Hans Wagner (1885-1949)
Gorgeous Mountainous Landscape

A spectacular Mountainous landscape probably European, most likely Switzerland as that was Wagner’s home country.  Beautiful trees, mountains and sky done with incredible detail. With several maidens working in the field. This painting was framed most likely around 1940 in an undeserving frame.  A better quality and deserving frame would indeed emphasize the high quality of this amazing artwork.  

Condition: Oil on canvas, excellent condition. No tears or damage.

Size: 30x54” framed

Sales example: Hans Wagner sold another painting for $5500 in November 2002

Colorful Waterfall
19th Century Oil on Canvas

Original high quality oil painting on canvas. An impressive landscape with a magnificent waterfall rushing over the rocks between the pine trees and bushes. Amazing detail and composition.

ARTIST: Not signed.

DATING: Late 19th Century.

CONDITION: Very good. No missing paint, holes or tears. Please see the photos.
The frame is in a good condition. Signs of age. Some missing chips. Can be hung as it is.

Beautiful Original Italianate Arts and Crafts frame, ca. 1885, probably by the Royal Framemaker and Gilder, Chr. Mortensen. Carlo Marratta style cove section frame with ovolo, leaf and hollow sight edge. Plain wide cove. Bunched leaf and berry top edge with doubled centers and flowered corners. High outer cove with egg and dart sight edge.

Beautiful, bright original gold leaf finish, matte with burnished highlights on blue-gray bole. Water gilded with gold leaf on compo ornament on gessoed pine, joined with corner splines. Fine condition except for loss of ornament at three corners, easily restored.

Marks from an old original security hanger on the verso suggest that this painting may have hung in an established collection. The frame is original to the present work.

Little is as yet documented of the work of Chr. Mortensen, but we know that he had earned the title of Royal Framemaker and that he made frames for the leading artists' of his day. Several frames in the Hirschrungske Collection, Copenhagen , are witness to this, among them several on paintings by Kroyer. At least we can say that he excelled at adapting Italian Baroque frames to the tastes of Danish artists on their way home from "The Grand Tour".

A very fine frame by an as yet undervalued artisan and a sublime companion to this work!

SIZE: 21 1/2" by 17 1/2" (54 cm by 45 cm) without the frame. 28 1/2" by 25" (72 cm by 63 cm) with the frame.

Cecil C. Bell (American 1906-1970)
"The Bell Vermont Cabin"
Old Antique Landscape Oil Painting
Circa 1950's

Exceptionally Beautiful Oil Painting on board by Cecil Bell. Signed lower left and again on reverse. This was a very special painting by the artist and was never intended to be sold during his lifetime. It was of his family cottage in Vermont. Writing on reverse states “”Keep for sentimental reasons. Our cabin in VT #456. NOT FOR SALE, Cecil C. Bell ‘68”. Also has Bell Estate Label on back. Exceptional Provenance.

Cecil Bell is a highly listed artist. He has also had several articles and books written about him including two biographies. One in particular by Phyllis Barton which we just ordered on Amazon.

Sales history example: Sold “Team at Auctin” for $39,000 at Sotheby’s New York November 2006.

Size: 10x20" unframed, 15x25" framed.

Also included is the 1970 Exhibition Catalog (quite Rare in itself).

Exhibition catalogue

Cecil Crosley Bell

at the Staten Island Museum, shown immediately following his death in 1970, begins with a biography, color illustrations of his work, approx. 30 pages, multiple images on each page.

Text of eulogy given by Charles Salerno, 2 pages of various artist's quotes 'as seen throuth the eyes of his contemporaries'..

List of museums, galleries where his work was represented..

Covers and first couple of pages show some light foxing in areas, else all other fine, clean..measures approx. 8 1/2" x 11"

BIO:

For a while in 1999 one might have imagined that the only thing happening in the art world was the firestorm at the Brooklyn Museum of Art. There the Sensation show was raising a hue and cry, outraging, exhilarating or entertaining, depending on one’s point of view.

Yet not far from that show, in an equally venerable institution, the Staten Island Institute of Arts and Sciences, another and vastly different show was taking place. That no-less-sensational show was an exhibition of the work of Cecil C. Bell, a native of Seattle and longtime resident of Tompkinsville, Staten Island, who died in 1970 at the age of 64.

