Hudson Valley Paintings Auction Ending 5/21

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Framed 19thC o/c unsigned View of people fishing & sailing on the river 17.5" x 23.5" sight, 18" x 24"

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Framed 19thC o/b signed "JF (combined) W" and dated "June 28th 65" lower left. John Ferguson Weir (1841-1925). "View From West Point 1865." Featured in the Exhibition "This Perfect River-View": The Hudson River School and Contemporaries in Private Collections in the Highlands. The exhibit ran from July 20th to November 25, 2007 at the Putnam County Historical Society & Foundry School Museum in Cold Spring, NY. This painting was featured as plate #26 on page 43 of the 67 page catalog for the exhibition. It also bears the #3 tag from being on exhibit at the Historic Boscobel Home on the Hudson in Cold Spring, NY. Boscobel label indicating that this work of art was part of the Exhibit: Home on the Hudson: Women and Men Painting Landscapes 1825-1875" that was held June 7, 2009 - September 7, 2009. The original Alexander Galleries label is affixed to the back. Bio AskArt: A painter, sculptor, writer, and teacher, John Weir was a highly talented man whose painting was overshadowed by his father, Robert Weir, the long-time West Point Academy drawing teacher, and his brother, J Alden Weir, well-known impressionist painter. His distinguished reputation was primarily based on his accomplishments as a teacher and administrator. For many years, from 1869 to 1913, John Weir was the Director of the Yale University School of Fine Arts. He was also a commissioner of the art exhibition at the Centennial Exposition in Philadelphia. Weir was born at West Point, New York, and by age 20, had a studio in New York City in the Tenth Street Studio Building, the first building in America dedicated to art studios, and there he associated with many leading painters of the day. He earned attention early in his career for paintings of industrial scenes, some of the earliest in American art history. Examples are "The Gun Foundry," 1866 in the Putnam County, New York Historical Society, and "Forging the Shaft," of 1867, which was subsequently destroyed. He did them in monumental sizes with much chiaroscuro (contrasting light and dark) effect, showing labor figures in the fiery glow of furnaces. He spent a year in Europe, painting panoramic landscapes, and then returned to New Haven, Connecticut to become associated with its School of Fine Arts. Much of the remainder of his painting was impressionist in style and depicted quiet landscapes, especially of the Hudson River region. These pieces, unlike his industrial scenes, did not much distinguish him from the numerous other painters doing the same style and similar subject matter. He also painted portraits including that of Yale president Theodore Dwight Woolsey and Benjamin Silliman, a professor. Weir died in Providence, Rhode Island in 1926. Note: catalog says oil on canvas. But, it appears to be oil on board. 5.5x7.75" sight. . 5.5" x 7.75" board

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Framed 19thC o/c View of people on riverbank w/boat. Illegibly signed lower right in red (see image). American Hudson River School scene with nice detail on figures 13" x 19.75"

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Framed 19thC o/c signed Edmund C. Coates (1816-1871). "View of the Hudson from West Point." Featured in the Exhibition "This Perfect River-View": The Hudson River School and Contemporaries in Private Collections in the Highlands. The exhibit ran from July 20th to November 25, 2007 at the Putnam County Historical Society & Foundry School Museum in Cold Spring, NY. This painting was featured as plate #22 on page 43 of the 67 page catalog for the exhibition. It also bears the #15 tag from being on exhibit at the Historic Boscobel Home on the Hudson in Cold Spring, NY. Bio AskArt: A landscape, portrait, marine and history painter, Edmund C. Coates lived in New York City during his active period 1837-1872. Brooklyn and New York City directories from those years list him as Edward, Edmund C., E.C. Coates, and E.G. Coates. His paintings include landscapes of Canada and Italy although it is not known if the artist traveled to those countries or if other works inspired the scenes. He also painted in the White Mountains of New Hampshire and, listed as one of the Hudson River School painters, did numerous Hudson River Valley scenes such as Shipping on the Hudson River, 1855. His painting titled Washington's Headquarters at Newburgh, 1867, depicted a popular scene among the Hudson River painters because it was George Washington's headquarters painted against the backdrop of Storm Mountain near the town of Newburgh. Collections holding work by Coates include the New York Historical Society, the New York State Historical Association and the Shelburne Museum. Sources include: A Century of American Landscapes 1812-1912, Frank S. Schwarz and Son, Philadelphia, 1986 Peter Falk, Who Was Who in American Art John Howat, The Hudson River and Its Painters. 23" x 28.25" canvas

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Framed 19thC o/c oval View in the Highlands C-1850's. Unsigned. A very nice American Hudson River School mid 19thC View. Ornate frame appears original. oval painted canvas typically are pre-Civil War. . 16" x 20" canvas

