Warren C Plauche Original Watercolor Ardoyne Plantation Louisiana Art 2021 11×15
Executed on premium Arches 140lb cold press paper, the piece features vibrant greens and soft architectural tones, showcasing the unique multi-gabled roofline and expansive porch of the estate. He continued painting throughout his later years, finding joy in capturing landscapes, architecture, gardens, and scenes from his travels.
THE BATHERS, BERNARD LANGLAIS, LISTED AMERICAN ARTIST
“THE BATHERS” Watercolor on paper 16” x 20 3/4” Gold frame: 25 1/4” c 32 1/4” Bernard LANGLAIS 1921-1977 BERNARD LANGLAIS BIOGRAPHY Bernard Langlais was born in Old Town, Maine. He showed an early proclivity for drawing and left Maine after high school to study commercial art at the Corcoran School of Art in Washington, D.C. He earned scholarships to the Skowhegan School of Painting and Sculpture and the Brooklyn Museum Art School, as well as a Fulbright Scholarship to study the paintings of Norwegian artist Edvard Munch in Oslo. Working in New York in the 1950s, Langlais developed a modernist painting style characterized by landscapes and still lifes with bold colors and flattened perspectives, while also experimenting with hard-edge abstraction and painterly expressionism. In 1956, while renovating his summer cottage in Cushing, Maine, Langlais was captivated by working with scraps of wood, which he arranged to create a mosaic-like wall composition. He termed the process “painting with wood” and emphatically abandoned oil painting to explore this new medium. His abstract wood reliefs immediately caught the attention of the New York art world and were included in the watershed exhibition New Forms–New Media at the Martha Jackson Gallery in 1960, in a solo exhibition at Leo Castelli Gallery in 1961, and at the Whitney Museum’s 1962 Drawing and Sculpture Annual. Despite his commercial success, by the mid-1960s Langlais became disenchanted by the pressures of New York gallery culture. Interested in working on a larger scale, he purchased a farmhouse in Cushing and moved permanently to his native state. In the last eleven years of his life, he constructed more than sixty-five monumental wood sculptures on the land around his home, including his best-known commission, the over seventy-foot-tall Indian for the town of Skowhegan, Maine. During this period he also produced a massive oeuvre of two- and three-dimensional works exploring the patterns, textures, and expressive powers of the animal kingdom. Late in his career, Langlais was the recipient of a Guggenheim Fellowship, an honorary degree from the University of Maine, and a Ford Foundation Purchase Award, among other accolades. Following his death in 1977 at the age of 56, memorial exhibitions of his work were shown at Maine Coast Artists in Rockport, Maine (now the Center for Maine Contemporary Art), and at the Farnsworth Art Museum in Rockland, Maine. In 2002, the Portland Museum of Art mounted Bernard Langlais: Independent Spirit, a survey of the artist’s work in wood. In 2014, the Colby College Museum of Art presented the exhibition Bernard Langlais, the first scholarly retrospective on the artist, accompanied by a 256-page, hardcover catalogue.
JIM McLAUGHLIN Original MODERN WESTERN IMPRESSIONIST FARM LANDSCAPE WATERCOLOR
JIM McLAUGHLIN(American: 20th Century)”The House on the Hill” Original Vintage Mid Century Modern Watercolor Gouache – Circa 1990sExcellent Condition – Colors are Bold and Vibrant Original Frame – Hand Signed Lower Right SIZE: 21 in. x 17 in. Text or Email with any Questions…Thank You. Email or Text any Questions…..thank you. Due to special packing necessities for framed art items, shipping times may take a few days longer depending on the item and shipping destination location. Email through eBay for more information.
JON BIRDSONG Landscape Watercolor Painting Panoramic Teepee Listed TEXAS Artist
Here is a beautiful Signed Original Jon Birdsong (TEXAS) listed Artist watercolor painting dated 1978. this wonderful early birdsong work is a long 29 1/2″ x 14 1/4″ by sight Lush, Colorful and Expressive Impressionist painting of a pair of Teepee’s on the Coastal Plains in the Texas Panhandle. there is a small flock of birds offset to the left side of Teepee and a rolling blue and white cloud covered sky and a small inlet jutting out where the teepees are set up at the edge of the marsh. this Original Jon Birdsong watercolor is executed on heavy textured artist paper and explodes with color and subtle tones and shades of brown, yellow, tan and greens. this painting is signed in lower right corner “BIRDSONG 78” and is double matted and set behind glass in a beautifully matched carved and painted wood frame. the back has apiece of paper attached with a small bio of this Texas artist who now lives in Portales, New Mexico. the craft paper on back has a small area that is loose at top in center. there is no damage to this finely executed piece of art and the carved wood frame is also in excellent condition. please view all pics and read full item condition.
