Catalog: Fine Art: Paintings (88)

Antique 19th Century Italian watercolor painting in the Baroque style of a mountainous landscape with a stone bridge over a river. Presented in cream colored matting and a silver gold wood frame. Image size: 14" x 19", overall dimensions: 20.5" x 24.5".

A beautiful antique art nouveau era portrait of a woman seated in a classical setting. Gouache on art board signed lower right J. Ramsperger. Presented matted and framed in a contemporary gallery frame. The image measures 15.5 x 20" and overall framed size 21" x 25". In very good antique condition.

An original antique monotype oil on paper of a path through a forest by Joseph Henry Sharp. Signed lower right presented in a vintage period frame. Measuring overall size 17.5" x 22.5". Biography, Born in Bridgeport, OH on Sept. 27, 1859, Joseph Henry Sharp was raised in Ironton and Cincinnati. He began art studies at the Cincinnati Art Academy at age 14. In 1882 he was a pupil of Charles Verlat in Antwerp; the following year he made his first trip to the West to sketch the Indian tribes of New Mexico, California, and the Columbia River. In 1886 he again was in Europe accompanied by Frank Duveneck. While in Munich, he was a pupil of Karl Marr and had further study with Jean Paul Laurens and Benjamin Constant in Paris. Sharp taught at the Cincinnati Art Academy from 1892 until 1902, and then resigned to devote full time to painting. Summers were spent in Montana at Crow Agency in a cabin and studio at the foot of the Custer Battlefield. As well as a home in Pasadena, he also had a studio in Taos, NM which was opposite Kit Carson's old home. During the 1930s he made several painting trips to Hawaii. Sharp died in Pasadena, CA on Aug. 29, 1953. Eleven of his paintings of famous Indians were purchased by the U.S. Government in 1900 and now hang in the Smithsonian Institution. A collection of 80 Indian portraits and pictures were purchased by Phoebe Hearst in 1902 for UC Berkeley. Memberships: Cincinnati Art Club; Prairie Printmakers Club of Los Angeles; Salmagundi Club; American Fine Art Association; Southwest Society of Artists; Taos Society of Artists; California Art Club. Exhibitions: Pan-American Expo (Buffalo), 1901 (silver medal); Cincinnati Art Club, 1901 (1st prize); Panama-California Expo (San Diego), 1915 (gold medal); Southwest Expo (Long Beach), 1928; California Artists, Pasadena Art Institute 1930 (1st prize). Museum Collections: Houston Museum; Orange Co. (CA) Museum; Butler Museum (Youngstown, OH); Southwest Museum (LA); Museum of NM (Santa Fe); Cincinnati Museum; Herron Art Inst. (Indianapolis).

Attributed to Jozef Israels, Dutch fisherman"s wife at the beach waiting for his return. A beautiful impressionist painting oil on canvas signed lower left measuring approx. 14 x 18 inches in excellent condition. Biography

Jozef Israëls, (born January 27, 1824, Groningen, Netherlands—died August 12, 1911, The Hague), painter and etcher, often called the “Dutch Millet” (a reference to Jean-Franƈois Millet). Israëls was the leader of the Hague school of peasant genre painting, which flourished in the Netherlands between 1860 and 1900. He began his studies in Amsterdam and from 1845 to 1847 worked in Paris under the academic painters Horace Vernet and Paul Delaroche. Israëls first tried to establish himself as a painter of Romantic portraits and conventional historical pictures but had achieved little success when in 1855 ill health compelled him to leave Amsterdam for the fishing village of Zandvoort, near Haarlem. That change of scenery revolutionized his art: he turned to realistic and compassionate portrayals of the Dutch peasantry and fisherfolk (e.g., Waiting for the Herring Boats, 1875). In 1871 he moved to The Hague, and he often worked in nearby Scheveningen. Besides oils, Israëls worked in watercolours and was an etcher of the first rank. His later works in all media express a tragic sense of life and are generally treated in broad masses of light and shade. His painting style was influenced by Rembrandt’s later works, and, like Rembrandt, Israëls often painted the poor Jews of the Dutch ghettos (e.g., A Son of the Chosen People, 1889). His son Isaac (1865–1934), also a painter, adopted an Impressionist technique and subject matter and had some influence on his father’s later work.

