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 very fine original oil on panel painting by Belgium artist Theodore Gerard (1829-1895) This interior scene of a mother and her children is titled: "Tea", the painting is signed "The Gerard, 1865" in the lower right corner. The painting measures 22X28 inches. On the back of the panel is written: "'The. Gerard Je soussigné déclare que le tableau ci conte est original. Bruxelles Décembre 1865.' , it translates to Gerard 1, the undersigned declare that this work is original Dec. 1865" The painting is in a modern custom frame. Theodore Gerard was an engraver and painter of genre scenes. He traveled throughout Germany, Austria and Hungary, but settled in Brussels in 1863. He taught painting at the Academy of Fine Arts in Brussels. He was awarded medals at exhibition in Philadelphia (1870), London (1871), Vienna (1873) and Brussels (1875).
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.
This is an original oil on panel painting by Dublin/Boston artist Margarita Pumpelly Smyth (1873-1959) Known as Daisy, she studied under Abbott Thayer in Dublin N.H.
This painting was shown at the Worcester Art Museum in the 1902 Summer Exhibit , the label is on the back along with a brass plaque from a Boston framer. Included in the show that year was the work of Frank Benson ,Edmund Tarbell, Mary Cassatt, Edward Redfield and Childe Hassam. The painting measures 30X22 inches, it is signed lower left but only is visible with a direct light, a black light shows it well. The painting is titled "Charlotte", probably painted in 1901-02. Daisy was an American Bahá'í, painter and roommates with Juliet Hutchings Thompson .. Although Married Daisy was quite independent. She and Thompson traveled together extensively by them selves. While her works are quite rare this one does show some of the early influences of Thayer and of course many of the later French artists of this time period.
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 panel painting by French Barbizon master Narcisse Diaz de la Pena. Circa 1860, this view of a peasant woman in the forest has a panel size of 12 1/2X15 7/8 inches, it is signed lower right Diaz. "Diaz was born in Bordeaux to Spanish parents. At the age of ten, Diaz became an orphan, Díaz exhibited many pictures at the Paris Salon, and was decorated in 1851. During the Franco-German War he went to Brussels. After 1871, his works became fashionable and rose gradually in the estimation of collectors, and he worked constantly and successfully. Díaz's finest pictures are his forest scenes and storms, and it is on these that his fame rests. There are several examples of his work in the Louvre, and three small figure pictures in the Wallace Collection, Hertford House. Perhaps the most notable of Diaz's works are "La Fée aux Perles" (1857, housed in the Louvre); "
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 oil on canvas painting of a sailing ship in moonlight. This painting is signed Edward Moran lower left corner. The canvas measures 20X16 inches. It comes housed in a period gilt deep frame. Born in England, Edward Moran is best known for his marine paintings, and is credited with the Moran family's entry into the art world.
He and his brother studied and shared a studio in Philadelphia and then both returned for a time to England. While there they were heavily influenced by the paintings of J M W Turner
Edward was known for his silvery tones and loose accents of light. He developed a style based primarily upon English painting of the seventeenth and eighteenth centuries and seventeenth-century Dutch painting. Edward Moran's forte was seascapes. His Hints for Practical Study of Marine Paintingwere published in issues of Art Amateur in 1888, and reflected his expertise on the subject. A beautiful combination the darkness of the sea at night with the rising moon just behind.
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 board, 11 x 9 1/2 inches, signed lower left, period frame
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.
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