Hudson River School of Art Auction Ending 12/11

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Edmund C. Coates (1816-1871). "View of the Hudson from West Point,” Plus Bartlett Print. Framed 19thC o/c signed Edmund C. Coates (1816-1871). "View of the Hudson from West Point." Featured in the Exhibition "This Perfect River-View": The Hudson River School and Contemporaries in Private Collections in the Highlands. The exhibit ran from July 20th to November 25, 2007 at the Putnam County Historical Society & Foundry School Museum in Cold Spring, NY. This painting was featured as plate #22 on page 43 of the 67 page catalog for the exhibition. It also bears the #15 tag from being on exhibit at the Historic Boscobel Home on the Hudson in Cold Spring, NY. Included with this painting is an original, framed William Bartlett small folio print of a similar View. These C-1840 prints were inspirations for 19thC Hudson River School artists who utilized their compositions to paint variations. Bio AskArt: A landscape, portrait, marine and history painter, Edmund C. Coates lived in New York City during his active period 1837-1872. Brooklyn and New York City directories from those years list him as Edward, Edmund C., E.C. Coates, and E.G. Coates. His paintings include landscapes of Canada and Italy although it is not known if the artist traveled to those countries or if other works inspired the scenes. He also painted in the White Mountains of New Hampshire and, listed as one of the Hudson River School painters, did numerous Hudson River Valley scenes such as Shipping on the Hudson River, 1855. His painting titled Washington's Headquarters at Newburgh, 1867, depicted a popular scene among the Hudson River painters because it was George Washington's headquarters painted against the backdrop of Storm Mountain near the town of Newburgh. Collections holding work by Coates include the New York Historical Society, the New York State Historical Association and the Shelburne Museum. Sources include: A Century of American Landscapes 1812-1912, Frank S. Schwarz and Son, Philadelphia, 1986 Peter Falk, Who Was Who in American Art John Howat, The Hudson River and Its Painters. Sight: 22x27”, Overall 27.5x33.” Artist’s Auction Record: $40,250. Estimate: $6,000-$10,000. (See multiple photos for details and condition.) (Bartlett Print Note: 19thC Framed, matted under glass hand colored William H. Bartlett (1800-1854) engraving, small folio. Note: the craft of hand coloring was done by trained women in the 19thC. They were compensated one penny for each engraving, which was considered good work at the time. There are no two hand colored engravings that are identical. sometimes the artists used different colors on figures. 11" x 12.75" overall)

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Evelyn Montague Bicknell (1857-1936) View from “Alpine, NJ,” Palisades on the Hudson River, signed, framed, oil on board painting with additional information included on back. AskArt Bio: Evelyn Montague Bicknell — an oil and watercolor painter known for his landscapes, marines, coastal scenes, and scenes of Bermuda from 1902/3 — was born in New York City on August 31, 1857 and died in 1936. According to The Boston Art Club Exhibition Record, 1873-1909, his address from 1888 to 1892 was 2 West 14th Street New York City; 1894, 96 Fifth Avenue, NYC; 1896 and 1897, 35 West 14th Street, NYC; 1898 to 1902, 52 East 23rd Street, NYC; and in 1905, 55 West 33rd Street, NYC. Fielding has his address in 1926 at 18 West 27th Street, NYC. In the February 8, 1902 edition of The New York Times, "What Is Doing In Society," Bicknell was reported as spending the winter in Bermuda. Bicknell was a member of the New York Watercolor Club; the Salmagundi Club in NYC; and the American Watercolor Society in NYC. He exhibited with the National Academy of Design from 1885 to 1899; the Boston Art Club from 1888 to 1905; the Pennsylvania Academy of Fine Arts from 1888 to 1900; the National Arts Club in NYC; Salons of America; and the Art Institute of Chicago. Sources: Who Was Who in American Art, 1999, page 309; Davenport's Art Reference, 2006/2007 Edition, page 223; Mantle Fielding, 1986, page 69; Mallett, page 36; Dealer's Choice Biographical Encyclopedia of American Painters... 2002 page 124 Boston Art Club Exhibition Record1873-1909, page 73; the History of the Duyckinck Family, page 60; Smithsonian Institution Research Information System; The New York Times, February 8, 1902, page 9, "What Is Doing In Society.” The following information is from Bob Mueller, Chairman, Curators Committee, Salmagundi Club. He writes: "I'm sending this email with the hope of finally setting the record straight regarding this artist.” Evelyn Montague Bicknell was an indeed member of the Salmagundi Club from 1892 until his death on March 5, 1936. In fact, Bicknell had a room at the Club and died there at the age of 78. The greatest misconception about this artist in all the biographies I have found online, and even "Who Was Who In American Art", was that they all claimed he was a she! One even goes so far as stating that Evelyn M. Bicknell was the wife of another Salmagundian, Frank A. Bicknell (they were not related). All acknowledge Bicknell as a member of the club but fail to note the fact that it was an all-male organization until 1973. The artist was also a member of the American Water Color Society and the New York Water Color Club. Bicknell was born on July 14, 1857 in Riverdale, NY and was known primarily as a painter of coastal landscapes, marines and scenes of Bermuda, a favorite vacation spot for the artist. Most sincerely - Bob Mueller. Sight: 6.5x9.5, Overall: 13x16. Artist’s Auction Record: $4,480. Estimate: $2,000-$5,000. (See multiple photos for details and condition.)

