Portrait

Peggy Dodds (1900-1987)

Medium: Oil on canvas
Image Size: 28” x 22”
Frame Size: 35” x 29”
Price: $3200

Biography/Statement

Artist Profile Page: Dodds, Peggy / Categories: Portrait

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Grand Tour Copy Titian (UnsignedN/A)

Medium: Oil on board
Image Size: 40” x 34”
Frame Size: 45” x 39”
Price: $7500

Biography/Statement

The traditional date of Titian’s birth was long given as 1477, but most later critics favored the date of 1488/90. Titian was the son of a modest official, Gregorio di Conte dei Vecelli, and his wife, Lucia. He was born in the small village of Pieve di Cadore, located high amid mountain peaks of the Alps, straight north of Venice and not far from the Austrian Tyrol. At the age of nine he set out for Venice with his brother, Francesco, to live there with an uncle and to become an apprentice to Sebastiano Zuccato, a master of mosaics. The boy soon passed to the workshop of the Bellini family, where his true teacher became Giovanni Bellini, the greatest Venetian painter of the day. Titian’s early works are richly evident of his schooling and also of his association as a young man with another follower of the elderly Giovanni Bellini—namely, Giorgione of Castelfranco.

Artist Profile Page: Titian, Grand Tour Copy / Categories: Portrait

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Hallie Elizabeth Champlin-Hyde (1880-1935)

The Floral Gift (The Love Letter)

Medium: Oil on canvas
Image Size: 40” x 32”
Frame Size: 55” x 45”
Signature: Signed, dated, and inscribed 'Paris 1910' lower right
Frame: Placed in a very fine period appropriate frame in the Stanford White style with gallery plaque.
Price: $28000

Biography/Statement

Hallie Elizabeth Champlin was born in 1880 in St. Louis, Missouri. The daughter of Henry “Harry” Clay Champlin and Susan Isabella Champlin, Hallie started her young adult years as a tennis player.

In October of 1904, Hallie married Edward Breckenridge Hyde. At around this time, her artistic career began when she enrolled at the Art Institute of Chicago. In 1907, after graduating from the Institute, Hallie moved abroad to Paris, where she continued her training at the Blanche. Hallie remained in Paris for three years, during which time her paintings were exhibited at the Paris Salon.

In March of 1910, Hallie returned to the United States on the S.S. Amerika from Charbourg, France. In October of 1912, Hallie married Warden H. Fenton at her parents’ house in Chicago. In the years that followed, Hallie, now known as Hallie C. Fenton, received awards for her work in portraiture and life painting.  The Fentons continued to travel abroad, but their main residence was in Bronxville, New York. Hallie Champlin-Hyde Fenton was a member of the National Academy of Design and the National Association of Women Painters. In addition to the Paris Salon, she exhibited at the Art Institute of Chicago and Pennsylvania Academy of the Fine Arts during her career. 

Artist Profile Page: Champlin-Hyde, Hallie Elizabeth / Categories: Portrait

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Portrait

Arthur Momand (1886-1987)

Medium: Oil on canvas
Image Size: 24” x 20”
Frame Size: 32” x 28”
Signature: Signed lower right
Price: $2800

Biography/Statement

American cartoonist best known for his comic strip Keeping Up with the Joneses. Momand spent his childhood in New York City, where he attended the Trinity School. In 1905 or 1907, Harry Grant Dart hired Momand as a staff artist for the New York World, where he produced a variety of comic strips including Mr. I. N. Dutch. He also worked at the Evening Telegram, where he created the comic strip Pazaza. After this, he spent a year studying art at the Académie Julian. Momand’s comic strip “Pazaza”, January 3 1910. In 1913, he created Keeping Up with the Joneses, based on his Nassau County experiences. The strip appeared in early issues of both Funnies on Parade and Famous Funnies; and was syndicated until 1938. After retiring from cartooning, Momand became a portrait painter. In 1910, he was married to May Harding, and lived in Nassau County, New York (either Cedarhurst or Hempstead). Unable to afford the Nassau County lifestyle, they eventually moved back to Manhattan. Momand and Harding subsequently divorced, and in 1928 he married Mayo Deason in Lucerne, Switzerland.

