Berkshires - Landscape Paintings

George Roux French, 1853-1929 Les Jardin du Versailles Oil on canvas 23 ⅝ by 32 in, w/ frame 30 ¼ by 38 ½ in Signed lower right George Roux was a French ...

George Loring Brown American, 1814-1889 A Coastal View Signed and dated 1878 Oil on canvas 22 by 36 in W/frame 30 by 44 in. Often referred to as “Claude...

Louis Aston Knight New York/California/France, 1873-1948 Twilight along the River Bend Oil on canvas signed lower left"Aston Knight/Paris" 26 by 32 in. ...

Gustave Madelain French, 1867-1944 Notre Dame, Paris Oil on board 14 ½ by 20 ¾ in, w/ frame 21 ½ by 27 ¾ in Signed lower right Gustave Madelain exhibited in Paris at the Salon des ...

Gaston Sebire French, 1920-2001 Sunset On the Coast Oil on canvas 29 by 36 ¼ in, w/ frame 36 ¼ by 43 ¾ in Signed lower right Gaston Sebire was born August 18, 1920, in Saint-Samson...

Alexandre Marie Guillemin French, 1817-1880 Scene de Chasse Oil on Panel 9 by 12in. w/frame 17 ½ by 20 ½in. Signed lower right He studied with Baron Gros. He exhibited at the Salo...

Mary Brewster Hazelton American, 1868-1953 Hillside in Autumn Oil on canvas 20 by 24 in, w/ frame 29 ½ by 33 ¼ in Signed and dated 1908 lower left Mary Brewster Hazelton was a dist...

“I Will”, Marie-Joseph-Leon-Clavel French, 1850-1923 Septembre, La Meuse a Dordrecht Oil on canvas, Signed 13 ¼ by 19 ½ in. W/frame 23 ¼ by 29 ½ in. Marie-Joseph-Leon-Clavel took ...

Alice R. Comins American, 1861-1943 The Valley, York Maine Oil on canvas 20 by 26 in. W/frame 27 by 33 in. Signed lower right and dated 1913 & titled on r...

Maurice Sterne American, 1878-1957 On the Ganges Oil on canvas 28 by 31 ¼ in, w/ frame 35 by 38 ¼ in Signed lower right Maurice Sterne studied with Thomas Eakins at the National Ac...

Georges Damin French, b. 1942 La Gentilhommiere Bar Oil on canvas 9 by 27 in, w/ frame 16 by 34 in Signed lower right

Cesar Villacres   Ecuador, 1880–1941 Flower Seller, Paris Cesar Villacres was an Ecuadorean artsit that worked in South America & Paris. He exhibited i...

William Thornley French, 1857-1935 Barques De Peche Echouees Sur La Plage Oil on canvas 25 by 32 in, w/ frame 33 ½ by 40 ½ in Signed lower right William Thornley was born in 1857 i...

Pierre Roussel French, 1927-1995 Looking Through the Window Oil on Canvas 21 ½ by 28 ¾ in, w/ frame 29 ¼ by 36 ½ in Signed lower right

Émile Marie Beaume French, 1888-1967 Corsican Shore Oil on Canvas 18 ⅛ by 21 ⅝ in, w/ frame 25 ½ by 29 ¼ in Signed lower right French painter, lithographer, engraver and fresco art...

Gaston Sebire French, 1920-2002 At The Seaside Oil on canvas 25 by 31 in. W/frame 33 ½ by 39 ½ in. Signed lower right Gaston Sebire (1920 – 2002) Gaston Sebire, was one of Europe’s leading landscapists, was born in the village of Saint-Samson in Normandy in 1920. A self taught artist, he began to paint seriously at the age of eighteen. For eight years he worked as a postal clerk in the Rouen, sorting letters at night in order to support his career as a painter. In 1952 Gaston Sebire had his first exhibition at the Galerie Gosselin in Paris. The following years he enjoyed the double triumph of winning both the coveted Prix de la Critique and the Prix Casa Velasquez. The Latter award made it possible for him to spend a year and a half in Spain. Of this formative period he said, “They were my first, wonderful years without worry. For fifteen years I had never known what the next day would bring.” The year 1957 marked another important stage in his career. His painting “La Dinde” won the Greenshields Prize in a field of 136 competitors, making it possible for him to paint for another two years without the worry of finances. Winning the awards naturally drew public attention to the artist from Normandy, and his works were presented in highly successful one-man shows in Paris. Sebire was a Norman, a man strongly attached to the soil, and after his exhibitions in Paris, he returned to Rouen to his large house overlooking the town and once again plunged into painting the countryside. Gaston Sebire was a strongly built man with square hands and a rather heavy walk. He had immense vitality, and used that to his advantage.  As he said of himself, “When the snow falls, I can’t stay indoors. I set out with my paint box. I paint outdoors from nine in the morning until five at night. If it were only a question of money, one could just as well paint in one’s own room.” But Sebire went into the countryside, or into the village, and sets up his easel. When there is a café into which people are going; there is a fence, a telegraph pole, a few buildings in the background. The scene takes on life, vivid life, with a sense of some event about to take place in the scene. Like many artists, and like a typical Norman, Sebire was silent and solitary by nature, with a personality as strong and frank as his paintings. A painting, he says, “must have an element of mystery, show an effort to look beyond the aura surface of things.” Sebire’s early paintings were somber with much use of black and white tones. In 1970 he turned to colour. The subtle light of the Normandy skies; the shifting light and color along the seacoast; the magnificent blues of the Rouen pottery...

