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Biography Decamps, Alexandre Gabriel 1803-60, French genre and historical painter, engraver, and lithographer. First known for his caricatures and illustrations, he turned to painting in thick impasto and strong color. One of his richest sources was the Middle East, which he depicted in vivid detail. His Good Samaritan and Night Patrol at Smyrna are in the Metropolitan Museum New York.
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Hester Bateman 1708 - 1794 Hester Batemans's long career began after the death of her husband John Bateman(1704-1760. John was a chainmaker in London, but little is known about him. After his death, Hester began to build the business, entering her first silver mark in 1761 and continuing to expand the business and went on to be one of the best known of the female silversmiths working in London during the 18th century.
Biography
Van Zandt, born in New Scotland, Albany County, New York in 1814, was a well-known painter of the horses of wealthy New Yorkers, including Leland Stanford. The Stanford Museum has a half dozen of T.K. Van Zandt's work in its collection. In 1859 he was awarded a silver medallion for "Best Animal Painting in Oil" by the New York State Agricultural Society. His son, William Garrett Van Zandt, was also known for his equine subjects. A second son, Bleecker (1855-1915) was a sculptor. Thomas Kirby Van Zandt died in 1886.
Biography
A painter known for mixed-media abstractions, Alexander Nepote was born on a ranch in California near Stockton. He studied at the California College of Arts and Crafts in Oakland, at Mills College, and at the University of California from where he received a Master's Degree. From 1945 to 1950, he was Dean of the Faculty at the California College of Arts and Crafts and served in the same capacity at San Francisco State College from 1950 to 1977. Memberships included the West Coast Watercolor Society, the Bay Region Art Association, and the California Watercolor Society.Source: Edan Hughes, "Artists in California, 1786-1940"
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Biography
A leading member of the avant-garde symbolist artists in Chicago, Claude Buck moved there from his birth place of New York City in 1919. He was known for his "fantastic, sometimes disturbing images with allegorical and literary themes" (Kennedy 97) drawn from writings of Edgar Allen Poe, operas by Richard Wagner, classical mythology and New Testament writings from the Bible. Some of these early paintings had nude figures rendered in classical style to express abstract themes developed through dream-like landscapes and disregard of relative scale or relatedness between the figures. These paintings had luminist elements achieved with light-toned paints worked with transparent glazes. In the 1920s to earn money by gaining public favor and also expressing his increasing disdain for modernism, Buck did a number of "hyper-real" portraits, figures and still lifes. These proved popular and aligned him with the opponents of abstraction and their "Sanity in Art" movement whose headquarters were in Chicago. Buck taught drawing and painting at the Chicago Academy of Fine Art from 1921 to 1926, and at the Art Institute, where he took over classes of George Bellows. In New York City before coming to Chicago, Buck had a reputation as a radical artist. He took his first art training from his father, William R. Buck, from the time he was ages three to fourteen, and then until he was twenty-two, he studied at the National Academy of Design where he was nicknamed "Kid Hassam" because his painting reminded viewers of that of Claude Hassam. Buck worked as a scene painter in the theatre and at the Willet Stained Glass company, and in 1914 began portrait commissions to earn money. In New York he founded a group named the Introspectives, which reflected his own problems with melancholy during that period. Members, holding their first exhibition at the Whitney Studio in 1917, were artists who expressed their personal feelings and experiences and included Raymond Jonson and Emil Armin. In this phase of his career, Buck was focused on Old World styles of Leonardo da Vinci, Ralph Blakelock and Albert Pinkham Ryder. In 1929, the Arts Council of New York voted him one of the top one-hundred painters in the United States. In 1949, Buck and his wife, Leslie, moved to California to a studio-home in the Santa Cruz Mountains, and ten years later they settled in Santa Barbara where he died on August 4, 1974. In California, he was a member of the Carmel Art Association, the Santa Cruz Art League that he served as President in 1953,and the Santa Barbara Art Association. His paintings are in the collections of the Santa Cruz Public Library; the Santa Cruz City Museum as well as the Spencer Museum in Lawrence, Kansas; the Brigham Young University Museum; and the Museum of Elgin, Illinois.
Native American sculptor Cliff Fragua, of Jemez Pueblo, New Mexico, IACA Artist of the Year for 2005, has learned the secret of stone through his cultural and ancestral teachings. "My connection with the stone involves spirituality and reverence for the spirit that dwells within. It has been on this earth much longer than man and for this reason the stone becomes the teacher, it is simply what my ancestors believe. I am the mediator between the stone and the tools: the stone and the viewer." "I visualize what the stone wants to become and I strive to help it emerge." Cliff Fragua's sculptures are featured in such public locations as the Albuquerque Sunport International Airport, the National Statuary Hall in Washington DC and in permanent collections throughout the country.
