Catalog: Fine Art (123)

Pair of original antique botanical Fern lithographs prints circa 1867. Edward J. Lowe’s Ferns: British and Exotic. this print was published in London by Groombridge & Sons in 1867. This work was one of the earliest works to concentrate solely on the subject of the fern. Lowe used his botanical expertise and money to produce this work. He hired A. F. Lydon as the artist for the work and Benjamin Fawcett created the lithograph plates. Presented archival matted and framed. overall size 12.5" x 15.5".

Original etching Gothic Interior Suffolk England by Valerie Thornton, British 1931-1991. Signed lower right. Thornton a painter and printmaker. In the1960s she lived in New York working at Pratt Graphics Art Center. Member Royal Society of Painters-Etchers and Engravers. Her work is in the collections of the Royal Academy, Victoria and Albert Museum, British Museum, Tate Gallery, Fitzwilliam Museum, Metropolitan Museum of Art, Museum of Modern Art, New York Public Library. Image 26"L x 16.5"W. Framed 38" L x 28" W

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.

Close Description Original antique painting of a native American Indian woman braiding her daughters hair. Gouache on paper signed lower right L. C. Perry. Presented in the original antique frame. Born in Boston, Lilla Cabot Perry was a key person, along with Mary Cassatt, in bringing French Impressionism* to the United States from France. "For many years, she lectured, wrote, and encouraged American patronage of the style." (Dunn, 16) She was also the artist most closely involved with the Guild of Boston Artists*, which opened its galleries in 1914 to promote accomplished painters and sculptors. She served on the board as the first secretary and worked hard to cultivate persons for financial backing. Pery had prominent Boston social credentials that included the Cabot and Lowell families. Her father was a distinguished surgeon; and her husband's great uncle, Commodore Matthew Perry, opened Japan to the world in 1853. In 1874, she married Professor Thomas Sergeant Perry, a professor of 18th-century literature, and their home became a gathering place for many Boston intellectuals including Henry James, William Dean Howells, and her brother-in-law, painter John LaFarge. She had elite private schooling and began her art studies with Robert Vonnoh and Dennis Bunker at the Cowles School in Boston. Having first traveled to Europe with her family in 1887, she studied in France privately with Alfred Stevens and at the Julian* and Colarossi* Academies. She also exhibited at the salons and expositions and in 1889, attended Claude Monet's exhibition, "Impressions", which "was a revelation for Perry, who decided to take up residence in Giverny." (Dunn, 16) In 1889, Perry and Cecilia Beaux visited Claude Monet at Giverny*, France, and she was highly intrigued with his painting. He, who never took pupils, did give Perry advice and encouraged her to put down on canvas her first impression, saying that was the truest and most pure expression. Between 1889 and 1909, she and her husband spent ten summer seasons in Giverny, where they lived next door to Monet and became close friends. Perry recorded interviews with Monet, who seemed very fond of her, and the result was Perry's book, published in 1927, Reminiscences of Claude Monet. She also successfully encouraged her wealthy friends to purchase Monet's paintings. In 1889, she returned to Boston with one of Monet's paintings, Etretat, one of the first Impressionist works to appear in that area, and she was surprised that no one was very taken with the painting. Several years later, she gave lectures on Monet to the Boston Art Students Association. In 1898, her husband, accepted a college teaching position in Tokyo, Japan as chair of English Literature, and living there until 1901, she painted the landscape and the people, completing more than eighty paintings. Of this period in her life, art historian William Gerdts wrote: "Lilla Perry was one of the most significant of the American painters who went to Japan in the late 19th century; . . . of all the Americans to work there, Perry's work is the least traditional and is the most indebted to the Impressionist aesthetic, and some of her Japanese scenes are, in color and brushwork, extremely close to Monet." (97) In her later years, she lived in the upper class Back Bay area of Boston, and spent her summers in Hancock, New Hampshire. Lilla was a founder and first Secretary of the Guild of Boston Artists. Much of her painting of that period was for her own enjoyment and focused on activities of upper class women, with her daughters frequently serving as the models. She seldom did any preliminary sketching, and pastel was a favorite medium. In very good all original condition overall size 17ʺW × 2.5ʺD × 15ʺH.

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.

Post impressionist oil painting of a partial nude in blue tones. Reminiscent of Picasso's Blue Period. Signed lower right and presented in original dark wood frame with white insert. Masonite panel measures 20 x 30 inches.

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".

Beautiful original antique American Impressionist oil painting portrait of a woman by Charles Frederick Keller (1852 - 1928). Oil on canvas signed lower right presented in a quality gold gallery frame. Keller was active/lived in New York, Wisconsin. Charles Keller is known for Animal, figure, genre and landscape painting. A painting by Keller recently sold at auction for $4,938 at :Pook & Pook Inc. Decorative Arts Jan. 20 2020 Measures overall framed size 21.5" W x 24.0" H x 2.5" d. canvas is 15" W x 18.0" H. In excellent antique condition.

