This ORIGINAL OIL PAINTING on stretched canvas measures 22 by 28 inches unframed.
It is in very good condition with the exception of a tiny canvas puncture in the fruit in the bowl (about 1/4 inch with no loss to canvas).
It is unsigned but has STINE written in pencil across the back of the canvas (see enlargement).
This painting dates circa 1920-1940.
This original oil painting on stretched canvas measures 22 by 27 inches and sits in an original period frame measuring 27 by 32 inches.
It is signed PETER NIELSEN in the lower left corner.
Peter Nielsen has numerous biographical listings and auction records. A contemporary of William Wendt, Peter Nielsen's works have recently begun to move up in price towards the high prices realized by his peers.
THIS IS AN EXCELLENT CALIFORNIA PLEIN AIR PAINTING AND IT'S AUTHENTICITY IS GUARANTEED.
NOTE: Any white spots on the photos are merely bounce back from the flash. They are not on the painting itself. IT IS IN EXCELLENT CONDITION AND READY TO HANG.
This is an original oil painting on canvas panel mounted on wooden stretchers.
It measures 21 3/4 x 28 inches, not including the carved and gilded period frame it sits in. It measures 26 x 30 inches, including the frame.
It is signed, Josephine E. Hyde in the lower left corner of the canvas. It is also stamped "OTIS" & "HYDE" on the cross braces on the reverse side of the painting. Otis Hyde was Josephine's husband and a very well known artist in his own right. It would appear that Josephine "borrowed" some of her husband's art supplies for her own use.
The subject is a still life wth a small Japanese figure seated on a table with an oriental carpet, with a green pitcher and a Chinese porcelain charger.
The painting is in excellent condition. It has a few tiny scuff marks near the signature that can be easily touched up.
It is painted in a broad pallette of colors: toned down by both time and grime. It could use a good cleaning to make the already strong colors even more vivid and bright.
Josephine Hyde was a listed California painter born in Columbus, Ohio in 1885.
She studied at Stanford University with painters, Nell Walker Warner, Edward Withers and Will Foster. She became an art teacher in the Los Angeles and Long Beach school systems from 1923 to the 1950’s. She was also married to the well known artist, Otis Hyde. She died in 1965.
She was a member of the California Art Club, Women Painters of the West, Long Beach Art Association, Painters of the Southwest, and the La Jolla Art Association.
She is listed in Who’s Who in American Art 1953-1962, Artists in California 1786-1940 by Edan Milton Hughes, Davenport’s Art Reference & Price Guide.
She is also listed on the internet with biographical information and auction sale listing on Askart.com
This original oil painting on old hard panel board measures 22 by 28 inches (image only) and 26 by 32 inches framed.
The subject is a view of San Francisco Bay from a hillside vantage point, with old buildings in the foreground. The view looks down on covered docks or wharfs with ships in the background.
It is signed Helen Louise Conser in the lower left corner.
It is in outstanding condition overall.
It is painted in a loose Impressionist style which incorporates strong brush strokes and the use of a pallette knife.
This is one of two paintings by the artist that we are currently offering. Although they are not an exact matching pair, they are very similar in size, use of colors and subject matter.
Artist Biographical Information:
Helen Louise Conser was born in Portland, Oregon on July 17, 1899. She settled in San Francisco in the early 1930s. She studied with George Post. She was a painter and worked with other WPA artists on projects at the time. She was also a member of the SWA (Society of Western Artists.) She apparently never married and died in San Francisco on Nov. 25, 1980 at 81 years of age. She is listed in the following publications: 1. Edan Hughes, "Artists in California, 1786-1940, Volume 2. 2. Peter Falk, “Who Was Who In American Art (1564-1975)” 3 City Directory; Death record; San Francisco Chronicle, 11-27-1980.
This original oil painting on canvas measures 24 by 36 inches and sits in a 31 by 43 inch carved frame.
It is signed W.E. Rollins in the lower right corner.
It is is excellent condition with the exception of a patched repair with a very small paint loss to the canvas off center right in the area of the tidepool (see enlarged photos of front and rear of repair). This is an outstanding image; even so, this old oil could use a good cleaning to brighten up the colors and a very minor touchup on the old repair.
Warren Eliphalet Rollins (1861-1962) was born in Carson City, Nevada and raised in Northern California. Following his study at the San Francisco School of Design, he traveled throughout the southwest, living with a number of Native American Tribes. He lived and painted in Pasadena, California from 1910-1917, at which time the Santa Fe Railroad Company lured him to Arizona with the offer of a studio on the Grand Canyon. He remained in Arizona for the rest of his life. He has often been called the dean of the Santa Fe and Taos Art colonies, he died in Arizona in 1962.
He is listed in many artist's publications and also online on ArtPrice.com and Askart.com. He is also listed as a WPA artist in Who Was Who In American Art(1985). Many examples of his southwest works have been offered and sold at auctions during the last decade. Very few outstanding examples of his California paintings have come to auction during that period, although a few lesser ones have.
This original oil painting on stretched canvas and wooden stretchers measures 26 by 40 inches unframed.
It is signed Paine in the upper left portion of the canvas. It is also signed Louise Paine on the reverse and again on the stretchers bars.
Marie Louise Mattingly Paine is listed on Askart.com and Artprice.com as Marie Louise Paine. She is also listed in Who was Who in American Art and Davenport's Art Reference & Price Guide as M.L. Mattingly.
It dates circa 1920-35.
