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Preisdatenbank abonnierenCharles Jervas (1675-1739)- oil on canvas, Portrait of Susannah Hedges Edmonds, in the grounds of Hendon Hall, circa 1724, 126 x 100cmCONDITION: Oil on canvas relined within the past 10 - 20 years or so, canvas remains tight, paint looks a little dirty with a fine craquelure running through much of the paint, housed in a later gilt frame, detailed notes regarding the history of the sitter's family verso.
A collection of prints and engravings, including a caricature after George Moutard Woodward, 'An Unfortunate Union - or the Old Maid in a Panic', four coloured woodcut engravings depicting anthropomorphic animals after J. J. Grandville from 'Les Metamorphoses du Jour' (Paris, Jules Claye), a costume print of a couple and a black and white portrait engraving of Tsar Nicholas I (with Alken print verso), 7 (five framed)
Victorian School, oil on canvas, Portrait of a gentleman, 76 x 63cm and an earlier distressed oil portrait of a lady, 48 x 37cm, both unframedCONDITION: Gentleman - canvas sagging and paint scuffed and dentedLady - has seen some professional relining with plain retouching where paint has been lost
MIXED EPHEMERA, a box containing a small number of Edwardian/WWI era photographs, photographic negatives, postcards, theatre programmes and newspaper cuttings, and a box of books to include Peter Scott The Eye of the Wind, third edition, Thomas Rowlandson Amorous Illustrations and the Peninsular - Portrait of a Grand Old Lady (two boxes)
SEVEN PAINTINGS, comprising an abstract oil on canvas signed M Xavier RAJ, signed, 100cm x 80cm, watercolours by Robert W Tantau - an Australian landscape, two Maureen Ribbins Botanical Studies, study of ornamental flowers, initialled SB?, portrait of a female, indistinctly signed and a view through a window, indistinctly signed (7)
Hodges Soileau (American, B. 1943) "Sequoyah" Signed lower right. Original Mixed Media painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Sequoyah Commemorative Cover postmarked February 21, 1983. Sequoyah, also known as George Gist, was probably born about 1770, near Fort Loudon on the Tennessee River. From childhood Sequoyah lived among the Cherokees. Although he knew no English, he was fascinated by the whites' method of transmitting information over long distances with writing, and their ability to accumulate knowledge with printed words. About 1809 he began experimenting with an alphabet for the Cherokee language, but his work was interrupted by the Creek War of 1813-14. Along with other Cherokees he served as a soldier under Andrew Jackson against the Creeks. Returning to his Cherokee alphabet after the war, Sequoyah eventually devised eighty-six written characters, each representing one of the syllables of the tribe's spoken language. The syllabary proved to be easy to learn and was officially adopted by the tribe. In 1827 the Cherokee leaders ordered printing types cast of Sequoyah's alphabet, purchased a press, and on February 21, 1828, the first issue of the Cherokee Phoenix was published, a unique event in American Indian history. During that year Sequoyah was invited to Washington where government officials presented him with an award, and Charles Bird King painted his portrait. His last years were spent in a search for the "lost" Cherokees, a group who had migrated to Mexico. He died near Matamoras sometime in 1843. Among the memorials to Sequoyah's genius are the giant trees of California that were given his name, a national park, and a statue in the national capitol. Image Size: in. Overall Size: in. Unframed. (B06904)
Mel Crawford (Canadian, B. 1925) "Shepherd Seeing Star of Bethlehem" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 20c Christmas stamp issued October 28, 1981. And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. And the Angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Savior, which is Christ the Lord. (Luke 2:8-11). Through the centuries, the events and miracles associated with the life of Christ were witnessed, remembered, and retold for generations to come. An excellent example is Italian Renaissance painter Sandro Botticelli's rendition of the Madonna and Child which brilliantly brings forth the deep mutual love Mother and Child feel for one another. Indeed, exemplary of Botticelli's tendency toward naturalism in art, this particular Madonna and Child tempera-on-panel portrait is one of the loveliest and most heartwarming paintings ever created. Today few painters are more popular than Botticelli. His paintings are distinctive for their clear, rhythmic line, delicate color, lavish decoration, and poetic feeling. This moving portrayal of the Madonna and Child by Botticelli now hangs in the Chicago Art Institute in Chicago, Illinois. The Botticelli: Art Institute of Chicago United States Christmas stamp featured on this First Day Cover was issued in Chicago on October 28, 1981. Image Size: 14 x 11.75 in. Overall Size: 17.25 x 14.75 in. Unframed. (B07415)