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Framed 20thC "Reginald E. Nickerson" (1919-1999) seascape depicting an C-1870 whaling scene on board. see label on back with details. Bio AskArt: A marine artist and painter of ships, Nickerson painted as William C. Trenholm and Thaddeus Bannister before he became the artist Reginald Nickerson. The following personal recollections are by Steve Rowland of Massachusetts: Reggie was an accomplished painter who sold many of his painting right out of his shop on Rte 6 A in West Yarmourth. I would frequently stop by there and chat with him and admire his artistic creations. He frequently talked about summers spent in Europe where he would do "touch up paintings" for Christie's. On February 14, 1991, the Register, out of Barnstable Mass., ran an article about the paintings of William Carpenter Trenholm and how the "artist" and his works had come out of "nowhere" to suddenly be so prominent on the Marine art market. It turns out that all of the Trenholm painting were traced back to being sold out of Reggie's shop. Reggie refunded all of the money for anyone who wanted to return his paintings and nothing ever came of it, except for a little local lure. On October 23, 1991, I purchased a Thaddeus Bannister painting from Reggie that I had admired for a while. I asked him why he painted under all the different names and he said he just enjoyed it. He said that Thaddeus Bannister was his uncle ( I have no knowledge if that is true or not). I told him he was good enough to paint under his own name and why did he bother with the other names. Now, I'm not saying I convinced him, but if you look at the records, his work only started to appear sometime after that period. In my opinion, Reggie simply matured through some other painters names, like William C Trenholm and Thaddeus Bannister, before he became the artist, Reginald Nickerson. Additional note: The above assumption about Reginald Nickerson also having painted as Thaddeus Bannister and William C. Trenholm was confirmed by Joshua Eldred of Eldred's Auctions 14.75" x 40"

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Framed 19thC o/c "George Loring Brown" (1814-1889) "View on the Hudson, 1837." Signed "G.L. Brown" and dated lower right. Featured in the Exhibition "This Perfect River-View": The Hudson River School and Contemporaries in Private Collections in the Highlands. The exhibit ran from July 20th to November 25, 2007 at the Putnam County Historical Society & Foundry School Museum in Cold Spring, NY. This painting was featured as plate #20 on page 37 of the 67 page catalog for the exhibition. It also bears the #9 tag from being on exhibit at the Historic Boscobel Home on the Hudson in Cold Spring, NY. Bio AskArt: Nicknamed "Claude" Brown for the French landscape painter Claude Lorraine whom he admired, Brown was among the most celebrated of American painters living abroad in the 19th century. He was born in Boston, and decided as a youngster to make a living as an artist. He apprenticed to a wood engraver, Abel Bowen, and then illustrated children's books. A friend, noting his talent for landscape painting, encouraged him to devote himself to that subject, and the purchase of one of these by a wealthy Boston merchant allowed Brown to go to Europe in 1832. He began his artistic career as an apprentice to Abel Bowen, and received further training from Eugene Isabey in Paris during his first trip to Europe in 1832-33. On his return to Boston, Brown was inspired and encouraged by the aging Washington Allston, a painter of Romanticism. Brown exhibited frequently at the Boston Athenaeum. In 1839-40 he returned to Europe and settled in Italy, making a comfortable living for nearly twenty years by painting Italian landscapes to sell to American and European tourists. In 1859, Brown returned to the United States, and in the 1860s and 1870s made many sketching trips to the White Mountains. Perhaps Brown's greatest New Hampshire scene was The Crown of New England, a huge panoramic view of Mount Washington, which was purchased by the Prince of Wales in 1861 (now unlocated, but a smaller version is in the Dartmouth College Art Galleries). He primarily painted Italian scenes in later life, responding to the public's preference for his European views. Returning to America, he continued his theme of Italian scenery and also did eastern landscapes. He used precise brushstrokes and relatively thick paint and introduced from Europe a method known as "Macchiorelli," an impressionist style of painting in patches of color to emphasize the effects of light and dark. Brown exhibited at the Boston Athenaeum, the Brooklyn Art Association, the Pennsylvania Academy of Fine Arts, and the National Academy of Design. He died in Malden, Massachusetts 17" x 21" canvas

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Framed 19thC o/c Hudson Highlands pastel painting nicely framed in shadowbox under glass. American School, this appears to be a "Chandler," but unsigned 10.5" x 20.25"

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Framed 19thC o/c Hudson River Scene. This appears to be the hand of Henry Boese (1824-1863). However, this large painting is unsigned. The mountains look like the Catskills rather than the Highlands 22" x 36"

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19thC French engraved "Plate #5" of a waterfall. Perhaps Cold Spring where the West Point Foundry was located. Framed, matted under glass 13.5" x 9"

