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"Other Side of Town (Leading to Pigeon Cove), " Anthony Thieme, Rockport Cape Ann
By Anthony Thieme
Located in New York, NY
Anthony Thieme (1888 - 1954)
Other Side of Town (Leading to Pigeon Cove)
Oil on canvas
30 x 36 inches
Signed lower left
Provenance:
David H. Hall Fine Art, Dover, Massachusetts
Vose Galleries, Boston, Massachusetts
Private Collection, New Jersey
Anthony Thieme was born in the Dutch port city of Rotterdam in 1888. He studied at the Academy of Fine Arts in Rotterdam, at the Royal Academy at the Hague, as an apprentice to George Hoecker, a well known stage designer in Düsseldorf, Germany, and to Antonio Mancini, an Italian Impressionist. After completing his studies, Thieme journeyed throughout Europe and South America, working in stage design to support his travels. Thieme first came to the United States in 1917 and initially worked as a set designer and book illustrator first in New York and later in Boston.
By the late 1920s, Thieme had married and moved from Boston to Cape Ann in Rockport, Massachusetts, an emerging art colony. Like the other Rockport artists...
Category
Early 20th Century American Impressionist Landscape Paintings
Materials
Oil, Canvas
"MacMahan's Maine, " Howard Everett Giles, Figurative Landscape, Impressionism
Located in New York, NY
Howard Everett Giles (1876 - 1955)
MacMahan's Maine
Oil on canvas backed with board
30 x 30 inches
Signed lower right
Provenance:
Art Institute of Chicago
Christie's New York, December 8, 2011, Lot 2
Howard Giles spent most of his career in New York City, where he was an educator, magazine illustrator, and painter who espoused the theory of Dynamic Symmetry. He was born in Brooklyn, and as a young man worked in a New York railroad office. Financial support of a family friend allowed him to study at the Art Students League with H. Siddons Mowbray. In early 1910, he became an illustrator for Scribner's Magazine, and in 1912, on sketching assignment for Scribner's went to England. During World War I, he did illustration for Harper's Monthly Magazine, and many of his images were 'roaring twenties' genre and figure paintings.
In 1912, he began teaching life classes at the New York School of Fine and Applied Arts (later Parsons School of Design), and remained there until the late 1920s. During that time, he was also a part-time instructor at the Childs-Walker School in Boston, and accepted numerous invitations to lecture including at Carnegie Institute in Pittsburgh, Pennsylvania Academy of the Fine Arts, Detroit Institute of Arts and Wellesley College.
His initial painting style was Impressionism, but he grew increasingly interested in other scientific, aesthetic theories. He worked with Jay Hambridge from 1916 to 1919, applying Hambridge's theory of Dynamic Symmetry to his painting and his lecture topics. From 1922 to 1926, Giles also worked with and was influenced in his own painting by colorist theorist Denman Ross, who espoused a limited and related color palette. For many of his paintings, Giles used watercolor although he also painted in oil and pastels.
During the last years before his retirement when he moved to Woodstock...
Category
Early 20th Century American Impressionist Landscape Paintings
Materials
Panel, Oil
"La Marre de Soire, " George Leonard, American Impressionist, Beach Seascape
Located in New York, NY
George Henry Leonard, Jr. (1869 - 1928)
La Marre de Soire
Oil on canvas
15 x 21 3/4 inches
Signed lower right
A landscape painter--primarily using a late impressionist loose stroke as his main mode of expression--Leonard drew not only upon French influences, but also the American school of impressionism characterized by Frank Boggs...
Category
1910s American Impressionist Landscape Paintings
Materials
Oil, Canvas
"Portland Harbor, Maine, " Alexander Bower, Snowy River Scene in Winter
By Alexander Bower
Located in New York, NY
Alexander Bower (1875 - 1952)
Portland Harbor, Maine, 1910
Oil on canvas
27 x 33 inches
Signed and dated lower right
An American Impressionist, Alexande Bower was born in New York, studied at The Pennsylvania Academy of Fine Art, and was living with his wife in Cliff Island, Maine by 1914. Despite his urban upbringing, the coast and the sea fascinated Bower. A large portion of his paintings are seascapes, particularly scenes depicting the coast of Cape Elizabeth...
Category
1910s Ashcan School Landscape Paintings
Materials
Oil, Canvas
"Meadow Landscape in Summer, " Harold Dunbar, Factory Scene, Impressionism
By Harold Dunbar
Located in New York, NY
Harold C. Dunbar (1882 - 1953)
Meadow Landscape in Summer, 1929
Oil on canvas
17 1/2 x 21 inches
Signed and dated lower left
Harold C. Dunbar — painter, teacher, writer, and illustrator — was born in Brockton, MA on December 8, 1882. He resided in Chatham, MA and died in 1953. His work includes portraits, landscapes, street scenes, still lifes, harbors and coastal scenes.