Peter Adams (by), Yousuf Karsh, 12-colour pigment, Canson Infinity printmaking rag 310gsm matte, signed certificate of authenticity, non embossed, limited edition 1/10, 16.5" x 11.7". A portrait of master photographer Yousuf Karsh. 1991. Yousuf Karsh, Canada, © peteradams1992 For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
David A Williams (by), THE MESSENGER, Giclée, Legacy Platine, signed, non embossed, 10.5" x 10.5", centered on A3+, certificate of authenticity, artists comments, technical detail. Portrait of James Whitehead - Toronto - 2017. This lot is located in Canada. Import charges may apply. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
David A Williams (by), THE VISIONARY, Giclée, Legacy Platine, signed, non embossed, 10.5" x 10.5", centered on A3+, certificate of authenticity, artists comments, technical detail. A portrait of David Miller. Portland, Oregon, USA. This lot is located in Canada. Import charges may apply. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
(See English version below)Luc Tuymans (Mortsel (bei Antwerpen) 1958 – lebt in Antwerpen). „The Rumour“. 2002/03Folge von sieben Farblithografien, montiert auf vier lackierte Plexiglastafeln, Holz, Vogelkäfig, Metall. Tafel 1: 92 × 231 × 6,4 cm. Tafel 2: 92 × 437 × 6,4 cm ( ⅜: 36 ¼ × 91 × 2 ½ in.. Tafel ¾: 36 ¼ × 172 × 2 ½ in.). Eines von 18 nummerierten Exemplaren und 2 A.P. Brooke Alexander, New York. [3583]Provenienz: Privatsammlung, Frankreich Im Herbst 2001 stellte White Cube in London eine Serie von acht Gemälden von Luc Tuymans mit dem Titel „The Rumour“ aus. In den Jahren 2002 und 2003 lud Brooke Alexander Tuymans ein, gemeinsam ein ehrgeiziges Editions-Projekt umzusetzen. Zusammen mit dem Drucker Maurice Sanchez und dem Schreiner James Cooper, beide aus New York, überarbeitete Tuymans die Gemälde von 'The Rumour' zu einer komplexen Installation mit sieben Lithografien und einem dreidimensionalen Modell eines Vogelkäfigs, ähnlich dem für die Malerei 'Within'. Alle acht Arbeiten wurden für ein speziell angefertigtes Holz- und Plexiglas-Paneelsystem entworfen, wodurch eine Installation mit einer Länge von über sechs Metern entstand. In einer Ecke positioniert, erhalten die einzelnen Teile in der Installation eine feste Anordnung. Links von der Ecke befindet sich ein großes Blatt mit einer Gruppe von Tauben, gefolgt von einer Nachbildung des Porträts eines alternden Aristokraten. Auf der rechten Seite der Eckkonstruktion befindet sich 'Bend Over', gefolgt von einer Taube im Profil und dem Vogelkäfigobjekt 'Within'. Am äußersten Rand der Installation befinden sich drei Nahaufnahmen von Taubenaugen, die den Betrachter ausdruckslos, isoliert und scharf anstarren. Zustandsbericht: In sehr gutem Zustand. Das Werk wurde nie ausgepackt und installiertWir berechnen auf den Hammerpreis 30% Aufgeld.Luc Tuymans (Mortsel (near Antwerp) 1958 – lives in Antwerp). ”The Rumour”. 2002/03Set of seven colour lithographs, mounted on four lacquered plexiglas panels, wood, bird cage, metal. Plate 1: 92 × 231 × 6,4 cm. Plate 2: 92 × 437 × 6,4 cm ( ⅜: 36 ¼ × 91 × 2 ½ in.. Plate ¾: 36 ¼ × 172 × 2 ½ in.). One of 18 numbered copies and 2 A.P. Brooke Alexander, New York. [3583]Provenance: Private Collection, France In the autumn of 2001, White Cube in London exhibited a series of eight paintings by Luc Tuymans entitled „The Rumour“. In 2002 and 2003, Brooke Alexander invited Tuymans to create an ambitious print project. Together with the printer Maurice Sanchez and woodworker James Cooper, both from New York, Tuymans reworked the paintings of 'The Rumour' into a complex installation with seven lithographs, and a three-dimensional model of a birdcage, similar to the one used for the painting 'Within'. All eight works were designed to fit a custom-built wood and Plexiglas panel system, creating an installation over six metres long. Positioned in a corner, the installation holds the individual pieces in a fixed arrangement. At the left of this corner is a large sheet with a group of pigeons, followed by a re-creation of a portrait of an ageing aristocrat. On the right side of the corner division is 'Bend Over', followed by a pigeon in profile and the birdcage-object of 'Within'. The far edge of the installation holds the three close-up images of pigeons' eyes, staring blankly, isolated and in focus. Condition report: In very good condition. The work was never unpacked and installedWe charge 30% premium on the hammerprice.
