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Recent Acquisitions
Here is a selection of the gallery's most recent acquisitions
including paintings from five members of the National Academy.
Just scroll down to see each painting.
Emile Albert Gruppe (1896-1978)
Rainy Day, Vermont
Oil on canvas, 24 x 30 in
Price available upon request
Born in 1896 the son of renowned tonalist painter Charles Paul Gruppe, Emile Gruppe became one of the 20th century’s masters of New England seascapes and landscapes. In addition to being raised by an artistic father, he was also educated in art at The Hague in the Netherlands and in New York City at the National Academy of Design and The Arts Students League. He also received instruction from artists George Bridgeman, Charles Chapman, Richard Miller and John F. Carlson. Throughout his career Gruppé exhibited at the major national annuals, including those of the National Academy of Design, where he made his debut in 1915. His paintings were also shown at the Connecticut Academy of Fine Arts, the North Shore Art Association, the Rockport Art Association, where they won numerous awards and prizes. In 1942, he founded the Gruppe Summer School in Gloucester with his mentors.
Gruppe painted numerous works throughout his long artistic career, as many as 200 hundred oils a year. He is best known for his impressionistic landscapes of Vermont, painted figures and portraits, and especially for his Gloucester and Rockport harbor and village scenes. For the majority of his professional career, he worked and lived in Gloucester, Massachusetts, often wintering in Vermont and Florida.
During this time, Gruppé adopted a more direct and personal mode of painting in which he combined a dynamic brand of Realism with the light and atmospheric concerns of Impressionism. This later work is sought after for its distinctive, vigorous brushwork, compositional qualities and refined color values. Gruppe lived a long and prolific life, passionate about his art and about sharing the joys and skills of visual creativity with future generations. In one of his last interviews he revealed his philosophy of painting: "If you want exacting details in a painting, than you might as well look at a photograph. I make an impression on a canvas, and let one's imagination fill in the details." He died in 1978 at the age of 82 after a lifetime of painting.
Gruppe's works can be found in the Richmond Art Museum, the Hickory Museum of Art, Springville Museum of Art, Whistler House Museum of Art, and more. His works are now highly collectible and have brought dramatic prices near $60,000 at auction.
Source: AskArt.com
Paul Bernard King, N.A. (1867-1947)
Monhegan Island Harbor
25 x 30 Oil (relined),Antique carved frame 31 x 36
Price available upon request
Versatility, artistic maturity and mastery of technique and medium are hallmarks of Paul King's art. His diverse works of portraits, landscapes, rural scenes and illustrations establish his reputation in the first quarter of the century.
From 1906, when his oil painting "Hauling in the Anchor Line" (date and location unknown) captured the Salmagundi Club's top two prizes, King regularly received recognition. His merit was freely acknowledged by his artist peers, as well as by the critics and the public.
King was born in 1867 to a Buffalo, New York goldsmith. Apprenticed there to a lithography firm, he became an accomplished printer. King later studied at the Art Students League of Buffalo and, from 1901 to 1904, at the New York Art Students League with Henry S. Mowbray. While a student, he was an illustrator for "Life" and "Harper's" magazines. From 1905 to 1906, King studied in Holland with Willy Sluiter, Evert Pieters and Bernard Bloomers.
He was a board member of the Philadelphia School of Design for Women, serving as vice president and acting president, from 1908 to 1921. In 1921, he moved from his long-time home in Germantown section of Philadelphia to Stony Brook, Long Island, where he died in 1947.
Memberships: Allied Artists,America Federation of Arts, Artists Aid Society, Artists Fund Society, International Society of Arts and Letters, Pennsylvania Academy of Fine Arts, Philadelphia Art Club, Salmagundi Club
Public Collections:Albright-Knox Gallery, Buffalo; Butler Art Institute, Youngstown, Ohio; National Gallery of Art, Washington, D.C.; Reading Museum, Pennsylvania; Los Angeles Museum; Houston Art Museum; New Pantheon, Nashville, Tennessee. (From "American Art Analog").
Biography from Roughton Galleries,Inc
George H. Drew (b. 1833)
Along the Maine Coast, (c. 1880)
12" x 21" Oil/Canvas
$4200
The son of marine painter Clement Drew, George Drew and his father had a gallery in Boston in the 19th century.
