Albert Fitch Bellows, Forest Stream
watercolor on Bristol Board, 14 1/4"" x 19""
signed lower left
JCAC 3781
$7,500
Albert Fitch Bellows, In Her Sunday Best
gouache and pencil on paper, 16"" x 12"" ss
signed lower right
JCA 3659
$2,500
Charles DeWolf Brownell, From the Ocean House, Groton, circa 1860
watercolor on paper, 5 1/4"" x 8 1/4""
JCA 4824
$2,500
Charles DeWolf Brownell, Grazing in the Valley, New Hampshire, 1865
oil on canvas, 24"" x 34 1/8""
JCA 6763
$25,000
Charles DeWolf Brownell, Lyme, Oct. 5, 1863, 1863
watercolor on paper, 5 1/4"" x 8 1/4""
JCA 4825
$2,500
Charles DeWolf Brownell, The Source of the River, 1861
oil on canvas, 24"" x 44""
JCA 6747
$35,000
Samuel Colman, The Palisades Looking South
watercolor on paper, 3 1/4" x 10"
signed lower right
JCA 3289
$5,000
Henry Farrer, Evening Idyll
(Sunset on the Bronx)
watercolor on paper, 12 1/4" x 18"
signed, H. Farrer, lower left
JCA 5449
$15,000
Henry Farrer, Houses in the Orchard, Twilight
watercolor on paper, 30" x 48"
signed and dated, H. Farrer, lower left
JCA 5180
$35,000
Henry Farrer, Marshland, 1892
watercolor on paper, 17 1/2" x 25"
signed and dated lower left
JCA 4696
$12,000
Henry Farrer (1844 - 1903) Marshland, 1892 signed and dated lower left watercolor on paper 17 ½” x 25”
Henry Farrer, who came to America from England in 1862, is recognized as playing an important role in the development of watercolor during the second half of the nineteenth century. He contributed annually to the exhibitions of the American Water Color Society over thirty-seven consecutive years, beginning with the Society’s inaugural event in 1867. Later in his career, critics for the New York Times consistently made example of Farrer’s work “as a barometer of the ups and downs of the American watercolor movement” (1).
Farrer was a self-taught artist, in contrast to his older brother Thomas C. Farrer (1838-1891), an American Pre-Raphaelite who studied with John Ruskin (1819-1900) in London and was a founding member of the Association for the Advancement of Truth. Henry Farrer’s work, such as Marshland from 1892, shows the influence of the Pre-Raphaelites in its brilliant use of light, fidelity to nature, and emotional evocation. By 1875 Farrer took a departure from the hyper-clarity and bright hues of his earlier watercolors and began to utilize a more tonal palette. Marshland showcases a narrow range of muted colors in the more freely painted style for which he became known. The quiet marsh with its winding stream seen in the subdued sunlight exudes a compelling mood of melancholic, almost eerie, tranquility.
Farrer exhibited at the National Academy of Design, the Brooklyn Art Association, the 1876 Philadelphia Centennial Exhibition, and the 1878 Paris Exposition Universelle. He was a member of the Artists Fund Society, the Royal Society of Painters-Etchers in London, and a founder of the New York Etching Club. He lived and worked in Brooklyn until his death in 1903. |
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Provenance: From the trade to the gallery. |
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Bibliography:
1. Stephanie Wiles, “A Survey of Watercolors by Henry Farrer” in Master Drawings, vol. 40, no. 4, Nineteenth Century British and American Drawings (Winter, 2002), 317.
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Henry Farrer, Summer Evening By The Mill, 1901
watercolor on paper, 18 1/2"" x 25 1/2""
JCA 6815
$9,500
John Lee Fitch, River through the Mountains
oil on panel, 8" x 6"
monogrammed JLF and dated '74, lower left
MP 1019.03
$12,500
William Hamilton Gibson, A September Day, 1891
pastel on paper, 20 1/2" x 29 3/4"
signed and dated, lower right
JCAC 4770
$10,000
William Hamilton Gibson, Connecticut Meadows, 1894
pastel on paper, 19" x 27 1/4"
monogrammed and dated lower left
JCAC 4769
$10,000
James McDougal Hart, Summer on the Farmington River
oil on canvas, 18"" x 34 1/4""
JCA 6826
$25,000
Richard William Hubbard, Picnic in the Meadows, 1880
oil on canvas, 40" x 29"
signed and dated 1880, lower left
JCAC 4799
$38,000
Richard William Hubbard, View at Caldwell, Lake George
oil on canvas, 14" x 20"
intialed TCL, lower right
GHG 05
$7,500
George Inness, A Shepherd and His Flock
oil on canvas, 16" x 22" in an oval format
unsigned
PT 0114.01
$15,000
James Morgan Lewin, Still Life with Fruit, Flowers and Brass Charger
oil on paper, 4 1/4" x 5 7/8"
unsigned
JCA 5110
$8,500
Nelson Augustus Moore, Lake George, c. 1870
oil on canvas, 12" x 20"
signed NA Moore, l.l.
JCA 6243
$5,500
Charles Sprague Pearce, Landscape Study
watercolor on paper, 3 1/8" x 5 7/8" ss
estate stamped lower right
JCA 5655
$1,200
John Frederick Peto, Still Life with Pipe
oil on board, 6" x 9"
signed indistinctly J.F. Peto upper left
also apocryphally signed, Harnett, lower right
JWC 0413
$65,000
Horace Wolcott Robbins, View to the Peaks
oil on canvas, 12" x 20"
unsigned
JCAC 4961
$6,500
Ellen Robbins, Attributed to, Autumn Landscape
gouache on paper, 3 3/8" x 2 1/4"
unsigned
JWC 09/11.04
$950
Franklin Lewis Schenck, Sundown
oil on panel, 8" x 10"
signed, F. L. Schenck and dated 1896, lower left
G&BW 0514.01
$850
Aaron Draper Shattuck, Late Summer Day, Farmington, Connecticut, 1863
oil on canvas, 11"" x 17""
JCA 6819
$9,500
Aaron Draper Shattuck, Monument Mountain from the Valley
oil on board, 9"" x 14""
stamped lower right
titled and dated 1856 and initialed verso before lining
NWADS 05
$9,500
Roswell Morse Shurtleff, Cathole Mountain
watercolor on paper, 7" x 6" ss
titled and signed verso
JCA 5899
$950
Thomas Kirby Van Zandt, Gentleman's Ride, Outside Albany, 1858
oil on canvas, 39" x 55 1/2"
signed "Van Zandt" and dated "1858"
JWC 11/08
$150,000
Daniel F. Wentworth, An Early Autumn Day
oil on masonite, 27" x 22"
signed, D. Wentworth, lower left
JCAC 5443
$8,500
Thomas Worthington Whittredge, By the Stream
oil on canvas, 8" x 13"
signed, W.Whittredge, lower left
JCAC 5880
$16,000
Lucy E. Wiester, Summer Flowers
oil on tin, 14" x 6 5/8"
signed, Wiester, lower right
JCA 5886
$2,800