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19thC Framed, American School, Sunset, Sloop & Boats on River, Oil Painting. Unsigned. A wonderful View ready to hang on your wall. Sight: 11.5x9.25, Overall: 16.5x14. Estimate: $3,000-$5,000, (See multiple photos for details and condition.)

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William Frederick Paskell (1866-1951) “Pilgrim Steamship” in New York Harbor. 1906. Framed, signed, detailed oil on canvas of the Pilgrim Steamship that travelled between New York City and Boston. The Pilgrim Steamship was the “largest in the World,” at the time, part of the Fall River Line. https://en.wikipedia.org/wiki/Fall_River_Line AskArt Bio: William F. Paskell was born in London and moved to Boston in 1872 as a youngster with his family. By the age of twenty-one he was already mentioned in the press as a very promising artist, with his paintings hanging beside the work of Childe Hassam and John J. Enneking in the annual Boston Art Club exhibitions. Paskell married in 1900 and by 1905. he had four children. Paskell started painting a fairly tight style of Impressionism and gradually reached a loose Impressionistic style before World War I. Paskell painted up to the day of his death, dying in Boston in 1951 at the age of eighty-five, in humble circumstances. He is considered one of the last "White Mountain School of Painters" with a connection to the 19th century. He painted both with watercolors and oils. His paintings exhibited at the Boston Art Club include CHOCORUA MOUNTAIN -- TAMWORTH, N.H.; THE BRIDGE AT WONALACET, N.H.; and THE SUMMIT OF MT. CHOCORUA. Source: Charles Vogel. More info from Mom: "My son was born with a pencil in his hand." Thus spoke William F. Paskell's mother, many times and with great pride. He was born in London in 1866. In 1872 the family came to Boston and settled in the Mission Hill area of Roxbury. Paskell's father, William E., came from a long line of cabinet-makers, framers, gilders, and artists. It is no surprise that he promptly found a job on Bromfield Street in the art district, making picture frames for all the local artists. By the time young William reached high school, he had been sketching prolifically. He took public streetcars to the end of the line and sketched the suburbs where he yearned to live. His father deemed him ready to help in the frame shop after school. The budding artist was all too glad to help. Sure enough, his first job was to deliver finished frames to the artists who had studios in the neighborhood. Paskell's favorite artist was Benjamin Champney. He admired his work and he loved visiting him, but he privately thought that he was too "old fashioned." Paskell thought that 19th century oils were drawings filled with paint. He believed he should paint directly on the canvas without drawing first. He was however intrigued by the subject matter of Champney's landscapes, the White Mountains that "Old Ben" (age 65) highly recommended. Paskell's father hung the boy's pencil drawings in the frame shop. They readily sold (unframed) for about 50 cents apiece. Some of them were minor masterpieces, especially for a boy age 14. William then knew that his chosen profession had arrived. He was in love with landscape painting. It must have been in his genes. By the time he graduated high school, he had taken oil painting lessons with a Boston painter, Francois de Blois, then age 50, who had taken a liking to him. The lessons were expensive, 50 cents an hour, but Paskell sold enough drawing and paintings to pay for his tuition. Deblois was an accomplished artist, a recognized member of the Boston Art Club whose style was halfway between tight realism and loose impressionism. While Deblois was his major teacher, he did take some lessons with a variety of painters who happened into his father's shop. Charles Sanderson gave him some lessons in watercolors. In 1884, at the tender age of 17, the jury of the Boston Art Club accepted his paintings. The following year the Boston Museum of Fine Arts exhibited one of his works. His youthful talent attracted publicity in the press. One reviewer called him the "boy genius of Boston Art." At one of the exhibitions John J. Enneking, one of Boston's great impressionist painters, came up to him and offered to critique his paintings. Paskell was thrilled to think that he deserved attention from what he called the "Old Master of Boston." He had been submitting sunset scenes to the art world. He wrote in his diary, "I am going to visit the old man, but I am not going to change." Sure enough, Enneking suggested that he paint lighter and brighter pictures. He followed Enneking's advice, and gradually painted lighter and brighter pictures. Then he heard about Mount Chocorua. For years he went to Tamworth and rented a room every September at the Wonalancet Inn, trading pictures for board and room. Of course he wandered into North Conway to see Champney's White Mountains. He took side trips to Laconia to see the beauty he had heard about in that area. He married in 1901 at the age of 34. In six years he had six children. Two died very young, four survived very well. Now he had a financial problem. In his old age, he told his granddaughter that he dealt with that challenge by serving two masters. He would produce "art for art's sake" some days, and he would produce "art for commerce" when he had to put bread on the table. During the Great Depression he also painted under the name of T. Bailey and H.H. Howe in order to have three chances to attract customers in art galleries. Although his first love was the mountains, he estimated that he had also painted about 1,000 harbor and marine scenes that people loved. Many of his works have been lost or whereabouts are unknown. Late in life, he once reflected, "I will be known for my watercolors." Perhaps only time will tell. In 1951, at the age of 84, he died in his studio (on the fourth floor of a building on LaGrange Street in back of the Touraine Hotel in Boston, preparing some drawings for Clorin's Gallery across the street) "with pencil in his hand." Sight: 21.5x15, Overall: 24.5x18. Auction Record: $4,100. Estimate: $3,000-$5,000,(See multiple photos for details and condition.)