Don Stone, N.A.
Back of Knowlton’s
Watercolor 16 x 24, Frame Size: 21 x 28
SOLD
Internationally known modern impressionist painter Don Stone has been elected to full membership in the National Academy of Design, the American Watercolor Society, and has been designated as a Dolphin Fellow of the latter group. In addition, Stone is a member of the Allied Artists of America, the Hudson Valley Art Asociation, the Guild of Boston Artists, the Copley Society of Boston, the Rockport Art Association, the North Shore Art Association and a number of smaller regional art associations with whom he has exhibited over the years. He has been exhibited in various public museums, including the Boston Museum of Fine Arts. He has won numerous awards, including two Greenshields Foundation grants.
To view the artistic accomplishments of Don Stone is an arresting experience. Few artists have so successfully mastered so many different paint mediums, and, with each new exploration, presented a fresh means of expression. Working with vigorous, moving watercolor, he captures momentary visual sensations, and an immediacy that is translated into works of stunning accuracy and vitality in the precision of his oils and watercolors. The painterly quality of his oils reinforces the consistency in variety in all his painted responses, and, like his other paintings, they are conspicuous for their sheer visual pleasure.
Another uniting factor in these skilled and versatile paintings is the distinctly American point of view. Don Stone's deeply rooted respect for the American Traditiion of Realism is expressed in his choice of subject from the well-known marine paintings to the rural New England landscapes, both occasionally peopled with characters that embody the very pulse of the American heritage.
Don's works are included in the premanent collections of Dartmouth College, Marietta College, the Mobile Art Museum (Mobile, AL), the University of New Hampshire, the Peabody Maritime Museum, the Canton Art Institute (Canton, OH), the Butler Institute of American Art (Youngstown, OH), and Berkshire Community College. He has been featured in several books and publications, including Down East Magazine, Modern Oil Impresionists (Ron Hanson, North Light Books, 1992), and Monhegan, The Artists' Island (Blake, North Light Books, 1992).
Copyright © 1997-2002 Don Stone.
Don Stone, N.A.
The Blue Gate
Watercolor 7 x 11, Frame Size: 13 x 17
$1600
MacIvor Reddie (American, 1864-1931)
Ploughing the Fields (c.1900)
30 x 36 oil on canvas
Framed in Gold 34 x 40
$3800
Carl Gordon Cutler (1873-1945)
“Umbrella Pine”
Watercolor on paper, 19.5x 24.5”
Framed 30 x 37
$2400
Carl Gordon Cutler (1873-1945)
“View of Eggemoggin Reach”
Watercolor on paper, 17.5x 24.5”
Framed 30 x 37
$2400
Carl Gordon Cutler (1873-1945)
“After the Rain”
Watercolor on paper, 17.5x 24.5”
$2400 Framed (30 x 37)
Carl Gordon Cutler was born in 1873 in Massachusetts. Though educated in the painting of portraits in oil, his two major artistic passions would become the landscape of Maine and the use of watercolor. His watercolors, influenced by Fauve color and John Marin's forms, were exhibited in Europe and the eastern United States, in Boston; Philadelphia; the Museum of Modern Art, and Whitney Museum of American Art, both in New York City; and, farther west, at the Art Institute of Chicago, Illinois; as well as Paris, France. Cutler had more than a dozen one-man shows in New York City and Boston.
Cutler studied in the late 1890s at the School of the Museum of Fine Arts, Boston, where influence of the old masters on the painting of oil portraits was strong. He also worked at the Academie Julian in Paris. Cutler had some exhibition success there, but it would take several years after his return to America before his mature style would appear. Cutler first painted the Maine coast soon after the Armory Show. By the mid-1920s, he was painting watercolors of the state's landscape exclusivelyviews of Deer Isle, Mount Desert, the Camden Hills and--for thirty summers, Eggemoggin Reach, where Cutler had a cottage. The artist received the plaudits of the critics and acclaim from the public. He spent the last 30 years of his career focusing entirely on painting Maine's Penobscot Bay region.
