John William Haynes Museum Large Painting, 1867

Eugene Galien Laloue (French, 1854-1941) Large oils on canvas landscape painting of the outskirts of Paris on the Seine River with figures and ...

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...

Maximilien Luce (Fr. 1858 - 1941) Farm Scene Painting Maximilien Luce incorporates ink, crayon, and watercolor to create a large impressionistic and multifaceted social statement of the times. A French 19th century story unfolds of a family working, learning and playing together. It makes you wonder if they are storing the hay for winter or what other animals they possess and what they will trade if they have excess hay. Luce was a master of viewing human interactions and placing his interpretations on paper and canvas. This painting is very large and detailed signifying that it was not a sketch or study; but a important piece of Luce’s repertoire. I would like to personally thank Denise Bazetoux for authenticating this painting. Mixed media on paper. Village Farm Scene. Signed: “Luce” LL Hammer Galleries stamp verso. From a New York, NY collection. Dimensions: 21" high x 29.25" wide Framed: 31” X 38” Inches Condition: Very Good to Excellent. Framed behind glass, not examined out of frame. Minor toning at margins. Frame with wear commensurate of age and use. 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 return policy if the items are not as described. Maximilien Luce (13 March 1858 – 6 February 1941) was a prolific French Neo-impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and finally returning to Impressionism. Maximilien-Jules-Constant Luce was born on 13 March 1858 in Paris. His parents, of modest means, were Charles-Désiré Luce (1823–1888), a railway clerk, and Louise-Joséphine Dunas (1822–1878). The family lived in the Montparnasse, a working-class district of Paris. Luce attended school at l'Ecole communale, beginning in 1864. In 1872, the fourteen-year-old Luce became an apprentice with wood-engraver Henri-Théophile Hildebrand (1824–1897). During his three-year xylography apprenticeship, he also took night classes in drawing from instructors Truffet and Jules-Ernest Paris (1827–1895). During this period, Luce started painting in oils. He moved with his family to the southern Paris suburb of Montrouge. His art education continued as he attended drawing classes taught by Diogène Maillard (1840–1926) at the Gobelins tapestry factory. Luce began working in the studio of Eugène Froment (1844–1900) in 1876, producing woodcut prints for various publications, including L'Illustration and London's The Graphic. He took additional art courses, at l'Académie Suisse, and also in the studio of portrait painter Carolus-Duran (1837–1917). Through Froment's studio, Luce became friends with Léo Gausson...

Eugene Boudin (French 1824-1898) Scene de plage. Berck Circa 1870 Fishermen and boats on the shore. Inscribed 'Berck' LL. with the Trustee's stamp “E.B” LR Medium: pen, ink and watercolour Measures: Sight: (15cm x 29cm (6in x 11.5in)) Not examined out of frame. Framed: 13 x 18 inches Eugène Louis Boudin...

Maximilin Luce (French, 1858-1941) A rather large oil painting by the master impressionist painter depicting the lime stone quarries in Mercourt outside of Paris circa 1920. Luce’s lighting effects with his mastery of pointillism and cubism show the movement and toil of French working men during the Art Deco era. The working class men in Paris know about Mericourt; the largest limestone quarry in France. After WWI, men were rebuilding France to its old glory stone by stone. This painting shows the back breaking work under blue skys where men fixes the rails as they worked to keep production going. The nearby rivers were the highways of the times and were used to transport the stone and lime to distribution hubs along the way. A truly moving and historic painting with a mix of many techniques and styles including impressionism, pointillism the aesthetic movement all in an Art Nouveau - Art Deco Style. A remarkable painting by any standard. Méricourt, les carrières (Paysage à Méricourt), circa 1925 Oil on board: 16.25 x 31.25 inches (41.3 x 79.4 cm) Framed: 24 X 39.25 Inches Signed lower right: Luce Inscribed on the reverse: 5269 and no. 23 Provenance: Sale: Lombrail, Enghien-les-Bains, April 17, 1983, lot 64; Galerie Leymarie, Paris; Mr. Berman Swarttz, Los Angeles, California, Daughter Marcella Swarttz, Beverly Hills, California Literature: D. Bazetoux, Maximilien Luce: catalogue de l'oeuvre peint, tome II, Paris, 1986, p. 517, no. 2208, illustrated. This lot is accompanied by a photo-certificate of authenticity signed and dated October 24, 1985 by Denice Bazetoux. Madame Bazetoux has kindly confirmed that this painting is the same as no. 2208 in her catalogue raisonné, Condition: Just received a thorough cleaning which revealed a fresh pallet of vibrant colors. Black light shows no in-paint. Few minor frays around board. Image presents beautifully. Possible original frame with age related issues and old repairs (presents well). 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 return policy if the items are not as described. Maximilien-Jules-Constant Luce was born on 13 March 1858 in Paris. His parents, of modest means, were Charles-Désiré Luce (1823–1888), a railway clerk, and Louise-Joséphine Dunas (1822–1878). The family lived in the Montparnasse, a working-class district of Paris. Luce attended school at l'Ecole communale, beginning in 1864. In 1872, the fourteen-year-old Luce became an apprentice with wood-engraver Henri-Théophile Hildebrand (1824–1897). During his three-year xylography apprenticeship, he also took night classes in drawing from instructors Truffet and Jules-Ernest Paris (1827–1895). During this period, Luce started painting in oils. He moved with his family to the southern Paris suburb of Montrouge. His art education continued as he attended drawing classes taught by Diogène Maillard (1840–1926) at the Gobelins tapestry factory. Luce began working in the studio...

A Spectacular and Striking Simone Lienard (Belgium, 1912-1988), circa 1950 oil on canvas painting of ducks on the kitchen table with wine, mushrooms, apples, pottery jugs and a wine ...

Exceptional 19th century landscape painting by Important American artist William Keith. Titled "Harvest". Barbizon School oil on canvas painting featuring figures at harvest with car...

A stunning, large abstract oil painting by renowned British artist John Mackay. This is signed by the artist and dates 1996. This is beautifully exec...

Oscar Miller Rhode Island, 1867-1921 Interior scene of a woman knitting and a child playing. Signed lower right "Oscar Miller". Dimensions Oil on canvas laid down on board, ...

William Perehudoff (Canadian 1918-2013) Medium: Acrylic on canvas Dated: 1979 Size: 32" x 31.5". Biography: WILLIAM PEREHUDOFF was born in 1918 in Langham, Saskatchewan and ...

Oil on gesso canvas by Louis Francois Cabanes (1867-1947) depicts a massive wall of a vaulted palace room decorated with painted ceiling with huge figurative bronze and marble sculpt...

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...