Dunbar studied with Ernest Lee Major (1864-1950) and Joseph De Camp...
Category
1920s American Impressionist Landscape Paintings
Materials
Oil, Canvas
"Winter Scene, " George Gardner Symons, Snowy Hill Landscape, Pennsylvania
By George Gardner Symons
Located in New York, NY
George Gardner Symons (1863 - 1930)
Winter Scene
Oil on canvas
20 x 25 inches
Signed lower right
Provenance:
Private Collection, St. Louis, Missouri
William A. Karges Fine Art Gallery, Carmel, California
Private Collection, Washington
A landscape and marine artist, George Symons was one of America's more noted plein-air painters who combined styles of impressionism and realism. His works are cited for their energy and simplicity, and he often did panoramic views.
He was born in Chicago, Illinois in 1861, with the name of George Gardner Simon, but he changed his last name to Symons when he returned from study in England because of concern about anti-semitism. Not much is known about his early life. He first studied at the Chicago Art Institute where he became a close, life-long friend of William Wendt.
They painted together in California and then in Cornwall, England in 1898. He also studied in Paris, and Munich and London, and joining a colony of artists at St. Ives, adopted the plein-air techniques of Julius Olsson, Adrian Stokes, and Rudolph Hellwag.
He worked in Chicago as a commercial artist, and about 1903 returned to California with Wendt and built a studio in Laguna Beach and became active in western art societies including the California Art Club. He returned often, but maintained his primary studio...
Category
Early 20th Century American Impressionist Landscape Paintings
Materials
Oil, Canvas
"Beach, Haiti, " Gifford Beal, Sunny Seascape Resort, American Impressionist
By Gifford Beal
Located in New York, NY
Gifford Beal (1879 - 1956)
Beach, Haiti, 1954
Oil on canvas
28 x 36 inches
Signed lower right
Provenance:
Estate of the artist
Kraushaar Gallery, New York
Exhibited:
Youngstown, OH, Butler Institute of American Art, 1955
Lincoln, MA, DeCordova and Dana Museum, 1955
New York, American Academy of Arts and Letters, 1956 and 1960
Fitchburg, MA, Fitchburg Art Museum, 1960
New York, Art Dealers Association of America, 1963
New York, Art Students League, 1975, New York, Kraushaar Galleries, Gifford Beal (1879-1956): Retrospective Exhibition of Paintings, Apr. 29 - May 29, 1975, no. 36
New York, Kraushaar Galleries, Gifford Beal (1879-1956): A Centennial Exhibition, Nov. 6 - Dec. 1, 1979, no. 26
Gifford Beal, painter, etcher, muralist, and teacher, was born in New York City in 1879. The son of landscape painter William Reynolds Beal, Gifford Beal began studying at William Merritt Chase's Shinnecock School of Art (the first established school of plein air painting in America) at the age of thirteen, when he accompanied his older brother, Reynolds, to summer classes. He remained a pupil of Chase's for ten years also studying with him in New York City at the artist's private studio in the Tenth Street Studio Building. Later at his father's behest, he attended Princeton University from 1896 to 1900 while still continuing his lessons with Chase. Upon graduation from Princeton he took classes at the Art Students' League, studying with impressionist landscape painter Henry Ward Ranger and Boston academic painter Frank Vincent DuMond. He ended up as President of the Art Students League for fourteen years, "a distinction unsurpassed by any other artist."
His student days were spent entirely in this country. "Given the opportunity to visit Paris en route to England in 1908, he chose to avoid it" he stated, "I didn't trust myself with the delightful life in ParisIt all sounded so fascinating and easy and loose." His subjects were predominately American, and it has been said stylistically "his art is completely American." Gifford achieved early recognition in the New York Art World.
He became an associate member of the National Academy of Design in 1908 and was elected to full status of academician in 1914. He was known for garden parties, circuses, landscapes, streets, coasts, flowers and marines. This diversity in subject matter created "no typical or characteristic style to his work."
Beal's style was highly influenced by Chase and Childe Hassam, a long time friend of the Beal family who used to travel "about the countryside with Beal in a car sketching...
Category
1920s American Impressionist Landscape Paintings
Materials
Oil, Canvas
"Soir de Novembre, Dordrecht, " Eugene Vail, Dutch Landscape with Boats, Cloudy
By Eugène Lawrence Vail
Located in New York, NY
Eugène Laurent Vail (1857 - 1934)
Soir de Novembre, Dordrecht
Oil on canvas
19 1/4 x 25 3/4 inches
Signed lower left; titled in two places on the stretcher with various other inscriptions, stamped "MADAME G:VAIL A" and inscribed "177" in ink and "#43" in pencil on a partial label from Garde-Meuble Maple affixed to the stretcher
Eugene Vail (Saint-Servan, France September 29, 1857 - Paris, December 28, 1934), the son of a French mother and an American father, Lawrence Eugene Vail, studied at the Stevens Institute of Technology in Hoboken, New Jersey (where Alfred Stieglitz was born in 1864) and graduated with a degree in mechanical engineering in 1877. Then he became a student of William Merritt Chase and J. Carroll Beckwith at the Art Students League before returning to France. He entered the Ecole des Beaux-Arts in 1882 where he was instructed by Alexandre Cabanel, Raphaël Collin, and Dagnan-Bouveret (1852-1929), known as an extreme naturalist. When Bastien-Lepage died in 1884, Dagnan-Bouveret became the leader of the Naturalist School. He definitely made an indelible impression on Vail.