Carl Cutler was a respected color theorist. In his 1923 book Modern Color, with Stephen C. Pepper, he explained a detailed system involving a scale of 168 colors, telling how to imitate the appearance of natural light through their use. He also discussed emotion as a significant element in artistic creation. In 1994, the Vose Gallery, in Boston, put out a color brochure, Carl Gordon Cutler Along the Maine Coast 1873-1945. Also in the 1990s, the Babcock Gallery, in New York City, published Carl Gordon Cutler, American Modernist Rediscovered, a paperback with forty-four color reproductions and an essay. In 1998, the Portland Museum of Art, in Maine, held an exhibition, "Modern Color": Maine Watercolors by Carl Gordon Cutler, comprised of sixteen out of a total of fifty-nine Cutler watercolors bequeathed a year earlier to the Museum by Mr. and Mrs. James E. Haas. Also in 1998, the College of the Atlantic, Bar Harbor, Maine, exhibited fourteen of Cutler's Maine coastal landscapes painted in the South Brooksville area on the Blue Hill Peninsula.
Anthony Thieme, NA (1888-1954)
Landscape in Winter
Oil on Board 13.5x16.5
Framed under glass with mat 21x24
SOLD
Anthony Thieme was born on February 20, 1888 in Rotterdam, Holland. He studied at the Royal Academy of Fine Arts in The Hague, Holland, under George Hacker; Garlobini, Guardaciona; and Mancini in Italy. He also studied in Germany. In the 1920's he emigrated to the United States, initially residing in New York City where he painted Broadway backdrops, and eventually setting up studios in Rockport, Massachusetts and St. Augustine, Florida, seasonally moving from one to the other.
Known as a genre painter he did landscapes including farms, and Paris scenes; his best known works are of boats, fishermen, and harbors, reflecting his Northern and Southern studios in coastal towns. In Rockport, he established the Thieme School of Art where he was Director.
Thieme was a strong proponent of the visual arts and held memberships in many associations: American Water Color Society; Art Alliance of America; Salmagundi Club; Connecticut Academy of Fine Arts; Boston Art Club; Providence Water Color Club; Boston Society of Artists; North Shore Art Association; Springfield Art League; Rockport Art Association; New York Water Color Club; American Artists Professional League; Gloucester Society of Artists; Art Alliance of Philadelphia; Philadelphia Painters Club; and the National Arts Club.
As a function of these many memberships, he was an active exhibitor: National Academy of Design 1930-1934; Art Institute of Chicago 1930; Pennsylvania Academy of Fine Arts 1929-1931; Corcoran Gallery of Art 1932; Los Angeles Museum of Art 1930, 1931 (prize); Albright Art Gallery 1932; Detroit Institute of Art 1931; Salmagundi Club 1929 and 1931 (prizes); Springfield, Utah 1928 and 1931 (prizes); Gloucester Art Association 1928 (prize); Springfield Art League 1927 and 1928 (prizes); North Shore Art Association 1930 (prize); Connecticut Academy of Fine Arts 1930 (prize); Jordon Marsh Exhibition (Boston) 1944 (medal); New York Water Color Club 1930 (prize); Boston Tercentenary Exhibition 1930; Ogunquit Art Center 1930; New Haven Painters and Clay Club 1931 (prize); Washington Water Color Club 1931(prize); Los Angeles Museum of Art; Buck Hill Falls Art Association (Pennsylvania) 1938 (prize); he also exhibited in Belgium, France and Holland.
Anthony Thieme's work is held in high regard by collectors and Museums alike, and he is represented in many major collections: Boston Museum of Fine Art; Pittsfield Museum of Art (Massachusetts); Albany Institute of History and Art; Dayton Art Institute; City of New Haven Collection; College of Springfield (Utah); University of Iowa; Museum of Modern Art; Los Angeles Museum of History, Science & Art; Beach College, Storrs, Connecticut; Montclair Art Museum (New Jersey).
In literature, he is internationally recognized appearing in Benezit; Davenport; Fielding; Mallett; Thieme-Becker; the Witt Library Computer Index; and many "Who's Who."