Beautiful large antique original oil painting of a European village and landscape by famed American painter Colin Campbell Cooper. Oil on canvas signed and dated lower right 1907. Presented in a quality antique gold leaf frame. In good antique condition some wear commensurate of age. Biography A resident and distinguished impressionist painter of both the East and West Coasts, Colin Campbell Cooper earned an international reputation with his depictions of landscapes, florals, portraits, gardens, interiors and figures. He was especially noted for street scenes and skyscrapers of New York and Philadelphia, and his impressionist* palette was inspired by Childe Hassam, whom he met in New York beginning in the 1890s. In the later part of his life, he focused on West Coast subject matter and espoused The California Style* of watercolor painting, a bold, aggressive new oil-painting look to a medium that had traditionally been used more modestly. He was born in Philadelphia to an upper class family where the father was a surgeon, and he, the son, was encouraged by his educated family to pursue art. He was also inspired by the art he saw at the 1876 Philadelphia Exposition*. He studied at the Pennsylvania Academy* of the Fine Arts with Thomas Eakins and in Paris at the Academies Julian*, Vitti, and Delecluse*. During that time, he traveled throughout Europe and painted picturesque architectural scenes, which gained him widespread recognition. Sadly many of these paintings were lost in a fire of 1896. From 1895 to 1898, he was instructor of watercolor at the Drexel Institute in Philadelphia and then moved to New York City from where he and his artist wife, Emma Lampert, traveled throughout the world in search of subject matter. On a European trip in 1912, they sailed on the Carpathia and became part of the rescue operation of the sinking Titanic, an experience that Cooper depicted in a painting, View of Steamship Carpathia passing along the edge of the ice flow after recuing survivors of the Titanic (1912). Of this event it was written by an historian that Carpathia, built 1902, "was sailing from New York City to Rijeka on the night of Sunday, 14 April 1912. Among her passengers were renowned American painters Colin Campbell Cooper and his wife Emma, journalist Lewis P. Skidmore, photographer Dr. Francis H. Blackmarr and Charles H. Marshall, whose three nieces were traveling aboard the Titanic. . . .At 4 o'clock in the morning Carpathia arrived at the scene after working her way through dangerous ice fields. Carpathia was able to save 705 people, all that survived the sinking of Titanic. Carpathia, outbound for the Mediterranean prior to the distress call, ferried the survivors to New York." (lostliners.com) The Coopers first went to California in 1915, spending the winter in Los Angeles and in 1921, settled in Santa Barbara, where he served as Dean of Painting at the Santa Barbara Community School of the Arts*. He was a member of numerous associations including the California Art Club*, Salmagundi Club*, and the National Academy of Design*. His work is in many museums including the Cincinnati Art Museum, the St. Louis Museum, and the Oakland Museum

A Beautiful and important historic original oil painting by Leland Curtis from the Antarctica Expedition of 1939 - 40. The scene is of Adelaide Island at Marguerite Bay. Oil on canvas signed lower right and noted from the Antarctic Exp. A historical and beautiful painting.

Biography

Born in Denver, CO on Aug. 7, 1897, Curtis was a resident of Seattle before moving to Los Angeles in 1914. He was inspired to become an artist by his teacher Rob Wagner at Manual Arts High School. After working as a bank teller and serving in WWI, he soon was able to support himself as an illustrator. He served as official artist of the U.S. Antarctica Expedition in 1939-40 and again in 1957. About 1960 he changed his residence from Los Angeles to Twenty Nine Palms, California, with summers in Moose, Wyoming. An avid mountain climber, his studio in the Grand Tetons was a rustic log cabin. In 1972 he moved to Carson City, Nevada, where he remained until his demise on March 17, 1989. He is best known for his landscapes of the High Sierra, Grand Tetons, and Antarctica. His works won dozens of medals and prizes from the early 1920s in southern California shows. Member: Carmel Art Association; Artland Club. Exh: California Art Club, 1923-27; Laguna Beach Art Association, 1924; California State Fair, 1926; Cannell & Chaffin Gallery (Los Angeles), 1926; Ebell Club (Los Angeles), 1926; Painters & Sculptors of Los Angeles, 1926-31; National Academy of Design, 1930; Toledo Museum, 1931; American Painters & Sculptors, Los Angeles County Museum of Art, 1931, 1937 (solo), 1946 (solo); Oakland Art Gallery, 1932; Tuesday Afternoon Club (Glendale), 1934; Golden Gate International Exhibition, 1939; California Palace Legion of

Beautiful original antique oil painting of a mountain sunset and waterfall by William Keith c.1890 oil on artist panel signed lower left. Presented in a quality contemporary gallery frame 16.5ʺW × 3ʺD × 19ʺH. Good antique condition very fine age craquelure very minor touch ups.. Biography: A native of Scotland, William Keith became in the late 19th and early 20th centuries a leading Northern-California landscape artist. In fact, he was so well known that he is referred to as the "Dean of California painters." His romanticized views of nature found much favor among the culturally aspiring citizens of San Francisco and hung in many foyers and dining rooms in their elegant homes. He completed thousands of paintings and drawings, and many of them were lost in his studio in the fire of 1906. His early works are dramatic mountainscapes in a realistic style adopted from the Dusseldorf School of Germany. The paintings of the last two decades of his life are looser and obviously influenced by his exposure in France to the Barbizon School of landscape painters, who were the first colony of painters to complete paintings "en plein air," or directly from nature rather than in studios. A forerunner of Impressionism, this style also included Tonalism espoused by Barbizon painter Camille Corot [1796-1875] and also apparent in Keith's later works, which are darker, smaller, and much more intimate with emphasis on mood. He married artist Elizabeth Emerson and did watercolor painting with her guidance. In 1868, he became a full-time painter, and that same year was commissioned to paint scenes along the Columbia River including Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to the East Coast and Europe including Dusseldorf, Germany throughout most of 1870, studying with Albert Flamm. After a visit to Paris, he expressed great admiration for "the modern school of French landscape painting including the Barbizon School. During the winter of 1871-1872, the Keiths lived in Boston where they shared a studio with William Hahn. Keith's work received critical acclaim there and in New York at the National Academy of Design. In 1872, he returned to San Francisco. A friendship with naturalist John Muir exposed Keith to many remote places and in-depth knowledge of nature. During the 1870s, he painted several "epic" eight by ten-foot High Sierra views. He also visited Alaska, and his paintings of Alaska were exhibited upon his return to San Francisco in a show at the Bohemian Club, titled 'Dreams of Alaska'. Keith's Alaska works are significant because they are not close transcriptions of actual scenery, but rather are fantasies inspired by Alaska. They are important as they represent a major break from the documentary tradition in landscape painting of Alaska, as they show an interest in capturing its spirit versus just the topography. In 1891, he shared his studio for several weeks with East Coast Tonalist George Inness, Sr. [1825-1894]. Both men painted in a similar style and were followers of the mystical teachings of Swedenborg. Among the locations where Inness and Keith painted together were Monterey and Yosemite, and it was reported they discussed art from every possible angle. Under Inness' influence, Keith painted more than ever in a Barbizon-influenced vein with many sunset and twilight scenes. By the early 1900s, Keith was likely one of the wealthiest artists in the United States and certainly earned the most money of any California-based artist. People from all over the world sought out his studio where it was said that he would specially select a painting for a client from behind a black velvet curtain, order everyone to be quiet, part the curtains, and set the work on a easel, flooded in light. It was unthinkable not to buy a painting on these occasions. Many of his paintings were shown in New York at the Macbeth Gallery, and in 1898, he had a special exhibition in New York. Keith died April 13, 1911, and his work is in most of the institutions representing major California artists