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Large, Framed, O/C 19thC View of Cold Spring on Hudson With “Vibbard” Steamboat. Annonymous Artist. This beautiful C-1860’s painting depicts a View from Phillipstown area down to Cold Spring with Constitution Island on the right. There are sailboats on the Hudson around the steamboat “Vibbard.” Link: https://en.wikipedia.org/wiki/Chauncey_Vibbard_(steamboat) the cows are bedded down with a path leading to an outbuilding. Magnificent original frame. Sight: 29.5x39.5”, Overall: 44x54”. Estimate: $6,000-$15,000. (See multiple photos for details and condition.)

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19thC framed, oval, reverse painted bubble glass View of the "Statue of Liberty." Great color and detail, complete with American flag flying. This unsigned, hand painted in reverse scene represents the Hudson Rivers southern-most area for the estuary as it exits into New York Bay. The only one I have scene and in excellent condition for age. Link to history of the statue: https://en.wikipedia.org/wiki/Statue_of_Liberty Measures: 21.75" x 16" overall. Estimate: $500-$2,000. (See multiple photos for details and condition.)

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Early 19thC Framed Folk Art View of Washington’s Headquarters in Newburgh, NY. Oil on canvas, signed indistinctly in graphite to the stretcher. The expansive view of the Hudson River dotted with sailboats, depicts Pollepel Island and the entrance to the Hudson Highlands. This is a very early painting of Washington’s Headquarters before the area was developed and the “Freedom Tower” added. Gilt frame. Wiki link: https://en.wikipedia.org/wiki/Washington%27s_Headquarters_State_Historic_Site Today, this historic property is on both the National and New York State Historic Registers. Site: 14x19, Overall: 18x23. Estimate: $1,000-$3,000. (See multiple photos for details and condition.)

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Framed 19thC American School View of Kosciuzko’s Monument West Point. Unsigned, this is an iconic View at West Point Military Academy. Wiki Link: https://en.wikipedia.org/wiki/Kosciuszko%27s_Monument_(West_Point) Sight: 20.5x29”. Overall: 25.5x34”. Estimate: $6,000-$8,000. (See multiple photos for details and condition.)