Carl Carlsen Danish, 1855-1917 Figures in the Forest Oil on canvas Signed and dated ‘Carl Carlsen 1900’ lower right 24 ½ by 30 ½ in. w/frame 31 by 36 i...

Émile Valentin Cardinal French, 1883–1958 Aux Cafe Oil on canvas 25 by 21 in. W/frame 34 by 30 in. Emile exhibited at the Salons in Paris b...

Charles Charlay-Pompon French, 1854-1914 French Countryside Oil on canvas Signed lower right 11 by 21 in. w/frame 16 ½ by 26 ½ in. Charles Charl...

Edward Francis Rook American, 1870-1960 Brittany Oil on Canvas 30 by 30 in. W/frame 38 by 38 in. Signed lower left Circa, 1898-1900 Rook, born in New York City on September 21, 1870, became one of the most original impressionists at Old Lyme. First he was a student of Benjamin Constant and Jean-Paul Laurens at the Académie Julian.  Life started out to be rather promising for Rook, around the turn of the century.  He exhibited at the Cincinnati Art Museum and at the Pennsylvania Academy of the Fine Arts, both in 1898, when his harbor scene, entitled Pearl Clouds — Moonlight was reproduced in International Studio, in April.  In addition, the PAFA presented him with the Temple Gold Medal for Deserted Street, Moonlight, which the Academy purchased.  Three years later, Rook was awarded a bronze medal at the Pan-American Exposition in Buffalo, where he exhibited three landscapes.  Caffin (1902, p. xxxvi) praised the artist's "translucent quality of color," which suggests a study of color theory.  Also in 1901, Rook married Edith Sone.  For most of 1902, the Rooks were in Mexico. Rook came to Old Lyme in October of 1903.  The date is significant because Childe Hassam was also there that month.  Hassam would more or less re-orient the artists' colony from Tonalism to impressionism.  Rook would move there permanently two years later.  He took two medals at the St. Louis Universal Exposition (1904) where his landscapes from the Mexican trip were displayed.  More awards followed: a silver medal at the International Fine Arts Exposition in Buenos Aires, 1910, a gold medal at San Francisco's Panama-Pacific International Exposition in 1915,  a Corcoran Bronze Medal, and a William A. Clark Award in 1919 for Peonies.   By 1924, the artist was made a National Academician.  Despite all these awards and recognition, Rook did little in the way of selling his art and reportedly, his prices were too high.  His paintings were handled by Macbeth and Grand Central Art Galleries. Rook was active in Old Lyme's art community.  As stated above, he would have met Hassam that October in 1903 but Willard Metcalf had departed at the end of the summer.  As several writers have explained (Connecticut and American Impressionism, 1980, p. 123), Hassam "was the catalyst around whom [impressionism] coalesced."   Rook's niece, Virginia Rook Garver, who happened to be the grand-niece of Hassam, confirmed that Rook and Hassam knew each other in Europe — before they went to Old Lyme (Fischer, 1987, p. 19).  Rook was one of the relatively young painters to come to Old Lyme, along with Gifford Beal, William Chadwick, and Robert Nisbet, on the wave of impressionism, initiated there by Hassam and Metcalf.  Old Lyme became a center of American impressionism, and as Donelson F. Hoopes remarked, "under Hassam, the shoreline of Connecticut became a kind of Giverny of America."  Among Ranger's group, palettes started to become lighter, except those of the most determined tonalists.  Ranger himself, perhaps admitting defeat, moved to Noank in 1904.  Rook is best known for his views of Bradbury's Mill, which was soon called Rook's Mill, owing to the painter's many versions of the scene.  One, called Swirling Waters, dated ca. 1917, is in the Lyme Historical Society.  Even more famous is Rook's Laurel, dated between 1905 and 1910 (Florence Griswold Museum), in which a profuse laurel bush (the state flower), is set off by a spectacular Constable-like background.  But Swirling Waters could never be confused with Constable, with its violent brushwork, impasto-layered water, and bright, almost chalky, plein-air palette.  Gerdts (1984, p. 226) compares the paintings of Walter...

James George Weiland American, 1872-1968 Young Girl Resting in a Bed of Flowers Oil on canvas 24 by 30 in. W/frame 30 by 36 in. Signed lower left...

Everett Lloyd Bryant American, 1864-1945 Woman in Kimono Oil on canvas Signed lower right 30 by 25 in. W/frame 35 by 30 in. Everett studied wit...

Arthur George Collins American, b.1866 Biskra Algeria Oil on canvas Signed and dated Biskra, 1893 26 ½ by 32 ½ in. W/frame 32 ½ by 38 ½ in. Arthur studied at the Julien Academy, P...

Henry Dele Coeuillerie American, 1864-1932 The Three Kings Oil on canvas Signed & dated lower right 30 by 36 in. W/frame 35 ½ by 41 ½ in. Provenance...