The Rockport Art Association held a retrospective exhibition of his works and the accompanying text details his life and works: Judith A Curtis, "Anthony Thieme 1888-1954," Rockport Art Association, 1999. (80 pages)
Source: Edwin J. Andres Fine Art
William Lester Stevens, NA (1888-1969)
Deer Isle, Maine
Signed "W. LESTER STEVENS N.A." l.r.
Watercolor 20 x 27 in.
Matted and Framed, Condition: excellent
$2400
Born in Rockport, Massachusetts, Stevens spent four years at Boston's Museum of Fine Arts School, where he studied under Edmund Tarbell, among others. Primarily an oil painter, he also used watercolor and acrylics. He is best known for his post-impressionistic landscapes. Throughout the course of his long career, Stevens taught, first in Rockport, then at Boston University (1925-1926) and Princeton (1927-1929), and during the Depression at Grand Manan.
He was a National Academician and a member of the American Watercolor Society; a founding member of the Rockport Art Association; Springfield, MA Art League; Guild of Boston Artists; Gallery on Moors; New Haven Paint and Clay Club, CT; Gloucester Society of Art; North Shore Art Association; Boston Watercolor Club and the New York Watercolor Club. He won art awards at the Corcoran Gallery, Washington, DC; American Watercolor Society; New Haven Paint and Clay Club; Springfield Art League; Salons of America; Washington Watercolor Club; North Shore AA; Rockport AA and more. He painted USPO murals in Dedham and Rockport, MA, the Boston City Hall, the Louisville, KY Art Museum and several schools in Boston. References: Movalli, Charles, American Artist (April 1986); Who’s Who in American Art (1947); Who Was Who in American Art (vol. 3, p. 3171-72).
William Lester Stevens (1888-1969)
Harbor at Vinalhaven, Maine
Signed "W. LESTER STEVENS N.A." l.r.
Watercolor 15 x 22 in.
$2400
Charles H. Woodbury (1864-1940)
Lakeside Cottage
Oil on Canvas: 10 X 14
$3500
Born in Lynn, Massachusetts, an industrial city about ten miles north of Boston, Charles Woodbury remains among the most influential artists to work in Ogunquit, Maine and in Boston. He taught more than 4,000 students including ones at Wellesley College, had more than 100 solo exhibitions, and wrote three widely read art education books. He remains a strong influence on art education.
Woodbury was from a comfortable, well-established family. He sold his first oil painting when he was 15 and at age 17 in 1884, was the youngest person ever elected to the Boston Art Club. He graduated from the Massachusetts Institute of Technology, and credited Ross Turner, his watercolor instructor, as launching his painting career.
As a young resident painter of Lynn, he was a leader among his artist colleagues in the formal application of paint in beach and marsh scenes, a unique subject for that time. Immediately after graduating from MIT, he set up a studio at 22 School Street in Boston near Charles Green, his close friend and painting colleague. They determined to make a living only from their painting, and they succeeded. His formal art training began in 1890 when he, a newly married man, enrolled in the Academie Julian in Paris and stayed for a year. Returning to the Boston area, he became a prominent plein-air painter and living until 1940 embraced Impressionism.
He was a member of the Salmagundi Club (1899); an Associate (1906) and an Academician (1907) at the National Academy of Design; Ogunquit Art Association; Society of Water Color Painters; New York Water Color Club; Guild of Boston Artists; Boston Society of Watercolor Painters.
He won awards at the Lynn Art Exhibition for Amateurs (1880); Boston Art Club (1884, 1895); Atlanta Exposition (gold, 1895); Nashville, Tennessee Centennial (1897), Mechanics’ Fair, Boston; Paris Exposition (1900); Pan-American Exposition, Buffalo (1901); Worcester Art Museum (1903,1907); St. Louis Exposition (1904); Carnegie Institute (1905); Buenos Aires Exposition (1910); American Water Color Society (1911); W.A. Clark Prize and Corcoran Medal (1914); Pan-Pacific Exposition, San Francisco (gold, 1915); Penn. Academy of F.A. (gold, 1924); Brooklyn (1931); Palmer Marine Prize and Ranger Fund Award, National Academy (1932); Noyes Prize, Society of American Artists (1933).