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Framed View of Hudson River & Catskill Mountains from Hyde Park. This oil on canvas is illegibly signed lower left. This was painted from the East shore of the Hudson looking toward the Catskill mountains from the property known today as the Vanderbilt Estate in Hyde Park, NY. A number of Hudson River School artists painted this View including Victor DeGrailly (1804-1889) and J.H. Carmiencke (1810-1867). (William H. Bartlett (1800-1854) created a View from this site in 1840). (See Lot 21 for Lorenzo Somberby’s (1816-1883) painting from this same Vanderbilt Estate property.) Sight: 15.5x19.5”. Overall: 18x22”. Estimate: $600-$1,600. (See multiple photos for details and condition.)

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Framed Hendrik Dirk Van Elton (1829-1904) View of Bay with Boat & Figures. Signed "Hendrik Van Elten" oil on canvas in original, exquisite frame. AskArt Bio: Hendrik-Dirk Kruseman van Elten was born in Alkmaar, Holland in 1828. His earliest professional training in art was with Cornelius Lieste in Haarlem, Holland. Lieste was a successful landscape painter in the Dutch Romantic School of the nineteenth century. After extensive training with Lieste, van Elten toured Holland and northern Europe with stays in France, Germany and Belgium where he painted and toured museums in the major cities of the area. Shipping records and census information record van Elten in the New York area of the United States by 1865. Records at the National Academy of Design list Van Elten as a regular contributor to exhibitions in America’s premier and most prestigious public space, the National Gallery of Design, from 1866 to 1900. In 1871 van Elten was elected to the rank of Associate. In 1883 he was elected to the full rank of Academician of the National Academy of Design in New York City. While van Elten considered himself to be very much a New York City artist, he also traveled throughout the year and also maintained a summer home in an art colony in the Catskill Mountains near Ellenville, New York. A majority of his landscape work was done in the rural and forested areas of New York, Connecticut, New Jersey and Massachusetts. Van Elten also made a number of painting trips to the American West in the first half of the 1880s and in 1898 when he exhibited a body of landscape painting at the Art Club of Denver, Colorado. After 1876, van Elten was also a successful and popular printmaker. As a result of his excellent reviews, awards and popularity in Britain, he was elected to the Society of Painter-Etchers in London, England. Van Elten enjoyed a very successful career as a painter of meticulously rendered landscapes that captured the range of late 19th century landscape subject matter from farmsteads and cultivated terrain resplendent with a range of farm animals and the human figure, to wild and remote areas of old growth forests and isolated streams and springs unknown to civilization. In 1905, the year following his death In New York City, hundreds of his personal paintings stored in his studio were sold by the American Art Guild in New York City to benefit his estate. Since that time a number of these van Elten canvases have found their way into important public and private collections throughout the United States. In 2019 a rare group of three important American scene canvases from the 1905 American Art Guild sale were de-accessioned from the Bass Museum, Miami Beach, Florida, after the museum decided to emphasize contemporary art. All three paintings are now in a private American collection. He was the father of artist Elizabeth F. Duprez (Elizabeth F. Kruseman Van Elten). Hendrik-Dirk Kruseman van Elten is listed in a number of primary reference works on American painting including: The Artists Bluebook, Artists of the Litchfield Hills, American Art at the 1893 World’s Fair, the Annual Exhibition Records of the National Academy of Design, The Art Institute of Chicago, the Pennsylvania Academy of the Fine Arts, Who Was Who in American Art, Next to Nature: Landscape Paintings from the National Academy of Design, and the Boston Athenaeum Art Exhibition Index 1827 – 1874. Sight: 13.5x22”, Overall: 23.5x32”. Auction Record: $30,720. Estimate: $4,000-$10,000. (See multiple photos for details and condition.)