Organized beautifully by Peggy Hammerle-McGuire, the Institute’s Curator of Art, the 28 pieces in the show (paintings, etchings and a single lithograph) took one through the last four decades of Bell’s life, during which he produced over 800 paintings and thousands of sketches and etchings.

“Spike” Bell was no stranger to artistic controversy. He arrived in New York City in 1930, just as the Great Depression began laying waste to the golden prosperity of the 1920s. Enrolled at the Art Students’ League as a pupil of Harry Wickey and John Sloan, charter members of the Ashcan School, Bell would have found himself almost immediately confronting issues raised by Regionalists vs. Social Realists, not to mention matters of abstraction and modern art. The Museum of Modern Art had just been established (1929) to provide a congenial space for the exhibition of modern art. A tremendous furor was soon to erupt when Nelson Rockefeller ordered the destruction of Diego Rivera’s mural Man at the Crossroads (which had been commissioned for the RCA Building at Rockefeller Center) in1934.

Yet Bell, who earned his living as a free-lance illustrator, always sought to distance himself from schools, esthetic theories, and political postures. Like Hogarth, Daumier or Rockwell, comparisons he might have winced at in modesty, Bell painted and sketched from life rather than from theory. Was it ART?
“I do not think ‘art’ when I do them,” he said of his paintings. “I want to get down life as I see it and if it turns out to be art, so much the better.”

The works selected by the Institute for exhibition reflected Bell’s great talent as a painter. His canvases teem with life. Color, form and composition establish an immediate and almost conversational rapport among artist, subject, and viewer. Anyone who has attentively walked the streets of Manhattan or ridden regularly the Staten Island Ferry will, despite the passage of time, feel a sense of kinship with Bell’s paintings.

A derelict house above a listing store: Even before I saw the title, “Stapleton Corner, 1944,” I recognized the site. But the painting drove me to revisit the spot, to check the canvas and my memory; and there on a winter’s night in 2000, 56 years after Bell had painted the scene, I could still see, in spite of all the changes of the intervening years, what he had seen.

“Brooklyn Bridge in the Snow,” “Brooklyn Bridge from the South Street Seaport,” and “Dinner Under the Bridge” (with humans and gulls searching for scraps) project a palpable humanity that lets us imagine ourselves in these paintings. “Convoys in the Harbor,” a 1944 gouache, exudes the somber mood of World War II America. We all have been on “The Staten Island Ferry on a Rainy Day,” and the shoeshine man in “Shine! Staten Island Ferry” could be a younger version of the 88-year-old Italian man who still calls out “Shine!” as he walks the decks of the ferry.

Phyllis Barton’s 1976 study, Cecil C. Bell, is still available from David W. Bell, Cecil C. Bell’s nephew. It provides a useful summary of Bell’s life and does a fairly good job of situating him within the broad context of 20th-century artistic traditions.

But that is not its real contribution. This book is a treasure trove of Bell’s paintings and etchings. Here, handsomely reproduced in beautiful color, are his celebrated horse and Vermont paintings (not strongly represented in the SIIAS show), as well as his streetscapes, waterfront, and ferry paintings. Open to pp. 84-85 for a feel of what Times Square was like on V-J Day, or to pp. 86-87 for two different, yet equally romantic, views of the Narrows from Clifton.

Bell lived and loved New York and the great tide of unsung humanity that daily flooded its streets. His paintings capture that life and love: The sacred and the profane, the prosaic and the profound, the comedic and the catastrophic, just as these contradictory yet complementary qualities are found in all our lives.
A 1973 retrospective of Bell’s work at the Museum of the City of New York was titled The Vanished City. SIIAS rendered a signal public service in once again mounting a public exhibition of his work. Their outstanding job of remembrance and renewal reminded us of Bell’s legacy while introducing a younger generation to his work.

