Catalog (291)

Hand colored lithograph titled, “THE BATTERY, NEW YORK/BY MOONLIGHT.” N. Currier lower left, address lower right. Promenade under the leafy trees with the full moon lighting the harbor with sailing vessels. Kennedy Galleries label taken from the earlier back board, now on the new backing. Sight size 9 x 12 ½ inches, over all with frame, 16 1/8 x 19 1/8 inches.

Condition: Minor tears in the margins and some slight discoloration, but otherwise good condition.

A hand colored lithograph by Currier and Ives titled, “The Narrows, New York Bay/ from Staten Island.” The scene depicts a nearly rural Staten Island in the foreground with part of the harbor in the middle and the narrows, now home to the Verrazano Bridge in the distance. Currier and Ives in the lower left below the image and their Nassau Street address in the lower right. Kennedy Galleries label taken from the earlier back board, now on the new backing. Sight size 9 ¼ x 13 inches, overall ...

Andrew Thomas Schwartz (American, 1867-1942) oil on canvas of a hilly landscape with the morning mist rising off the more distant hills. A few evergreens, probably cedars, sit in the field that appears to be tan with autumn. The only sign of habitation is a low stone wall. A very similar painting though slightly larger was sold at Doyle in New York in 2006 titled, “Clearing, Morning, Blue Ridge Mountains, Virginia” and dated 1912. This painting is 20 x 24 inches (51 x 61 cm) with frame 23 x...

Oil on canvas by Fred Pye (American, 1882-1964) of a wave crashing onto a rocky shore with whitecaps further offshore and a sunny but partly cloudy sky; in an elaborate white painted and gilt frame. Born in Iowa, studied in Paris Pye later lived in Cincinnati and painted in Maine. 26 x 36 inches (66 x 91 cm). Frame 32 ½ x 42 ½ inches (82,5 x 108 cm). Signed lower right in red Fred Pye. Based on the sticker on the back he was a member of The American Professional Artists League.

Condition...

Oil on canvas of two horses eating cut greens with chickens pecking the earth nearby in a clean but slightly rundown curral (farmyard) under bright sunlight and with bright red blossoming tree behind the horses losing some blossoms. Giovanni Oppido (1907-1988) is a well documented Brazilian artist. The painting is 23 x 46 ¼ inches (58.4 x 117.5 cm) with frame 27 ½ x 50 inches (69.8 x 127 cm). Signed lower left.

Condition: good, maybe a little surface dirt and the frame, molded softwood wi...

A large oil on canvas by Henry Charles Lee (American, 1864-1930) titled on the stretcher, “Winter Landscape” and signed lower left “Henry C. Lee.” He lived in Cornwall New York and in France, where he died. The stretcher had an old label for a French artist supplies dealer Lucien LeFevre-Foinet with the number 7350.

Under a partly cloudy but blue sky the sun casts the shadows of bare trees on the slope in the foreground while the hills and cloudy sky show beyond. The painting is 1...

A well-executed watercolor of a tightly grouped bouquet of flowers. This may be a theorem made with stencils, though this painting looks as if it was done freehand. Theorems were more often stenciled on velvet. The style is of the mid-19th century. It could be either American or English. The frame is a good one of that period. The painting was almost certainly in an oval frame originally and the slight shadow around it is evidence of that frame. The sight size is 12 3/8 x 15 ½ inches with the ...

Three plates with a blind molded basket weave border and swirled ribs the way Coalport molded plates in the early part of the 19th century. The hand painted flowers in a central bouquet and four single flowers on the lip are very much in the early Coalport style. The plates are 9 ¼ inches (23.5 cm) in diameter.

Conditon: no chips cracks, hairlines or repairs for two and the third with a spider in the center. The surface of all three has been scratched enough to be noticeable either by use ...

An underglaze blue hand painted ”Ronda” pattern soft paste porcelain plate with a deep molded rib border and barbed edge. Though unmarked the painted pattern and the distinctive molding are typical of Tournai. The diameter is 8 inches (20.32 cm).

Condition: No chips, cracks, hairlines or repairs. Some wear and a little associated discoloration.