According to Louise Cann, Vail soon became an independent painter working at Pont-Aven and Concarneau. It is difficult to determine when he separated from his teachers since he is listed as a student whenever he exhibited at the Paris Salon — that is, until 1899 when he dropped the mention of élève. A picture of a peasant girl, Seulette was his Salon debut painting in 1883, the same year that he sent two scenes of Brittany to the Pennsylvania Academy of the Fine Arts' exhibition, which documents his stay in that region.
The next year he exhibited in the Salon: Fishing Port, Concarneau, which went to the Luxembourg Museum (it is now in the Musée Municipal of Brest). It has the Naturalist brown and gray palette and tonalist atmosphere but already shows that Vail had direct experience with scenes of life in coastal villages: "So convincing was his familiarity with the French coast that the critic Thiébault-Sisson claimed him as a Frenchman and declared that no American marine painter could touch his skill." (Maureen C. O'Brien, in Blaugrund, 1989, p. 218).
In 1885, Vail exhibited Inner Port at Dieppe and in the following year On the Thames (Private collection), which later won him the Grand Diploma of Honor from an international jury in Berlin in 1891. Widow, the title of Vail's entry in the Salon of 1887 (unlocated), is a striking image of a woman standing on a beach, looking out to the expanse of the ocean where her husband obviously met his end. The innocent child who looks at us may have the same fate in store for him. Then in 1888, Vail completed his masterpiece, Ready, About! a "wall-size" 94 x 125½ inch canvas. The painting won a first-class gold medal in the Salon of 1888, then at the Paris Universal Exposition of 1889, Vail won another gold medal.
The first precedent that comes to mind is Théodore Géricault's colossal Raft of the Medusa of 1819 (Louvre), the celebrated romantic image of castaways about to be rescued after being lost at sea. But while Géricault presents a massive, sculpturesque group of figures struggling on a raft just beyond our designated viewing space, Vail pulls the viewer into the picture, or more exactly, extends the diagonally rocking boat into the spectator's area, vividly anticipating the effects of cinematography. There is no more effective way to engage the spectator's attention and sympathies, and the illusionism is especially effective in this life-size picture.
Vail's vigorous brushwork — a uniform use of rectangular strokes — adds to the motion-filled, dynamic actuality of this image, and the overall green-gray tonalities evoke the constantly menacing, cold and wet travails in the life of the fishermen in the Atlantic's rough waters. Theodore Child (1889, p. 518) wrote about this painting: "very beautiful in color, and amongst the very strongest and best pictures of this kind in the Exhibition."
Dordrecht (unlocated) was Vail's painting exhibited at the Pennsylvania Academy in 1892, and in the following year he showed Fisherman — The North Sea at the Paris Salon, the same year in which he re-exhibited Dordrecht and On the Thames at the World's Columbian Exposition in Chicago. Vail won the coveted Légion d'Honneur in 1894. Some of his paintings found their way to European museums, for example, Soir de novembre (Odessa Museum) and Soir de Bretagne (Museo d'Arte Moderna, Venice). The latter was exhibited at the Exposition Universelle of 1900 in Paris. Also there was Voix de la mer (Voices of the Sea), which we identify as the painting that appears in an interior view of the American section, just to the right of a doorway (fig. 20 in Fischer, 1999), a simple marine painting.
Some time after 1900, Vail turned to both impressionism and post-impressionism but no one seems to have charted this course. His Autumn near Beauvais, illustrated in International Studio (1902, p. 211), The Flags, St. Mark's Venice (1903; National Gallery of Art), and Grand Canal, Venice, ca. 1904 (Museum of Art, Rhode Island School of Design) demonstrate an impressionist technique with broken color. Mandel (1977, p. 202) wrote on the latter: "applied in short strokes juxtaposing brilliant hues of orange, blue, white, black and red, with a strong interplay between the warm pink tones of the walls and the green shadows of the black boats which are silhouetted against them." Cann (1937) believed that in Venice, Vail "found his true self." The Flags forecasts the Armistice Day pictures by Hassam and others, painted fifteen years later.
Vail became involved in the Society of American Artists in Paris and the Société Internationale de Peinture et de Sculpture, whose membership included Frank Brangwyn, Charles Cottet (1863-1924), the famous Naturalist sculptor Constantin Meunier (1831-1905), Frits Thaulow...
