Paintings

Large oil painting on a plate with a nicely patined pine frame. Made by Danish Artist Jytte Hansen in 1996. The painting features a rich and complex palette of colors, with deep bl...

A moody and atmospheric portrait signed illegibly and dated 1964 lower right. It is on board in the original frame. Great painting.

William Merritt Chase (American, 1849-1916) Port of Antwerp ca. 1883-4, oil on canvas signed Wm. M. Chase lower left Canvas: 15 X 21 Inches. Museum Framed Dimensions: 22 X 28 Inches Provenance: The Estate of a Manchester-by-the-Sea, Massachusetts Lady. Literature: Pisano, Ronald G., completed by Carolyn K. Lane and D. Frederick Baker. William Merritt Chase: Landscapes in Oil (Vol. 3). New Haven and London: 2009, cat. no. L.41, pp. 25-26. A letter from Dr. Frederick Baker confirming that this work is entry L.41 in the William Merritt Chase catalogue raisonné will accompany this painting. Exhibitions: Essex County Art Association Exhibition, Newark, New Jersey, Spring 1884, no. 76 (as Antwerp) American Art Association Inaugural Exhibition, New York, Nov-Dec. 1884, no. 198 (as Port of Antwerp); Carnegie Institute, Pittsburgh, 1902, lent by Mr. John Caldwell, a trustee of the Institute. Other Notes: Bears Milch Galleries (New York, New York) label; bears Carnegie Institute (Pittsburgh, Pennsylvania) label verso [both as In the Harbor]. This newly rediscovered William Merritt Chase painting Port of Antwerp showcases both the artist’s signature technique and palette. The harbor scene, depicted with unfettered brushwork and subtle inflections of blue and grey tones, also speaks to the artist’s ongoing experimentation with plein-air painting throughout his career. Condition: Lined; with fine stable craquelure. Cleaned and professionally varnished with Dammar. Edited. AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back returns if the items are not as described. Painter and teacher. Chase’s early paintings, executed in dark tonalities, reflected his training in Munich; his later paintings, most notably scenes of Shinnecock, Long Island, were painted with a lightened palette, reflecting the influence of French Impressionism. He had a lengthy teaching career at the Art Students League, the New York School of Art, the Pennsylvania Academy of the Fine Arts, and the summer school he founded on Long Island. Joan Stahl American Artists in Photographic Portraits from the Peter A. Juley & Son Collection (Washington, D.C. and Mineola, New York: National Museum of American Art and Dover Publications, Inc., 1995) William Merritt Chase, son of a shopkeeper, left Indiana at the age of twenty to study at the National Academy of Design in New York. Domestic financial reverses interrupted his studies as his family resettled in St. Louis. Young William’s talent so impressed several businessmen in that city that they proposed to underwrite his further study abroad. In 1872, Chase began attendance at the Royal Academy in Munich, where he remained six years and acquired the flashy old-master style with dark palette and virtuoso brushwork, which characterized that popular academy. A sojourn in Venice with fellow students Frank Duveneck and John Twachtman rounded out his European training. He returned to New York in 1898 to assume a teaching post at the Art Students League, beginning an enormously successful thirty-eight-year career that would include such students as Edward Hopper, Georgia O’Keeffe, Rockwell Kent, and Charles Sheeler. Once settled into Manhattan, Chase rented studio space in the old Tenth Street Studios, previously occupied by painters of the Hudson River school. Brimming with self-confidence and resolved not to be outshone in his accommodations, Chase acquired the vast salon space in which Albert Bierstadt had executed his monumental western landscapes. At great expense, Chase converted the studio into an exotic showplace, which became a social center for the local artistic fraternity; the gesture enhanced his reputation as a genteel Bohemian and also attracted numerous prestigious and remunerative portrait commissions. In 1881 the Belgian painter Alfred Stevens encouraged Chase to abandon the bravura old-master technique he had acquired in Munich and to experiment with a modified impressionist style by lightening his palette and enlivening his picture surface with looser, more painterly brushwork. Chase explored this new direction further by experimenting with pastel and plein air painting. In 1886 he married Alice Gerson, a family friend who had modeled for him, and they produced a large family whose members became favored subjects for his brush. In 1892 he built a summer home at Shinnecock on the south branch of Long Island. There, among the dunes, in the bright sunlight and sea air his painterly impulse was given free sway, and he produced some of his freest and loveliest work. Shinnecock also became one of his most successful and popular teaching venues, and he was encouraged to initiate the Chase School in Manhattan, which was modeled on the Académie Julian in Paris. But Chase lacked the business acumen to make it succeed, and under other management it became the New York School of Art. During these years Chase had developed and continued to employ two different styles of painting: the impressionistic plein air landscapes and genre scenes, and the somber realism of his portraits and still-life works. In his later years his still-life oeuvre was enhanced by an extraordinary series of fish studies...

An intriguing Italian 17th century oil on canvas painting. A skeleton with a cornucopia of gold pieces. Divittarum Jactantia Quid - "What is the boasting of the rich?".

A Belgian framed oil on canvas painting by Charles Van den Eycken (1859 – 1923), depicting two dogs in an interior. Created in Belgium during th...

Impressive modern Golf Portrait, William Laidlaw Purves. Large oil on canvas of Dr. William Laidlaw Purves after the original oil painting by the Hon. John Collier (1850 - 1934), a prominent London artist. The painting is un-framed but is stretched and ready to hang, artist of this particular painting is unknown. The original painting now hangs at Royal St. George's, Sandwich. William Laidlaw Purves, oculist and obsessive golfer, was an Edinburgh born surgeon who worked in London, but remembered by most for his contributions to the golfing world. A very influential man, he was one of the key figures behind the spread of the game of golf in England towards the end of the 19th century. He won many important club trophies, the last being in 1914, aged 71 with a handicap of 3. He died at his home Hardwick Cottage, Wimbledon Common on 30th December 1917, and at the time he was a member of no fewer than 32 golf clubs. As a student Purves had played golf at Bruntsfield Links in Edinburgh and by the time of his London appointment he was a member of both the Honorable Company of Edinburgh Golfers and the Royal and Ancient Golf Club of St Andrews. Upon his move to London in 1874 he joined the London Scottish and Wimbledon Golf Club. The two clubs shortly separated into two separate clubs, The London Scottish Golf Club and the Wimbledon Golf Club, but both continued to play on Wimbledon Common. In 1882 the Wimbledon became the Royal Wimbledon Golf Club and Purves became an active committee member, later being elected Captain. As the two clubs also shared the Common with the public play was restricted, so together with a fellow Scot and keen amateur golfer (Henry Lamb...

Foxhound 31 x 46 cm – without frame 44 x 60 cm – with frame oil on canvas – late 19th century Oil painting on canvas, English, from the late 19th century, depicting a lying Foxhoun...

A painting of a champion Seidenspitz. Standing on an oriental carpet with bouquet of flowers.

Portrait of a girl in oriental-style clothing with a headdress and veil in a scenic setting. In original, gilded wood frame with acanthus leaf and oak leaf garland carving. Manuf...

Oil painting of rabbits on canvas, scene featuring five rabbits under shelter eating and resting.

A late 19th Century hand painted mature portrait in a bone and Bronze frame with velvet backing and bronze twig like stand. An impeccable piece and lovely on the desk or shelf. A w...

Leskov, A Signed l.l. Measures: 8 1/2 x 5 1/4 in. (21.6 x 13.3 cm.); 11 x 8 in. (30 x 20 cm.) including frame. Provenance: From the private collection of Alexander Swarovski...