An original vintage circa 1950 oil painting of a Colorado Rocky Mountain Landsape of Aspen trees titled "Flaming Autumn" in Estes Park. Oil on 24" x 30" panel signed lower left Stirling and titled on verso. Presented in a quality contemporary gallery frame overall size 30.5" x 36.5". David Stirling was born in 1887 in Corydon, Iowa to a pioneering family, and his father was a newspaper publisher. He died in Longmont, Colorado after a short illness in 1971 and was buried there in a family plot. There were 8 children in the family, of which he was the youngest, being 7 years younger than the next youngest son, and he was the first of the family to graduate from high school. He went on to the Cummings Art School in Des Moines, Iowa in 1906-07, and also attended the Academy of Fine Arts in Chicago in 1908-09. After traveling to the North West where his older brother had a logging business, in which he worked, he discovered that he wasn't too interested in that kind of work. He passed through Estes Park, Colorado on this trip in 1916. He married Kitty Wolf in Corydon, and in 1918 they moved to Estes Park for the summer months, and this became a standard trek that lasted for many years. He alternated his time between Corydon in the winter, where he maintained a studio over the local bank, and Estes Park, where his studio was variously inside the Rocky Mountain National Park and on the main street. He painted the Rocky Mountain National Park and environs as well as other parts of the country but was most well known for his colorful aspen paintings. He worked exclusively in oils and painted on board for the most part. In the 1920s the Stirlings lived in Denver and Dave worked for the well known Meininger's Art Materials store there. While working there he could afford canvas and did produce a number of pieces on canvas during that time. In 1919 in the Rocky Mountain National Park, they built a studio called "Bugscuffle Ranch" along with an adjacent home where they lived in the summers. This structure was replaced in 1930 with the gallery and studio that remained until a few years after Dave's death. He became well known for his "cultural lectures on art" which were given in the gallery on a daily basis, and were attended by thousands of visitors. His line was, "Everyone goes away smarter than when they stumbled into the joint". He was also fond of quoting Will Rogers, on his first exposure to abstract art, when he said, "When you ain't nothing else you're an artist--it's one thing you can claim to be and no one can prove you ain't." Dave was an author as well and wrote several books of stories, myths and lies about the mountain west. His pen name was Pye-Eyed Pete Dave's wife contracted cancer, and he remained her sole care giver until her death. His daughter Hattie later also had cancer and died, and his son who was diabetic died on the dance floor of the Riverside Ballroom in Estes Park. He is survived by 4 grandchildren and 1 great grandchild (to date). His eldest grandson lives and works in Estes Park. Dave was famous as "The Youngest of the Old Masters", a title given him in an article, which he was quick to adopt. He painted the Rocky Mountain National Park and environs as well as other parts of the country but was most well known for his colorful aspen paintings.

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

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.

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

Portrait of a woman by French artist Jean-Jacques Henner (1829-1905). Board: 9.25"L x 12.9"H framed 18.5" L x 14.75" w. Henner entered the École des Beaux-Arts and won the Prix de Rome in 1858. He exhibited paintings in the Salon, many now in the Musée d'Orsay. In 1889, he became commander of the Legion of Honour and succeeded Cabanel in the Institut de France. In 1900, he won a Grand Prix for painting at the Paris Exposition Universelle. Excellent condition minor age wear.

Vintage American Impressionist Oil Painting Girl Flowers on the Beach by Barton. Oil on 20 x 24" panel signed lower left presented in a quality gallery frame. 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

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).

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.

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).

An original antique French Art Nouveau bronze statue of a glamorous woman c.1905. Bronze mounted to a marble base signed on verso with the stamp medallion of Original Bronzes Society Paris France. Dimensions 3.5ʺW × 3ʺD × 7.5ʺH Georges Van der Straeten was a Belle Epoque sculptor born in Ghent, Belgium, on December 21, 1856. He studied under the Neo-Baroque sculptor Jef Lambeaux (1852-1908). In 1883, at the twenty-seven years old, Van der Straeten moved to Paris. While living in Paris he befriended Jean Marie Constantin Joseph "Jan" van Beers, a fellow painter and son of the Romantic poet Jan van Beers. He lived at 9 Hoche Avenue, Paris. Van der Straeten showed at his first Paris Salon in 1885 and continued to show until 1912. He won many awards for his work, including the silver medal at the 1900 World's Fair, Paris and a knight of the Legion of Honor in 1903. Van der Straeten's figures are detailed and inspired by the French artist Antoine Watteau (1684-1721) and similar in style to the Italian sculptor Emmanuel Villanis (1858-1914). The work is Art Nouveau with an emphasis on the figure. His works have been produced in large numbers by French foundries Paris Bronzes Society, Pinedo and by ceramsist Friedrich Goldscheider. The artist died in Ghent in 1928.