Category
Early 20th Century American Impressionist Landscape Paintings
Materials
Oil, Canvas
"Parisian Nocturne, France, " Frank Edwin Scott, American Impressionism
By Frank Edwin Scott
Located in New York, NY
Edwin Frank Scott (1863 - 1929)
Parisian Noctune, France
Oil on woof panel
8 1/4 x 10 1/2 inches
Signed lower left
Born in Buffalo, New York, Edwin Frank ...
Category
Late 19th Century American Impressionist Landscape Paintings
Materials
Wood Panel, Oil
"View of New York Harbor, Staten Island Ferry, " Gustave Wolff, Impressionism
By Gustave Wolff
Located in New York, NY
Gustav (Gustave) Wolff (1863 - 1935)
View of New York Harbor from the Staten Island Ferry
Oil on canvas
16 x 12 inches
Signed lower right
In the Autumn of 1913, the German Associati...
Category
Early 20th Century American Impressionist Landscape Paintings
Materials
Oil, Canvas
"Maine Coast, Ogunquit, " Ernest Albert, American Impressionism, Seascape
By Ernest Albert
Located in New York, NY
Ernest Albert (1857 - 1946)
Maine Coast, Ogunquit, 1937
Oil on canvasboard
18 x 20 inches
Signed and dated lower right; titled on a label on the reverse
A distinguished theatrical and scenic designer who also became a landscape painter and muralist, Ernest Albert worked in New York, St. Louis, and Chicago.
He was born in Brooklyn, New York in 1857, and showing early talent, received the Graham Art...
Category
1930s American Impressionist Landscape Paintings
Materials
Board, Oil
"Pont Neuf, Seine, Paris, France" Carle Blenner, American Impressionism
By Carle John Blenner
Located in New York, NY
Carle John Blenner (1862 - 1952)
Pont Neuf, Seine, Paris, France, 1887
Oil on canvas
15 x 22 inches
Signed and dated lower right; titled lower left
Carle J. Blenner was born in Rich...
Category
1880s American Impressionist Landscape Paintings
Materials
Oil, Canvas
"Grand Manan" Harrison Bird Brown, Maine Landscape, Hudson River School Seascape
By Harrison Bird Brown
Located in New York, NY
Harrison Bird Brown (1831 - 1915)
Grand Manan
Oil on canvas
12 x 20 inches
Signed with initials lower left
Harrison Bird Brown was born in 1831 in Portland, Maine, and is best known for his White Mountain landscapes and marine paintings of Maine's Casco Bay...
Category
Late 19th Century Hudson River School Landscape Paintings
Materials
Canvas, Oil
"Low Tide, " Frederic Grant, Boats at the Dock, Chicago Artist
By Frederick Milton Grant
Located in New York, NY
Frederic Milton Grant (1886 - 1959)
Low Tide, 1916
Oil on canvas
16 1/4 x 18 1/8 inches
Signed and dated lower right
Housed in a Stanford White Newcomb-Macklin frame.
Exhibitied:
Ar...
Category
1910s American Impressionist Landscape Paintings
Materials
Canvas, Oil
"Reflections, " Alexander Bower, Boats on the Water, American Impressionism View
By Alexander Bower
Located in New York, NY
Alexander Bower (1875 - 1952)
Reflections, Motif No. 1, Rockport, Massachusetts
Oil on canvas
22 x 18 inches
Signed lower right; titled on the stretcher
An American Impressionist, Alexande Bower was born in New York, studied at The Pennsylvania Academy of Fine Art, and was living with his wife in Cliff Island, Maine by 1914. Despite his urban upbringing, the coast and the sea fascinated Bower. A large portion of his paintings are seascapes, particularly scenes depicting the coast of Cape Elizabeth...
Category
Early 20th Century American Impressionist Landscape Paintings
Materials
Canvas, Oil
"The Pensive Beauty, " Carl Nordell, American Impressionism, Female Portrait
By Carl Nordell
Located in New York, NY
Carl Nordell (1885 - 1957)
The Pensive Beauty
Oil on canvas
40 x 32 inches
Signed lower left
Nordell was born in Copenhagen on 23 September 1885. In 1892 the Nordell family settled in Westerly, New Jersey, where Carl Johan, one of several children, received his education. Reportedly, a local gambler and art collector, Richard Canfield was so impressed with young Nordell's talent that he assisted him to gain admittance to the Rhode Island School of Design. Carl was a tireless student and serious in his studies of art, literature, and philosophy. Friends nicknamed him "The American Frans Hals," as a result of his study of that Dutch master. After graduating from the school in 1905, Nordell continued his training at the Art Students League in New York City for the following two years. There he received criticism and instruction from George Bridgman (1864-1943), a noted teacher of anatomy, and Frank Vincent DuMond (1865-1951), a landscapist associated with Old Lyme.