Soft paste porcelain luncheon or salad plate, 8 3/8 inches (20.32 cm) diameter, with hand painted underglaze medium blue in the “Ronda” pattern. Though unmarked, the pattern, the color and the deep molded swirled ribs and basketweave border are distinctively Tournai. The underglaze blue “2” on the back is probably the mark of the painter.

Condition: no chips, cracks, hairlines or repairs. Minor surface scratches.

A pair of soft paste porcelain underglaze hand painted blue and white porcelain plates in the “La Mouche” pattern. These have a mark that I can’t identify, though they may well be a workman’s factory mark. The pattern of the fly buzzing a bush is distinctively from the Tournai factory. The pair of shallow soup plates are 9 1/8 inches (22.86 cm) diameter.

Condition: No chips, cracks, hairlines or repairs. Use and stacking wear on both sides of both soups.

An albumen photograph of the mountains Scuir-Uran and Scuir-an-Carnich rising behind what appears to be a stream that according to the caption in the negative feeds into Loch Duich in Ross-Shire. Loch Duich is a sea loch on the west coast of Scotland. The title includes the number 799 and the initials G.W.W. for George Washington Wilson (Scottish, 1823-1893). The photograph is 7 3/8 x 11 ½ inches (17.8 x 29.2 cm), the mat 14 x 17 inches (35.6 x 43.2 cm).

Condition: very good, some waviness...

An albumen photograph of five women, with knitting, seated on the ground and two girls standing behind them against a stone wall or side of a cottage. George Washington Wilson (Scottish, 1823-1893) was already a successful photographer with a large business in Aberdeen when he made a photographic journey to the Outer Hebrides in 1885. This photograph is titled in the bottom center of the negative, “Maids and Matrons St. Kilda.” with the number 6196 and the photographers initials G.W.W. Ima...

An albumen photograph of the Royal Gardens and the adjoining Bay of Naples with the city beyond. Titled in the margin at the bottom lower left and the photographer’s credit in the lower right. Michele Amodio was active in Naples from about 1860 to 1890. This photo is laid down on a stiff carboard mount. The photo is 8 x 9 15/16 inches (20.3 x 25.2 cm). the card 9 ¾ x 11 ½ inches (24.8 x 29.2 cm).

Condition: the photo with minor surface faults and dirt, the card with rough edges and some ...

An albumen photograph titled in the center of the lower edge, “Loch Killean Nr Strathepeffer” with the number 11,780 and the initials GWW for George Washington Wilson (Scottish 1823–1893). The photo shows a horse and buggy with driver in the lower right and the Loch stretching out in the distance. The photograph has been T-mounted and is matted. The image is 7 5/16 by 11 3/8 inches 18.6 x 28.9 cm). The mat is 14 x 17 inches (35.5 x 43.2 cm).

Condition: Very good with the only damage t...

An albumen photograph of campers on the shore of Loch Hourn with their boat anchored off-shore and misty hills on the far side of the Loch. Loch Hourn is a sea loch. The campsite looks a little messy, though the tent looks good and the four men well dressed and fed. 7 ¼ x 11 3/8 inches (18.5 x 29 cm), with a 14 x 17 inch (35.7 x 43.3 cm) mat. Attached to backboard with T mount at the top and clear photo corners at the bottom.

James Valentine (1815 -1879) was a noted later half of the 19t...

An albumen photograph of Lake Como and the town of Como by Giacomo Brogi (1822-1881). He was a successful photographer with shops in Florence, Rome and Naples. The business was continued by his son Carlo Brogi (1850-1925) who according to Wikimedia is responsible for photographs in the series with numbers above 8000. As this one is 9005a, it is probably Carlo’s rather than his father’s. Titled in the lower margin, “9005a. COMO – Panorame della Citta col Colfo” and in the far right, “...

An oil on mahogany panel of a Claudian landscape with trees to the far left above figures approaching a river, while figures on the opposite side stand beneath a rise in the landscape with mountains in the distance under a cloudy sky. The composition and manner suggest a late painting by the Scottish Alexander Nasmyth (1758-1840) or possibly his eldest son Patrick Nasmyth (1787-1831), though the brush strokes are looser than usual for either. 8 11/16 x10 ¾ with margin, 7 1/8 x 10 1/8 w/out. Fra...