William Preston Phelps was a plein air painter. In 1876, he travelled to Europe and began studying at the Royal Academy of Art in Munich. He later moved to New York and then back to Europe with his friend William Meritt Chase. Framed oil on canvas, 25 x 48 inches. Provenance originally sold by Doll & Richards, label on back. Painting is in original custom frame. Signed in the lower right with the word "munchen," meaning it was painted in Munich. Circa 1879.
This is a beautiful sundrenched scene by French artist Auguste Bonheur, oil on canvas, 23 1/2 x 31 1/4 inches, c. 1860, signed, in an ornate period frame. Auguste Bonheur was born into the Bonheur family of animal painters; his father, Raymond Bonheur was an art teacher as well as artist and taught painting to both Auguste and his older sister, the renowned animal painter Rosa Bonheur. The Bonheurs kept a small barnyard with sheep, chickens, and a cow, which they would often portray in their paintings. Auguste especially excelled at landscapes, which he depicted with a bright clarity of light and color, often including the farmyard animals in his scenes. Auguste was quite successful in his own time, he exhibited regularly at the Paris Salon as well as at galleries in London and Leeds. In 1861 Theophlie Gaultier wrote,"Auguste Bonheur has dared - and it is great audacity - to unvarnish nature, to take away the smoke and the dirt, to wash off the bitumen sauce with which art ordinarily covers it, and he has painted it as he sees it. His animals have the soft and satin-like skin of well-to-do animals; his foliage, the bright freshness of plants washed by the rain and dried by the sun."
This is a very fine painting of a man and his dog fishing in Lake Geneva, Switzerland. Oil on canvas, 18 x 26 inches, c. 1880, signed in the lower left corner, in an ornate period gilt frame, most likely the original. Another very similar painting by Vuagnat of the same location is in the collection of the Victoria Museum, Melbourne, Australia.
Oil on panel, 11 x 16 inches, cradle backing, signed lower right, in an ornate period gilt frame. A very well regarded artist of the French Realism movement, Emile Lambinet was born in Versailles and studied with Horace Vernet and John Baptiste Camille Corot. Both of these artists greatly influenced Lambinet's mature style of painting, as can be seen in this image, with the exacting details and bright atmosphere of Vernet and the subtle color palette with just a few accents of saturated color of Corot. Lambinet showed his work regularly at the Paris Salon, winning medals in 1843, 1853 and 1857, and in 1867 was made a Chevalier of the Legion de'Honnuer. Today Lambinet's paintings can be found in many museums worldwide, with the largest collection of his work at the Musee Lambinet in the artist's hometown of Versailles.
Oil on canvas, sight size 9 1/4 x 15 1/2 inches, c. 1900, signed l.r., inscription on the back reads "Near Aber, North Wales". This is a beautiful landscape with a shepherd and his sheep set against a majestic mountain background, in an ornate period frame. John Fullwood exhibited at the 1877 Royal Birmingham Society of Artists Show. The Royal Birmingham Society of Artists, established in 1821, was highly influential during the Pre-Raphaelite and Arts and Crafts periods. Its members included some of the most significant figures in English art, and presidents during the period included artists of the stature of Edward Burne-Jones, William Morris, John Everett Millais, Frank Brangwyn, and Lord Leighton.
This is an original oil on canvas painting by Well Known British Marine painter, James Webb. This painting shows a life boat coming to the rescue of a foundering ship. The painting is clearly signed lower right and has an image size of 18X22 inches.
The painting has been relined only a couple of tiny spots of retouch on the left side.. This work came to us in what appears to be the original 19th century frame. James Webb was a member of the Royal Academy and live his entire life in Chelsea.
This is an original oil on canvas board painting by Monadnock New Hampshire artist Albert Quigley. Circa 1930,s this scene of a winter landscape, most likely from the Monadnock area is an impressionist depiction of the landscape covered in snow. The painting measures 18X24 inches, signed Albert Quigley lower left corner. It came to us in what is certain to be his own hand made picture frame. He was known to sell his frames to many of the local artists of the region. Including Alexander James and other artists of Dublin New Hampshire. "Albert Duvall Quigley moved to Nelson, New Hampshire, in 1934, when he was 43 years old, and created the vast majority of his work in this northern New England hill town. He lived there with his wife, Mildred, and their three children, Terrence, Tami, and Barnabas, until his death in 1961."
"Though his paintings, which were mostly in oil, they were and are regarded as wonderful representations of the Monadnock region and the people within it." (Friends of the Dublin Art Colony)
This is an original William Preston Phelps painting of Cows watering in a stream. This oil on canvas is clearly signed lower right corner. The image measures 12X18 inches and is in a period gold leaf frame. This painting is in excellent original condition, no flaws or imperfections. Phelps was the well known painter of the Monadnock region of New Hampshire. This work dates to circa 1900.
This is a very fine original oil on board painting by New Hampshire artist William Jurian Kaula. The title is: "New Hampshire Landscape,Spring". circa 1930 this painting has an image size of 19X22 1/2 inches. Housed in a tasteful modern frame. This painting came to us with a label on the back, this painting was in the collection of Minette Hunsiker Cummings, the artists niece. The painting is signed lower right corner.
"William J. Kaula studied in Boston and Paris before establishing studios in Massachusetts and New Hampshire. His wife, Lee Lufkin Kaula, was also a painter, and together they spent several summers in the countryside sketching. His paintings show atmospheric landscapes in cool colors and often emphasize dramatic cloud formations. (Smithsonian)"
Oil on mahogany panel, image size 7 1/8 x 9 1/2 inches
This is an original oil on canvas painting by New Hampshire artist William Preston Phelps. This view of his homestead in Chesham New Hampshire was created circa 1900. The painting measures 24X36 inches and is signed in the lower left corner. This painting is framed with a period gilt frame. The painting is in good condition, no obvious repairs, the frame has some minor chips.
This is an original oil on canvas painting by American artist Charles Harry Eaton. It is a fine costal view with sailboats on the horizon. This painting measures 14X20 inches and is in a fine newcomb macklin carved picture frame. It is signed lower right corner. A fine expressive costal view by this well known New York artist.
This is an incredibly detailed, atmospheric Norwegian landscape of a small cabin at the edge of a fjord, the distant hills fading into a soft morning mist. It is painted in oil on panel, 11 x 16 inches, 1871, clearly signed "A Rasmussen 71" in the lower right corner, in an ornate period gilt frame.
This is an original oil on canvas painting by American artist Frank Vining Smith (1879-1967) This painting is clearly signed lower right corner. This painting although in the catalog is titled: "Sunset Glow" on the back of the canvas is an alternate title: "The New Moon" The canvas measures 22X30 inches and comes in a fine custom gilt frame. This painting was originally sold through Anderson Galleries in Chicago. They promoted Smiths works in the late 1920's.
The original catalog is present. Heres a Chicago News paper article about this show: "Frank Vining Smith – The Chicago Evening Post, May 22, 1928
THE annually recurrent exhibition of paintings of ships and the sea by Frank Vining Smith at the Anderson Galleries always makes an agreeable event about this season. Some thirty of Mr. Smith’s new canvases have just been hung at Anderson’s, and the impression they give is possibly more favorable than it has been in the past.
Even granting the sea’s changeless, ever-changing character and the myriad sorts and conditions of ships that sail it, Mr. Smith’s fertility and inventiveness appear more remarkable than ever in this exhibition. His knowledge of his subject is profound, in the opinion of sailors, who are always harsh critics. His ability to paint workmanlike pictures has long been established. But the ease with which he continues to find variations on a now familiar theme remain surprising." This is a very fine study of a view of the sea right after sunset.
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