Vintage Modernist Watercolor Americas Cup Yacht Sailing Races by Willard Bond. Presented matted and framed. Biography By DENNIS HEVESI Published: June 10, 2012 In First Around, one of Willard Bond's best-known paintings, two towering yachts are caught in a roiling sea. The one to the fore is rounding a mark, sharply heeled in the wind, its crew crammed by the upper rail to keep it from capsizing. It has not yet raised its spinnaker, the balloonlike sail toward the bow. Perilously close by, the other boat has just turned the marker, its billowing spinnaker a virtual rainbow of iridescent pink, blue, maroon and white. All this is captured in Mr. Bond's bold, swirling strokes that verge on the abstract. "Bond creates paintings, not around what boats look like, but what it feels like to be aboard or nearby, watching them move fast — big, speeding boats, often only inches apart," J. Russell Jinishian wrote in his 2003 book, Bound for Blue Water, a comprehensive study of marine art. "Crews scramble, sails drop and raise in a flurry of activity," Mr. Jinishian wrote. "The tension is high, adrenaline pumps, orders are yelled, spray flies, seas and heads pound, your whole world spins as you are unconscious of everything else around you. If you want to know what it is like to be in the heat of a yacht race, just look at a painting by Willard Bond." Mr. Bond, whose images line the walls of thousands of homes — particularly those of avid sailors — died of congestive heart failure on May 19 in Yountville, Calif., his daughter, Gretchen Bond de Limur, said. He was 85. Until moving to California several months ago to be near his daughter, Mr. Bond had divided his time between his apartment in Brooklyn Heights and the 30-foot-high geodesic dome he built decades ago as a second studio near Barryville, N.Y., in the Catskills. Even there, he could conjure up images of sailing vessels and the sea. In Knarr Class, Mr. Bond depicted the copious mast of a wooden racing boat. Against a glowering sky, with perhaps a storm on the horizon, the boat is tilted toward its port side. Subtle blues, greens and grays blend in the water and the clouds, with white dots hinting of structures on the distant coast. Over five decades as a marine artist, Mr. Bond created hundreds of watercolor and oil paintings, "everything from cruising sailboats to America's Cup yachts," said Jeffrey Schaub, owner of the Annapolis Marine Art Gallery in Maryland and a longtime representative of Mr. Bond. He said Bond originals sell for up to $30,000, his limited-edition lithographs for up to $1,000, and his posters for up to $45. "Willard Bond was an original," said Jeanne C. Potter, director of the Maritime Gallery at Mystic Seaport in Connecticut. "Willard would often hear from the sailors who raced that that is the way it is out there, and that he was the only artist that got it." He found his passion as a teenager sailing on Lake Coeur d'Alene in Idaho, where his grandparents owned a houseboat. Willard Gordon Bond was born in Colfax, Wash., on June 7, 1926, to Arthur and Hallie Gilleland Bond. The family later moved to Lewiston, Idaho. When not sailing on Lake Coeur d'Alene, the young man worked for several summers as a fire spotter for the United States Forest Service. After serving in the Navy in the Pacific from 1944 to 1946, he attended the Art Institute of Chicago, then moved to New York to study at the Pratt Institute, from which he graduated in 1949. In a loft on the Lower East Side of Manhattan, Mr. Bond began creating large-scale abstract oil paintings and ceramic murals while supporting himself as a set designer, lighting technician and occasional actor in Off Broadway theaters. In the early 1970s he went to the island of Jamaica, where, inspired by Buckminster Fuller, he built geodesic-dome homes in the jungle, as well as two large domes for a school, commissioned by the Peace Corps. It was after returning to New York in 1976 and becoming a pier master at the South Street Seaport — he welcomed the tall ships of Operation Sail to New York Harbor for the bicentennial celebration — that Mr. Bond turned to marine art. His works began selling at galleries. At the same time, his daughter said, he sailed his own small boat off Long Island before graduating to a Chesapeake Bay skipjack, which had long been used for oyster dredging. In addition to his daughter, Mr. Bond is survived his longtime partner, Lois Friedel Bond (they were once married, then divorced and then began living together again in Brooklyn), and two grandchildren. His first two marriages also ended in divorce. Not all Mr. Bond's paintings reflect a turbulent sea. There is an almost palpable peace to his "Running Home," an oil painting that depicts four yachts far in the distance, their sails — black and white, red and white, blue and white, and pure red — full as they head to port at the end of a day of racing. "Running" means that the wind is behind them