🔥 Antique Old American Southern Folk Art River Landscape Oil Painting, 1860s
This is an incredible and historically significant Antique Old American Southern Folk Art River Landscape Oil Painting on canvas, depicting a bucolic Southern riverside scene in the second half of the 19th century. Old sawmill buildings made of timber flank the edges of the image, while an old man in a wide brimmed straw hat lays out on an outcropping with his fishing pole in hand. In the distance, there is a small bridge and a canoe with three men paddling across the calm river waters. This piece does not appear to be signed, but perhaps you recognize the artist or their work? This painting likely dates to the 1860’s – early 1870’s but may in fact be older. The unusually sized, handmade and eccentric stretcher bars of this painting (visible on the verso,) are a masterpiece of early American primitivism unto themselves. Approximately 26 1/4 x 30 inches. Good condition for 150+ years of age, with expected craquelure, scuffing, small tears, and edge wear to the canvas. I specialize in American Folk Art, and this is one of the best 19th century paintings that I have ever had in my possession. Acquired in Southern Texas, United States, but I suspect it originates from somewhere further South. Priced to Sell. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks!
Wayside Inn Sudbury MA c. 1860’s oil painting assumed work of Alfred Ordway
Wayside Inn Sudbury MA c. 1860’s oil painting. I can’t see any signature but was told it was the work of Alfred Ordway. This is a lovely 12 x 20″ (without the frame dimensions) original oil painting on canvas stretcher that I had professionally restored in 2008. It is in great condition and rare. The only one I have ever seen was a smaller watercolor version hanging in the Wayside Inn. The Wayside Inn is the oldest operating inn in the country located in Sudbury Massachusetts built before this country was a country. This masterpiece of art is a valuable piece of American history.
c.1860s American Portrait & Rocker Civil War Widow Claire Hailer of Philadelphia
c.1860s American Portrait & Rocker Civil War Widow Claire Hailer of PhiladelphiaWe are offering This unique, early American oil portrait on canvas is of Claire Hailer, a Civil War Widow. She was a resident of Philadelphia, and her husband was killed at Salem Church, VA on May 3rd, 1863during the Battle of ChancellorsvilleThe frame is from Swain’s Gallery in the 1950-60’s as the label shows (see in photo): it probably was at this time the painting was cleaned and relined. (We find no over paint or tears.)The paperwork from the descendant (a very elderly man), had misspelled Hailer, and is seen in the photos.The details on this painting are gorgeous, and the lace of her bonnet is beautifully rendered,along with the quiet – yet resolute – expression on her face. Included with the portrait of Claire Hailer, is Claire Hailer’s rocker.The 1830’s Boston rocker still has its original paint. This rocker is unique for the fact that it is wide between the arms,made to order specifically for Mrs. Hailer, who may have had a hefty beam herself. Approx. Dimensions of Painting:Canvas Height: 30″Canvas Width: 25″Frame Height: 34 1/2″Frame Width: 29 1/2″Condition:Great condition, painting has been relined. No holes or losses to the paint.Please see all photos for details Approx. Dimensions of Rocker:Height: 41 1/2″Width: 25 1/4″Depth: 29 1/2″Deck Height: 14 1/2″Condition:Age related cracks, scuffs and wear to the paint. Most of original paint is still there. Please see all photos for details. ***The price of the item does not include shipping. We are able to obtain hassle free shipping quotes from various shippers. In order to obtain a shipping quote, please message us with your delivery zip code. Unless otherwise stated, all shipping is handled by third party companies which are in no way affiliates of our company. In most cases, shipping fees are paid directly to the shipper of your choice. Standard delivery time for freight items is approximately 3-6 weeks but can be much sooner at times. Please message us with your delivery zip code for a quote.