New Hampshire - Paintings

A fine artist studio or gallery framed sign on paper attributed to American artist Theresa Bernstein (1891-2002). Bernstein was born in Philadelphia, PA, studied at the Philadelphia School of Design for Women (now Moore College of Art) and the Penn. Academy of F.A. with Daniel Garber, Henry B. Snell and Eliot Dangerfield before moving with her parents to New York City (1911) to study with William Merritt Chase at the Art Students League. She became well known for her genre, figure, portrait, and landscape paintings. She was a member of the National Association of Women Artists; North Shore Art Association (last surviving Charter member); Society of American Etchers; Audubon Artists of America; Allied Artists of America; Plastic Club, Philadelphia; Rockport Art Association; Connecticut Academy of Fine Art; Ten Philadelphia Painters; Society of Independent Artists; Whitney Studio Club; Cape Cod Society of Artists. She is said to have had over fifty solo shows during her career. She has also been called the oldest living artist in America, purportedly living to be 112 years old. This hand painted studio or gallery sign...

This is a square 40" by 40" oil painting. It features a background of irregular brick like images ranging in color from Naples yellow to yellow ochre with brown, magenta and green o...

This is a square 40" by 40" oil painting. The background is a pale blue and yellow surface that evokes the sun and sky from an underwater perspective. The foreground is a series of...

A colorful pair of floral still life paintings, one featuring pink roses & lilacs, and one featuring yellow roses and lilacs, by French artist Raoul Maucherat De Longpre...

Acrylic on canvas board Forever he rules the land with regal regard as his roar sings. The pride of a Lion as he thunders announcing he is the king. His mane of gold and eye...

This series of work is principally associated with the Birch trees and landscape of New England through the poem Birches, by Robert Frost. He was a beloved New Hampshire poet of tr...

"Figure with Rose of Sharon" was built in many layers, beginning with a background whose aim was to transmit what it felt like to stand under the Rose of Sharon tree by my house when...

This painting is visiting the Rochester Museum of Fine Arts, in NH. I can retrieve it, if wanted. It is unbelievable. This painting depicts how the light fallings on landscape turnin...

Cat Skeleton, Original Signed Contemporary Black and Pink Painting 12" x 9" x 0.75" (HxWxD) Acrylic on Canvas Hand-signed and dated by the artist. Finished with a gloss varnish. A black background allows the subject matter of this acrylic painting by artist Lindsay Hall, a cat skeleton, to stand out in stark contrast. An item in a cabinet of curiosities, this memento mori work serves as a pausing point to sit and reflect on the fleeting nature of life, both our own and the creatures around us. Pinks, purples, and oranges peek through the white of the articulated skeleton. These colors are usually associated with warmth and more cheery emotions, so their inclusion in this piece, which many would interpret as somber, is interesting. Ultimately, this work can be seen as a celebration of life and the enduring beauty of nature an appreciation for the anatomy that shapes our world. Artist Commentary: I painted this when I lived in Richmond, VA above an oddities shop. Being in such close proximity to various curiosities like taxidermied animals, preserved animal organs, coffins, and the like definitely kept my mind in the spooky mood all year round. The building itself was black and had a giant grim reaper...

Skull, Original Signed Contemporary Black and Green Painting 18" x 18" x 0.75" (HxWxD) Acrylic on Canvas Hand-signed by the artist. Finished with a gloss varnish. A black background allows the subject matter of this acrylic painting by artist Lindsay Hall, a human skull, to both pop forward and recede into the background. There is an amount of chiaroscuro happening on the left side of the skull, keeping it in shadow, falling into the depths. An item in a cabinet of curiosities, this memento mori work serves as a pausing point to sit and reflect on one's own mortality. The green tones to the white of the skull give this work an interesting dimensionality to it, almost imbuing it with life, ironically. The black background is reminiscent of artists like Caravaggio and the subject matter is highly reminiscent of Van Gogh's Skull of a Skeleton with a Burning Cigarette. Artist Commentary: I painted this when I lived in Richmond, VA above an oddities shop. Being in such close proximity to various curiosities like taxidermied animals, preserved animal organs, coffins, and the like definitely kept my mind in the spooky mood all year round. The building itself was black and had a giant grim reaper...

