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Alfred Wordsworth Thompson (American 1840-1896)
Lake Scene in Western Maryland Oil-on-canvas, signed lower right and dated “1861”
Painting Size: 8 ½”” x 16” Thompson was a landscape, historical and portrait painter, born in Baltimore where he studied law with his father. In 1859 Thompson decided to become and artist and opened a studio in Baltimore. During the first year of the Civil War (1860) he worked as a combat artist for Harper’s Weekly and the Illustrated London News, primarily illustrating battles in Virginia. In 1861, the year this painting is dated, he left to study in Paris at the École des Beaux Arts with Gleyre, Lambinet and Pasini. He also traveled to Italy and Germany before establishing his studio in New York City in 1868. He made several return trips to France, Spain, North Africa and the Mediterranean. In addition to his travel landscapes, many of his exhibited works were of colonial revolutionary subjects. Thompson was a founding member of the Society of American Artists and a member of the National Academy of Design. He exhibited extensively including at the Paris Salon, the Pennsylvania Academy of Fine Art, the Paris Expo of 1878 and the National Academy of Design.
Sources: ** For other paintings by artists from Maryland, Virginia, Washington DC or North Carolina, click on the “Regional Artists” button on our Homepage.
Alethea Hill Platt
(American, 1861-1932)
Devonshire Cottage by Moonlight Oil-on-canvas, signed lower left
Painting: 25” x 30” Platt was active in New York State and Connecticut. She is known for her landscapes, portraits and interiors. She studied at the Art Students’ League (NYC) and Delecluse Academy, Paris. Platt also studied with Ben Foster and Henry B. Snell. She exhibited at the Pennsylvania Academy of Fine Art (1900-1901), Boston Art Club, Society of Independent Artists (1917) and many others. Additionally she was a member of the New York Woman’s Art Club, Pen & Brush Club, National Arts Club and the New York Water Color Club. Platt travelled to Europe, painting scenes both in Devon and Normandy, often depicting charming interiors showing the life of the peasants. Benson Bond Moore
(American 1882-1974)
"Summer on Chesapeake Bay, MD" Oil on canvas, signed lower right and titled on the reverse
Painting: 22" x 24" Provenance: The Estate of a Toms River Collector ** For other painting by artists from Maryland, Virginia or Washington DC, click on the "Regional Artists" button on our homepage Benson Bond Moore, painter, etcher and teacher was born in Washington, DC. He studied at the Corcoran School of Art with Messer and Brooke , and also with Weyl . He continued his studies in drawing at the Linthicum Institute under Ballenger and learned painting conservation from his father. Active in professional societies, he was a member and officer of the Landscape Club of Washington. He was also a longtime member of the Society of Washington Artists. He exhibited with both groups from as early as 1915 and continued through the 1930's. His work was also shown at the Corcoran Gallery of Art. As an artist, he became well known and honored for his local scenes, many of which are in major public collections. His works are held by the National Museum of American Art; Historical Society of Washington, DC; Library of Congress; The White House; Bibliothèque National de Paris; Cosmos Club; National Museum of American History; the Houston Museum of Fine Art and the Los Angeles Museum of Art. Over his life, he was honored with numerous awards for his work.
Sources: Benson Bond Moore
(American 1882-1974)
"Chesapeake Beach, MD" Oil on masonite, signed lower left and dated "1958" and titled on the reverse Painting: 20" x 24" Frame: 26" x 30" Provenance: The Estate of a Toms River Collector ** For other painting by artists from Maryland, Virginia or Washington DC, click on the "Regional Artists" button on our homepage Benson Bond Moore, painter, etcher and teacher was born in Washington, DC. He studied at the Corcoran School of Art with Messer and Brooke , and also with Max Weyl . He continued his studies in drawing at the Linthicum Institute under Ballenger and learned painting conservation from his father. Active in professional societies, he was a member and officer of the Landscape Club of Washington. He was also a longtime member of the Society of Washington Artists. He exhibited with both groups from as early as 1915 and continued through the 1930's. His work was also shown at the Corcoran Gallery of Art. As an artist, he became well known and honored for his local scenes, many of which are in major public collections. His works are held by the National Museum of American Art; Historical Society of Washington, DC; Library of Congress; The White House; Bibliothèque National de Paris; Cosmos Club; National Museum of American History; the Houston Museum of Fine Art and the Los Angeles Museum of Art. Over his life, he was honored with numerous awards for his work.