C. 100-300 AD. Roman. Gold ring comprising D-shaped hoop and elliptical bezel with a carnelian setting. The setting bears an engraved male bust with short, curled hair, elegant facial features; he wears a toga, suggesting that he is a senator. This portrait may represent the one-time owner of this elegant piece. Excellent condition; wearable.Size: D: 20.7mm / US: 11 / UK: V 1/2; 3.9g; Provenance: Property of a central London Ancient Art Gallery; previously obtained from a British private collection formed in the 1980s.
Titled "Summer Color; Soldier Boy", engaging portrait of a horse in a field. Signed lower right and inscribed. Dated '92. Carol Peek is active in California and Utah, and is known for animal, ranch genre, and landscape painting. Overall size: 11 1/2 x 13 1/2 in. Sight Size: 7 1/2 x 9 1/2 in.
"Cows in Pasture" Monumental exhibition sized oil on canvas. Signed and Dated 1881.Original stretcher.Original liner.Highly important American painter of the Bovine School, most notable for his images of cows and pasture in a landscape scene.Provenance: Christie's NYC, original estimate: $20,000-$30,000.Overall size: 42 x 65 inSight size: 32 1/2 x 55 1/2 in. Born in Kilmarnock, Scotland, James Hart was a leading figure of the second generation Hudson River School painters and was known for idyllic landscapes, especially with cows. His family emigrated to Albany, New York in 1830 when he was age two, and Hart, at age 15, apprenticed to a sign and banner painter in Albany. Later he switched to portrait painting.At age 22, he went to Germany and enrolled in the Dusseldorf Art Academy for three years and returned to Albany where he opened a studio and taught and painted until 1857 when he established a studio in New York City. There members of the newly rich, post-Civil War society were delighted with his serene, rural landscapes. It was a time when New York "swarmed with people newly rich and feverishly eager to acquire at once the trappings and paraphernalia of culture, oil paintings included. With such clients Hart and his brother, William, found abundant employment for their painting in a language intelligible to the artistically illiterate. James garnished his landscapes with barnyard animals, chiefly cows, and painted them with such fidelity that his delighted customers thought they could distinguish the Alderneys from the Guernseys."His farm family teased him about his painting of farm animals, saying he knew little about them first hand. In the 1840s and 1850s, he also painted panoramic, luminous landscapes in meticulous details with many figures including farmers and children. The idea was to suggest that rural America was an idyllic place.Of his cow paintings, G.W. Sheldon wrote in "American Painters": For cows and oxen, he has the fullest sympathy. Their thoughts which are not men's thoughts, their ways, which are not men's ways, and their faces which do not depend for interest upon any human likeness or suggestion, have been the objects of his studious love. He says that he likes cattle as well as landscapes---and this, for an artist like him, is saying a great deal." (50)James McDougal Hart served as the Vice President for three years of the National Academy of Design. He was voted a full member in 1859.His wife was artist Marie Theresa Gorsuch, a still-life painter, and their three children became artists: Robert Gorsuch Hart, Letitia Bonnet Hart, and Mary Theresa Hart.Please note that all sales are final. No refunds will be given under any circumstances.
