, CA
Rare 19th Century Watercolor and Platinotype -- Coming Home Wonderful and rare 19th Century watercolor and platinotype (Watercolor over Platinum photograph) attributed to Edward Lamson Henry...
Watercolor, Paper, Platinum
Storm Gust
Located in Greenwich, CT
North Carolina native Jack Saylor received his degree in Art from Barton College in Wilson, North Carolina. Upon graduating he moved to Spain, then Italy w...
Canvas, Oil
$1,957
H 17.5 in W 24.5 in D 2.5 in
Painting of Mountain Path by Lake in Ireland by 20th Century Irish Artist
By Robert B Higgins
Located in Preston, GB
Painting of Mountain Path by Lake in Ireland by 20th Century Irish Artist Art measures 16 x 9 inches Frame measures 24.5 x 17.5 inches A beautifully atmospheric mid 20th century Ir...
Oil, Board, Canvas, Wood
$4,500
H 14.5 in W 17.5 in D 0.75 in
Charles Partridge Adams Sunset Front Range Colorado Watercolor Landscape
By Charles Partridge Adams
Located in Denver, CO
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...
Watercolor
$391
H 11.7 in W 8.27 in D 0.04 in
Original Drawing-Sunset Song-Drawing Time Series-British landscape-plein air-ink
By Shizico Yi
Located in London, GB
This original Ink/Charcoal/gouache drawing was created by Shizico at the transitional sunset light in early spring. Like a modern-day Monet, Shizico has built her own garden over the...
Charcoal, Ink, Gouache, Archival Paper
$9,500
H 9.5 in W 7 in
Dusk Forest Scene, Catskills by Lockwood DeForest (American, 1850-1932)
By Lockwood DeForest
Located in New York, NY
"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, Board
$12,000
H 21.25 in W 28.5 in
"Harbour of Rio de Janeiro, Brazil, " Julius Montalant, Maritime Port Trade
Located in New York, NY
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...
Canvas, Oil
$26,000
H 20 in W 22 in D 2 in
Landscape American Hungarian European Modernism 1938 Realism Long Island WPA era
By Stephen Csoka
Located in New York, NY
Landscape American Hungarian European Modernism 1938 Realism Long Island WPA era. The canvas measures 18” x 20". The artist signed the stretcher as well as the canvas. The scene depicts a spots in New York where Queens borders with Nassau county, Rosedale, which abuts the Five Towns. The border runs through Hook Creek, another painting we are currently offering. Stephen (Istvan) Csoka was born in Gárdony, Hungary on January 2, 1897 and died in New York in 1989. He is best remembered as a painter and etcher of portraits, nudes, landscapes, genre, and horses. Csoka studied at the Budapest Royal Academy of Art and his memberships include Associate of the National Academy of Design in New York City; the Society of American Etchers in Brooklyn, NY; the Society of Brooklyn Artists; and the Hungarian Etchers Association. Csoka's exhibitions and awards include a medal at the Barcelona International Exhibition in 1929; a prize at the City of Budapest Exhibit in 1930; prizes at the Society of American Etchers in 1942 and 1945; prizes at the Library of Congress in 1944 and 1946; a prize at the Society of Brooklyn Artists in 1944; a prize at the Philadelphia Watercolor Club in 1945; the Corcoran Gallery of Art in 1945; the Carnegie Institute in 1943, 1944, and 1945; the Art Institute of Chicago in 1944; the Los Angeles Museum of Art in 1945; the National Academy of Design from 1940 through 1945; one-artist shows at the Contemporary Artists in 1940, 1943, and 1945; and the Minneapolis State Fair in 1943. *Stephen continued to recieve awards and exhibit his work throughout his life. In 1997, Hofstra Museum sponsored a Retrospective/Centennial exhibition in honor of his birth. Collections representing Csoka's work are the Metropolitan Museum of Art, New York, NY; the Brooklyn Museum, Brooklyn, NY; the Museum of Fine Arts, Boston, MA; the British Museum, London, England; the Bezalel National Museum, Jerusalem, Israel; the Butler Institute of American Art, Youngstown, Ohio; Whistler House Museum of Art, Lowell, MA; the Cleveland Museum of Art, Cleveland, OH; Columbus Museum of Art, Columbus, OH; the Sheldon Swope Art Museum, Terre Haute, IN; the Mobile Museum of Art, Mobile, AL; the Frederick R. Weisman Art Museum, Minneapolis, MN; the Museum of New Mexico, Santa Fe, NM; the Budapest Museum of Fine Arts, Budapest, Hungary; Hungarian National Gallery, Budapest, Hungary, the Museum of the City of Budapest, Budapest, Hungary; the Library of Congress, Washington, DC; Carnegie Museums of Pittsburgh, Pittsburgh, PA; the Chrysler Museum of Art, Norfolk, VA; Georgia Museum of Art, Athens, GA; Hofstra Museum, Hofstra University, Hempstead, NY; Holocaust Museum, Glen Cove, NY; National Academy of Art, New York, NY; New Orleans Museum of Art, New Orleans, LA; New York Historical Society, New York, NY;New York Public Library, New York, NY; National Gallery of Art, Washington, DC; Peabody Museum, Cambridge, MA; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Reading Public Museum, Reading, PA; Livingston Arts Center, Mount Morris, NY; Ball State Teachers College, Muncie, IN; City College, New York, NY; Fashion Institute of Technology, New York, NY; Hungarian Consulate, New York, NY; Hungarian Heritage, New Brunswick, NJ; Hunter College, New York, NY; IBM Collections; Princeton Print Club...
