Seasons

WALTER KOENIGER 1881-1943

The Icy Falls

24 x 36 Oil on Linen

$7500 Framed (30 x 42)

Known as “the Painter of Snow,” Walter Koeniger was the son of an architect, born in Germany on May 6, 1881. From architecture, Walter turned to painting, while still in Germany. He studied under Eugene Gustav Dücker (1841-1916) and Eduard Karl Franz Gebhardt (1838-1925) at the Düsseldorf Academy. Dücker studied at the Imperial Art Academy of St. Petersburg and was influenced by Russian realism. Around 1912, Koeniger settled in Woodstock, New York, where he abandoned Dücker’s crisp, photographic realism for a more painterly, expressive technique. He concentrated on capturing the fleeting moods of nature during a period when the winter scene genre was rapidly rising in popularity.

Koeniger focused on views of the Catskill Mountains and wooded areas around Woodstock and Saugerties. He painted in broad, large strokes, rendering brilliant sunlight and glowing color harmonies, soft gradations of color in the sky, streams and forests. For G. Frank Muller (1925), Koeniger attempted “to convey to the beholder the rapture he experiences before nature at her best. Koeniger seizes the delight of woodland beauties and passes it on for our enjoyment.” Reportedly, Koeniger would delay the completion of a painting until the setting sun would add the proper tint of orange to the scene.

Vose Galleries featured Koeniger’s works in December of 1926. That year he began to exhibit his landscapes at the National Academy of Design where he returned in 1929, 1930, and 1931. His activities at Woodstock (where he died in 1943) are not well known; apparently he was not involved with the artists’ colony there. Koeniger was a member of the Salmagundi Club.

Sources:

Muller, G. Frank, “Koeniger, Painter of Snow,” International Studio 81 (June 1925): 210-215; Zellman, Michael David, 300 Years of American Art. Secaucus, NJ: Wellfleet Press, 1987, p. 773.

WALTER KOENIGER 1881-1943

Winter Light

27 x 34 Oil on Linen

$6500 Framed (30 x 38)

Acadian Winter

by Brian Banks

Oil on Canvas 16 x 24

$1200

Birch Forest

Gustav Klimt (1862 – 1918)

1st Edition Collotype, 12" x 12"

$2000

Gustav Klimt (1862 – 1918) was a brilliant Austrian iconoclast who rose from childhood impoverishment to become the leading artist of the Viennese Secession and Art Nouveau movement. Known for elaborate, explicitly sensual paintings and murals, Klimt’s works also encompass themes of regeneration, love and death. Embedding his work with images symbolizing the freedom of art from traditional Western culture, Klimt’s eclectic range of influences included Egyptian, Classical Greek, Byzantine and Medieval styles. A forerunner of Modernism and the Art Deco movements, Klimt’s huge creative influence still resonates in modern art, decorations and jewelry.

Grey Days

William McLane, Jr.

Oil on Canvas, Image size: 20" x 24"

$1200-Framed

The works of William McLane, Jr. are highly collectible and hang in galleries and homes throughout the United States and abroad. His artwork is particularly well known on the East Coast – especially on the islands of Nantucket and Martha's Vineyard and the coast of Maine. He is a member of the Artist's Association of Nantucket. He is a versatile painter whose work varies from abstract to impressionism always with an effective vibrant use of color and excellent composition.

Paul Strisik N.A. (1918-1998)

Summer Sail

Oil 12 x 20, Signed ll

Framed with linen liner, Condition: excellent

$6800

Born in Brooklyn, New York, Paul Strisik became a resident of Rockport, Massachusetts, where he did landscape painting that brought him national recognition. After serving in the Navy during World War II, he studied at the Art Students League in New York City and with Frank Vincent DuMond. In 1953, he moved to Rockport, where he was active in the Art Association and other local civic organizations.

He was a member of the National Academy of Western Art, the American Watercolor Society, and the Oil Painters of America. During his long career, he won 185 awards including 16 gold medals. He and his wife, Nancy, also maintained a home in Santa Fe for 12 years, and in 1996, he was honored as Artist of the Year by the Santa Fe Rotary Club. He was widely respected for his willingness to share his talents with young artists, and taught numerous workshops including at the Scottsdale Artists' School. He wrote several books, his last one being "Capturing the Light in Oils." A reviewer in "Art Talk" quoted him: "God's light on a blade of grass is such a miracle, and so difficult to capture in paint; it is worth a lifetime of trying" (10/98). He died July 22, 1998 at his home in Rockport.

Credit
American Art Review, 10/2001
Judith Curtis, "The Life and Art of Paul Strisik"

Sparrowhead Light House, Grand Manan

Samuel Peter Rolt Triscott

17.50" x 23.38"

Created: 1890

Framed under glass with mat 28x34

$9000

Samuel Peter Rolt Triscott was born January 4, 1846 in Gosport, England. He was one of five children and had a genteel middle class upbringing. Triscott studied civil engineering. His artistic training in painting was at the Royal Institute of Painters in Water Colors in London under Philip Mitchell.

