Specializing in Early American Portrait Paintings  ·  Collection Research & Appraisal Services

Inventory


 The Viking and the Wandelaar at Sea

Hanumann
British 19th Century

Signed lower right
Gouache on paper
9 1/4" x 14 3/4"

 
 

 Coastal Sketch Early 20th c.
H. Wick

Oil on Canvas Board
9 1/8" x 13 1/8"
15" x 19" framed
 

 Approaching Storm
John Adams Parker, Jr.
(ca. 1827-ca. 1905)

Oil on canvas
7 ¾” x 13 ¾”
15 ½” X 21 ¾” framed
Signed with overlapping initials on the lower left Gilt plaque “John Adams Parker, Jr.”

John Adams Parker, Jr. is associated with the second generation of Hudson River School painters who examined nature and man’s relationship to the natural world in the years during and immediately following the Civil War. During this time nature was most often depicted as picturesque rather than sublime, and man as insignificant by comparison.

Here an approaching storm has churned the waves that crash against jagged rocks on the shoreline and steep palisades. The murky green water reflects the darkness of the clouds rolling in from the right, while far on the horizon are three sailing vessels. The observer is left to wonder if they will make landfall in time.

John Adams Parker, Jr. was one of the best-known artists in Brooklyn in the latter half of the 19th century. He became a professional painter only after the failure of his mercantile business in the financial Panic of 1857. He must have received some training before that date, however, as he was exhibiting at the National Academy of Design by 1858 and was an Associate Member by 1864. Parker’s studio was at 137 Montague Street in Brooklyn and he was a founding member of the Brooklyn Art Association. He exhibited regularly at both the National Academy of Design and the Brooklyn Art Association until 1886.

“Approaching Storm,” a seascape, is a rare subject for Parker. He is best known for snow scenes and views of the Adirondacks, the Catskills, the White Mountains and the shores of Long Island.

The painting has not been re-lined and there are only a few small dots of in-painting in the sky. It is freshly cleaned and re-varnished.

The frame, which appears to be original to the picture, dates to the early 1860’s and is in excellent condition. It is in a sand-textured rock pattern large cove style, with cross-straps and reeded outer edges.

The painting was purchased at auction from a Florida collection.

 Vue de la Nouvelle Yorck ca. 1775
Balthazar Frederic Leizelt
and
Francois Xavier Habermann

German
(1735-1782)
Engravers & Publishers

Vue de la Nouvelle Yorck ca. 1775
Handcolored Engraving
9 ¾” x 15 ½”’
11” x 17 ½” framed

This is one plate from a Series of ‘Vues d’Optique’ from Habermann and Leizelt’s late 18th century publication, ‘Vue des Prospects’. It depicts the bustling harbor of New York on the eve of the American Revolution. However convincing the scene appears to be, it was largely imaginary, as the Germans never traveled to the New World.

The top margin is labeled, ”Vue de la Nouvelle Yorck” in reverse, indicating that the letters on the copperplate were not reversed before printing. This may be because the prints were prepared to be used in a kind of “magic lantern” slide show. Some of the instruments are known to have involved mirrors, which would have required engraving the title so that it would read backwards on the print itself.

This rare copy is in good condition, though some discoloration and foxing is still evident after a gentle professional bleaching treatment. It has been recently mounted on acid free backing and is housed in a contemporary gilt frame with ultraviolet protective glazing.

Men | Women | Young People | Pairs | Figurative Paintings | Landscapes | Seascapes | Still Life

WebSite Services by Studio2net.com