Original vintage modernist abstract painting of books by Barry Nemett oil on canvas signed lower right and dated 1971. Presented in a natural oak wood frame. Measures 19ʺW × 1.5ʺD × 49ʺH in good condition minor touch ups. Biography: Barry Nemett, Chair of the Painting Department at Maryland Institute College of Art, studied at the Skowhegan School of Painting and Sculpture, received his BFA at Pratt Institute and his MFA at Yale University. His awards include The Hugh Fraser Foundation, Ford Foundation Grant, MICA Trustee Grant for Excellence in Teaching, Maryland State Arts Council Individual Fellowship Grant, ITT International Travel Fellowship/Fulbright Hays Grant, Ely Harwood Schless Award for Excellence in Drawing and Painting at Yale University, Faculty Enrichment Grant, and the Berkeley T. Rulon Miller Award. Prof. Nemett has curated numerous traveling exhibitions, and has exhibited his own work at the National Academy Museum, Museum of Art, Rochefort-en-Terre, France, Aichi Prefectural Museum of Art, Japan, Baltimore Museum of Art, Delaware Museum of Art, Institute of International Education, Washington County Museum of Art, Andre Zarre Gallery, Atlanta College of Art, Goucher College, Indiana University, Loyola College, New Jersey State Museum, University of North Carolina, Pratt Institute, St. John's University, University of Maryland, University of New Hampshire, University of Pennsylvania, Wellesley College, College of William and Mary, and Yale University.

A beautiful California impressionist landscape oil on board signed lower left Gile, Bold brush work and beautiful palette a true gem by this highly regarded American artist. In excellent condition Measuring 10 x 12.5 framed in a quality hand carved 24k gold frame 17.5 x 20.5 inches overall Appraised by John Moran at $10,000 to 15,000. a fine investment quality painting. Biography

Selden Connor Gile was an important member of the early northern California school of art, he was a founding member of the artist group that called themselves the Society of Six. He was born in Stow, Maine on March 20, 1877, and after attending business college in Maine, Gile moved to California in 1901. He was a payroll master in Lincoln and in Oakland after 1905 for Gladding McBean Company. His art studies were under Perham Nahl, Frank Van Sloun, Spencer Macky, William H. Clapp, and at the California College of Arts and Crafts. Prior to 1914, he painted in the manner of classical California landscape painters such as William Keith. After that time he assumed the palette and style of Impressionism-Fauvism, but remained an "individualist" in his mode of expressing the California scene. During the 1920s, he became the dominant figure in a group of painters known as the Society of Six. The Six were active in the San Francisco Bay area and exhibited regularly at the Oakland Art Gallery. In 1927 Gile moved across the Golden Gate to Tiburon and, shortly thereafter, to a houseboat in Belvedere. He died in San Rafael, California on June 8, 1947.

Modernist landscape Marsh series #1 by Ernest Garthwaite. Acrylic on paper measuring 22"w x 30"H.

Biography

Ernest Garthwaite was born in Saskatoon, Saskatchewan in 1940. He studied at Loras College in Iowa, receiving his Bachelor of Arts in 1961, and at the University of Notre Dame in Indiana, receiving his Master of Arts in 1962. He subsequently studied in Europe (including in Italy, Germany, and France) and at the University of Wisconsin in 1964 and the Art Students' League of New York in 1966. Garthwaite's work is represented in over 75 collections, including the Medicine Hat Museum and Art Gallery, New Rochelle Public Library, Art Gallery of Windsor, Bank of Montreal, Concordia University (Montreal), Marymount College (New York), Whyte Museum of the Canadian Rockies (Banff), and York College of the City University of New York.

David Cox Original oil painting 1844 signed lower right titled on reverse Manorbier Castle South Wales. Oil on board measuring approx. 30 x 40 inches. Biography

David Cox was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of impressionism.

A original abstract expressionist oil painting on canvas signed lower left dated 1984 and on verso by Ken Stabler. Canvas size22 x 28" overall framed size 23 x 29 presented in a gallery frame ready to hang. A beautiful detailed painting in soft pastel colors

Beautiful large original vintage Italian impressionist oil painting of Naples Harbor at sunset. Oil on canvas signed lower left G. Mariani. Canvas measures 24 x 36 inches. Artist Biography G. Mariani (Italian, 20th C.-), came from a family of artists who had been painting the beautiful cities and surrounding country life in and around their home of Naples, Italy, for many years. His father was the well known Italian landscape & cityscape painter Mario Mariani (Italian, 1907-) and he also had a brother, V. Mariani (Italian, 20th C.-) who was also an accomplished painter. G. Mariani loves to paint the water, the small harbors and particularly his home area of the Bay of Naples. He is well known for his coastal & seascapes views and fishing villages/marine scenes and for sunset skies which he often painted, as well as interior scenes of Italian country life. He was represented by his father Mario out of his art studio & gallery in Naples, where Mario not only represented his own work, but that of his two sons, as well as other represented artists. less DETAILS Tear Sheet Dimensions42ʺW × 2ʺD × 30ʺH

Impressionist nude female oil painting on canvas c.1920s. Presented in a Dutch impressionist parcel gilt wood frame. Canvas measuring 20 x 24 in excellent vintage condition.