In 1871 Triscott moved to America and settled in Worcester, Massachusetts where he was a partner in a civil engineering firm. In 1874 he began selling paintings from his office in Worcester. In 1881 Triscott had a one man show at the Boston Art Club. His style of painting with fluent washes of transparent color, though a change from the accepted norm, was well received. Triscott worked as a painting teacher during this time and it is believed his students included Winslow Homer, Sears Gallagher, William J. Bixbee, Woodbridge Gee, Melbourne H. Hardwick, Charles Copeland, William Ladd Taylor, and Robert Henri.

Triscott became quite active in the art world and showed regularly at the Boston Art Club, the American Watercolor Society in New York, The Pennsylvania Academy of Fine Arts and the Gallery of J. Eastman Chase. In 1885, he was one of the founding members of the Boston Society of Water Color Painters.

Triscott began visiting Monhegan Island off the coast of Maine in the early 1890's. The artist purchased a large lot of land which he sold off for cottages in his later years. Every year Triscott increasingly spent more time on the island eventually staying there year round. On April 28, 1894 Triscott was naturalized in Boston. He returned to Monhegan Island and continued to show his work and receive exceptional reviews. S.P. R. Triscott died on April 15, 1925 on Monhegan Island.

Source:
"American Art Review", December 2002

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

JAMES GALE TYLER (1855-1931)

Rocky coastal scene. Signed ll, James G. Tyler".
Oil on canvas, 18" x 30". Framed. 23 x 35

$3200

One of America’s foremost marine artists, James Gale Tyler was born in Oswego, New York in 1855. His interest in marine subjects began early, as by age 15 he was showing fascination with the ocean and seagoing vessels. He moved to New York City where, studying with A. Cary Smith, he took his only formal art lessons. Tyler's signature painting became known for the emphasis on mood and impression rather than for detailed realism.

He got much of his subject matter from his yearly travels between 1900 and 1930 to Newport, Rhode Island to paint scenes from the America's Cup Race. Many important illustration commissions as well as painting requests came his way during his lifetime. Among his illustration clients were publishers of Harper's, Century and Literary Digest. Tyler worked in New York and Providence, Rhode, Island in the mid 1880s-1890s, but it was Connecticut where he primarily worked and lived from 1870 until his death in 1931 at Pelham, New York. In addition to other marine scenes, Tyler painted every America’s cup race from 1900 to 1930. About his career, it was written that "No aspect of maritime life escaped Tyler's attention. In addition to painting all types of boats-from old sloops to clipper ships-he painted a variety of seamen, coastal scenes and seascapes."

He was a member of the Brooklyn Art Club, Artists Fund Society, Greenwich Society of Artists and the Salmagundi Club. He exhibited extensively at the National Academy, the Providence Art Club, the Boston Art Club and the Brooklyn Art Association and the PAFA. His work is in permanent collections at the Corcoran Gallery, Washington, DC; Tokyo Museum; Wadsworth Athenaeum, Hartford, CT; Omaha Museum of Art, NB; Mariner’s Museum, N.Y. Historical Society and elsewhere. James Tyler was primarily a resident of Greenwich, Connecticut, but the year he died, 1931, he moved to Pelham, New York. Tyler’s paintings are effused with subtle effects of light, vibrant color, and careful detail. It is for these reasons that Tyler’s paintings were extremely popular during his lifetime and continue to be popular today.

Source:
American Art Analog, Volume II, compiled by Michael David Zellman in association with American Art Analog, 1986, p. 513

Don Stone, N.A.

The Blue Gate

Watercolor 7 x 11, Frame Size: 13 x 17

$1600

Paul Strisik N.A. (1918-1998)

Bingham Corners

w/c Signed 10x14

Matted and Framed, Condition: excellent

$1800

Paul Strisik N.A. (1918-1998)

Along the Shore

w/c Signed 7 x 9.5

Matted and Framed, Condition: excellent

$1500

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.

Pumpkin Island Sunset

Dennis Poirier

20 x 24 Oil on Canvas

$2650

Dennis Poirier grew up in Gloucester, Massachusetts. He began his studies Butera School of Art in Boston, then returned to Cape Ann to study with John C. Terelak and Ted Goerschner at the newly formed Gloucester Academy of Fine Arts. Later he moved to New York City to study at the Arts Student League winning the Charles J. Romans Memorial Award at his very first national exhibit at the Allied Artists of America Show.

Dennis is a member of many prestigious art associations including the Oil Painters of America, North Shore Arts Association,Rockport Art Association, the Copley Society of Art (a Copley Artist), the Hudson Valley Arts Association, and the Academic Artists Association.

icago 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 (1888-1969)

Harbor at Vinalhaven, Maine

Signed "W. LESTER STEVENS N.A." l.r.
Watercolor 15 x 22 in.

$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).

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

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.

Morning Sky

Dennis Sheehan

Oil on Linen 18 x 24

$2500

Evening Hush

Dennis Sheehan

Oil on Linen 24 x 30

$3500