The popularity of Impressionism in America at this time had reached its peak, and the style was of paramount influence in Nordell's advanced studies. Around 1906, Nordell visited an exhibition of paintings by the Ten, most of whom were American Impressionists. Moved by the work of Tarbell and Joseph R. De Camp, he sought instruction from them at the School of the Museum of Fine Arts, Boston. Nordell worked diligently under Tarbell and experimented with the genre of women in interiors, or Intimism. In 1909, Nordell received the Paige Traveling Scholarship, which provided for two years of continued study in Europe. He became one of the hundreds of Americans to receive criticism from Jean-Paul Laurens at the Académie Julian in Paris. From this base, he made study trips to visit major museums and galleries in Italy, Holland, Spain and Germany and during this period Nordell's style reached a level of uniqueness, though he definitely remained under the general influence of French Impressionism. By the time of his return to Boston in 1911, Nordell had successfully incorporated the use of broken color, a high-keyed palette, and the practice of working en plein air to achieve an accurate representation of light and atmosphere. In October of that year, the Boston Art Club presented eighty-seven of Nordell's watercolors and oils to the viewing public. Some of the watercolors seem revolutionary in their spontaneity.
Nordell continued his career in Boston at Fenway Studios and exhibited in national competitions, including the annuals of the National Academy of Design, the Art Institute of Chicago; at the 1912 biennial of the Corcoran Gallery he won the fourth Clarke Prize. Nordell's finances were augmented by portrait commissions of some of Boston's affluent citizens. The artist was so intent on recording the sitter's likeness that in this genre, he deviated from his usual impressionist technique. In the women-in-interior genre, he frequently depicted a fully draped woman seated in profile or at an oblique angle to the picture plane. These pensive and attractive young ladies usually gaze into space and become an integral part of the pleasant ambiance of the scene. In this way, Nordell remained within the Genteel Tradition as it was manifest in Boston.
The artist exhibited several such works in the Panama-Pacific International Exposition in San Francisco in 1915, and won a silver medal for his efforts. In 1918, a one-man exhibition of fifty works was presented at the Boston Art Club. Nordell remained active in the Boston area art clubs and societies through the early 1920s. In the winter of 1921 Babcock Art Galleries presented him with yet another one-man show. During this period, Nordell increased the production of prints and won the Salmagundi Club's Shaw Prize for etching in 1923. Sometime after 1927 he began taking summer sketching trips to Chautauqua Lake...
Category
Early 20th Century American Impressionist Figurative Paintings
Materials
Canvas, Oil
"Fisherman of Yankee Cove, " Harry Leith-Ross, Boat Landscape
By Harry Leith-Ross
Located in New York, NY
Harry Leith-Ross (1886 - 1973)
Fisherman of Yankee Cove
Oil on canvasboard
8 1/8 x 10 1/2 inches
Signed lower left; also with artist, title, and number '39' on label verso
Provenance:
Private Collection, Pennsylvania
Landscape painter Harry Leith-Ross was born in Mauritius in 1886, a British possession in the Indian Ocean. He came to America as a seventeen year old. Before beginning, some ten years later in 1914, his studies at the Art Students League Summer School in Woodstock, New York at the relatively late age of twenty-eight, Leith-Ross had worked as a commercial artist. He studied with John F. Carlson and Birge Harrison at the League Summer School, and later with C. Y. Turner at the National Academy of Design in New York City. He then went to Paris, studying with Jean Paul Laurens at the Academie Julien and in England with Stanhope Forbes.
Long associated with the Bucks County artists' colony in New Hope, Pennsylvania, Leith-Ross may have first gone there in 1912. It is definitely known that he visited the area in 1916 at the invitation of a student he had met when both attended the Art Students League Summer School in Woodstock, John Fulton Folinsbee. Birge Harrison, his former instructor at the League, whom he met again, was also there in New Hope during the winters from 1914 to 1916. The third and last generation of the New Hope colony would be comprised of artists like Leith-Ross, Folinsbee and Kenneth R. Nunamaker.
It is somewhat ironic that Leith-Ross, so long affiliated with the New Hope School of American Impressionism...
Category
Mid-20th Century American Impressionist Landscape Paintings
Materials
Board, Oil
"Train Trestle, " Frank DuMond, Old Lyme Connecticut Impressionism Landscape
By Frank Vincent Dumond
Located in New York, NY
Frank Vincent DuMond (1865 - 1951)
Train Trestle
Oil on canvas
24 x 30 inches
Signed lower left; estate stamped on the reverse
Provenance:
Estate of the...
Category
Early 20th Century American Impressionist Landscape Paintings
Materials
Oil, Canvas
"Gulls and Weir, " Philip Little, Coastal Landscape, New England Impressionism
By Philip Little
Located in New York, NY
Philip Little (1857 - 1942)
Gulls and Weir
Oil on canvas
30 x 30 inches
Signed lower right; stamped on the reverse
Provenance:
Estate of William Postar,...