A Beautiful original vintage 1939 oil painting "Bathing Horses" attributed to Russian artist Nikolai Petrovich Bogdanov-Belsky in 1939. Oil on canvas signed and dated lower right. Presented in a quality contemporary gallery frame canvas size 20” x 23.5” overall framed size 23 3/4 x 29 1/4. Artist Biography: Nikolay Petrovich Bogdanov-Belsky was a Russian painter. He was born in the village of Shitiki in Smolensk Governorate in 1868. He studied art at the Semyon Rachinsky fine art school, icon-painting at the Troitse-Sergiyeva Lavra in 1883, modern painting at the Moscow School of Painting, Sculpture and Architecture in 1884 to 1889, and at the Imperial Academy of Arts in St. Petersburg from 1894 to 1895. He worked and studied in private studios in Paris in the late 1890s. Bogdanov-Belsky was active in St. Petersburg. After 1921, he worked exclusively in Riga, Latvia. He became a member of several prominent societies in including the Peredvizhniki from 1895, and the Arkhip Kuindzhi Society from 1909 (of which he was a founding member and chairman from 1913 to 1918). Bogdanov-Belsky painted mostly genre paintings, especially of the education of peasant children, portraits, and impressionistic landscapes studies. He became pedagogue and academician in 1903. He was an active Member of the Academy of Arts in 1914. Bogdanov-Belsky died in 1945 in Berlin. He was a member of the Russian Fraternitas Arctica in Riga.

Antique oil painting on canvas of fireworks, likely of Bastille day from the Seine in Paris. The work depicts a dark evening nocturne offset by bright red and yellow fireworks with multiple figures in 18th century period attire in the foreground. Thickly applied paint is used throughout the painting to provide texture. The painting has been professionally relined, and is from the late 19th-early 20th century. Signed “Roybal,” bottom right, and presented in a black and gilt wood frame. Canvas size: 24" x 30".

Original oil on board c1950 "Portrait of a Horse" signed lower right by Harold Macintosh. Born Winnipeg Canada he studied at Winnipeg School of Art with L.L. Fitzgerald. He later made his way to New York where he found work as an illustrator. While McIntosh’s distinguished career as an illustrator is documented by numerous covers of magazines, Its his later Connecticut paintings can be found in museums and homes throughout New England. Image size 24"L x 36"W. Framed in period gilt wood frame.

A Beautiful early California impressionist oil painting of the Santa Clara Valley San Jose and Mt. Hamilton in the distance. By Charles Henry Harmon oil on canvas signed lower right and dated 1914. A panoramic painting with California oak trees and lupine and poppy wild flowers in the fore ground looking out the Mt. Hamilton and the Bay area hills in the distance. Canvas measures 12" x 40" overall framed size 18 x 46". A wonderful early painting of what is now considered silicon valley. Charles Henry Harmon Born: 1859 - Mansfield, Ohio Died: 1936 - San Jose, California Born in Mansfield, Ohio, Charles Henry Harmon moved to San Jose, California as a youngster in 1874. At a young age, he was apprenticed to Louis Lussier, a local portrait painter. He also worked in a photography studio retouching negatives. He had no formal art training but loved to visit galleries in San Francisco and began painting in the Santa Clara Valley. He also went to many other remote areas along the Monterey Coast and the Sierra Nevada Mountains. By the turn of the century, Gumps department store of San Francisco handled his work exclusively, and his reputation was well established. In 1905, he settled a studio in Denver, and began commissions for the Santa Fe Railroad, Western Pacific and Colorado Midlands to paint scenes along their route. He spent his later years in San Jose, California where he died. Exhibition venues include Mark Hopkins Institute, 1897-98; Gump's (San Francisco), 1899; California State Fair, 1902; Berkeley League of Fine Art; California Artists, Golden Gate Park Museum, 1915; Stanford Art Gallery, 1923; Rosicrucian Art Gallery, 1949; and Triton Museum, 1971 (retrospectives). Collections: San Jose Civic Auditorium; Clarke Museum (Eureka); CSL; Denver Public Library; Santa Fe Railway. Source: Edan Hughes, Artists in California, 1786-1940.