It is in excellent condition with the exception of one small triangular dent or puncture and a slight loss to the outside edge of the canvas where it wraps around the stretcher (see photo enlargements).
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.
This original oil painting on old dark panel board measures 16 by 20 inches (image only) and is framed in a heavy carved wood and gesso frame (24 by 28 inches.)
It is signed J.L Williams or J.M. Williams in the lower right. The scene includes Indian teepees near a lake and a mountain range which is reminiscent of Yosemite.
On the reverse is the remnant of an old printed label dated 1852 but the painting itself may be as late as the 1870's in execution. It appears to have been mounted in an oval frame at some time based on the pattern of very minor scuffing on the surface of the painting. The frame is more recent than the oil and it has a few minor scuffs.
NOTE: ANY WHITE DOTS IN THE PHOTOS ARE FROM THE FLASH AND NOT ON THE OIL ITSELF.
Jack Dudley lived and painted in Laguna Beach for 38 years. He studied under Barse Miller in Southern California. He chronicled Indochina in pictures during World War Two. He was a lifetime member of the Laguna Beach Festival of the Arts, where he exhibited for over thirty years. He was also a signature member of the National Watercolor Society. He died in 1996 of cancer, just after receiving the Grand Canyon Purchase Award at the annual Arts for the Parks Competition. In April 2000 Dudley’s family donated a collection of his paintings to the Grand Canyon Association. The subjects included people and landscapes of the American Southwest, Mexico and Latin America. Some of the works have been sold by the GCA to raise operational funds. Prices realized range from $2500.-$15,000+.
Additional information about the artist can be found on the web at: jackdudley.org.
Comparable works can be found for sale at the Esther Wells Collection at: http://www.estherwellscollection.com/DudMantesColores.htm
THIS ORIGINAL WATERCOLOR IS IN OUTSTANDING CONDITION. IT IS SET BEHIND NON GLARE GLASS AND THE FRAME IS SLIGHTLY DAMAGED.
PLEASE NOTE: THE PAINTING ITSELF IS IN OUTSTANDING CONDITION!!
This original oil painting measures 16 by 20 inches (19 X 23 with frame)
It is signed lower right, H.H. Woodward.
Hildegard H. Woodward is listed in Mallett's Index of American Artists (Boston 1934).
Hildegard H. Woodward was a Boston, Massachusetts artist who specialized in book illustrations. She first studied at the School of the Museum of Fine Arts, Boston, and then completed her education in Paris, France.
She was introduced to the field of book illustration by the Boston illustrator, Marguerite Davis. Woodward completed her first illustrated children's book in 1931; Alice Dagliesh's, The Blue Teapot: Sandy Cove Stories.
Several years later Hildegard Woodward moved to New York City and was in constant demand for her illustrations from publishers there. She illustrated many more books by authors such as Elizabeth Coatsworth, Alice Dagliesh and Julia Bristol Bischoff.
She also received Caldecott Honor Book Citations for Roger and the Fox (1947) and The Wild Birthday Cake (1949), both written by Lavinia Riker Davis. Finally, Hildegard Woodward both authored and illustrated several books, the most notable being, Time Was (1941) and The House on Grandfather's Hill (1961).
Hildegard Woodward's art was not limited to children's books. She also illustrated a large number of works of adult humor and fiction.
Large collections of both her art and correspondence are located at the University of Southern Mississippi and the Children's Literature Research Collection at the University of Minnesota.
Her works have sold at auction as recently as 2006 (see askart.com for specifics).
This is an ORIGINAL, SIGNED ART NOUVEAU PEWTER VASE with a nude woman seated above and leaf motif decoration.
It is signed, CLIO HUNEKER and dates circa 1890-1915.
It measures approximately 8 inches tall and six inches in diameter.
Condition is very good with oxidation in a few areas and a pinprick sized loss of patina on the cheek.
CLIO HINTON HUNEKER BRACKEN (1870-1925) was a pupil of Rodin, Augustus Saint Gaudens, Frederic MacMonnies, Chapu, and Carpeaux. She is listed in Fielding's American Painters, Sculptors and Engravers as Clio Hinton Bracken. Another listing in Davenport's Art Reference lists her under her complete name. An additional listing in Theran's Fine Art Identification and Price Guide of 15 years ago (1990) lists her sculptures ranging between $2750-$8800. A full biography and auction records may also be found on www.askart.com.
Although known for her classic art nouveau bronze figures of nude women, she obviously worked in other materials, as evidenced by this work. This may have been a model (in pewter)for a later bronze. More likely this was a custom piece (based on the signature-prliminary castings were seldom signed). It may also be one of a kind.
This original, framed oil on canvas measures 25 by 33 inches. It is signed T. Golwig in the lower right corner.
It is in EXCELLENT CONDITION with a slight craquelure.
This original oil painting is guaranteed to date to the 19th century. The frame is somewhat later.
This antique bronze figure of the Monkey God Hanuman measures 5 x 4 x 1 1/2 inches (13 x 10 x 3 cm)and is in excellent condition.
This ancient bronze figure originated in Northern India, Tibet or Nepal. It dates to about the 17th or 18th century, although it may actually be much earlier, based on similarities with small Pala period bronze figures.
This original oil painting of a bell tower is set in an impressionist style landscape. It measures 12 by 16 inches and sits in a carved frame which measures about 17 by 22 inches. This unsigned oil might described as: California school or Craftsman school.