Category
Early 20th Century American Impressionist Landscape Paintings
Materials
Oil, Canvas
"A Quiet Flowing Tide, " Arthur Turner, Coastal Beach Landscape, Impressionism
By Arthur Turner
Located in New York, NY
Arthur W. Turner (1870 - 1950)
A Quiet Flowing Tide, 1899
Oil on canvas
23 1/2 x 35 1/2 inches
Signed and dated "A.W. Turner 1899" lower left, inscribed "Hetw...
Category
1890s American Impressionist Landscape Paintings
Materials
Canvas, Oil
"Road to Provincetown, " Henry MacGinnis, Massachusetts Landscape
By Henry Ryan MacGinnis
Located in New York, NY
Henry Ryan MacGinnis (1875 - 1962)
Road to Provincetown, 1924
Oil on canvas
25 x 30 inches
Signed lower right; titled and dated on the stretcher
Housed in a Stanford White Newcomb-Macklin frame.
Exhibited:
Trenton, New Jersey, School of Industrial Arts Provincetown by Professor MacGinnis, 1924.
Henry Ryan MacGinnis, 1875-1962, was born in Indiana and began his art studies under the eminent Hoosier artists T.C. Steele, J.O. Adams and William Forsyth. One of his earliest exhibitions was in 1896, when he showed his work with other notable Hoosier artists such as T.C. Steele, J. Ottis Adams...
Category
1920s American Impressionist Landscape Paintings
Materials
Oil, Canvas
"Low Tide - Brittany, France, " Henriette Oberteuffer, Coastal Landscape
By Henriette Amiard Oberteuffer
Located in New York, NY
Henriette Amiard Oberteuffer (1878 - 1962)
Low Tide - Brittany, France
Oil on canvasboard
18 x 21 1/2 inches
Signed lower right
Painter, printmaker, and teacher Henriette Amiard Oberteuffer (1878-1962) was born in Le Havre, France and studied at the Academie Julian in Paris with Jean-Paul Laurens and Benjamin Constant. She moved with her husband and fellow artist George Oberteuffer...
Category
Early 20th Century American Impressionist Landscape Paintings
Materials
Oil, Board
"The Coming Storm, " Walter Shirlaw, Flock of Birds in a Landscape
By Walter Shirlaw
Located in New York, NY
Walter Shirlaw (1838 - 1909)
The Coming Storm
Oil on canvas
18 x 26 inches
Signed lower right
Exhibited:
The Boston Art Club.
Walter Shirlaw, born on August 6, 1838, was only three (fourteen according to one obituary) when he came to Hoboken, New Jersey from his place of birth, Paisley, Scotland. As a young man, he found work as a bank note engraver, a profession that he continued in Chicago, where he lived between 1865 and 1870. But already in 1861 he was exhibiting genre paintings at the National Academy of Design. In 1868, Shirlaw was a member of the Chicago Academy of Design, which would become the Art Institute of Chicago, after changing its name from the Chicago Academy of Fine Arts.
Shirlaw spent the years 1870-77 in Munich, at the height of the movement led by Wilhelm Leibl in which a low-keyed, dark palette, combined with bold, virtuoso brushwork, were applied to realist subject matter. Michael Quick (in Quick, Ruhmer, and West, 1978, p. 28) defined the time of Shirlaw's arrival (1870-73) as an especially experimental period in progressive German painting. Shirlaw's teachers, however, sided with tradition. The genre painter Arthur Ramberg (1819-1895) and Wilhelm von Lindenschmidt (1829-1895), his successor at the Munich Academy, taught Shirlaw composition. The painter of genre scenes and landscapes, Alexander von Wagner (1838-1919) was Shirlaw's teacher in painting. T. H. Bartlett (in American Artists and Their Works, 1889, vol. 1, p. 23) mentioned that Shirlaw regarded Leibl as too realistic.
Shirlaw won a scholarship at the Academy in 1874, the year in which he executed Toning the Bell (Art Institute of Chicago). Meanwhile, he was active as one of the "Duveneck Boys" in Polling. Sheep Shearing in the Bavarian Highlands (Private collection), painted under Lindenschmidt's direction in 1876, is regarded as one of Shirlaw's most important pictures. He exhibited it upon his return to America at the National Academy in the following year; in 1878, it won an Honorable Mention in Paris.
In 1877, the second school year of the Art Students League, Lemuel E. Wilmarth announced that he would be returning to teach at the NAD. Frank Waller (1842-1923) took over as president of the ASL, and Shirlaw was hired to teach painting and drawing. The appointment was endorsed by Waller: "In Munich . . . he was regarded as one of the strongest of the American students and had the strong personality which would attract and influence others to have confidence in him, was so genuine in his artistic impulses and in his interest in the development of art in this country. . . ." (quoted by Landgren, 1940, p. 32).
