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AUG. 18TH
AUCTION HIGHLIGHTS
FINE ART
William Keith (California 1838-1911)
Oil on Canvas, "Mountain Forest 'Scape"
unsigned
a brass plaque, centered within the frame
bears the name, "William Keith"
12 ½ in. x 10 in.
Considered among the "Old Masters of California Art."
The significant body of paintings produced by William Keith - along with his contemporaries, Frederick Church, Albert Bierstadt, George Inness and others - was significant in nourishing a then-growing philosophy in American expansionism, with heroic renderings of the grandeur of places
destined to become America's treasured national parks and wildernesses.
Keith was an experienced outdoors man; first in the Sierra Nevada, and particularly in Yosemite Valley, where he began
a cherished lifetime friendship with naturalist, John Muir.
As Eastern cities were being transformed by the forces (and the grime)
of the industrial revolution, the works of Keith and his contemporaries both roused and nourished a growing national appetite
for preserving the grandeur of America's western landscape.
Keith's work has been exhibited and remains in the permanent collections of numerous prestigious institutions, including: the Art Institute of Chicago,
the Los Angeles County Museum of Art, the National Academy of Design.
absentee bids welcome
Oil on Canvas "Leaving Port"
depicting ships, trade vessels and a cityscape
attributed to Thomas Buttersworth (flourished 1797-1827)
in gilt frame
17 ½ in. x 23 ½ in.
Provenance: Marine Arts Gallery, Salem, Mass.
William W. Lowe
Oil on Board "Schooner Yacht Under Full Sail"
signed lower right, "William Lowe ASMA"
12 in. x 16 in.
Lowe was a participant among the American Society of Marine Artists.
Exhibitions include the Mystic Seaport International Marine Art Show,
Coos Bay Maritime Art Exhibit, Herresoff Maritime Museum,
America's Cup Hall of Fame and Maine Maritime Museum, Bath Maine.
He has won 1st, 2nd & 3rd Place Awards
at the Ventura County Maritime Museum and the
American Society of Marine Artists.
R. North
Oil on Board, Impressionist Street Scene Entitled, "Yews in Kent"
signed lower right, "R. North"
original paper gallery label on reverse
26 in. x 24 in.
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DID YEW KNOW?
The ancient yews of England, each 1000 or more years in age,
remain primarily in her Church yards.
Having depleted all of the yew stands in Britain and Ireland to provide the volume of yew wood needed for war archery, from the early 13th to the late16th Centuries, the Crown began to import yew wood; first from Spain, the Baltic, the Rhine, and eventally from western Russia and the Carpathian Mountains. During the first half of the 16th Century, Bavaria and Austria alone exported between one half and one MILLION yew staves to Britain.
By 1568 there was not a single yew left in Bavaria!
When Elizabeth I decreed, in 1595 to replace the military longbows with firearms, she did so because there was no tradable yew wood left in the whole of Europe - not because firearms were considered superior. On the contrary, even at the time of the battle of Waterloo, almost 200 years later, firearms still were no match for the speed and precision of the yew longbow.
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Oil on Canvas, "Portrait of an Elegant Nude Woman"
in elaborate frame, unsigned
23 in. x 27 in.
absentee bids welcome
George Wilson
Oil on Canvas "New England Lake Landscape"
signed lower left, "George Wilson"
original Marshall Field Gallery label on reverse
in period, hand carved gilt frame
22 in. x 28 in.
Sarah Ellen McCarthy (1879-1962)
Oil on Board, "Doorway"
signed lower right
20 in. x 15 ½ in.
18th C. French Pastel
"Portrait of a Young Woman"
19 ½ in. x 14 ½ in.
Indian Watercolor on Paper
"Ceremonial Procession of Men on Horse and Elephant Backs,
Flying Flags, Trumpeters and Drummers"
17 in. x 23 in.
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And closer to home...
We offer
a Plein Air Romantic and a Meditative Surrealist
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Tom Nicholas (b. Middletown, CT 1934)
Watercolor on paper, "Broad Street - Nantucket"
in a Guido gold leaf frame
signed lower left, "Tom Nicholas"
21 in. x 29 in.
Provenance: Robert Wilson Gallery to present owner
Tom Nicholas is an Academician of the National Academy of Design
and a Dolphin Fellow of the American Watercolor Society.
Included among his more than 250 awards are 41 Medals of Honor.
He has had 35 one-artist shows in New York City, Washington, Boston, California, Florida, Maine and Texas. Listings include Who's Who in America, Who's Who in American Art and Who's Who in the East.
Memberships include National Academy of Design,
American Watercolor Society, Allied Artists of America,
Knickerbocker Artists, American Artists Professional League,
Watercolor U.S.A. Honor Society, Rockport Art Association
and Guild of Boston Artists, to name just a few.
His work is in numerous museums, public and private collections:
Albert Einstein Hospital, Farnsworth Museum, Wells College,
Peabody Essex Museum, National Museum of American Art,
Smithsonian Institution, Adelphi University,
New Britain Museum of Art, and others.
absentee bids welcome
Joan P. Albaugh
Oil on Board, "Dune Beach Houses"
signed lower right, "J. Albaugh"
14 ¾ in. x 23 ½ in.
Joan P. Albaugh studied at the School of the Museum of Fine Arts, Boston and Tufts University. She now exhibits at Old Spouter Gallery, Nantucket Looms and the Artists Association of Nantucket. Albaugh is known for painting the changes in light across a landscape, with brevity of detail and saturated color.
Meditative.
Her paintings hint of influences
from the work of Edward Hopper and Rockwell Kent.
"Throughout my career as an artist, certain themes and images have remained constant... their essence continues to weave in and out of my work. Be it an isolated house, an empty pool, a snorkeler, a bush or a buoy... all are echoes of a story, a story perhaps without a plot, a haiku of a memory, a breeze with light."
- Joan P. Albaugh
Bronze Sculpture of Mercury
Height 34 in.
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Mercury, the messenger who wore winged sandals,
a god of trade, thieves, and travel.
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