Oil painting on canvas of a nude female figure signed A Brook lower right- Alexander Brook (1898 – 1980) . Image size 22"x 30", overall dimensions 26.5" x34.5". Lightly textured. In Good Condition. Born in Brooklyn, New York, Alexander Brook was a realist painter, whose works consisted mostly of still-life subjects, landscapes, and figures, often of women. He was very successful in his day, winning second prize to Picasso's first prize at the Carnegie Institute International Exhibition of Modern Painting in 1930. In New York, he studied at the Art Students League between the years of 1914-1918. It was at the Art Students League that Brook developed significant relationships with Niles Spencer, Reginald Marsh, Kenneth Hays Miller, Yasuo Kuniyoshi and, perhaps most significantly, Peggy Bacon, whom he married in 1920. Along with Kenneth Hayes Miller, Brook studied with John C. Johansen, Frank V. DuMond, George Bridgeman and Dimitri Romanofski. Within this group lay the foundations of American Realism. Brook was a member of the Society of Independent Artists, who rebelled against the strictures of the National Academy of Design. In 1938 Brook traveled to Savannah, Georgia, there he did some of his most provocative work. After two years in the South, Bacon and Brook were divorced. Brook later married the painter Gina Knee. During the years 1928 through 1939, Alexander Brook had works in over one-hundred exhibitions, fifteen of which were one man shows. By 1942, Brook had resumed teaching at the Art Students League. Demand for the artist's work kept him in significant collections, galleries, and museums, including the Downtown Gallery (New York), the National Academy of Design, the Rehn Gallery, the Larcada and the Knoedler galleries. Brook received awards at the Art Institute of Chicago (1929), the Pennsylvania Academy (1931), the Guggenheim Fellowship (1931), and the San Francisco Art Association (1938).

Claude Lacaze original oil painting on canvas of cubist nudes signed lower left. measuring Approximately 26 x 40 inches in excellent condition.

Biography

Lacaze was a painter who was heavily influenced by Cubism and Post-Cubism, particularly by fellow Bordeaux painters such as André L’Hote. He was born in Angoulême, Charente and studied at the Lycée Montaigne in Bordeaux and it was there, under an inspirational art master, that his desire to be an artist was initiated. He enrolled at L’École des Beaux-Arts in Bordeaux and studied under André Edouard Marty. At first, his style was decidedly Cubist, showing the influence of Picasso through the aforementioned L’Hote. However he softened the linear effect somewhat as his career developed and this is particularly apparent in his paintings of nudes. He staged his first solo exhibition in Paris in Rue Visconti quite soon after leaving art school. He also exhibited through his career at other locations in Paris, his home city of Bordeaux, Sainte Maxine, Angoulême and Périgueux but he seems not to have had a particularly commercial attitude to his work apparently sometimes not even turning up to the opening nights. Lacaze was appointed Professor of Fine Art at Collège de Puyguillen and also joined the artistic group Maison des Artistes. Exhibitions:  Paris, Galerie Visconiti; Périgueux, N.T.P.; Angoulême, Galerie Tison d’Argence; Bordeaux, Galerie du Loup; Sainte Maxine, Galerie L’Oleil Fauve. The Musée des Beaux Arts de Bordeaux also exhibited his work.

A beautiful vintage original oil painting portrait of a woman in a kimono signed lower right and stamped on verso. Harry Lang Barton, artist and illustrator May 12, 1908 - August 12, 2001 Born in Cleveland and raised in Seattle, Harry Barton spent his life doing the thing he truly loved--painting. Whether in the Pacific Northwest around Seattle, Hood Canal, and Puget Sound, or in the Art Students League, Central Park, and the parks and beaches of Long Island, or in Pennsylvania and New England (he often summered in Rockport, Massachusetts, and Kennebunkport, Maine), Harry's life was art. Harry's career as an artist embraced almost every medium and a great many genres: from charcoal and pen and ink to watercolor, tempura, and oil; from his early work in Seattle as a silk-screen artist and an illustrator for the Sterling Theatres and the telephone company, to his New York work as an illustrator of Western pulp fiction, detective and mystery novels, and movie and fashion advertisements, and finally to his extensive activity as a portrait and landscape painter. In the spring of 1945, he decided to study for the summer at the Art Students League in New York with Frank Reilly, and in the fall of that year he was offered work in New York as an illustrator for Gale Phillips Associates. Moving his family from Seattle, he--along with his wife Pauline and his daughters Joan and Linda--took up residence in Bayside, Queens, and soon moved to the Auburndale area of Flushing, where he had his own freelance studio and where he lived the rest of his life. Over the years his illustrations were featured in The Saturday Evening Post, Argosy, Boy's Life, Down East, and American Artist, as well as on movie billboards for Metro-Goldwyn-Mayer and in fashion advertising for Lord & Taylor and Gertz department stores. But his main body of work as an illustrator can be found in hard-cover and paperback novels published by such major firms as Dell, Ace Books, Dial Press, and Farrar Straus & Giroux. Harry's paintings and sketches were exhibited in the Philadelphia Museum of Art; in the Salmagundi Club, Lord & Taylor, the Smith Gallery, and Illustration House in New York in the Blue Heron Gallery in Wellfleet, Cape Cod; in the Schaff Gallery in Cincinnati; and in Mast Cove Gallery in Kennebunkport. He received a number of prizes for his work, and his paintings are held in private collections in the United States, Canada, and Europe. Harry was a member of the American Artists Professional League, the Salmagundi Club, and the Art Students League of New York, where he kept on working throughout his life, studying with--in addition to Frank Reilly--Samuel Edmund Oppenheini, William Draper, and Everett Raymond Kintsler. Harry loved the Art Students League and was very proud of being a Life Member. His Saturday jaunts to the League continued right up to the time when the League closed for the summer three months before he died. He was fortunate in being able to do what he enjoyed most to the very end. less