Sources: Ferdinand Leeke (German 1859-1923)
The Art Critics Oil-on-canvas, signed lower right, located “Meran” and dated “1906"
Painting Size: 39.5” x 31.75” A painter of historical, genre and allegorical scenes, Leeke studied at the Munich Academy under Johann Herterich and with the Hungarian genre and landscape painter Alexander von Wagner. Around 1889, Leeke was commissioned by Siegried Wagner, son of Richard Wagner to paint a series of scenes from his father’s operas to commemorate Wagner and his work. The series was completed in 1898. This scene of two young country women gazing at an absent artist’s canvas is set in the south Tyrol above Merano, Italy, near the Austria/Italy border. We know this because of a similar view of the same cottage titled “Schwarzplatterhof oberhalb Merans” (Schwarzplatterhof above Merano). The area is now a famous resort and vacation area.
Sources: William Richardson Tyler (American 1825-1896)
Misty Morning at Windsor Castle Oil-on-canvas, signed lower left
Painting Size: 18.5”” x 29.5” **Please Note: This item is not currently on view in our gallery. Please call at least 48 hours in advance if you wish to see it. Tyler is known to have lived and worked in Troy, NY during the 1850‘s and 60‘s where, aside from Abel Buell Moore, he was Troy’s best known artist. According to William Gerdts “Troy was a prosperous industrial and commercial city. It was also a major center of education in the 19th century. Tyler had gone to Troy to work for the carriage company of Eaton and Gilbert. In 1858 Tyler opened his own painting studio (and he) painted the local landscape but was more drawn to the sea. He specialized in scenes off the coast of Long Island and Massachusetts.” It is apparent from the record of his works that he traveled extensively in Europe painting scenes in Venice and scenes in England such as this luminist view of Windsor Castle. Tyler also painted the landscapes of the White Mountains (NH) and the Keene Valley in the Adirondacks of New York. Tyler exhibited at the National Academy of Design (1862-1867 and 1878) and his work “Breezy Day Off Boston Light” is held by the Troy Public Library. Sources: Richard Redgrave (British, 1804-1888)
Resting Deer in a Forest Landscape Oil on canvas Provenance: Thomas McLean Gallery, London (retaining the original label on the back).
Painting: 20.75" x 36" Redgrave was a genre and landscape painter. For a time he worked with his father who was an engraver before entering the Royal Academy in 1825. He began by painting historical genre in 18th century costume but in the 1840s he was among the first to depict contemporary social subjects in contemporary clothing (“The Seamstress”, “Bad News from the Sea”, “The Governess”). In 1836 he finally gained wider audience with his painting of “Gulliver on the Farmer’s Table”. Redgrave was involved with the organization of the Government School of Design (1847) as well as the first keeper of paintings at the South Kensington Museum (now known as the Victoria and Albert museum). He was Inspector of the Queen’s Pictures and co-author with his brother Samuel of “A Century of Painters of the English School”, still a valuable book on English art. Redgrave exhibited some 175 works at the Royal Academy from 1824-1883, the British Institution, the Society of British Artists and others. Several of his paintings are in the Victoria and Albert museum, the National Portrait Gallery (London) and the Shipley Art Gallery (Gateshead). Retiring from his many offices in 1880 due to ill health, Redgrave’s later work was mostly painted while summering at his country house, primarily landscapes painted in a pre-Raphaelite style.
Sources: Johannes Marinus Ten Kate (Dutch, 1859-1896)
Working the Field Oil on canvas. signed lower right
Painting17" x 24 3/4" Ten Kate was known for his landscapes, beach scenes and genre paintings. Born in Amsterdam, he was the son of Johannes Mari ten Kate, under whom he most likely studied. He lived and worked in the Hague and was a member of the Hague Artists’ Society and the Pulchri Studio (latin:"for the study of beauty"), a Dutch art society, art institution and art studio based in the Hague. The countryside around the coastal town of the Hague provided a rural environment and an unspoiled landscape which attracted many young artists of the nineteenth century eager to escape the strictures of academic art guilds.
STUDIO ANTIQUES & FINE ART, INC.
$14,500 William Aiken Walker (American, b. c.1838-1921)
Man in a Cottonfield Oil on board, signed lower left.
$16,500.
