This original watercolor on heavy watercolor paper measures 15 by 22 inches, unframed and unmounted.
It is signed, Ruth Ann Younglove in the lower right corner (see photo).
Most of her paintings, done with transparent watercolors, depict Southern California landscapes. She was a school teacher for many years and also did work as a print maker. This information is based on an interview with her in 1983 – The Watercolor Style - McClelland 1985.
It is in excellent condition, with remnants of an old mounting on the reverse.
Many old watercolors were mounted in non archival mats or backings and must be changed to protect them from eventual staining or foxing. This watercolor is in excellent condition, but was removed from an old non archival mount before any staining could occur on the watercolor itself. ______________________________________________________________________
Artist Biography: Ruth Ann Younglove (1909-2002)
Born in Chicago, Illinois, she became a resident of Pasadena, California where she lived and worked for many years. She studied at UCLA and took private lessons from Marion Wachtel and Orrin White. She also studied with Bessie Ella Hazen, Helen Chandler, and Belle Whitice. She was the wife of B. R. Loxley and a resident of Pasadena until her death on Jan. 17, 2002.
1. Davenport's Art Reference and Price Guide -The Gold Edition 2005
2. The Artists Bluebook: 34000 North American Artists to March 2005
3. Hughes’ Artists in California 1786-1940
4. Who Was Who In American Art (1564-1975) (3 vol.) (Falk) (1999) Also in earlier WWAA editions (1993, 1986)
5. Encyclopedia of Women Artists of the American West (Kovinick)
6. California Watercolors (1850-1970) (McClelland and Last)
7. The California Style California Watercolor artists 1925-1955 (McClelland)
Member: California Watercolor Society, Pasadena Society of Artists, LAAA, Laguna Beach Art Association
Exhibitions: LA Co. Fairs, 1936-41 (awards). WWAA 1936-62; California Art &Artists; Invw; KOV. RT:
Ruth Ann Younglove is also listed on Askart.com (an art auction and research website): (http://www.askart.com/askart/y/ruth_ann_younglove/ruth_ann_younglove.aspx)
This original, unsigned oil painting on panel board measures 10 by 15 inches , not including the simple gilded wood frame it sits in.
The subject is a strand of eucalyptus trees overlooking the water with a sunset sky in the background.
It is in excellent condition, period.
It dates circa 1920-35.
This original painting on heavy watercolor paper measures 21 by 29 inches, unmounted and unframed.
It is signed A. Shepstone in the lower right corner. It was acquired as part of a collection of paintings purchased directly from the artist many years ago.
It is in outstanding condition.
It will be shipped to the buyer rolled carefully in a wide tube or shipping container.
This original contemporary Chinese ink and watercolor painting measures 23 by 49 inches (painting only) and 28 by 66 inches, including the silk brocaded scroll it is mounted on.
It has two seals and the signature of the artist (Yang Ruifen) along the lower right edge. It also has an additional collector's seal (lower left corner).
Yang Ruifen (1950- ) is a contemporary Chinese artist working in China today. She is a member of the Beijing Art Academy and the Chinese Artist's Association. Her works are curently held in the collection of the Chinese National Art Museum. Her works have been sold at auction houses in both Europe and China.
The subject of the painting are three red and orange koi swimming among the lush foliage of a lotus pond.
It has an interesting speckled appearance in a few areas where the painting has been sprinkled with what looks like mica specks: presumably to give the effect of sparkling water.
It is in excellent condition. The brocade border surrounding the painting has a few loose threads along the outside edge: not really worth mentioning, but otherwise in outstanding condition.
This original ink and watercolor painting dates to the late 20th Century in China.
This original oil painting on wooden panel board measures approximately 20 by 26 inches and sits in a carved and gilded frame measuring about 26 by 32 inches.
It is signed J. Winterholler just left of center bottom.
It is a view of Garmisch-Partenkirchen in the Bavarian Alps (site of the 1936 Winter Olympics).
The condition of the painting is very good except for a very small one inch long wood split on either edge, with no losses (see photo enlargements of both). The painting appears to date to the 1940-50 period, or possibly earlier. The frame is newer and has a few very minor losses to detail, but is overall quite presentable.
Leonard Borman, an exceptional California artist, died in 1995. This large and attractive oil is a sleeper.
Biographical Information:Leonard Borman was born in the 19th century and started painting in 1917 while recovering from a war injury, sustained as a Canadian veteran. His mother was an artist and encouraged her son, who attended the Art Institute of Chicago where he studied under Joseph Pennell and George Bellows. Borman came to Pasadena in 1924, settling in the nearby town of Sierra Madre. His desert and other plein air landscapes are most often encountered, but he also was an etcher and painted portraits of animals. Borman lived to the age of 101.
This original oil painting on masonite board measures 20 x 24 inches (painting only ) and it is framed in a carved and gilded frame that measures 28 x 32 inches.
It dates circa 1930-40 and is signed M.Magnesson in the lower right hand corner. It also has the remnants of one old label ( circa 1930 ) and another old paper label with the title and artist's full name.
It is in outstanding condition, period!
This original watercolor painting measures 15 by 22 inches.
It dates circa 1940-1950. It is from a regional style of painting found primarily in California, but not limited to California in both location and subject matter.
It is painted on heavy stamp watermarked French watercolor paper (see enlarged photo of a similar page stamp).
It is in excellent condition, unsigned and unframed.
This original painting (it is NOT a glycee or print of any kind) is in the style of the early 20th Century painters such as Rex Brandt or Herbert Vincent Olsen. It may have been done by a student or follower of Brandt or Olsen. Both were prolific art teachers and, as such, influenced many new artists at the time.