The hiring of Shirlaw and William Merritt Chase seemed to signify a preference of Munich over Paris among the members of the Art Students League, however, while Chase was under Leibl's spell, Shirlaw was strictly academic. During the fourth season at the ASL, Shirlaw taught composition. Thomas Wilmer Dewing...
Category
Late 19th Century Impressionist Landscape Paintings
Materials
Canvas, Oil
"Verdant Landscape with Stream, " Olive Parker Black, Barbizon, Female Artist
By Olive Parker Black
Located in New York, NY
Olive Parker Black (1868 - 1948)
Verdant Landscape with Stream
Oil on canvas
16 x 24 inches
Signed lower left
n accomplished landscape painter, Olive Bl...
Category
Early 20th Century Barbizon School Paintings
Materials
Canvas, Oil
"Stone Wall, Autumn, " George Smillie, Tonalist Fall Landscape View
By George Henry Smillie
Located in New York, NY
George Henry Smillie (1840 - 1921)
Stone Wall, Autumn, 1879
Oil on canvas
9 1/2 x 15 inches
Signed and dated lower right
Provenance:
Skinner, Boston, September 19, 2014, Lot 389
The career of George Smillie (1840-1921) followed the arc of nineteenth-century U.S. landscape painting. Trained in the Hudson River School tradition, Smillie successfully adapted to changing U.S. tastes and growing interest in European trends. In the late 1800s, he moved to tonalist paintings full of brushwork and influenced by French Barbizon painting. By the end of his career, he had lightened his palette to produce works similar to those of the U.S. impressionists. Yet in all styles, he was never less than competent, and his tonalist work is among the best produced in the United States.
Like many nineteenth-century painters, George Smillie’s artistic training began with the study of printing. His father, James Smillie...
Category
1870s Tonalist Landscape Paintings
Materials
Oil, Canvas
"Bassin des Tuilleries and the Louvre, Paris, " Jules Herve, French Impressionism
By Jules René Hervé
Located in New York, NY
Jules Herve (French, 1887 - 1981)
Bassin des Tuilleries and the Louvre, Paris, n.d.
Oil on canvas
18 1/2 x 21 3/4 inches
Signed lower left; signed on the reverse
Provenance:
Dominio...
Category
20th Century Impressionist Landscape Paintings
Materials
Canvas, Oil
"New England Landscape with Barns, " Andrew Nathaniel Wyeth, American Art
Located in New York, NY
Andrew Nathaniel Wyeth (American, b. 1948)
New England Landscape with Barns, 1974
Watercolor and pencil on Bainbridge watercolor board
20 x 30 i...
Category
1970s Landscape Drawings and Watercolors
Materials
Pencil, Board, Watercolor
"Place Jeanne D'Arc, Paris, " Jules Herve, French Impressionism, Cityscape Street
By Jules René Hervé
Located in New York, NY
Jules Herve (French, 1887 - 1981)
Place Jeanne D'Arc, Paris, circa 1930
Oil on canvas
8 3/4 x 10 3/4 inches
Signed lower right; signed on the reverse
Jules Rene Herve, an impression...
Category
1930s Impressionist Landscape Paintings
Materials
Oil, Canvas
"Berkshire Hills, Massachusetts, " Paul Greene, Bright Large New England Scene
Located in New York, NY
Paul Greene (1925 - 2020)
Berkshire Hills Landscape, Massachusetts
Oil on canvas
50 x 97 inches
Signed lower right
Provenance:
Private Collection, Great Barrington...
Category
Late 20th Century Fauvist Landscape Paintings
Materials
Canvas, Oil, Acrylic
"Montmartre Street Scene, Paris, France" Thomas Pradzynski, Architecture
By Thomas Pradzynski
Located in New York, NY
Thomas Pradzynski (1951 - 2007)
Montmartre Street Scene, Paris, France
Oil on canvas
16 x 32 inches
Signed lower right
At the age of 26 Thomas Prad...
Category
Late 20th Century Contemporary Landscape Paintings
Materials
Canvas, Oil
"Industrial Landscape, " WPA Mid-Century Modern Social Realist Watercolor
By Louis Wolchonok
Located in New York, NY
Louis Wolchonok (1898 - 1973)
Industrial Landscape, 1925
Watercolor on paper
22 1/4 x 16 inches
Louis Wolchonok was an author of art books, etcher, painter of townscapes, landscapes, figures, muralist, and graphic artist. Wolchonok was a social realist...
Category
1920s American Modern Landscape Drawings and Watercolors
Materials
Laid Paper, Watercolor
"Cityscape in France, " Franz Priking, Large Vertical Modern French Town Scene
Located in New York, NY
Franz Priking (1927 - 1979)
Cityscape in France, n.d.
Oil on canvas
46 x 32 inches
Signed and dated lower left
Provenance:
Private Collection, New York
...