"Study of Mural, State of Oklahoma," Impressionist oil on canvas painting by Thomas Gilbert White, signed in the lower right. The oil on canvas is an exterior impressionist scene with a group of ladies chatting and walking, it has a gorgeous gold leaf frame with decoration. Provenance: acquired at Long Island from the artist's estate from his 3rd wife. White was born in Grand Rapids Michigan in 1877, Gilbert White spent most of his life living in Paris. White won awards for drawing at the Art Students League and at the Julian Academy. His murals (which were painted in Paris) hung, and in many cases still hang in Kentucky State Capitol, The Utah State Capital, The New Haven County Court House (CT), and the Oklahoma State Hospital. During his lifetime, his work was acquired by the Corcoran, The Brooklyn Museum, and the Philiadelphia Musuem of Art. Additionally, works are or were acquired by the Houston Museum, the Luxembourg Gallery and the City of Parrs Museum. A portrait is in the collection of the University Club and a Mural was in the McAlpin Hotel. He designed a huge mural for the Agricultural Building in Washington DC for which he was paid $15,000. (Big Money for the 1920's). Overall size: 23 1/4 x 37 1/2 in. Sight size: 14 x 28 in. Please note that all sales are final. No refunds will be given under any circumstances.
A limited edition print on high bond paper of Matisse's portrait of author John Bidwell. Bidwell authored the book titled, Graphic Passion: Matisse and the Book Arts, A copy of the book is included. Size: 10 x 6 1/2.Please note that all sales are final. No refunds will be given under any circumstances.
Oil on Board painting by Frank Von Der Lancken, appears to be unsiged however it is stamped verso from the personal estate of Frank Von Der Lancken. Portrait of an elderly woman reading a book outside. Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. Stamp verso.Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Sight: 11 1/4 x 11 1/4 in. Overall: 17 1/2 x 17 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.
Finely executed painting by Frank Von der Lancken. It is unsigned, however it is authenticated by his son on verso and most likely done in 1905. A portrait of a young woman and nice gilt frame. Sight: 11 1/2 x 8 1/2 in. Overall: 17 x 14 in. Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. Stamp verso. This piece was also displayed at Hirschl & Adler Galleries in New York City in 2017 and 2018.Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Please note that all sales are final. No refunds will be given under any circumstances.
Portrait painting on wood panel by Frank Von Der Lancken. It appears to be unsigned, however it is from the personal estate of Von Der Lancken. Precious portrait of a young child in a oval form and nice gilt frame.Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. This piece was also displayed at Hirschl & Adler Galleries in New York City in 2017 and 2018.Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Sight: 9 x 7 in. Overall: 15 x 13 in. Please note that all sales are final. No refunds will be given under any circumstances.
"Flowers in White Pitcher" 1927 by Theresa Bernstein, signed in the lower left. Provenance: acquired directly from the artist herself in '88. Theresa Ferber Bernstein was born in Philadelphia and received her art education at the Philadelphia School of Design for Women, moving to New York City in 1912, continuing her studies in the studio of William Merritt Chase. A superb colorist and dynamic draftsman, Bernstein's subjects included floral still life, as well as genre, figure, portrait, and plein-air landscape painting with startling color contrasts and bright accents of light. Overall size: 25 x 21 in. Sight size: 19 1/4 x 14 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.
"Still Life, Flowers from my Garden", 1934. Oil and gouache laid on board. Provenance: acquired directly from the artist herself in '88. Theresa Ferber Bernstein was born in Philadelphia and received her art education at the Philadelphia School of Design for Women, moving to New York City in 1912, continuing her studies in the studio of William Merritt Chase. A superb colorist and dynamic draftsman, Bernstein's subjects included floral still life, as well as genre, figure, portrait, and plein-air landscape painting. Signed lower right. Overall size: 25 1/2 x 19 3/4 in. Sight size: 19 3/4 x 13 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.