He is represented at the Gardner Museum; Corcoran Gallery of Art; Art Institute of Chicago; Herron Art Institute; Boston Museum of Fine Arts; St. Louis Art Museum; Boston Public Library; Berkshire Atheneum; Detroit Art Institute; Metropolitan Museum of Art; Joslyn Art Museum; Worcester Art Museum; R.I. School of Design; Telfair Academy, Savannah; Colby College; Wellesley Colllege and in 100’s of other museums and institutions.
Woodbury was given over 60 one-man exhibitions, the first being at the J. Eastman Chase Gallery, Boston (1887) and the last at the Winchester Public Library, MA (1939). 18 Memorial Shows were given (1940-41). In 1945 the Museum of Fine Arts, Boston held a Retrospective Exhibition. In 1968, Adelson Galleries, Inc. (then of Boston) and in 1978 Vose Galleries of Boston gave Retrospectives. In 1988 M.I.T. gave a monumental Woodbury exhibition titled Earth, Sea and Sky that traveled to museums through 1993.
Woodbury taught art at the Worcester Art Association (1895); Wellesley College (1899-1906; 1913-1914); Dartmouth College; Pine Hill School (1907-1910); Ogunquit summer art school (1898-1939); Director, Woodbury School, Boston; Associate Professor, School of the Chicago Art Institute.
Author: The Art of Seeing (1925) and Painting and the Personal Equation (1922).
Sources include:
P.J. Pierce
American Art Review, August 1998
Peter Falk (Editor), Who Was Who in American Art
CHARLES EDWIN LEWIS GREEN (1844-1915)
RED ROCK, LYNN, MASSACHUSETTS. 1881
Signed lower right "C Green 81"
Oil on canvas, 11-3/4" x 15-1/2"
$3200
A native of Lynn, Massachusetts, Charles Green became an artist committed to painting American subject matter, especially the marine and landscape scenes of his native area. He often signed his paintings C.E.L. and was part of the seven "Lynn Beach Painters" that included his close friend, Charles Woodbury.
From the 1880s through 1910, he was a regular exhibitor at the Boston Art Club and also took lessons there. He was a plein-air painter, meaning he completed his landscape and marine scenes outdoors with minimal over painting of colors.
In 1885, he moved to Boston, and he and Charles Woodbury had adjoining studios on Green Street and committed themselves to making their living exclusively with their fine art. They succeeded, and for several years, they were linked together as being non-European trained, stay-at-home artists with very similar impressionist styles and American subject matter. They prided themselves on avoiding European influence, but in the 1890s, their styles became increasingly impressionist from seeing European work in Boston exhibitions.
Green had his first one-man show in 1886 at the J Eastman Chase Gallery, one of Boston's most prestigious exhibition venues at that time. In 1906, Green moved from Boston to his hometown of Lynn where in 1909, he became one of the founders of the Lynn Art Club. He died on January 18, 1915, having been a major influence on succeeding generations of painters inspired to paint local marine scenes of the Boston area.
Source: Michael David Zellman, "300 Years of American Art"
(Robert) Bruce Crane, NA (1857-1937)
FALL CONNECTICUT LANDSCAPE
Signed lower left "Bruce Crane. N.A."
SIZE: 22" x 30"
Fine deep carved frame: 31” x 39”
price available upon request
Robert Bruce Crane was born in New York City on October 17, 1857. The son of Solomon Bruce Crane and Leah Gillespie, he was educated in New York's public schools and was exposed to the city's galleries and museums by his father, himself an amateur painter. By the age of seventeen, Crane had moved to Elizabeth, New Jersey, where he was employed as a draftsman by an architect and builder.
He soon decided to devote his career to painting, and about 1876 or 1877 sought the guidance of the landscape painter Alexander H. Wyant, with whom he subsequently shared a close friendship until Wyant's death in 1892.
Between 1878 and 1882, Crane attended the Art Students League in New York and traveled to Europe for further study. In the United States during this period, he painted in New Jersey; East Hampton, Long Island; and the Adirondacks. He wrote to his father from the Adirondacks that among the influential painters working nearby at the time were Eastman Johnson, George and James Smillie, and Samuel Coleman, and he described the dramatic terrain: "Went to the famous Rainbow Falls which several artists have tried to paint . . . Wyant and Hart among them . . . over the top comes tumbling the water which strikes every few feet throwing a spray which catches the sun giving a most charming as well as wonderful appearance."