Canvas, Oil
Folk Art American Hudson River School Landscape Figures Homes Rare 19th Century
Located in Buffalo, NY
A 19th century American landscape depicting a quiet coastal or lakeside scene at dusk, where a small cluster of houses rests along the water’s edge beneath a softly glowing sky. A n...
Oil, Board
Fishing Boats, Venice
By William Stanley Haseltine
Located in New York, NY
Fishing Boats, Venice recalls a time, a place, and a social circle that lived for a charmed moment and a favored few in nineteenth-century Europe. William Stanley Haseltine was an American expatriate artist who made his home and studio “into a permanent meeting ground for the many distinguished foreigners, Americans and English, who came to Rome. . . .” (Helen Haseltine Plowden, William Stanley Haseltine, Sea and Landscape Painter (1835-1900): Notes and Recollections From His Life [1947], p. 97). Among these were Louisa Crawford Ward (daughter of New York banker and art patron Samuel Ward, sister of Julia Ward Howe, and widow of American sculptor Thomas Crawford); Henry Wadsworth Longfellow; Frederick Crowninshield (Boston Brahmin poet and painter); artist Edward Darley Boit; lawyer Joseph Choate; historian George Bancroft; writer Charles Francis Adams; and financier Junius Spencer Morgan, father of John Pierrepont Morgan, the original owner of this work. From 1874 until the artist's death, the family lived in the Palazzo Altieri, a sixteenth-century residence built by Cardinal Gian Battista Altieri Seniore and his uncle Pope Clement X. The Haseltines gathered together under their splendid and commodious roof an international literary, cultural, and artistic salon with a distinctly American accent. The career of William Stanley Haseltine spans the entire second half of the nineteenth century. During these years he witnessed the growth and decline of American landscape painting, the new concept of plein-air painting practiced by the Barbizon artists, and the revolutionary techniques of the French Impressionists, all of which had profound effects on the development of painting in the western world. Haseltine remained open to these new developments, selecting aspects of each and assimilating them into his work. What remained constant was his love of nature and his skill at rendering exactly what he saw. His views, at once precise and poetic, are, in effect, portraits of the many places he visited and the landscapes he loved. Haseltine was born in Philadelphia, the son of a prosperous businessman. In 1850, at the age of fifteen, he began studying with Paul Weber, a German artist who had settled in Philadelphia two years earlier. From Weber, Haseltine learned about Romanticism and the meticulous draftsmanship that characterized the German School. At the same time, Haseltine enrolled at the University of Pennsylvania, and took sketching trips around the Pennsylvania countryside, exploring areas along the Delaware and Susquehanna rivers. Following his sophomore year, Haseltine transferred to Harvard University. After graduating from Harvard in 1854, Haseltine returned to Philadelphia and resumed his studies with Weber. Although Weber encouraged Haseltine to continue his training in Europe, the elder Haseltine was reluctant to encourage his son to pursue a career as an artist. During the next year, Haseltine took various sketching trips along the Hudson River and produced a number of pictures, some of which were exhibited at the Pennsylvania Academy of the Fine Arts in the spring of 1855. Ultimately, having convinced his father that he should be allowed to study in Europe, Haseltine accompanied Weber to Düsseldorf. The Düsseldorf Academy was, during the 1850s, at the peak of its popularity among American artists. The Academy’s strict course of study emphasized the importance of accurate draftsmanship and a strong sense of professionalism. Landscape painting was the dominant department at the Düsseldorf Academy during this period, and the most famous landscape painter there was Andreas Achenbach, under whom Haseltine studied. Achenbach’s realistic style stressed close observation of form and detail, and reinforced much of what Haseltine had already learned. His Düsseldorf training remained an important influence on him for the rest of his life. At Düsseldorf, Haseltine became friendly with other American artists studying there, especially Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. They were constant companions, and in the spring and summer months took sketching trips together. In the summer of 1856 the group took a tour of the Rhine, Ahr, and Nahe valleys, continuing through the Swiss alps and over the Saint Gotthard Pass into northern Italy. The following summer Haseltine, Whittredge, and the painter John Irving returned to Switzerland and Italy, and this time continued on to Rome. Rome was a fertile ground for artists at mid-century. Virtually every major artist went there at some point, and some set up permanent homes and studios. When Haseltine arrived in the fall of 1857, the American sculptors Harriet Hosmer, Chauncey B. Ives, Joseph Mozier, William Henry Rinehart...
Watercolor