An antique painting portrait of a beautiful woman oil on canvas by William A. Dollond signed lower left. William Anstey Dolland was a British artist who was born in (1858-1929). Known for his oil and watercolor paintings of female figures in traditional scenes. William Anstey Dolland's work has been offered at auction with realized prices ranging as high as $9,991 USD, depending on the size and medium of the artwork. Since 2000 the record price for this artist at auction is $9,991 USD for Waiting; and At the fountain, sold at Christie's London in 2000. The artist died in 1929. Painting measurements 21ʺW × 2ʺD × 25ʺH in very good antique condition.

A fine original Early California Landscape By Carl Jonnevold oil on canvas signed lower right in original frame and in excellent condition measuring approx. 12 x 16

Biography

Landscape painter. Born in Norway on June 1, 1856. Jonnevold came to the U.S. in the 1880s and is known to have painted in the Northwest before moving to California in 1887. Settling in San Francisco, he maintained a studio at 1617 California Street. He was a self-taught painter except for brief study in the galleries of Paris in 1908. While in France, he was influenced by the Barbizon painters and their dark palette. Returning to California, he continued to paint the beauty of northern California in the Barbizon style. Often working in late afternoon when shadow prevails, he produced hundreds of attractive tree and meadow scenes which he exhibited in local galleries. By the time of the stock market crash in 1929, Jonnevold was poverty stricken and living alone at his small studio at 560 Kearny Street. In that year he was sentenced to two months in jail for aiming a gun at his landlord. Jonnevold disappeared from San Francisco about 1930. A letter at the Oakland Museum gives his date of death as June 9, 1955 but no location. His works have gained renewed respect in recent years and are highly sought after by collectors. Exhibitions: Calif. State Fair, 1899-1902 (awards); Mechanics' Inst. (SF), 1897; SFAA, 1908-12; Alaska-Yukon Expo (Seattle), 1909 (bronze medal); Kanst Gallery (LA), 1915. In: Oakland Museum; CHS; De Young Museum. Source: Edan Hughes,

Impressionist oil painting of a Mother Child Titled "Family Outing" at Mast Cove Kennebunkport Maine by Harry Barton. Oil on 24 x 30 panel signed lower left and with estate of the artists stamp on verso. Harry Lang Barton, artist and illustrator May 12, 1908 - August 12, 2001 Born in Cleveland and raised in Seattle, Harry Barton spent his life doing the thing he truly loved--painting. Whether in the Pacific Northwest around Seattle, Hood Canal, and Puget Sound, or in the Art Students League, Central Park, and the parks and beaches of Long Island, or in Pennsylvania and New England (he often summered in Rockport, Massachusetts, and Kennebunkport, Maine), Harry's life was art. Harry's career as an artist embraced almost every medium and a great many genres: from charcoal and pen and ink to watercolor, tempura, and oil; from his early work in Seattle as a silk-screen artist and an illustrator for the Sterling Theatres and the telephone company, to his New York work as an illustrator of Western pulp fiction, detective and mystery novels, and movie and fashion advertisements, and finally to his extensive activity as a portrait and landscape painter. In the spring of 1945, he decided to study for the summer at the Art Students League in New York with Frank Reilly, and in the fall of that year he was offered work in New York as an illustrator for Gale Phillips Associates. Moving his family from Seattle, he--along with his wife Pauline and his daughters Joan and Linda--took up residence in Bayside, Queens, and soon moved to the Auburndale area of Flushing, where he had his own freelance studio and where he lived the rest of his life. Over the years his illustrations were featured in The Saturday Evening Post, Argosy, Boy's Life, Down East, and American Artist, as well as on movie billboards for Metro-Goldwyn-Mayer and in fashion advertising for Lord & Taylor and Gertz department stores. But his main body of work as an illustrator can be found in hard-cover and paperback novels published by such major firms as Dell, Ace Books, Dial Press, and Farrar Straus & Giroux. Harry's paintings and sketches were exhibited in the Philadelphia Museum of Art; in the Salmagundi Club, Lord & Taylor, the Smith Gallery, and Illustration House in New York in the Blue Heron Gallery in Wellfleet, Cape Cod; in the Schaff Gallery in Cincinnati; and in Mast Cove Gallery in Kennebunkport. He received a number of prizes for his work, and his paintings are held in private collections in the United States, Canada, and Europe. Harry was a member of the American Artists Professional League, the Salmagundi Club, and the Art Students League of New York, where he kept on working throughout his life, studying with--in addition to Frank Reilly--Samuel Edmund Oppenheini, William Draper, and Everett Raymond Kintsler. Harry loved the Art Students League and was very proud of being a Life Member. His Saturday jaunts to the League continued right up to the time when the League closed for the summer three months before he died. He was fortunate in being able to do what he enjoyed most to the very end of his life

A beautiful colorful abstract oil painting by Ken Stabler signed on verso and dated 1961. Presented ready to hang with a thin wood ebony color frame. Canvas size 20 x 24 inches overall 20.5 x 24.5 inches. In excellent vintage condition.