Painting Size: 8.25” x 4.25” A lifelong artist, Walker exhibited his first painting at the age of twelve and continued to paint until his death 71 years later. In the 1860’s Walker traveled to Dusseldorf for artistic training and remained for several years. Returning to Charleston, he joined the Confederate Army and served as a cartographer. At the conclusion of the war, Walker moved to Baltimore where he had spent a portion of his childhood. Until 1876, Walker split his residence between Charleston and Baltimore. However, on a visit to New Orleans in that year, he fell in love with the city and spent the next 29 years, calling it home. Best known for his genre scenes of African Americans in the post Civil War South, Walker is listed in numerous references including Who Was Who in American Art by Falk and Art Across America by Gerdts. He has also been the subject of several monographs. William Aiken Walker was born in Charleston, South Carolina, on March 11, 1839. He had an artistic bent at a very early age; he exhibited his first oil painting at the South Carolina Institute in 1850 when he was 11 years old. The first known still life by Walker was produced in 1858. Animal and fish portraits followed, along with a few portraits and landscapes. During the Civil War, Walker served as a private in Charleston's Palmetto Regiment of the South Carolina Volunteers. He was given a medical discharge in August 1861. He continued to serve as a volunteer draftsman in the Confederate Engineers Corps. When Charleston was decimated in a great fire in 1861, Walker recorded the resultant ruins. In 1863 Charleston was shelled by Union troops; Walker recorded that event too. In 1864 Walker created perhaps the most collectible of all decks of American playing cards. Sixteen of the cards carried miniature paintings, ranging from the bombardment of Fort Sumter to portraits of Jefferson Davis, Robert E. Lee, P.G.T. Beauregard, and Stonewall Jackson as kings. What Walker did between 1866 and 1868 remains a mystery, but by the latter year he had settled in Baltimore. He visited New York and Cuba but was back in Baltimore by 1871, when he began the series of paintings that would capture the attention of present-day collectors. Walker's Gathering Herbs, 1871, depicted an African-American woman at the herb garden, a basket in her arms, and another on her head. The depictions of what would be later known as "The Sunny South" had commenced. Although he painted scenes depicting Anglo-Saxon citizens and landscapes, it would be the African-American scenes that would come to be recognized as Walker's seminal body of work. He traveled extensively in the South, from South Carolina to the Blue Ridge Mountains of North Carolina, to Florida, to New Orleans, and wherever he traveled, he painted. The focus of his energy from the early 1880's to the mid-1890's was the cotton trade. Walker was fortunate in many ways, not the least of which is the fact that his paintings were collected and sold during his lifetime. Major paintings sold in the $70 to $100 range while he still was alive. By the time Walker had reached his sixties, he returned to landscapes and still life subjects, though his bread-and-butter work was still the genre scenes of the Old South. Walker died on January 3, 1921, just two months shy of his 82nd birthday.
STUDIO ANTIQUES & FINE ART, INC.
$14,500
James Pollard (British 1792-1867)
The London to Oxford Coaches at Mile Marker 24 Oil-on-canvas, signed lower right
Painting: 17” x 32” Pollard was an engraver and sporting artist noted for his coaching, fox hunting and equine scenes. As the son of Robert Pollard, a painter, engraver and publisher, James was encouraged to become a painter of horses. He was also tutored by his father’s friend, the engraver Thomas Bewick. Growing up in Islington, Pollard lived on a main coaching route which undoubtedly influenced his choice of coaching scenes as his primary subject matter. In 1821 he exhibited a large work at the Royal Academy “North Country Mails at the Peacock, Islington” and by 1825 he was successful enough to leave his father, marry and set up his own studio. He prospered with numerous commissions. With the demise of the mail coaches in the 1840‘s, Pollard expanded his subject matter to include racing, hunting, shooting and angling scenes. Pollard is also known to have collaborated with John Frederick Herring Senior on several racing pictures in which he painted the backgrounds and crowd scenes and Herring painted the horses. Pollard exhibited at the Royal Academy between 1821-1839, the British Institution in 1824 and 1844, and at the Suffolk Street Galleries. Many of his works were reproduced in prints which were engraved by himself, his father and others. Pollard’s work is noted for its historical accuracy, attention to detail and in evoking the spirit of the coaching age.
Sources:
STUDIO ANTIQUES & FINE ART, INC.
$14,500
Adam Emory Albright
(American 1862-1957 )
The Valley Oil-on-canvas, signed lower right and dated 1916 Exhibited: The Art Institute of Chicago, "Pictures of Children Painted in South America and Southern California by Adam Emory Albright, 1920, #29”
Painting: 24” x 30” Albright, born in Wisconsin, was, according to William Gerdts (Art Across America, Vol. 2), “The finest Paris trained figure painter to emerge immediately before the World’s Columbian Exposition.” He was one of the first students at the newly established Art Institute of Chicago from 1881-1883. From 1883-1886, he studied with Thomas Eakins at the Pennsylvania Academy of Fine Arts. After some training in Munich with fellow Wisconsin artist, Carl Marr, Albright studied in Paris with Benjamin Constant. In 1888, Albright established his studio in Chicago and became president of the Chicago Watercolor Club as well as a member of the Chicago Academy of Design. Early in his career, he chose to focus on paintings of children for which he became famous. At first specializing in street urchins and rustic children in outdoor settings, his work became more colorful and sun-filled following his greater exposure to impressionism at the Columbian Exposition. The birth of Albright’s twin sons in 1897 gave him new models and his subsequent work featured the growing boys posed in rural surroundings. From 1908, many of his finest works were painted during summers at the art colony in Brown County, Indiana. Albright’s popularity is reflected in his numerous exhibitions and in the extensive contemporary literature about him. Again according to Gerdts, “No other Chicago artist’s work was so widely exhibited at the Art Institute . . .”