Crane spent time in East Hampton, on the eastern end of Long Island, during the summer of 1880 or 1881 and possibly during other summers. From there he wrote his father that the painters "Stimson, Dellenbaugh, Moran, Robbins and Coleman are here . . . I have finished the study of an old house . . . and the artists say that [it] is exceedingly good." In another note he described some of his typical subjects at this time: "I have been working on a 20 x 30 [inch] subject, a row of apple trees, gigantic in size . . . I commence in a few days the study sheep."
In these early works, Crane painstakingly reproduced the pastures, hayfields, and barnyards of rural East Hampton. A critic later remarked that "Troubled or placid skies, the bright luminous atmosphere of a summer's day, or the gray tones of autumn were given in these pictures, not only with truth to nature and a certain poetic sentiment, but with a brilliant sparkling quality of effect.
Source:
Clark, Charles Teaze; "Bruce Crane, Tonalist Painter", Antiques Magazine, November, 1982.
Jess Hobby 1871-1938
Spring Thaw
Oil on Board 16 x 20
$2500 Framed
William Norton (1843-1916)
Disemarking at Low Tide
Oil on Canvas 24 x 36
$4500 framed
Born in Boston in 1843, William Norton became a noted marine painter, stirred by his youth when he sailed on family-owned ships. He studied at the Lowell Institute in Boston, and with George Inness, and then established a studio in Boston.
In the early 1870s, he went to Paris and became a student with Chevreuse and A. Vollon, and then he settled in London where he exhibited throughout the last quarter of the 19th century. His reputation there was based on his scenes of the Thames River, and ocean and coastal views.
In 1901, he and his wife returned to the United States and settled in New York City. He also painted at Monhegan Island, Maine, where a treacherous ledge on the southern side of the island is named "Norton's Ledge" for him.
He was a member of the Boston Art Club with whom he exhibited from 1873 to 1909. He also exhibited with the Pennsylvania Academy, the Royal Academy in London, the Paris Salon, the 1893 Chicago Exposition, and the Art Institute of Chicago.
Source: Who Was Who in American Art by Peter Falk
Henry Martin Gasser (1909-1981)
Coastal Scene
Watercolor on paper, 12x 15”
$1800
Painter, lecturer, teacher, illustrator and author, Henry Gasser was born in Newark, New Jersey on Oct. 31,1909. He lived, studied and worked in New Jersey for his entire life. A Master at watercolor and oil his work consisted of, in his own words, "everyday subjects that are available to most of us-street scenes, back yards, trees, old houses, etc I looked for them in front of houses, in backyards, public parks, and elsewhere". He also painted numerous harbor and fishing village scenes. His work demonstrated a sense of place and feeling that most could identify with. He often "exhausted a subject" which becomes evident when viewing the body of his work for many of his paintings are just slight variations of previously completed compositions. His Paintings also contain a great deal of what he called "solitary silence" created by chosen subject matter such as a "Coming Storm", "Night in the Park", "Shadows"... He felt that Design was very important and meant the difference between a mediocre work and a truly professional one. It is here where Gasser excelled, his work demonstrates a sense of composition that gained wide spread appreciation for his work.
He got his background in art studying at the Newark School of Fine and Industrial Art and the Grand Central School of Art. This was followed by study at the Art Students League of New York in the classes of Robert Bracman. He later studied privately under John R. Grabach. He is represented in over fifty museum collections and numerous important private ones as well. Among the awards that Henry Gasser has received are the Hallgarten Prize at the National Academy, the Zabriskie, Osborne, and Obrig prizes at the American Watercolor Society, the Philadelphia watercolor club prize, the Allied Artists Gold Medal at Oakland, California and many others. He was a member of the National academy of Design, the American Watercolor Society, the Royal Society of Art (Great Britain), the Salmagundi Club, the Philadelphia, Baltimore and Washington Watercolor Clubs and the New Jersey Watercolor Society. He was a life member of the National Arts Club, Grand Central Art Galleries and the Art Students League and others. He served as Director of the Newark School of Fine and Industrial Art from 1946-54 then continued lecturing and demonstrating for most of the remainder of his life. He also wrote numerous books on painting. He died in Orange, NJ in 1981.