"Flowers in a Blue Pitcher", circa 1933, oil on canvas. Provenance: acquired directly from the artist herself in '88. Theresa Ferber Bernstein was born in Philadelphia and received her art education at the Philadelphia School of Design for Women, moving to New York City in 1912, continuing her studies in the studio of William Merritt Chase. A superb colorist and dynamic draftsman, Bernstein's subjects included floral still life, as well as genre, figure, portrait, and plein-air landscape painting. Signed lower right. Overall size: 25 3/4 x 21 1/4 in. Sight size: 19 3/4 x 15 1/4 in. Please note that all sales are final. No refunds will be given under any circumstances.
"Goddess of Fertility", a female caped figure behind a vase of flowers, oil on canvas. Provenance: acquired directly from the artist herself in '88. Theresa Ferber Bernstein was born in Philadelphia and received her art education at the Philadelphia School of Design for Women, moving to New York City in 1912, continuing her studies in the studio of William Merritt Chase. A superb colorist and dynamic draftsman, Bernstein's subjects included floral still life, as well as genre, figure, portrait, and plein-air landscape painting. Overall size: 33 x 28 1/2 in.Sight size: 26 1/2 x 22 1/2 in.Please note that all sales are final. No refunds will be given under any circumstances. .
Portrait of a Balinese young woman, texturized and impasto oil on board, signed upper left: Wolff Sch. Lot includes book on the life and work of C.P. Wolff Schoemaker, entitled Tropical Modernity, by C.J. Van Dullemen. Charles Prosper Wolff Schoemaker was a Dutch architect who designed several distinguished Art Deco buildings in Bandung, Indonesia, including the Villa Isola and Hotel Preanger. He has been described as "the Frank Lloyd Wright of Indonesia," and Wright had a considerable influence on Schoemaker's modernist designs. Although he was primarily known as an architect, he was also a painter and sculptor. Schoemaker was born on Java in a Catholic military family. After training in the Netherlands at the Royal Military Academy, he returned to the Dutch East Indies in 1905, where he worked his way up from officer in the Royal Dutch East Indies Army to director of municipal public works in Batavia. He was converted to Islam and set up an architectural and engineering practice with his brother. After the closing down of the firm he rose to become a valued professor at the Technical University and a famous artist. Schoemaker’s love life with five successive marriages was as non-conformist as that of his student and lifelong friend, Sukarno, the first president of Indonesia. This friendship led to Schoemakers later exclusion by the Indo-European community after the Japanese occupation. He died in the year of Indonesia‘s independence. Overall size: 21 x 15 in. Sight size: 14 1/2 x9 1/4 in.
Genre portrait of a small town fellow with his bags of fish, smoking while he rests. Framed watercolor, Signed lower right and dated 1893.Vladimir Egorovich Makovsky taught in the life class of the Moscow school of painting, sculpture and architecture, and led the scenic workshop at the Imperial Academy of arts. He is a recognized master of "small genre". The subjects of works by Vladimir Makovsky, as a rule, tell the whole story which includes not only the images but also preceding and subsequent events. Episodes of everyday life were a favorite theme of the artist. Overall size: 18 x 13 1/2 in. Sight size: 12 x 8 1/2 in.Please note that all sales are final. No refunds will be given under any circumstances.
"Still Life of Flowers in Vase", by Howard Hildebrandt, signed in the lower right. Oil on thick board. There is an unfinished female portrait on reverse, which is likely painted by the same artist. Provenance: Acquired at Doyles in '85. Howard Hildebrandt was born in Pennsylvania where his natural interest in people was evident from an early age. Like John Singer Sargent, Hildebrandt took great care with his backgrounds as he considered them an important part of the portrait. He demonstrated an imaginative and restrained use of color. Besides portraiture, Hildebrandt painted landscapes, interiors, and still life.Overall size: 31 x 25 in.Sight size: 23 1/4 x 17 1/4 in.Please note that all sales are final. No refunds will be given under any circumstances.