Artist Profile Page: Momand, Arthur / Categories: Portrait

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Portrait

Ammi Phillips (1788-1865) American

Medium: Oil on canvas
Image Size: 32” x 22”
Frame Size: 42” x 32”
Price: SOLD
*Attributed to / Not signed

Biography/Statement

Ammi Phillips was born in Colebrook, Connecticut and began painting portraits of western Massachusetts subjects in about 1811.  In 1813 he married Laura Brockway of Schodack, New York, and briefly lived in Troy before settling in Rhinebeck, in Dutchess County. While there, Phillips painted likenesses on both sides of the New York/New England border.  These “Border Period” portraits, executed in pastel shades from 1812 through 1819, feature sitters with gangly arms, glancing sideways. In the 1820s, Phillips experimented with dark and light color contrasts in his portraits of Dutchess, Orange, and Columbia County residents.

After his first wife’s death, Phillips remarried, lived for a time in Amenia, New York, and then settled in 1836 in Kent and Sharon, Connecticut.  His “Kent Period” portraits feature darker compositions, often with brilliant patches of bright color, and elegant, graceful poses and facial expressions.

Phillips returned to Amenia in about 1838, lived in Northeast, New York for a decade, and died in Curtisville, New York in 1865.  His more than six hundred extant likenesses span an artistic career of nearly sixty years.

Artist Profile Page: Phillips, Ammi / Categories: Portrait

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Portrait

Ammi Phillips (1788-1865) American

Medium: Oil on canvas
Image Size: 34” x 28”

Price: SOLD

Biography/Statement

Ammi Phillips was born in Colebrook, Connecticut and began painting portraits of western Massachusetts subjects in about 1811.  In 1813 he married Laura Brockway of Schodack, New York, and briefly lived in Troy before settling in Rhinebeck, in Dutchess County. While there, Phillips painted likenesses on both sides of the New York/New England border.  These “Border Period” portraits, executed in pastel shades from 1812 through 1819, feature sitters with gangly arms, glancing sideways. In the 1820s, Phillips experimented with dark and light color contrasts in his portraits of Dutchess, Orange, and Columbia County residents.

After his first wife’s death, Phillips remarried, lived for a time in Amenia, New York, and then settled in 1836 in Kent and Sharon, Connecticut.  His “Kent Period” portraits feature darker compositions, often with brilliant patches of bright color, and elegant, graceful poses and facial expressions.

Phillips returned to Amenia in about 1838, lived in Northeast, New York for a decade, and died in Curtisville, New York in 1865.  His more than six hundred extant likenesses span an artistic career of nearly sixty years.

Artist Profile Page: Phillips, Ammi / Categories: Portrait

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Portrait

Edward Hopper (1882-1967) American

Self portrait attributed to Edward Hopper

Medium: Oil on canvas
Image Size: 24” x 18”
Frame Size: 32” x 26”
Price: $28000
*Attributed to / Not signed

Biography/Statement

Born in 1882 in Nyack, a small town on the Hudson River about forty miles north of New York City, Edward Hopper was the son of a local businessman. After spending a brief period at a school for illustrators, he attended the New York School of Art from 1900 to 1906. His teachers there were William Merritt Chase, Kenneth Hayes Miller, and Robert Henri. Henri, above all, became important to Hopper, not so much in artistic as in personal terms, for Henri was a man who set high standards for himself and his students. It was also he who pointed out that everyday American life contained an inexhaustible reservoir of new and untried subject matter.

Robert Henri has gone down in art history as a co-founder of The Eight, a group of artists who in spring 1908, prevented from exhibiting in the prestigious National Academy of Design, mounted their own show at the Macbeth Gallery, New York. Henri set European masters on a par with the American artists he admired, even giving them priority, and that not only in chronological terms. In the late 1880s and the middle of the 1890s, Henri had studied in Paris for extended periods, responding to the call of France like many American artists of the day, before returning home with a renewed consciousness of their American roots. To his students, Henri extolled the old and modern masters who meant so much to him: Rembrandt, Diego Velazquez, Vermeer, Manet, Degas, Daumier – an odd mixture, but indicative of the eye of a born realist who was interested above all in the representation of the human figure.

Being a student of Robert Henri, Hopper was almost preordained to go to Paris. His initial stay lasted from October 1906 to August 1907. Unlike his teacher, Hopper did not enroll in a school or academy, but conducted his studies in museums and on the streets. He returned to Paris twice, in 1909 and 1910, for brief stays.