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19thC "Castle Chillon" Lake Geneva in Swiss Alps. American School o/c framed, unsigned. Wikipedia: Chillon began as a Roman outpost, guarding the strategic road through the Alpine passes.[2] The later history of Chillon was influenced by three major periods: the Savoy Period, the Bernese Period, and the Vaudois Period.[3] Savoy period Edit Arms of the House of Savoy The oldest parts of the castle have not been definitively dated, but the first written record of the castle is in 1005.[4] It was built to control the road from Burgundy to the Great Saint Bernard Pass[5] From the mid 12th century, the castle was summer home to the Counts of Savoy, who kept a fleet of ships on Lake Geneva. The castle was greatly expanded in 1248[6] by Peter II.[7] Chillon as a prison Edit During the 16th century Wars of Religion, it was used by the dukes of Savoy to house prisoners. Its most famous prisoner was probably François de Bonivard, a Genevois monk, prior of St. Victor in Geneva and politician who was imprisoned there in 1530 for defending his homeland from the dukes of Savoy.[8] Bernese period Edit Over his six-year term, de Bonivard paced as far as his chain would allow, and the chain and rut are still visible. He was rescued in 1536 by his countrymen and Bernese, who took the castle by force. The prison was residence for Bernese bailiff until Chillon was converted into a state prison in 1733.[9] Vaudois period Edit In 1798, the French-speaking canton of Vaud drove out the German-speaking Bernese authorities and declared the Lemanic Republic. The Vaudois invited in French troops to help them maintain autonomy from the other Swiss. When the French moved in and occupied, Chillon was used as a munitions and weapons depot.[10] Today Edit Today, Chillon is currently open to the public for visits and tours. According to the castle website, Chillon is listed as "Switzerland's most visited historic monument".[11] There is a fee for entrance and there are both parking spaces and a bus stop nearby for travel. Inside the castle there are several recreations of the interiors of some of the main rooms including the grand bedroom, hall, and cave stores. Inside the castle itself there are four great halls, three courtyards, and a series of bedrooms open to the public. One of the oldest is the Camera domini, which was a room occupied by the Duke of Savoy - it is decorated with 14th Century medieval murals 20" x 27"

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20thc framed John Gould Print "Alexander Hamilton" steamboat "1924-1971, Maiden Voyage." A great scene with a View of busy river traffic up by the Kingston Lighthouse and entrance to the Rondout Creek. Bio AskArt: JOHN FLEMING GOULD (1906-1996) John Fleming Gould was born February 14, 1906 in Worcester, Massachusetts. His parents were Julia E. Gould and George M. Gould. The father was a plumber. They lived at 39 Richards Street. At first there were two boys, John, and his older brother George. George died of a childhood illness at the age of six in 1911. In 1912 the family moved to Illinois, where their son Robert was born, and in 1915 they moved to Brooklyn, NY, where their daughter Marian was born. They lived at 1502 Bushwick Avenue. In 1927 J. F. Gould began illustrating interior stories for pulp magazines, such as Aces, Air Stories, Astounding Stories, Blue Book, Clues Detective, Cowboy Stories, Danger Trails, War Birds and Wings. In 1930 he began a long and fruitful freelance relationship with Popular Publications drawing interior story illustrations for their pulp magazines, such as Detective Action Stories, Dime Detective, G-8 and his Battle Aces, Operator #5, Knockout, The Spider and 10-Story Western. In 1940 he married his wife, Mary Gould. They raised three sons, Robert, William, and Paul. John Fleming Gould died in New Windsor, NY, at the age of ninety on May 26, 1996 19.5" x 29.25"

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Philippe Regis de Trobriand, The Mill, 1876. (1816 - 1897) 19thC o/c, framed signed and dated View of an old Mill on a stream, perhaps Madame Brett's on the Fishkill Creek, tributary to the Hudson River. Phillippe Regis De Trobriand was active/lived in New York / France. Phillippe De Trobriand is known for landscape, Indian subjects 12" x 20"

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19thC Signed "J. A. Campbell" lower right. Undercliff Near Cold Spring (The Seat of General George P. Morris) o/c. Featured in the Exhibition "This Perfect River-View": The Hudson River School and Contemporaries in Private Collections in the Highlands. The exhibit ran from July 20th to November 25, 2007 at the Putnam County Historical Society & Foundry School Museum in Cold Spring, NY. This painting was featured as plate #35 on page 51 of the 67 page catalog for the exhibition. . 21.25" x 29.5"

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Framed o/c signed "J. A. Campbell" "View From Near Cozzen's Hotel From West Point 1837" on plaque lower center of frame. . 21" x 30"

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"The Highlands of The Hudson after Waud." Framed, matted under glass colored woodcut. The View is crowded with river travel including the majestic steamship Mary Powell 10" x 14.5"

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Maple framed "The Terrible" ship portrait reverse painted on glass in black resembling a silhouette. The information that I found was that "The Terrible" was a French war ship, a "First Rate Ship." Terrible 100/104 (launched 21 February 1693 at Brest) – broken up 1714 8.25" x 10"

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19thC unsigned, framed o/c with View of men ferrying livestock across the Hudson in the Highlands 23.25" x 33.25"

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Framed under glass. 19thC o/b View of sailing & fishing. It looks like the View is down by Stony Point opposite Verplanck Point on the Hudson River 8.25" x 12.5"

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Framed "New York Bay" View C&I hand-colored litho. Artist was "F. F. Palmer." Fannie Palmer was the famous female artist/lithographer for Currier & Ives. The early reverse painted glass mat is cracked 10" x 13.5"