Terracotta bust of a young girl with brown patina. Original brown marble base. Signed and dated 1783 on underside. Slight flake to the back of the sculpture. Prominent in France during the Enlightenment period of the late 18th and early 19th centuries, Jean-Antoine Houdon was a neo-classical sculptor, especially noted for his marble portrait busts and statues. His subjects included Americans Benjamin Franklin, George Washington, Thomas Jefferson, and Robert Fulton, and among his French subjects were Denis Diderot, Jean-Jacques Rousseau, Louis XVI and Napoléon Bonaparte. For King Louis, he did numerous statues for the gardens of Versailles. Houdon was a continuous exhibitor at the French Salon, and works included many of the above mentioned personages as well as Prince Henry of Prussia, Catharine of Russia, Voltaire, the playwright Moliere and Marshal de Tourville. Houdon was born in Versailles in 1714. His artistic talent was apparent from the time he was young, and at age 12, he enrolled in the Ecole Royale de Sculpture where he was a student of sculptor Michel Ange Slodtz (1705-1764). In 1761, at the age of 20, Houdon received a Prix de Rome, which was a scholarship sponsored and paid for by the King of France for art students to study at The Academy of France in Rome. He stayed in Italy for ten years, and there much delighted Pope Clement XIV and many other people with his statue of St. Bruno, which Houdon did for the church of St. Maria degli Angeli. Although receiving the Prix de Rome brought him public recognition and the duration provided some excellent exposure to Italian art, scholars indicate that he was not particularly influenced by either the Renaissance or Classical works. However, tangible evidence of some of that influence was the sculpture he titled Morpheus that he sent to the French Salon in 1771. That same year, because of the skill he had shown with Morpheus, and with entries two years earlier that were busts of Catharine II, Diderot and Prince Galitzin, Houdon was elected to the Académie des Beaux-Arts (painting and sculpture), one of the five academies of the Institute de France, a society of learned persons who set aesthetic standards. In 1778, he became a Professor at the Académie and has been described as being a very active teacher. During the French Revolution, he was censored as a 'bourgeois' because of his association with Louis XVI, but he was not imprisoned. Under the French Consulate, the government between 1799 and 1804, and the French Empire, 1804-1814, when Napoléon took over, Houdon regained his former stature. He executed architectural reliefs, did a statue of Cicero for the Senate, did portrait busts of Napoleon and his wife Josephine, and received the Legion of Honour. In 1785, at the invitation of Benjamin Franklin, America's Minister to France, Houdon traveled with Franklin to America to Virginia, where he visited Mount Vernon to model George Washington, who four years later would be elected President of the United States. From sittings, Houdon made wet-clay life models and a plaster life mask, which later were used, not only by Houdon in Paris for his portrait bust of Washington but for many sculpture works of Washington. Among these Washington subjects are the standing figure statue in the state capitol building in Richmond commissioned by the Virginia General Assembly; many variations of a portrait busts, and a statue in the Vermont State House depicting him in a toga as the Roman Consul Lucius Quinctius Cincinnatus. Jean-Antoine Houdon died in Paris July 16, 1828, and is buried in Montparnasse Cemetery. From November 4, 2003 to January 25, 2004, an exhibition of Houdon's sculpture was held at the J. Paul Getty Museum in Los Angeles. Size: 18 x 12 x 6 in.
Muted self-portrait of the artist. Oil on canvas, signed, exhibit label verso. Pauline Dohn received her art training in Chicago art schools, in Philadelphia with Thomas Eakins, and in Paris at the Academie Julian with Boulanger. She exhibited at the Paris Salon in 1888. Overall size: 22 x 19 in. Sight size: 12 1/2 x 10 1/4 in.
Oil on canvas painting by Henry Hammond Ahl. It is signed Ahl in the lower right and titled "Sunlit Woods". Pretty landscape scene of green trees and a pathway. Provenance: Purchased at Skinner's, Bolton in '85. Born in East Hartford, Connecticut, Henry Ahl was a portraitist, muralist, and landscape painter whose work reflected his exposure to the Tonalist style of the Barbizon painters. From 1911, Henry Hammond Ahl did canvases and murals with religious themes and decorated numerous churches in Boston and Providence, Rhode Island. However, his promising career as a muralist ended in 1915 when he fell from a scaffold, and from that time he focused on landscape painting. Returning to the United States, he settled in Springfield, Massachusetts, and married artist Eleanor Isabella Curtis. After another trip to Europe, he worked in Washington D.C. and earned a prestigious reputation as a portrait painter of prominent persons.Overall size: 19 x 16 in. Sight size: 13 1/2 x 10 1/2 in.Please note that all sales are final. No refunds will be given under any circumstances.
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