The key accomplishment of the early period was an assimilation of Impressionism. Hopper’s palette grew lighter, his brushwork freer, and his observation more precise. His approach to motifs began to show a growing independence from any model or ideal, both in the American subjects and the Paris ones. Under the Impressionist spell, Hopper discovered the unique light of Paris: “The light was different from anything I had known,” he later recalled. “The shadows were luminous, more reflected light. Even under the bridges there was a certain luminosity.”

From Paris Hopper undertook trips to Amsterdam, London, Brussels, Berlin, Madrid, and Toledo. In the Netherlands, apart from Rembrandt, he discovered Vermeer as a painter of spiritual illumination and an incomparable master of the intimate interior. Among French painters, Hopper was impressed by Manet and Edega Degas, Camille Pissarro and Sisley, but the deepest involvement came with the work of Monet, Cezanne, and Van Gogh. Fauvism and the beginnings of Cubism, on the other hand, seem to have escaped Hopper’s notice. His preoccupation with the great masters, among whom the Impressionists were already beginning to figure, apparently led Hopper to overlook the contemporary avant-garde. “Whom did I meet? Nobody,” he later admitted. “I’d heard of Gertrude Stein, but I don’t remember having heard of Pablo Picasso at all.”

In the 1910s, Hopper struggled for recognition. He exhibited his work in a variety of group shows in New York, including the Exhibition of Independent Artists (1910) and the famous Armory Show of 1913, in which he was represented by a painting titled “Sailing”. Although he worked primarily in oil painting, he also mastered the medium of etching, which brought him more immediate success in sales. He began living in the Greenwich Village neighborhood, where he would continue to maintain a studio throughout his career, and he adopted a lifelong pattern of spending the summers in New England. In 1920, at the age of thirty-seven, he received his first one-person exhibition. The Whitney Studio Club, recently founded by the heiress and arts patron Gertrude Vanderbilt Whitney, showed sixteen of his paintings. Although nothing was sold from the exhibition, it was a symbolic milestone in Hopper’s career.

Just a few years later, Hopper found himself in a far more prosperous and prominent position as an artist. His second one-person exhibition, at the Frank K. M. Rehn Gallery in New York, was such a commercial success that every painting was sold; the Rehn Gallery would represent him for the rest of his career. In 1930, his painting House by the Railroad was the first work to be acquired for the collections of the newly founded Museum of Modern Art. This image embodied the characteristics of Hopper’s style: clearly outlined forms in strongly defined lighting, a cropped composition with an almost “cinematic” viewpoint, and a mood of eerie stillness. Meanwhile, Hopper’s personal life had also advanced: in 1923, he married the artist Josephine Verstille Nivison, who had been a fellow student in Robert Henri’s class. Jo, as Hopper called her, would become an indispensable element of his art. She posed for nearly all of his female figures and assisted him with arranging the props and settings of his studio sessions; she also encouraged him to work more extensively in the medium of watercolor painting, and kept meticulous records of his completed works, exhibitions, and sales.

In 1933, Hopper received further critical recognition as the subject of a retrospective exhibition held at the Museum of Modern Art. He was by then celebrated for his highly identifiable mature style, in which urban settings, New England landscapes, and interiors are all pervaded by a sense of silence and estrangement. His chosen locations are often vacant of human activity, and they frequently imply the transitory nature of contemporary life. At deserted gas stations, railroad tracks, and bridges, the idea of travel is fraught with loneliness and mystery. Other scenes are inhabited only by a single pensive figure or by a pair of figures who seem not to communicate with one another. These people are rarely represented in their own homes; instead, they pass time in the temporary shelter of movie theaters, hotel rooms, or restaurants. In Hopper’s most iconic painting, Nighthawks, four customers and a waiter inhabit the brightly lit interior of a city diner at night. They appear lost in their own weariness and private concerns, their disconnection perhaps echoing the wartime anxiety felt by the nation as a whole.

The Hoppers spent nearly every summer from 1930 through the 1950s in Cape Cod, Massachusetts, particularly in the town of Truro, where they built their own house. Hopper used several nearby locations as frequent, repeated subjects in his art. He also began to travel farther for new imagery, to locations ranging from Vermont to Charleston, an automobile trip through the Southwest to California, and four visits to Mexico. Wherever he traveled, however, Hopper sought and explored his chosen themes: the tensions between individuals (particularly men and women), the conflict between tradition and progress in both rural and urban settings, and the moods evoked by various times of day.