Original antique watercolor floral botanical painting of a tulip 19th century c.1850. This lovely original watercolor is from a mid 19th century botanical watercolor album. While little is known about the work, it was clearly done by a highly skilled artist. The paper is Whatman watermarked and dated. . Presented matted with archival materials and framed.

Original oil on paper titled "Western Hills Series #56" and signed lower right by Katherine Chang Liu, 1988. Liu an internationally renowned painter and teacher. Born in China, Liu received a full scholarship to UC Berkeley. Her work has been featured in 26 books and over 70 magazine articles. She is listed in "Who’s Who in American Art" and "Who’s Who in American Women." Her work can be found in many private and corporate art collections. This painting was in the corporate collection of Clorox corp. inventory number is on the side. Image, 24"L x 13"H . overall framed size 35.5ʺW × 2ʺD × 24.5ʺH

Original antique watercolor floral botanical painting of a yellow flowering plant 19th century c.1850. This lovely original watercolor is from a mid 19th century botanical watercolor album. Although unsigned it was clearly done by a highly skilled artist. The paper is Whatman watermarked and dated. . Presented matted with archival materials and framed.

A beautiful pair of original 19th century antique oil paintings in the manner of George Henry Harlow renowned British portrait painter, 1787-1819]. Both Oil on canvas framed in later vintage gold frames. Both paintings have been professionally restored relined cleaned and re varnished. DIMENSIONS 8.5ʺW × 1.5ʺD × 10.5ʺH

Original antique English watercolor titled "Fox Gloves by Stream" signed by Joseph Poole Addey (1852-1922), dated 1889. Addey was an especially gifted watercolorist. Born in Dublin, he studied at the Royal Dublin Society School of Design and the Cork School of Art. He began exhibiting at the RHA in 1877, and over the next forty years showed over 130 paintings. Image size: 19x29”, overall dimensions: 29.5 x 38.5”. less

Claude Lacaze original oil on panel cubist nudes by the sea signed lower left. measuring Approximately 20 x 30 inches in excellent condition.

Biography

Lacaze was a painter who was heavily influenced by Cubism and Post-Cubism, particularly by fellow Bordeaux painters such as André L’Hote. He was born in Angoulême, Charente and studied at the Lycée Montaigne in Bordeaux and it was there, under an inspirational art master, that his desire to be an artist was initiated. He enrolled at L’École des Beaux-Arts in Bordeaux and studied under André Edouard Marty. At first, his style was decidedly Cubist, showing the influence of Picasso through the aforementioned L’Hote. However he softened the linear effect somewhat as his career developed and this is particularly apparent in his paintings of nudes. He staged his first solo exhibition in Paris in Rue Visconti quite soon after leaving art school. He also exhibited through his career at other locations in Paris, his home city of Bordeaux, Sainte Maxine, Angoulême and Périgueux but he seems not to have had a particularly commercial attitude to his work apparently sometimes not even turning up to the opening nights. Lacaze was appointed Professor of Fine Art at Collège de Puyguillen and also joined the artistic group Maison des Artistes. Exhibitions:  Paris, Galerie Visconiti; Périgueux, N.T.P.; Angoulême, Galerie Tison d’Argence; Bordeaux, Galerie du Loup; Sainte Maxine, Galerie L’Oleil Fauve. The Musée des Beaux Arts de Bordeaux also exhibited his work.

19th Century pastoral landscape oil on canvas. Golden age, old master influenced painting depicting a shepherd with his sheep and a cottage. Signed Wayland, lower right. Wax Relined and presented in an intentionally distressed gold wood frame. Image size, 16 x 20 overall framed size 24.5ʺW × 2.5ʺD × 20.5ʺH.

Vintage mid century original oil painting a portrait of a thoroughbred race horse signed lower left. Presented in a quality gallery frame. The oil painting on canvas board measures 9" x 12" overall framed size 17.5 x 22.5".

A beautiful colorful post impressionist oil painting by Charles Camoin (1879 - 1965). Oil on canvas signed lower right and noted painted in Paris. Born in Marseille in 1879, Camoin studied firstly in his home city before moving to Paris in the 1890s to study under the influential and controversial Symbolist painter Gustave Moreau at the Ecole des Beaux-Arts. Here he met some of the artists who would go on to define French painting in the early part of the 20th century, including Henri Matisse, Albert Marquet, Henri Manguin, Andre Derain and Maurice de Vlaminck. However, it was a move to the south of France in 1900 which was instrumental in defining Camoin's artistic career. Following in the footsteps of Van Gogh and Gauguin, he painted many of the places that they had frequented and, moving to Aix-en- Provence, he met Cezanne whose influence was key in developing Camoin's colourist style.

Charles François Daubigny landscape oil on panel signed lower left presented in a quality gold leaf frame. Panel measures 10.5"W x 7.75"H. overall framed size 16.0" W x 13.0" H x 2.5" D A French landscapist of the Barbizon School, Charles-Francois Daubigny was born in 1817 in Paris. In 1835, having received a small scholarship, he went to Italy, where he spent an unproductive year. He earned a living by doing engravings for books and regularly sent to the Salon peaceful landscapes, painted in a highly detailed style, with great respect for nature.