Large Preben Fjederholt Painting Park landscape

Preben Fjederholt 1955 - 2000. 2 Paintings, untitled. Formerly private Danish collection. Top painting signed: Preben Fjederholt April 2000. Dimen...

Preben Fjederholt 1955 - 2000. San Cataldo Italy. Oil on canvas, without frame: 36 x 41. Provenance: Decedent's estate. The work is one of several in the artist's studio at the time of his sudden death on 3 July 2000. Measurement (cm) With frame H: 38 x 43 x 3 without frame: 36 x 41. Danish painter, from 1974 educated at the art academies in Odense, Aarhus and Copenhagen. Preben Fjederholt, who made his debut at Kunstnernes (The Artist's) Fall exhibition 1980, is an exponent of a neo-romantic and neo-symbolist depiction of reality in his atmospheric and colouristically muted paintings.

Søren Hagen (Danish) b. 1957 Prairie landscape, Arizona. Acrylic on canvas. Black wooden frame. Signed Hagen 05 . Without frame: 60 x 60 cm.

Preben Fjerderholt (Danish, 1955-2000) “Self-portrait in half figure”. Oil on canvas, 120×78 cm. Unsigned, unframed, c. 1980. Literature: Lisbeth Bonde "Følelsen er alt. Preben Fjed...

Large Signed Southwestern Desert Landscape Painting on board. Signed Jeanine 2003. Vast expansive view of the desert , its rolling clouds and its mountains in the background. Distres...

Large Impasto Landscape Painting on Board. Housed in a white washed wooden frame.

Nice large scale mid-century landscape painting. Nice colors, chunky solid walnut frame. There is some water staining to the matte but it doesn't affect the painting, the balance...

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...