Hopper’s work was showcased in several further retrospective exhibitions throughout his later career, particularly at the Whitney Museum of American Art in New York; in 1952, he was chosen to represent the United States at the Venice Biennale. Despite commercial success and the awards he received in the 1940s and 1950s, Hopper found himself losing critical favor as the school of Abstract Expressionism came to dominate the art world. Even during an era of national prosperity and cultural optimism, moreover, his art continued to suggest that the individual could still suffer a powerful sense of isolation in postwar America. He never lacked popular appeal, however, and by the time of his death in 1967, Hopper had been reclaimed as a major influence by a new generation of American realist artists.

Artist Profile Page: Hopper, Edward / Categories: Portrait

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Boston School (1890-1910) American

Boston School Portrait Of Edward Breck (American, 1861-1929)

Medium: Oil on canvas
Image Size: 34” x 30”
Frame Size: 44” x 40”
Price: SOLD

Biography/Statement

Artist Profile Page: Boston School / Categories: Portrait

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Lemuel Everett Wilmarth (1835-1918) American

Young Artist at Easel

Medium: Oil on canvas
Image Size: 22” x 18”
Frame Size: 34” x 30”
Signature: Unsigned
Price: $45000

Biography/Statement

Lemuel Everett Wilmarth, a watchmaker, teacher and painter, was born in Attleboro, Massachusetts in 1835. He was known for meticulously painted still lifes and genre scenes, both full of detail and exact finish. He was also unique in that in Paris, he became the first American student to study with Jean Leon Gerome, famous teacher at the Ecole des Beaux Arts, and then in New York City, he became the first full-time instructor at the National Academy of Design.

He was raised in Boston, Massachusetts and trained as a watchmaker. While pursuing this job by day, he studied art at night, first at the Pennsylvania Academy of the Fine Arts in Philadelphia and later at the National Academy of Design in New York City.

In 1859, Wilmarth’s passion and focus turned to art. He went to Germany to study for three and a half years at the Munich Royal Academy of the Fine Arts and then traveled to Paris to study for several years at the Ecole des Beaux-Arts with Gerome.

As Wilmarth’s fine quality paintings became noticed, he was selected to be the first full-time instructor at the National Academy of Design School in New York City. He also became very active in teaching and organizing classes at the Brooklyn Academy of Fine Arts. He stayed with the Academy until 1889 and died in 1918 in Brooklyn, New York. Between 1875 and 1877, he became part of a rebellion against the Academy but then returned to his teaching position.

Source:
Michael David Zellman, “300 Years of American Art”

Artist Profile Page: Wilmarth, Lemuel Everett / Categories: Portrait

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Thomas Sully (1783-1872)

The Andrews Misses

Medium: Oil on canvas
Image Size: 24” x 19”
Frame Size: 30” x 26”
Signature: Philadelphia canvas stamp verso
Price: $12500

Biography/Statement

Thomas Sully, (born June 19, 1783, Horncastle, Lincolnshire, Eng.—died Nov. 5, 1872, Philadelphia), one of the finest U.S. portrait painters of the 19th century.

Sully’s parents moved to the United States in 1792, settling in Charleston, S.C. He was a pupil of Gilbert Stuart in Boston (1807) and of Benjamin West in London (1809) and was influenced by the portrait artist Sir Thomas Lawrence. After 1810 he made Philadelphia his home, although in 1838 he visited London to paint a full-length portrait of the young Queen Victoria for the Society of the Sons of St. George of Philadelphia. His masterpiece in portraiture is “Col. Thomas Handasyd Perkins” (1831–32; Boston Athenaeum); his best known painting is “The Passage of the Delaware” (1819; Museum of Fine Arts, Boston).

Sully was an industrious painter who worked rapidly; he left about 2,000 portraits, a number of miniatures, and more than 500 subject and historical pictures. His paintings are elegant and romantically warm, emphasizing an economy of form and of color, but his later work suffered from the sentimentality of the mid-19th century.

 

Source: Britannica

 

Artist Profile Page: Sully, Thomas / Categories: Portrait

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