STUDIO ANTIQUES & FINE ART, INC.
$35,000 Harriette F A Sutcliffe (British, fl.1881 - 1922)
Beauty and the Beast Oil on canvas, signed with monogram and titled on the reverse Exhibited: The Royal Academy, 1899 Miss Suitcliff was a Hampstead painter of genre and portraits who exhibited at the royal academy from 1881-1899 and elsewhere. Source: Christopher Wood, The Dictionary of Victorian Painters Painting Size: 16" x 20" Frame Size: 24" x 28" American School, Early 19th Century
Carib Indians Around a Jungle Campfire, with a Piton in the Background Oil on canvas, signed indistinctly on the stretcher. Mid 19th century carved wood, compo and gilt frame
Painting Size: 9.25” x 12”
Paintings : Pre 1900
item #1256263
(stock #10560)
Ebenezer Colls (British , 1812-1887)
"The Old Ship Victory off Southampton Water" Signed lower left and titled on an old label on the reverse.
Painting: 26" x 17.25" Colls was a painter of shipping and coastal scenes who lived in Camden Town, London and exhibited at the British Institution from 1852-4. The National Maritime Museum in Greenwich has a pair of his paintings. Denys Brook-Hart (see below) comments "Ebenezer Colls' pictures are quite rare although some paintings which are not his are sometimes attributed to him." HMS Victory is a 104-gun first-rate ship of the line of the Royal Navy, laid down in 1759 and launched in 1765. She is most famous as Lord Nelson's flagship at the Battle of Trafalgar in 1805. After 1824 she served as a harbor ship. In 1922 she was moved to a dry dock at Portsmouth, England, and preserved as a museum ship.
Sources: Edmond Darch Lewis (American, 1835-1910)
Schooner off the Atlantic Coast Watercolor on paper, signed lower left and dated “1896”
Sight Size:13" x 26" Lewis was born and died and Philadelphia where he studied with Paul Weber from about 1850-55. According to Peter Falk ("Who Was Who in American Art"), “he was one of the most popular landscape painters of Philadelphia during the late 19th century. His early works were chiefly scenes of the Lehigh, Susquehana, and Wissihickon Rivers of Pennsylvania, and were in great demand. Before 1860 he also exhibited landscapes of New York and New England and even some Cuban scenes. By the mid 1870’s he turned increasingly to shoreline views with yachting scenes, painting prolifically in watercolor from Cape May, NJ to Narragansett, RI. Wealthy and admired, he entertained in a grand style in his opulent Philadelphia home surrounded by an extensive collection of antique furniture, china and decorative arts.” Henry Perlee Parker (1795-1873)
“On the qui vive” (The Smuggler) Oil on canvas , titled, signed and dated on the reverse "QUI VIVE" (A French phrase meaning long live who? (a sentry’s challenge), used to mean a state of alertness or watchfulness.)
Painting: 30" x 25" One of the best-known painters working in north-east England during the early nineteenth century Henry Perlee Parker specialized in pictures of marine subjects and smugglers and came to be known as "Smuggler" Parker. He was a leading artist in Newcastle in the 1820s and 1830s, a member of the Northumberland Institution, and a co-founder (with T.M. Richardson) of the ill-fated Northern Academy of Arts. He died penniless in Shepherd's Bush in 1873. There was an exhibition of his work at the Laing Art Gallery, 1969-1970. See Wiikpedia entry for a more complete biography Autumn River Landscape with Ducks
Charles Lanman (American, 1819-1895) Oil on paper laid-down, signed. Lanman is listed in The Artists of Washington, DC 1796-1996 by McMahan.
Painting size: 11” x 15” Pastoral Landscape with a Young Girl and Her Dog
James Curnock (British, 1812-1870) Oil on canvas, signed. A resident of Bristol, Curnock was best known for his portraits and figure subjects. He exhibited at both the Royal Academy and the Society of British Artists, Suffolk Street. His work is held in the permanent collection of the Bristol Art Gallery. Curnock is listed in the Dictionary of British Artists, Vol. IV, Victorian Painters by Wood.
Painting size: 19” x 24”
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