]]> Site Admin (Kevin MC) http://www.cvtreasures.com/fine-art-oil-paintings-landscapes-c-69_100/cecilbell-vermont-cottage-old-oil-landscape-painting-p-1435 Tue, 02 Feb 2010 23:07:06 -0500 USD 1435 http://www.cvtreasures.com/images/large/Bell-Cecil-framed_LRG.jpg http://www.cvtreasures.com/fine-art-oil-paintings-landscapes-c-69_100/r-fenson-cottage-by-river-sheep-ducks-1907-p-1623 http://www.cvtreasures.com/product_reviews/r-fenson-cottage-by-river-sheep-ducks-1907-p-1623

R. FENSON (British, 19th/20th century)
COTTAGE BY A RIVER

Vitalii Z Terletsky
Russian Artist
"Kings Chapel & Burial Ground"

Russian artist, oil on canvas of Kings Chapel & Burial Ground in Boston.

Size: 22x18"

"A Home in the Country", 1869
Original Hand Colored Thomas Kelly Lithograph

VERY RARE: Hand Colored Lithograph; winter scene of a large Victorian house surrounded by people engaged in a variety of winter activities: sleigh riding, ice-skating, sledding, snow ball fighting, etc. Two oxen pull a sledge loaded with lumber in the background. Exceptional and very stiking artwork.

Kelly was an Irish lithographer who immigrated to the United States in the middle of the 19th century. He is known for his landscape and hunting scenes which compare favorably with those produced by his more famous contemporaries Nathaniel Currier and James Ives who were also working in New York City at the time. To get an idea of the superior demand for his lithographs Google “Thomas Kelly Lithographs”. Keep in mind this is one of his most Famous and Highly Desirable Lithographs. I could only find a reproduction online along with a site that discusses the history of this lithograph.

This is a very extraordinary and highly sought after Thomas Kelly litho. Research online will reveal what Thomas Kelly lithos are selling for.

Condition: Very good. Has a couple small bite holes. Also, the borders have been trimmed, the Title Label is included but cut from the main image.

NOTE: I cannot stress the scarcity of this lithograph. Search on Ebay and you will ONLY see print reproductions (such as smaller 12x15" prints). Many would love to own the REAL Lithograph from 1869, but these are nearly non-existent.

Size: Image: 17 1/2 x 24 1/2 in without frame.

Maker: Kelly, Thomas; Giles, J. L.

]]> Site Admin (Kevin MC) http://www.cvtreasures.com/fine-art-oil-paintings-landscapes-c-69_100/thomas-kelly-home-in-the-country-lithograph-1869-p-1464 Tue, 29 Jul 2008 13:58:52 -0400 USD 1464 http://www.cvtreasures.com/images/large/Home-Country-Thomas-Kelly_LRG.jpg http://www.cvtreasures.com/fine-art-oil-paintings-landscapes-c-69_100/beach-shore-and-fisherman-boats-late-19th-century-early-20th-c-p-1237 http://www.cvtreasures.com/product_reviews/beach-shore-and-fisherman-boats-late-19th-century-early-20th-c-p-1237

"Beach Shore and Fisherman Boats"
Late 19th Century/Early 20th century

Excellently executed Beach scene with huts, trees and vintage fisherman boats. Evidently done by superior skilled artist. Beautiful use of colors , with deep, detailed, magnificent brush strokes. See photos.

Comes in original period frame.

Unsigned

Size: 11x15" unframed, 17x21" framed.

W. F. WITHERINGTON (English, 1785-1865)
William Frederick Witherington
“A HALT AT THE FARM”

Beautiful painting from this extraordinary artist from the late 18^th/early 19^th Century. Signed W. F. Witherington; oil on canvas.

Highly listed artist. Two very similar, slightly smaller of his paintings sold at Christies London last year for $20,500 and $21,600 respectively.

Guy C Wiggins (1883-1962)
" AUTUMN TWIGHLIGHT"
Oil on Canvas

Very Important American Artist

Known for his cityscapes but also his many Connecticut landscapes of which there are fewer and thus in high demand. This beautiful Connecticut landscape is an exceptional example. It has been relined and two tear repairs, which are actually only noticeable upon very close inspection. The relining and repairs (vertical to the right of tree going up, and horizontal below the rocks toward the bottom border) were very professionally done, attributed by it beautiful appearance and undetectable (to the naked eye) repairs.