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ALBERTUS DEL ORIENT BROWERE (American, 1814-1887), ''Twin Lakes and Catskills Mountain House.” Framed, oil on canvas iconic View in the Catskill Mountains of the Catskill Mountain House where many Hudson River School Artists visited, and the Twin Lakes high up in the Catskill Mountaiins. AskArt Bio: Landscape, still life and genre painter, Albertus Del Orient Browere was born in Tarrytown, New York in 1814. He was the son of Henry Issac Browere, a sculptor of life masks. Browere received his art training from his father and first exhibited at the National Academy in 1831. In 1832 he was awarded a Silver Medal for having the "Best Oil Painting" at the American Institute of the City of New York, and in 1841 was awarded another Silver Medal from the National Academy. Established in New York City, Browere executed eight scenes from the writings of Washington Irving. One example is the rather ambitious battle scene, Peter Stuyvesant at the Recapture of Fort Casimir (1838; M. Knoedler and Co., New York), full of animated figure groups and descriptive detail. Then he moved to Catskill where he focused on landscapes. Meanwhile, Browere was exhibiting works at the American Art-Union, the National Academy, and at the Apollo Association. He also exhibited The Headless Horseman of Sleepy Hollow in 1839. The New York Historical Association in Cooperstown has one of Browere's lively genre works, Mrs. McCormick's General Store (1844), regarded by some as his masterpiece. The trouble-making boys are being scolded by the proprietress, while the lad on the left is shoplifting. Browere became a Hudson River landscapist whose recognition came mostly after his death. He was also a painter of genre, still life and scenes from the literature of Washington Irving and James Fenimore Cooper. When news of the California Gold Rush came to him, he sailed in 1852 to California, traveling around Cape Horn, and stayed for four years. In 1858, he made another and final trip West, going over the Isthmus of Panama to San Francisco. He stayed several years, and California landscapes exist from this period as well as ones depicting mining activities of the Gold Rush. As interested in mining as painting, he "often painted himself into his mining scenes as a red-shirted miner." (Hughes 153) By age 17, he was painting historical subjects and exhibiting at the National Academy in New York City where he was a student. From 1833 to 1848, he exhibited at the American Academy, the Apollo Association, and the American Art Union. After his father died in 1834, Browere moved to Catskill, New York, where he remained for his life excepting the two periods of travel that took him to California. In Catskill, he earned money as an apothecary and as a carriage and sign painter for local merchants. He painted in the countryside during his free time. Sources: Williams, Hermann Warner, Jr. Mirror to the American Past: A Survey of American Genre Painting: 1750-1900. Greenwich, CT: New York Graphic Society, 1973, pp. 98-101; Hills, Patricia. The Painter's America: Rural and Urban Life, 1810-1910. New York: Praeger Publishers, 1974, fig. 19; Hoopes, Donelson F. American Narrative Painting. Los Angeles, CA: Los Angeles County Museum of Art, 1974, cat. nos. 36-37; O California! Nineteenth and Early Twentieth Century California Landscapes and Observations. San Francisco: Bedford Arts, 1990. Sight: 13x21, Overall: 20.5x28.5”. Auction Record: $19,000. Estimate: $8,000-$16,000. (See multiple photos for details and condition.)