Category
1950s Modern Landscape Paintings
Materials
Canvas, Oil
"African Elephant Walking, " Spencer Hodge, Safari Wildlife Animals, Realism
Located in New York, NY
Spencer Hodge (British, b. 1943)
African Elephant Walking
Oil on canvas
38 x 50 1/2 inches
Signed lower right
Spencer Hodge attended the Hastings School...
Category
Late 20th Century Realist Animal Paintings
Materials
Canvas, Oil
"New England Landscape, " James Grabowski, View of Connecticut Hills in the Sun
Located in New York, NY
James L. Grabowski (American born 1944)
New England Landscape
Gouache on paper
27 1/2 x 39 1/2
Signed on the reverse
Has a plaque for Arches Paper Award
James Grabowski...
Category
Late 20th Century Contemporary Landscape Drawings and Watercolors
Materials
Gouache, Paper
"Venice Canal, Italy" Claude Venard, French Post-Cubist Mid-Century Modern
By Claude Venard
Located in New York, NY
Claude Venard (French, 1913 - 1999)
Venice Canal, Italy, circa 1950-55
Oil on canvas
24 x 24 inches
Signed lower center
Provenance:
Private Collection, Massachusetts
The authenticity of this work has been confirmed by Galerie Felix Vercel.
Claude Venard was a notable exponent of the French mid-century post-Cubist movement. He was born to bourgeois parents from Burgogne in Paris, on March 21, 1913. At the age of 17, he enrolled and attended the Ecole des Beaux-Arts, but remained for only two days, not adhering to the school's academic style. Instead, he spent the following six years at the École des Arts Appliqués, taking evening classes and embracing the contemporary Parisian art scene, all the while becoming recognized in its circles.
Not able to support himself as an artist, by 1936 he found employment as a restorer at the Louvre, further honing his artistic skills.
Paris of the period was dominated by an art trend that strongly favored abstraction. Following a group show at the Galerie Billet-Worms in 1935, art critic Waldemar George declared: "Let's be young again! Painting is not dead… Its course has not stopped. Forces Nouvelles is born."
Venard contributed and initially adhered to the strict disciplines of the Forces Nouvelle group. But as with many of his fellow members, he soon abandoned it seeking individual expression.
Following WWII, Venard rekindled friendships with past Forces Nouvelles members, joining Pierre Tal-Coat, André Marchand, André Civet...
Category
1950s Cubist Landscape Paintings
Materials
Oil, Canvas
"The Cardozo, Miami Beach, Florida, " Kathleen Piunti, Sunny Street Scene
Located in New York, NY
Kathleen Piunti (1928 - 2016)
The Cardozo, Miami Beach, Florida, 1995
Oil on canvas
32 x 60 inches
Signed lower right
Provenance:
Uptown Gallery, New ...
Category
1990s Photorealist Landscape Paintings
Materials
Canvas, Oil
"Game of Checkers" Jules Herve, French Impressionism, Family Playing in a Garden
By Jules René Hervé
Located in New York, NY
Jules Herve (French, 1887 - 1981)
Game of Checkers, circa 1960
Oil on canvas
10 5/8 x 8 5/8 inches
Signed lower right; signed on the reverse
Jules Rene Herve, an impressionist of ou...
Category
1960s Impressionist Figurative Paintings
Materials
Canvas, Oil
"Virginia City, Nevada, " Joseph Cain, Mining Town, Silver Rush, Comstock Lode
By Jo Cain
Located in New York, NY
Joseph Cain
Virginia City, Nevada
Oil on masonite
21 5/8 x 36 1/2 inches
Signed lower right
A painter, muralist, and art educator, Joseph Cain's work was ...
Category
Mid-20th Century Cubist Landscape Paintings
Materials
Oil, Masonite
"Untitled, " Alan Fenton, Abstract Expressionism, New York School, Color Field
Located in New York, NY
Alan Fenton (1927 - 2000)
Untitled, 1958-1960
Oil on canvas
90 x 84 inches
Fenton's quiet and contemplative nonobjective paintings and drawings were widel...
Category
1950s Abstract Expressionist Abstract Paintings
Materials
Canvas, Oil
"Arab Scouts, " Adolph Schreyer, Middle Eastern Orientalist Scene with Horses
By Adolf Schreyer
Located in New York, NY
Adolph Schreyer (1828 - 1899)
Arab Scouts, n.d.
Oil on canvas
33 3/4 x 56 inches
Signed lower right
Housed in an exceptional period American handcarved frame
Provenance:
Sheridan Art Gallery, Chicago
Private Collection, Chicago
Traffic Club of Chicago
Schreyer expert Dr. Christoph Andreas has kindly confirmed the authenticity of this work.
With the increase in travel by steamship and the political involvement of European powers in North Africa and the Middle East in the nineteenth century, paintings depicting the scenery, daily life, and customs of North African and Middle Eastern people became an object of fascination among European and American audiences. The German artist Christian Adolf Schreyer...
Category
Mid-19th Century Landscape Paintings
Materials
Oil, Canvas