It comes in it's original frame and has an original label on the back with notation of artist, title, and original owner. Guy Wiggins is a HIGHLY listed artist. Research on this artist in any art resource such as AskArt.com will provide a history on the intense demand for his work. He also has a very strong index (current values continues to rise). His ”Indian Summer” sold last month for $66,000 and December 2005 his “New York Stock Exchange” sold at Christies for $374,400. Signed "Guy C Wiggins" lower right.

We have seen a few Guy Wiggins on Ebay recently but were highly suspect of the signatures. We have no doubt as to the authenticity of this piece. Hence, we will GUARANTEE the Authenticity of this item and will offer a full 30 day return for Authenticity reasons. Just provide us a copy of the authentication results.

Size: 10x14", 20x25" framed

Guy C. Wiggins was born in Brooklyn, New York, but was primarily raised in England. He received early training as an architectural draftsman at the Polytechnic Institute in Brooklyn, New York, but eventually studied art at the National Academy of Design under William Merritt Chase and Robert Henri.

Guy Wiggins went to the Brooklyn Polytechnic Institute, around 1900 to study architecture and drawing. Shortly after beginning his studies in architecture Wiggins left the Brooklyn Polytechnic Institute to continue studying painting and attended the National Academy of Design. While probably still at the academy, at the age of twenty Wiggins was the youngest American artist to have a work accepted into the permanent collection of the Metropolitan Museum of Art

Although he is best-remembered for his scenes of New York City in the snow, Wiggins also painted many Connecticut landscapes. He maintained a residence in Lyme, Connecticut from 1905 to 1937 and another in Essex, Connecticut from 1937 until his death in 1962.

The Wiggins name is associated with three generations of artists: Carleton Wiggins (1848-1932); Guy Carleton Wiggins (1883-1962); and Guy A Wiggins (dates unavailable). However, the "artistic" reputation of Guy C Wiggins surpasses both that of his father and his son.

]]> Site Admin (Kevin MC) http://www.cvtreasures.com/fine-art-oil-paintings-landscapes-c-69_100/guywiggins-autumn-twighlight-oil-on-canvas-p-1196 Mon, 31 Dec 2007 17:03:48 -0500 USD 1196 http://www.cvtreasures.com/images/large/Wiggins_framed_LRG.jpg http://www.cvtreasures.com/fine-art-oil-paintings-landscapes-c-69_100/carl-wennemoes-sunny-winter-landscape-oil-on-canvas-1925-p-449 http://www.cvtreasures.com/product_reviews/carl-wennemoes-sunny-winter-landscape-oil-on-canvas-1925-p-449

Original quality oil painting on canvas. A gorgeous landscape in the soothing colors of Autumn. Great use of light in the fall of the year. Incredible detail (look at the Autumn leaves scattered in the water)

ARTIST: Signed "C. Wennemoes, Okt 1955". Carl Wennemoes (1890-1965) is a well-listed artist. He was educated at Teknisk Skole (the Technical School ) under Groenvold and Peter Skov.Thereafter, he traveled abroad and visited Germany , Switzerland and Italy . In Italy he worked as a decorative painter in churches and large governmental buildings. He later received the "Larsen Scholarship" to study old murals and for a period of about three years he visited several art schools. He also went on a study tour to Paris in 1927. Carl Wennemoes exhibited at the art dealer Kleis' exhibition, Den Frie (The Free Exhibition), the Deer Park Group and several other Danish exhibition venues. He has also exhibited in Stockholm and in a number of other Swedish towns. Since 1928 he spent time every year studying in Sweden.

Price example: He sold "A Winter Day in Ravnsholt Forest " for $8,155 at Bruun Rasmussen, Copenhagen , in March 2002 ( Lot 1097, 51 1/6" by 72 7/8").

DATING: October 1955.
CONDITION: Very good. No missing paint, holes or tears. Please see the photos.
The frame is in a very good condition. Ready to hang.

SIZE: 38 1/2" by 26 1/2" (97 cm by 67 cm) without the frame. 43" by 31" (109 cm by 79 cm) with the frame.

Original quality oil painting on canvas. An enchanting hilly
landscape with great detail and composition.

Helen Hill (1899-2004)
Impressionist Landscape

Colorful, striking impressionist landscape by listed American artist Helen Hill.