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19thC Framed Emil Bott (1827-1908) Landscape of River Activity. Oil on canvas Attributed to Emil Bott (German-American, 1827-1908) inscribed Bott in reversed script on the top stretcher. This is a wonderful, small painting depicting lots of activity on a river, most likely in Pennsylvania or Ohio based on his extensive Bio. AskArt Bio: Emil von Bott, born in Wuerttemberg, Germany, July 24, 1825*, came to America with his father, Adolph, in 1848**. The 1850 census of Beaver County, Pa. shows he was married to Emma (Bocking) and they were residing in Phillipsburgh Borough, Beaver County, Pennsylvania. It is likely that soon after coming to this country, he began teaching at a private school in New Brighton, Pa., and there he met Emma, the daughter of another artist, Adolph Bocking. One of Bott's early works, a lithograph, is dated 1851. His painting of Beaver Falls was done in 1854. He once stated that Philadelphia and New York capitalists got him to paint the picture of the Patterson estate, now Beaver Falls, because they intended to build a town there to rival Pittsburgh. Most biographies offer that Bott returned to Germany at some point and studied at the Dusseldorf Academy. If this occured, the time cannot be discerned because it is a fact that Emil Bott appears in every federal census of Beaver County from 1850 until his death. It seems more likely that any study at Dusseldorf was undertaken prior to his immigration to the U.S. at the age of 23. In 1859, Bott exhibited at the first show of the Pittsburgh Art Association. He apparently painted in Pittsburgh, as well as in a multitude of other locations. But that he ever moved his family from Beaver County is not supported by the census records. Bott's exact whereabouts during the Civil War (1861-1865) have largely been ignored but he was, in fact, commissioned as a 1st Lieutenant and Adjutant, Feb. 5, 1862, in the First W. Va. Light Artillery, under Captain Philip Daum. However, after he was somehow separated from his regiment a few months later, he left the service. Since a number of his pencil drawings - "steel engravings" - appear in various Civil War history books, such as Leslie's "Illustrated Famous Leaders and Battle Scenes of the Civil War" and in "Harper's Weekly," it is apparent that he spent considerable time with the troops during the war. Accounts vary as to where Bott lived and worked in the post-war years. Supposedly, he rode the packet boats - "doing decorations" - which means he was painting on the interior walls of the steamboats. And there are many examples of this magnificent work. But, again, he seems to have worked in various locations, with the family remaining in Beaver County. Bott is named as an artist in "Caldwell's Illustrated, Historical, Centennial Atlas of Washington County, Pennsylvania," 1876. And the list of his work goes on, with the clear indication that the Bott family was adequately sustained for many years by his work as an artist. Sometime between 1880 and 1899, Emil lived for twelve years*** in Canton, Ohio, working as both a portrait artist and an artist for the Diebold Safe Works Company. He is listed in the Canton City Directory for the years 1888-1892. But by 1891, still in Canton, he was facing indigency and applied to the Federal Government for a Civil War pension. However, the sparse records of his service were in conflict with his own version of events and no pension was awarded. In short, he had no proof that he had served at least ninety days. The pleas of a desperate and angry man are contained in his file at the National Archives. His wife had died in 1899, and alone and penniless, he fought until almost the end of his life to obtain a pension he believed he deserved. Emil Bott has long been regarded as one of Pittsburgh's most important artists of the mid-1800s. However, his life was a struggle, particularly toward the end. In 1906 he was again living in Canton, probably with his daughter, but later that year he was a resident of the Beaver County Home, also known as "the poor house." He died there on March 16, 1908; the cause of death was, "old age and general debility." Emil Bott's grave in St. Peter's Church Cemetery (Old German Lutheran Cemetery), Monaca, Pa., was unmarked for many decades until Monaca funeral director, Alvin Batchelor, with a long-time interest in the life of Emil Bott, placed a marker on the grave with the inscription, "Emil Bott, The Painter." Of course, Emil Bott was more than a painter. He was a renowned artist, a Civil War soldier and, in combination, a Civil War artist. Although he served for only a few months as a soldier, his many drawings have memorialized scenes of the Civil War. Emil Bott was a long-time resident of Beaver County, PA. and is probably best known in the area for his celebrated landscape painting of Beaver Falls. Emil Bott died in the poorhouse in Beaver County in 1908. Ironically, his art is prominently displayed in the Carnegie Museum, the Westmoreland Museum of Art, the Merrick Art Gallery and many other galleries of Fine Art, as well as in private collections. After gathering together these facts about the life of Emil Bott, it seemed appropriate to finally recognize Emil Bott's Civil War service in the 1st W.Va. Light Artillery. On December 9, 2001, a government marker, mounted on granite, was placed on his grave, with the assistance of David Aeberli of McDonald-Aeberli Funeral Home, Mars, Pa. Sight: 8.75x14”, Overall: 13.5x18.5”. Auction Record: $17,612. Estimate: $6,000-$12,000. (See multiple photos for details and condition.)

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Painted, 1906 Toleware Serving Tray, Sunset View of Boating on Hudson River. Titled “Storm King Hudson River from the South." It is signed, titled & dated. " Mr. & Mrs. John Titus October 1906." The mountain in the background is called "Storm King.” This mountain is just South of Cornwall on the West shore of the Hudson and is considered part of the “North Gate” to the Hudson Highlands. Measures 14.5" x 18." Estimate: $400-$800. (See multiple photos for details and condition.)

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19thC Framed George Frederick Kaumeyer (1856-1951) American. River Sunset View. Not much is known about this artist. He was active/lived in California, Michigan. George Kaumeyer is known for Landscape, genre. AskArt Bio: George Kaumeyer was an artist born in Port Huron, Michigan on Nov. 21, 1856. By the late 1920s Kaumeyer had settled in Los Angeles. He died there on March 25, 1951. He was a “Member Painters & Sculptors of LA.” He exhibited: Calif. State Fair, 1930; Artists Fiesta (LA), 1931; Lowe Galleries (LA), 1932; Gardena (CA) High School, 1933; Painters & Sculptors of LA, 1930s. In: chamber of Commerce (Las Vegas). (Edan Hughes, "Artists in California, 1786-1940"). This Impressionist style Sunset View is C-1870-90. Sight: 20x23.5”, Overall: 30.5x34.5”. Estimate: $1,000-$3,000. (See multiple photos for details and condition.)