Fitz Henry Lane (1804–1865) Mary Ann, 1846 Oil on canvas, 19 x 27 ¼ in., actual; 27 1/4" H x 35 1/2" W, framed. Signed, dated lower left: F. H. Lane 1846 Fitz Henry Lane was born in Gloucester, Massachusetts, a descendent of a family of fishermen that had resided on Cape Ann since 1623. Even with a lifelong handicap, Lane taught himself how to draw and paint and spent countless hours honing his technique. By the age of twenty-eight, he was hired to apprentice at Pendelton’s Lithography, the most important printmaking firm in Boston. Here he was exposed to other American and European artists, including British marine specialist Robert Salmon. Lane soon enjoyed success as both a painter and printmaker. By the 1840s his sale of oil paintings increased, which in turn diminished the need to rely on income from his lithographs. In 1841, Lane first exhibited at the Boston Athenaeum an oil painting entitled Scene at Sea, and in March 1842 he exhibited Ships in a Gale at the Apollo Association in New York City. By 1847,Lane’s reputation was firmly established, and he moved back to Gloucester permanently, except for trips to New York, Maine, Maryland, and possibly Puerto Rico. His highly refined images of Gloucester Harbor and its environs were celebrated for their minute detail and crisp delineations of form. During the late 1850s Lane simplified his works, painting thinly and eliminating detail in order to focus on effects of light and create a tranquil mood. Lane was more radical in his coastal scenes, from which, during the 1850s, he successively purged genre and topographical elements, so much so that, together with Martin Johnson Heade, he may well be considered the true avant-garde of American mid-century landscape painting. Lane’s mature work greatly influenced the second generation of Hudson River School artists such as John F. Kensett, Frederic E. Church, and Heade, who were forming their own luminist styles around the same time. Lane exhibited his work at the National Academy of Design in 1859 and at galleries in Boston, Gloucester, and Albany. His work is found in esteemed private collections and major museum collections, including The Metropolitan Museum of Art and Brooklyn Museum, New York; National Gallery of Art and Corcoran Gallery of Art, Washington, D.C.; Carnegie Institute, Pittsburgh; Nelson-Atkins Museum of Art, Kansas City; Amon Carter Museum, Fort Worth; and the Thyssen-Bornemisza Museum of Art, Madrid. The Cape Ann Historical Association and the Museum of Fine Arts, Boston, have large collections of Lane’s work. The packet ship Mary Ann was built by Waterman and Ewell at Medford, Massachusetts, for Andrews T. Hall and Albert H. Brown of Boston. She was re-registered in 1856, her new owners being William Perkins and Israel Whitney. She was wrecked in 1861 at the mouth of the Bassein River, Burma, while bound there from Colombo, Ceylon. Provenance: Baron Hottinguer, Zurich, Switzerland; Christie's, New York, 18 May 2004, lot 20, Daniel Pollack...

An exceptional impressionist beachside scene with figures and powerful clouds by American artist Augustus B. Koopman (1869-1914). Koopman was born in Charlotte, North Carolina, initially studied at the Pennsylvania Academy of Fine arts, and going on to live a large portion of his short life in Paris, studying at the Academie Julian and the Ecole des Beaux Arts, painting many of his marine and figure paintings on the coast at Etaples, near Belgium. Among his teachers were William Bouguereau, Benjamin Constant, and Tony Robert-Fleury. He was well known for his genre, maritime, landscape, figure, and portrait paintings. His drypoints and etchings can be found in both the Congressional and New York Public Libraries, and his painting “Vision of the Grand Canyon” is displayed in the Santa Fe Railway...