Helen Cozens Hill was born in Encinitas, California on January 15, 1899. In her early years her parents moved to La Jolla where her Father ran a Grocery Store on Girard. She attended San Diego High School. In her young adult years she gave violin recitals locally, and for a time had her own radio show performing with her long time friend, Edith Deggendorf. In addition to her painting, she wrote fiction stories that were sold to national magazines. In 1923 she married Delbert Hill.

She began painting in the early 1930's while living in Burlingame, California. She worked in oils, acrylics, watercolors, and collage. She took frequent trips to Borrego Springs, the Sierras and Sedona, Arizona to capture images for her landscape works.

Hill was a member of, and exhibited at, the Foothills Gallery in La Mesa (home to the Foothills Art Association), the La Jolla Art Association, and the San Diego Art Institute.
She sold her landscape paintings throughout California.

The onset of macular degeneration caused Hill to end her painting career in 1980. Hill and her friend Deggendorf, participated in a lengthy study of centenarians at the Harvard Medical School in 1999. Helen Hill died on her 105th Birthday in San Diego, California on January 15, 2004.


Biography written and submitted February 2004 by Gary Stanley/ArtSanDiego

Elaine Plishker Auchmoody (1910-1976)
Impressionist Landscape

Early 20th Century colorful, captivating impressionist landscape. This American artist is listed in Artprice.com and Askart.com

BIO:

Birth place: NYC

Death place: Fiskdale, MA

Addresses: Great Neck, L.I., NY

Profession: Painter, lecturer

Studied: Traphagen Sch. Des.; Grand Central Sch. A.; ASL; with Arthur Woelfle, Eric Pape, Frank Hazeil

Exhibited: Corcoran Gal., 1939; CI; CAM; Butler AI; Chicago AC; Mint Mus. A; Denver A. Mus.; Springfield Mus. A.; Parkersburg FA Center, (prize); P. & S. Soc., N.J. (prize); Douglaston A. Lg. (prize); Great Neck AA (prize); Salons of Am.

Member: NAWA.

Work: Dayton AI.

Sources: WW59; WW47; Marlor, Salons of Am.

]]> Site Admin (Kevin MC) http://www.cvtreasures.com/fine-art-oil-paintings-landscapes-c-69_100/elaine-plishker-auchmoody-impressionist-landscape-p-1358 Mon, 16 Jul 2007 16:48:52 -0400 375.00 USD 1358 1 http://www.cvtreasures.com/images/large/Auchmoddy_Fall_framed_LRG.jpg http://www.cvtreasures.com/fine-art-oil-paintings-landscapes-c-69_100/charles-e-heil-august-sunlight-salt-marsh-p-1332 http://www.cvtreasures.com/product_reviews/charles-e-heil-august-sunlight-salt-marsh-p-1332

CHARLES E. HEIL (American, 1870-1950)
AUGUST SUNLIGHT, SALT MARSH

Signed Charles E. Heil, l.l.; oil on canvas; 12 x 15 inches, about 16x20 framed.

THOMAS B. GRIFFIN (American, 1858-1918)
AUTUMNAL LANDSCAPE Description:

THOMAS B. GRIFFIN (American, 1858-1918) AUTUMNAL LANDSCAPE signed and dated T.B. Griffin '11, l.r.; oil on canvas;

Size: 12 x 9 inches

One of the best American landscape artists. If you've ever had the pleasure of viewing Thomas Griffin's work, you would agree.

BIO:
Thomas B. Griffin was born in Philadelphia, Pennsylvania during the last half of the nineteenth century. His first formal art education was at the National Academy of Design in New York. While at the Academy, Griffin exhibited his very well executed impressionistic landscapes. In 1896, he listed his address as 340 Fulton Street, Brooklyn, New York. It was during this year that Griffin exhibited "Views from the Catskills (from Haine's Corners)" and "Hunter Mountain, Catskills," at the National Academy. Thomas B. Griffin later moved to Baltimore where he opened a studio and established himself as a painter of impressionistic landscapes.

Listed:
The Dictionary of American Artists, Sculptors and Engravers, by Young
Exhibition of the National Academy, 1861-1900, vol.1, pg. 367
Who was Who in American Art
Mantle Fielding's

Source: www.roughtongalleries.com
Roughton Galleries, Dallas, Texas
Courtesy to AskART from Brian Roughton