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Magnificent, 19thC Framed George L. Clough (1824-1901) Expansive Pastoral View with River. This large oil on canvas painting, perhaps of the upper Hudson River, has two children picking flowers in front of a dwelling in the foreground, with livestock in the background. It is signed lower left. According to Covington Gallery: A notable landscape painter of the 19th Century, George Lafayette Clough was born in Auburn, New York. He was basically a self-taught painter, but did receive a fair amount of training from Charles Loring Elliott in Auburn and New York. In the 1850's he traveled to Europe to study and spent time in Italy, Holland, and Germany. Upon his return he began to concentrate on pastoral scenes, which became primary subject, usually done around Auburn. He was a member of the Brooklyn Brush and Palette Club and exhibited at the National Academy, Buffalo Fine Arts Academy, Brooklyn Art Association, Boston Art Club, The Cosmopolitan Art Association and others. Partial AskArt Bio: George Lafayette Clough was born September 18, 1824, in Auburn, New York, and was that city's leading landscapist and, known as a Hudson River School painter, became Auburn's most noted resident painter of the mid-century. His mother was widowed shortly after his birth, and he was raised without paternal influence. He had little formal education and was employed by the age of ten. By age fifteen he had taken up painting, and his first and informal art influence came from the portraitist, Randall Palmer. In 1844 Clough opened his own studio in Auburn. About that time Charles Loring Elliott came to Auburn to paint a portrait of William Henry Seward, a local statesman, and chose Clough's studio for that purpose. Elliott became Clough's teacher, and in 1847, he began formal study for several months in Elliott's New York City studio. He returned to Auburn from that experience a competent professional portraitist. Two of his portraits were exhibited at the National Academy of Design the following year. He married and briefly shared a studio in Auburn with Joseph Meeker. In the early 1850's, he traveled to France, Holland, Italy, and Germany to study. While in each location, Clough would study the local painting traditions and copy some of their works, a common custom of American artists. Upon return to the United States, his efforts concentrated primarily on landscapes. His favorite locales included the Adirondacks, and the woodland areas of upper New York State, Pennsylvania, New England, and Eastern Ohio. When he moved to Cleveland about 1862, Clough began painting urban views. Spending most of the 1880's in the New York City area, he became involved in the Brooklyn Art Association. Source: Michael David Zellman, 300 Years of American Art, p. 208. Auction Record: $37,200. Estimate: $15,000-$30,000. Sight: 23x35”, Overall: 38x50”. (See multiple photos for details and condition.)

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19thC Framed William Morris Davis (1829-1920) Shore/Boat/Homestead with African-American Woman. This signed oil on board painting depicts a couple appearing to be getting ready to load, and depart from shore by boat from the waterfront homestead. Great detail. AskArt Bio: William M. Davis spent most of his life painting and living in the area he loved best, Port Jefferson, Long Island. There he befriended renowned genre painter William Sidney Mount, who lived nearby in Stony Brook. Apparently self-taught, Davis was profoundly influenced by Mount, who was one of the most respected painters in America at that time. Although Davis was never a pupil of Mount's, surviving letters between the two artists show that Mount often gave the younger painter artistic advice and guidance. Davis opened a studio in New York City in 1868, but in 1872, he retur ned permanently to the Port Jefferson area, where he was affectionately known as "Painter Davis." Mount had died four years earlier, and to a degree, Davis continued in his mentor's footsteps, providing locals with paintings of villagers pursuing their daily tasks, the area's quiet bays and coves, as well as boats anchored or at sea. Davis exhibited at the National Academy of Design and the Brooklyn Art Association while living in New York City. Once he returned to Long Island, he exhibited exclusively in Port Jefferson, with the exception of a one-man show in Bridgeport, Connecticut in 1894. According to the Bridgeport Daily Standard, Davis showed 135 of his works and had over 700 people in attendance. A major retrospective titled Port Jefferson's Foremost Painter: W.M. Davis was held at the Historical Society Museum of Greater Port Jefferson in 1973. Davis' works are housed in prestigious private collections and institutions, including the Suffolk Museum, Stony Brook, N.Y; the Society for the Preservation of Long Island Antiquities, and the New York State Historical Society, Cooperstown. Another Bio: Born in Setauket, New York William Davis was a painter of trompe l'oeil still life, genre, and landscapes and was primarily self taught. He trained as a boat builder in Port Jefferson, Long Island. Davis achieved national recognition in 1862 for three paintings based on the Civil War. The Neglected Picture, a trompe l'oeil image of President Jefferson Davis in a frame behind broken glass brought him great fame. The painting was widely reproduced in print and postcard form. In 1868, Davis exhibited still-life paintings at the National Academy of Design. From 1863-1871, he exhibited at the Brooklyn Art Association. In 1872, he moved to Long Island and never again exhibited in New York, possibly because some of his painting was politically controversial. Auction Record: $36,800. Estimate: $6,000 $12,000. Sight: 11.5x15.5”, Overall: 15x19.5”. (See multiple photos for details and condition.)