This is one painting from a small collection of early 20th century watercolor paintings, some of which are also being offered at this time.
Check our other listings for additional offerings of similar period watercolor paintings.
This original watercolor painting measures 15 by 22 inches.
It dates circa 1940-1950. It is unsigned.
It is painted on heavy watercolor paper.
It is in excellent condition, unmatted and unframed. The paper has a French watermark embossed in one corner.
It is not a giclee, print or copy of any kind.
It was purchased as part of a collection of original watercolor paintings amassed by a student of the well known, published and listed American artist, Robert Landry. Her name was Nancy Louise Hickman and she died in the 1980's.
There is very little known about Nancy Louise Hickman except that she had a rather large number of outstanding watercolors by Robert Landry in her estate, along with more of her own, many of which were very good or even exceptional.
Given the quantity of paintings she had kept over the years, there has been speculation that possibly she was more than just a student, based on the number of Robert Landry paintings that she owned and the obvious similarity to many of her paintings.
Note: Robert Landry was a married man (not to her) and none of this has ever been documented. It is merely speculation based on circumstantial evidence.
These watercolor were kept in deep storage so that there has been very little light on them for decades. Many of them are as crisp, bright and clean as the day they were painted : 50 to 60+ years ago. ___________________________________________
This original, signed artist proof print measures 9 by 11 inches (image only) and it is double matted in a frame that measures about 15 by 18 inches.
It is pencil signed (left to right) 1/18/70, THE ESKIMOS, Jean Chain, print #6.
It is in excellent condition.
This original oil painting on stretched canvas measures 18 by 24 inches and sits in a 25 by 31 inch painted wooden frame.
It is apparently unsigned, but has Bernice Jensen 1970, written lightly in pencil on the reverse stretcher bar.
It is in excellent condition, period.
This original oil painting measures 16 by 24 inches (painting only) and 18 1/2 by 26 1/2 inches including the carved and gilded frame that it sits in.
It is signed J.R. Ashton in the lower left corner (see closeup photo). It is also signed, dated and titled: Woodland, Merri Creek, J.R. Ashton 1900 on a paper label on the reverse of the frame (see closeup photo).
It is in outstanding condition, period.
This is a museum quality, plein air painting in an impressionist style by one of the most renown Australian artists of the 19th-20th centuries.
Julian Rossi Ashton is listed in many published artists biographical references. His works are held by many national museums throughout the world. One museum in Australia (The AG in New South Wales ) has 17 of his paintings in their permanent collection. Many of his accomplishments are listed in the artist biography below. He also has auction estimates and records for his truly exceptional works that range up into six figures.
Earlier this year(2010), an Australian auction house sold a tiny(6 x 9 inches) and somewhat similar oil painting for $18,000.00 including added costs. this works out to about $275.00 per square inch. If we used a similar or comparable measure for evaluating our early, signed and titled work, we would have to ask over $100,000.00 for it. Every painting is a one of a kind entity and although we believe that our painting is actually better, That is only one small criteria that we used to determine it's value. _____________________________________________________________________
Artist Biography : Julian Rossi Ashton was an influential portrait and landscape artist, and teacher known for his vigorous support of the Australian Impressionist Heidelberg School to which his authority has been both powerful and extensive.
Ashton attended the West London School of Art and the Academie Julian in Paris. He arrived in Australia in 1878 when he was invited to Melbourne by newspaper owner David Syme to work as an illustrator for the Illustrated Australian News. Due to creative differences with the editorial staff, he was forced to resign and transfer to the Australasian Sketcher. When Edmund Smith of the Howard Shipping Line offered Ashton a free trip to Sydney in 1883 he began working as an illustrator for The Picturesque Atlas of Australia, and regularly contributed to the Sydney Bulletin Magazine.
Working in both oil paint and watercolor, Ashton used landscapes, portraits and figure composition as subjects in his works which were effectively complemented by his poignant style of precise draftsmanship and delicate atmospheric effects.
His artistic skills proved to help him greatly when teaching at the Art Society of New South Wales from 1892 to 1896 when as a teacher he stressed the importance of accuracy in drawing and the plein air style.
His influence over the Australian art world attracted a wide circle of followers including Charles Conder, Alfred James Daplyn and Albert Henry Fullwood, who often accompanied him to paint in the picturesque Hawkesbury River Region in New South Wales.
Upon completion of one of his most well-known works, Evening, Merri Creek (1882; Sydney, A.G. NSW) he claimed to have accomplished the first plein air landscape in Australia. His works were outstanding examples of the desolate majesty of the Australian landscape.
In 1887 Julian Ashton became President of the Art Society of New South Wales. He used his position to vigorously campaign for the cause of Australian art. Later, as a trustee of the Art Gallery of New South Wales he helped emerging Australian artists of the Impressionist or Heidelberg School. The decision to keep a permanent collection of these works owes much to Ashton’s influence. As a trustee he declared that not less than 500 pounds be spent annually on the purchase of Australian Art. He also encouraged Government purchases which made possible the NSW Society of Artists’ Traveling Scholarship and the foundation of the Education Department Gallery in Sydney in 1913.
Ashton organized the first overseas exhibition of Australian art which helped the artists of the Heidelberg School to be recognized as significant contributors to the international art world.
Ashton also established the Sydney Art School in 1896, later renamed the Julian Ashton Art School. This institution, since it's inception, has been a center of activity for many aspiring young artists. With such prominent artists as William Dobell, John Passmore, John Olsen and Brett Whiteley among those who attended, the art school became famous to generations of students and continues its rich heritage in educating art students today.
A highly regarded gentleman of Australian art until his death in 1942 Ashton continued to push for the cause of Australian Art in which his influence is still strongly felt today.