Bernard Corey (1914-2000)
Maine Surf
signed Bernard Corey, l.l.,
oil on board 12x16
Framed in Silver 18 x 22
$3600F
Bernard Corey (1916-2000)
November Hillside
oil on board 10 x16
Framed 16x22
$2200
Bernard Corey is one of New England's most beloved landscape painters of the 20th century. He executed paintings surely en plein aire with accuracy and competence. Memberships included the Rockport Art Association, Salmagundi Club, the Guild of Boston Artists, North Shore Art Association and more. Having won over 100 awards and honors, including awards at the North Shore Art Association, Rockport Art Association, Salmagundi Club, NYC, Hudson Valley Art Association, Providence Water Color Club, Allied Artists of America and many more. He painted almost every day of his life with fellow artists in the fields, along the streams and beaches and in the mountains in and around New England. Although the artist traveled throughout the world, Paris made little impression on him. He was American through-and-through.
Bernard Corey was the "last of the old school" of traditional New England landscape painters. When he died early in 2000, the era when artists painted for ten hours a day, every day with competency came to an end. Corey's carefully painted impressionistic plein aire canvases captured the essence of nature in all four seasons. The Rockport Art Association gave Corey a retrospective exhibition (October-November 2000) saluting the artist's profound understanding of nature and painting.
Autumn Glory
Oil on linen, 20" x 31"
Dennis Sheehan
Foret d'Autumne
P. Dumont
AUTUMN FOREST ca 1930
oil on canvas 19 x 25
Period Gold Frame; 24 x 30
signed lower right "P. Dumont"
Condition: excellent with no restoration
This post-Barbizon era painting is reminiscent of the extraordinary forest interiors painted on site in the forest of Fontainebleau by the first generation of Barbizon painters, particularly Rousseau and his pupil Diaz de la Pena.
QUEBEC AUTUMN
Vivian Walker (1903-1972)
Oil on Board 20" x 24," framed 30” x 34
$1500
Vivian Walker studied Art at Sir Williams College of Art, Montreal, Quebec. She had several successful Exhibitions between 1943 and 1962. She had 4 paintings at the Canadian Exhibition in Washington D.C. in 1954. Which were very well received with positive accounts in the press. She was Honorary Treasurer of the Woman’s Art Society of Montreal.
This Impressionist forest scene was most likely done in and around the Laurentians, north of Montreal. Her strong use of color gives this work a lyrical and evocative qualities associated with 19th century French works, while maintaining a distinctive North American flavor.
Wayne Beam Morrell (American, b. 1923)
Ipswich River Golden Sunset
Signed "Wayne Morrell" l.l., titled and inscribed "Collection of LISA A. MORRELL fromWayne Morrell, SEPT. 10, 2000, IPSWICH RIVER GOLDEN SUNSET, 1975, MY FINEST OF THAT YEAR."
Oil on board, 24 x 36 in. (61.0 x 91.4 cm), framed.
$4500
Wayne Beam Morrell was born in New Jersey in 1923 and as a young child took an immediate liking towards drawing. As a result, he attended the Philadelphia School of Industrial Arts studied draftsmanship and commercial art. Morrell worked as a commercial artist and served in the United States army during the Korean War. After the war, he began painting in 1953 with great success and subsequently left his career as a commercial designer to devote his energy full time to the fine arts. Since then he has exhibited his impressionistic works internationally to great acclaim.
Drawing from his personal life and everyday surroundings gave Morrell greater depth and understanding of his home in New England and these works are what he is best known for. Morrell was a member of the celebrated Rockport artist colony and he is one of a premier group of American artists who continue the this regional tradition of great landscapes.
Morrell is a member of many artists associations including the American Artists, and the Rockport Art Association. His art can be found in the Butler Institute of American Art, the Columbus Museum of Fine Art, the American Watercolor Society, the Vermont Art Association, the Rockport Art Association, and in private collections throughout the United States.
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