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19thC Framed George Gunther Hartwick (1817-99) View looking South from West Point. Oil on canvas View in the “Hudson Highlands” South of West Point. Partial AskArt Bio: Also known as Gunther Hartwick (dates unknown), the artist was active between 1847 and 1869. Hartwick carried on the landscape traditions of the seventeenth-century Dutch, George Henry Durrie and Thomas Birch. He was in New Haven, Connecticut in the 1840s. Outstanding compositions, contrasting textures and considerable animation distinguish his works. He achieved a great, powdery softness when brushing in areas of fallen snow on trees. He exhibited two landscapes in the American Art-Union in 1849. Hartwick's canvases may be found in the following institutions: the Chicago Historical Society, the Western Reserve Historical Society, and the Malden (MA) Public Library, but most are in private collections. Source: Groce and Wallace, 1957, p. 298. Top Auction Record: $14,400.00 Estimate: $6,000-$12,000. Sight: 20x33.5”, Overall: 25x38”. (See multiple photos for details and condition.)

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Framed John Samuel Blunt (1798-1835) Coastal Inlet By Moonlight View dated 1822. John Samuel Blunt (1798 - 1835) was active/lived in New Hampshire, Massachusetts. John Blunt is known for Portrait, marine, landscape and miniature painting. AskArt Bio: John S. Blunt was (1798-1835) was born in the Portsmouth, New Hampshire area. His brief career consisted of portraits, landscapes, and marine art, some with luminous qualities that gave special lighting effects to his subject. He also produced ship ornaments and miniatures in his early years. Blunt was married in 1821, and in 1825, he opened an art instruction school in Portsmouth. John S. Blunt moved to Boston in 1831 and took up residence at 54 Cornhill. Many of John S. Blunt's family were seafaring people. His father was a ships captain. Other family members were also captains. Some experts in the field find his rendering of ships probably the most successful element of his work. His later works are thought of as improving as he matured. He was self taught and his canvases were not very large. He painted on canvas as well as panel and were usually oils. John S. Blunt died aboard the ship Ohio on a voyage from New Orleans to Boston in 1835, at the age of 37. He is thought to have had the capability to have become a well noted painter of marine and landscapes had he lived a full life. His work is relatively scarce due to his premature death.References: American Marine Painting, by John Wilmerding, Harry N. Abrams, Inc., Publishers, New York, second edition. Two years of independent research with curators, collectors, auctioneers, and other experts in the field of art. Auction Record: $156,000.00 Estimate: $12,000-$25,000. Sight: 20.5”x28.5” Overall: 26.5x32”. (See multiple photos for details and condition.)

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19thC Framed, Unsigned, View of a Fort Overlooking River with Vessels. This oil on canvas painting depicts a military instillation overlooking a river in a mountainous area. This could be West Point Overlooking the Hudson River in the Hudson Highlands, or Fort Ticonderoga in Upstate New York. There are sloops in the water and two small stone buildings in the foreground. Estimate: $1,500-$3,000. Sight: 21x35” Overall: 26.5x40.5”. (See multiple photos for details and condition.)

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Signed, 1860 Achilles Begoden (1816-1899) “Nyack Hook Mountain “ Framed Watercolor. Begotten signed with initials, dated, along with “Nyack.” It is framed, matted and under glass. This is a View on the lower Hudson River by a little known 19thC artist. According to AskArt: He was active/lived in New York / France. Achilles Begoden is known for Landscape, marine, genre. He was Born in France and Died: 1899 - Northport, Long Island, New York. Estimate: $1,000-$3,000. Sight: 9.25x12.5”” Overall: 15x18”. (See multiple photos for details and condition.)