D. Jerome Elwell Connecticut Landscape Painting

An oil on board painting by Australian painter W. Hayward Veal (1913-1968), entitled Nocturne No. 4, depicting a night scene of a park and tree in the foreground with a man walking, ...

A rare, giant original French horse racing poster or mural, lithograph on paper, mounted on linen, in four panels joined to form one large image b...

A miniature 19th century 3.5 inch diameter pocket terrestrial globe by C. Abel-Klinger, Nuremberg, Germany, in English for the English speaking markets. Signed with cartouche reading...

An English Regency neoclassical Egyptian Revival overmantel mirror, ebonized and parcel-gilt, of rectangular form, with pilasters on each sid...

A very functional and attractive 19th century French Louis XV style grey and white painted two-part cabinet, a buffet a deux corps, great as a bar, china or linen cupboard, the remov...

A large, original vintage Swiss exhibition poster by celebrated graphic designer, Herbert Matter, for an exhibition at the Museum of Art & Craft in Zu...

Original oil on board depicting Connecticut shoreline by New England artist Jeffrey Leitz. Signed on lower left. Dimensions framed are below. Unframed dimensions are 14" x 10".

Signed by the artist and dated 1921 in the front lower right corner, this oil on board painting, in all probability, depicts a small Connecticut village by a lake. Ernest Fiene (18...

Attributed to Leon Kroll oil on wood board painting of a Connecticut scene. The small but well done painting is representative of work done by Kroll. The painting depicting a Connect...

This charming pastel scene by the American artist Samuel Reindorf captures a bit of "Americana" summertime in Westport, Connecticut in 1968. Note: Image Dimensions are 11" height ...

John A. Neff Connecticut, 1926-2017 "Good Harbor Beach Gloucester". Medium Watercolor on paper Measures: 8.5" x 10.5" sight. Framed 16.25" x 18".    

Exceptional 19th century landscape painting by Important American artist William Keith. Titled "Harvest". Barbizon School oil on canvas painting featuring figures at harvest with cart and oxen. Amazing luminescent sky. Signed lower left corner "W. Keith '96". Retains original museum quality gilt frame. Canvas measure 30"H 50"W. Accompanied with period correct Stereograph black and white photograph depicting actual painting in a parlor with handwritten pencil title "Parlor, Berkeley, Cal. '97". This is a museum quality work of art. William Keith (1838-1911) William Keith became in the late 19th and early 20th centuries a leading Northern-California landscape artist. In fact, he was so well known that he is referred to as the "Dean of California painters" and "California's Old Master." Born in Aberdeenshire, Scotland, Keith came to New York with his family and, apprenticed to a wood engraver. In 1859, he moved to San Francisco where he worked for an engraver and later set up his own engraving business. Studying with Samuel Marsden Brookes in 1863, he determined to become a painter. He married artist Elizabeth Emerson and did watercolor painting with her guidance. In 1868, he became a full-time painter, and that same year was commissioned to paint scenes along the Columbia River including Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to the East Coast and Europe including Dusseldorf, Germany throughout most of 1870, studying with Albert Flamm. After a visit to Paris, he expressed great admiration for "the modern school of French landscape painting including the Barbizon School. During the winter of 1871-1872, the Keiths lived in Boston where they shared a studio with William Hahn. Keith's work received critical acclaim there and in New York at the National Academy of Design. In 1872, he returned to San Francisco. A friendship with naturalist John Muir exposed Keith to many remote places and in-depth knowledge of nature. During the 1870s, he painted several "epic" eight by ten-foot High Sierra views. He also visited Alaska, and his paintings of Alaska were exhibited upon his return to San Francisco in a show at the Bohemian Club, titled 'Dreams of Alaska'. Keith's Alaska works are significant because they are not close transcriptions of actual scenery, but rather are fantasies inspired by Alaska. They are important as they represent a major break from the documentary tradition in landscape painting of Alaska, as they show an interest in capturing its spirit versus just the topography. In 1891, he shared his studio for several weeks with East Coast Tonalist George Inness, Sr. [1825-1894]. Both men painted in a similar style and were followers of the mystical teachings of Swedenborg. Among the locations where Inness and Keith painted together were Monterey and Yosemite, and it was reported they discussed art from every possible angle. Under Inness' influence, Keith painted more than ever in a Barbizon-influenced vein with many sunset and twilight scenes. Keith’s first wife died in 1882, and in 1883, he married Mary McHenry, the first woman graduate of Hastings Law School. They soon went to Europe, and Keith studied portrait painting in Munich with consultations from J. Frank Currier...