***The exact skirmish which killed her husband is described below:General Wilcox moved his Alabama brigade from its position at Banks’ Ford to the Plank Road shortly after the Federals had captured Marye’s Heights. He then deployed his troops across the line of the Federal advance, three to four miles west of Fredericksburg, on either side of the Plank Road on a low wooded ridge. In Wilcox’s immediate front was a clearing where the Salem Church stood near the Plank Road. Behind the church was a schoolhouse. Wilcox posted his skirmish line about a mile east of his main line at a tollgate. By this time, McLaws’ and Mahone’s troops were coming into line behind the ridge, undetected by Northern observers. Wilcox extended his lines to overlap both Federal flanks.Brooks continued his advance at the head of Sedgwick’s marching column on the Plank Road. Sedgwick believed that he faced at most a brigade of infantry, since he had already ordered Brooks to brush aside any enemy troops in his front. At 3:25 p.m., the two Confederate guns posted at the tollgate opened fire at a distance of 800 yards. Brooks immediately deployed his men in battle formation on either side of the road, and the 2nd New Jersey was sent out in advance as a skirmish line. Two Federal batteries began answering Cobbs’ fire, and the Union line advanced, pushing the Rebel skirmishers back upon their main line.The Federals, confident that they would not meet with any stronger opposition, continued past the tollgate through the clearing and then entered the woods on either side of the road. To their shock, the Rebel battle line rose and fired upon them at point-blank range. When the Federals on the south side of the road came within range, two Alabama companies posted inside Salem Church and the schoolhouse also opened fire. The Union line halted at first, then swarmed around both buildings and pressed forward, capturing the Alabama troops as they went.At this point, Colonel Emory Upton led his green 121st New York Regiment in a charge upon the men of the 10th Alabama. As Upton moved forward, his horse was shot from under him, but he quickly sprang up and led his troops on foot. The 121st slammed into the Rebels, who soon broke for the rear. Two companies of the 8th Alabama, which was positioned alongside the 10th, faced to their left and fired into the New Yorkers’ flank, while the 9th Alabama, posted behind the 10th, rose up in line and fired into their front. The 9th Alabama countercharged and Upton’s regiment was smashed, losing 200 of its 453 men. As the 121st New York fell back, the 10th and 51st Georgia joined the 9th Alabama in the counterattack. The 14th Alabama threw in its weight as well, and the whole Federal line rolled back toward the tollgate, pressed hotly by the Confederate troops.The Federal artillery at the tollgate blasted the oncoming Southerners, first with shell and case shot, and then with canister as they got closer. The counterattack slowed, and the Confederates halted in their tracks, facing Union infantrymen who were poised and ready. Wilcox, seeing he could gain no more and that darkness was approaching, gave the order to fall back.(source: historynet)All California Residents must pay CA Sales Tax. LOC. HOUSE
New Jersey Folk Art Watercolors Of Chathams Elections Set Of Four circa 1860
New Jersey Folk Art Watercolors Of Chathams Elections. Set Of Four circa 1860.
19th C. Antique American Portrait Painting Original Frame Young Lady Albany, NY
Skilled portrait of a young woman circa 1860’s/1870’s. Her name was Lucy Bridge. She was born in NY in 1837 and passed in Albany in 1924. The frames label is for ANNESLEY & CO. Albany Art Gallery 504-506 BROADWAY, ALBANY, NY. They were at that location 1846-1875. They began to advertise portraits in 1856. Lucy appears to be in her late 20’s or her 30’s to me. She’d have been 40 years old in 1877. The gallery has moved by 1875 so we know she was under the age of 38 in the portrait. Both the canvas and original frame show damage and wear. That said the piece is still beautiful and well worth displaying. A bit of attention could have it looking much better. The frame is approximately 23”x28”. Family note is hand written in the back of the frame. It will ship ASAP! Thanks
AUTHENTIC ARTAGRAPH OIL PAINTING”THE SLEIGH RIDE “BY NORMAN ROCKWELL #293/1500
It is virtually indistinguishable from the original oil or acrylic painting and has very long lasting qualities. This causes the oil substrate to liquefy with the laminated canvas and fill the cracks and crevices of the mold.