Louis Chalon

Louis Chalon (French, 1866–1940) An Orientalist Landscape of The Golden Horn

C. 1900

Kipp Soldwedel (American 1913-1999) "Operation Sail" oil on canvas Very rare painting depicting the arrival of all tall ships taking part of the New York Harbor Event in 1964 and Celebrating the Birth of America. Framed with brass nameplates for all the vessels / ships. President John F. Kennedy coined the name for the event. The name 'Operation Sail', was to be used again in 1976, 1989, 1992 2000. The painting is a water-level view of the International fleet, USS Forrestal aircraft carrier in background, and Statue of Liberty to the right. This was painted in 1976. Signed lower right. Verso signed, inscribed with artist's copyrights and dedicated lower right. Please note this painting hung in the Rotunda of the Statue of Liberty Monument on Liberty Island, New York Harbor on July 4, 1988. Without frame measuring 48" high by 70" wide. With frame: 58" high x 80" wide Marine artist Kipp Soldwedel studied fine arts at Yale University and was awarded four Beaux Arts medals. He received a scholarship to the American Academy in Rome. During World War II, he was a flight instructor and meteorologist for the United States Air Force. Kipp Soldwedel is most well known for his maritime battle scenes though he did paint over 150 portraits of celebrities. His illustrations appeared in magazines such as National Geographic, Time, Life, and Town and Country. Many of his paintings depicted the tall ships. He was the known as one of the greatest modren masters of Marine Paintings. 1964 The first Operation Sail event, a tie-in with the New York World's Fair, brought tall ships from around the world to New York Harbor for a grand parade of sail up the Hudson, led by the USCGC Eagle as the host ship. Many of the vessels raced from Plymouth, England, to Lisbon, Portugal, before setting off on a 3,000-mile transatlantic journey to Bermuda and then a 630-mile northwest run to New York. The event also featured lifeboat races, a ticker-tape parade up Broadway honoring seamen of every participating nation, and two grand balls. Mayor Robert Wagner proclaimed that week in July to be "Operation Sail Week," and Secretary of...

Alfred Copestick (1837–1859) Coastal Scene: New York, 1857 Oil on canvas, in the original giltwood frame 14 ¼ x 20 ⅛ in. (canvas) Signed lower right: A. Copestick NY 1857 Painted at just twenty years of age, Coastal Scene: New York demonstrates Alfred Copestick’s remarkable promise as a marine painter in antebellum America. The scene brims with energy: a single sailboat heels sharply into the wind, its rigging taut against the storm, while foamy waves break against a rugged shoreline. Above, clouds mass and dissolve, illuminated by shafts of storm-lit light. Copestick’s treatment is both romantic and naturalistic, conveying the sublime tension between man, sea, and sky. His confident brushwork captures atmosphere with an immediacy and sensitivity rarely found in so young an artist. The work survives in its original giltwood frame, richly carved in a mid-nineteenth-century American style, which not only underscores its historical authenticity but also heightens the tonal drama of the painting. Alfred Copestick came of age during a fertile moment in American painting, when marine art and landscape were central to cultural identity. Though little is known of his formal training, his works suggest familiarity with and admiration for leading marine painters such as James E. Buttersworth, famed for his racing yachts; Francis Augustus Silva, who later developed a luminist style of coastal painting; and earlier masters like Thomas Birch, whose shipwrecks and storm scenes set a precedent for drama at sea. Copestick also absorbed broader currents in American landscape painting. The Hudson River School, led by Thomas Cole, Asher B...

Alfred Copestick (1837–1859) Fort Hamilton from the Narrows, New York, 1857 Oil on canvas, in the original giltwood frame 14 ¼ x 20 ⅛ in. (canvas) Signed lower left: A. Copestick NY 1857 Painted when Copestick was only twenty years old, Fort Hamilton from the Narrows, New York captures both the military fortifications and maritime vitality of New York Harbor at mid-century. In the foreground, the fortress bastion commands the shoreline, while sail and steam vessels traverse the Narrows — the strategic waterway linking Upper New York Bay to the Atlantic. Copestick conveys not only the architectural solidity of Fort Hamilton but also the shifting atmosphere above, where cloud formations build and dissolve across a wind-driven sky. The painting is a remarkable marriage of documentary precision and romantic sensibility. The young artist’s brush imbues the fortress with weight and presence, yet the broader scene is alive with the transience of weather and the ceaseless motion of the sea. In its original giltwood frame, richly carved and preserving the period character, the canvas is a rare survival of a gifted hand cut short in its prime. This canvas reveals Copestick’s deep engagement with the maritime traditions of American art. The careful delineation of sailing vessels recalls the precision of James E. Buttersworth, while the atmospheric breadth echoes the influence of Fitz Henry Lane and John F. Kensett. The choice of subject — the strategic Narrows and its fortress — also reflects the national mood of the 1850s, when American identity was bound up with its coasts, harbors, and defenses. The romantic skies and dramatic contrasts suggest the impact of the Hudson River School, particularly the legacy of Thomas Cole and Asher B...

"Colossi of Memnon, Egypt" Rare Orientalist Landscape Painting by Frederick Arthur Bridgman (American, 1847-1928) A wonderful oil on canvas painting by American orientalist painter Frederick Arthur Bridgman depicting The Colossi of Memnon - two large stone statues...