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A fine original watercolor painting of Pebble Beach Golf course Carmel California by James March Phillips a renowned California watercolorist. Measuring approx. 12 x 20 inches in excellent condition beautifully framed.
biography
James March Phillips was born in Fresno California in 1913. His art career began in the 1940's while attending Jean Turner Art Academy in San Francisco where is studied under such prominent artists as Louis J. Rogers, Alfred Owles, and J. Paget Fredricks. His paintings were sold in numerous galleries in the west during the 1940's and 1950's. In recent years his paintings have become quite valuable and have reached prices as high as $13,000 at San Francisco auction house Bonhams Butterfields. This is one of a pair please view the other listing of the 7th hole Pebble Beach.
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Biography
Painter of landscapes and marines. inspired by the landscapes of Brabant Wallon. Deceased about 1945. Exhibited at the Triennial "Exposition of Antwerp "in 1901 ("Mill in Dordrecht"). Lived in Saint-Gilles at that time. Listed in BOTTOM II and "Two Centuries of Signatures of Artists of Belgium". ...
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A painting Sunset Glow Mt. Hood sold for $12,000 at Santa Fe Art auction 11/14/1998 lot no. 121
Biography
Born in Bangor, Maine, James Everett Stuart became known for his panoramic landscapes from Maine to California to Alaska to the Panama Canal, but especially of the American West with focus on Northern California and Oregon. Reportedly he painted more than 5000 paintings during his lifetime and originated a method of painting on aluminum and wood with a special adhering process that he thought made his work quite durable but proved not to be so. He also wrote on the back of most of his paintings His parents took him to California at the age of eight, and the family settled in San Francisco where he attended the public schools and studied art with Virgil Williams, Raymond Yelland, Thomas Hill, and William Keith at the San Francisco School of Design. His early work was dramatic California landscape including the Sacramento and San Joaquin rivers, and in style the works were moody and mysterious and suggestive of the French Barbizon School. He first traveled to the Northwest in 1876, and in 1881, he opened his studio in Portland, Oregon and from there traveled throughout the West and East Coast and into Mexico. Subjects included Yosemite as well as California missions and adobes. He painted landscapes whose sales ultimately were financially remunerative and which established his reputation. Of those years, he expressed that he much preferred being in the park to studio painting, but he stopped visiting in 1889 and instead traveled to Alaska and the Coastal Range. During much of the 1890s, he lived in Chicago, but in 1912 returned to San Francisco until his death in 1941. There, from his studio near Union Square, he was highly successful and popular among his peers, underscored by his membership in the Bohemian Club. Many of the owners of old homes in California have his paintings on the wall, suggestive of a time of grandeur. One of his paintings is in the White House, and his work is in the historical societies of Oregon, Washington, and Montana.
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Biography
James Waltham Curtis (1839-1901) was an eminent Australian colonial artist whose work lives on as a tribute to Australia’s early days of European settlement. His approach is of technical, poetic and historical interest, emphasizing man’s battle with a primeval landscape and nature, his picturesque landscapes being fine examples of the late 19th century period which preceded the Heidelberg School. Curtis was an English painter and illustrator who it is believed, came to Australia during the Gold Rush. Curtis’ work plays an important part in the preservation of Australian history and is an excellent reminder of how life was in the latter part of the 19th century.
The Three Sisters
The Sisters were formed by erosion. The soft sandstone of the Blue Mountains is easily eroded over time by wind, rain and rivers and the cliffs surrounding the Jamison Valley are being slowly broken up. [edit]Aboriginal legends The commonly told legend of the Three Sisters is that three sisters (Meehni', 'Wimlah' and Gunnedoo') lived in the Jamison Valley as members of the Katoomba tribe). They fell in love with three men from a neighbouring tribe (the Nepean tribe), but marriage was forbidden by tribal law. The brothers were not happy to accept this law and so decided to use force to capture the three sisters. A major tribal battle ensued, and the sisters were turned to stone by an elder to protect them, but he was killed in the fighting and no one else could turn them back. This legend is claimed to be an Indigenous Australian Dreamtime legend.[1] However, Dr Martin Thomas, in his work "The artificial horizon: imagining the Blue Mountains",[2] clearly shows that the "aboriginal" legend is a fabrication created by a non-Aboriginal local Katoomba, Mel Ward, presumably to add interest to a local landmark. The story originated in the late 1920s or early 1930s and is unknown prior to that date. The Aboriginal traditional owners, the Gundungurra, have a legend that includes the Sisters rock formation. They are currently[when?] developing a website which will include these traditional stories.