Frederic Edwin (1826) Church Sold at Auction Prices
Landscape painter, Painter, b. 1826 - d. 1900
Nineteenth century American artist Frederic Edwin Church's artwork displays a sharp, focused style, with many of his landscapes and paintings based on literary and Biblical sources. Frederic forest prints include depictions of wooded areas throughout the world from tropical scenes in the West Indies to the Andes Mountains of South America.
Frederic Edwin Church's paintings, though varied in subject matter, began to focus primarily on detailed nature scenes midway through his career. He did most of his sketches while hiking on foot, and once home, developed these into paintings. After he established his studio in New York, he was able to travel through South America, the North Atlantic, Jamaica, and Palestine to garner inspiration for his vivid landscapes. Collectors searching for Frederic Edwin Church's paintings find his and other landscape paintings for sale online at Invaluable.
FREDERIC EDWIN CHURCH (NY/CT/MEXICO, 1826-1900) "Kaaterskill Clove", oil on academy board, unsigned, old tag verso with artist's name and location, housed in what may be the original deep cove gesso frame, having a tag with the poetic stanza "Hills and streamlets are all aglow under the sunset clouds". OS: 23" x 20", SS: 14 1/4" x 11 1/4". Kaaterskill Clove is a deep gorge, in New York's eastern Catskill Mountains, lying just west of the village of Palenville, on the Hudson River trail. This painting hung in the Lockwood-Mathews Mansion of Norwalk, Conn. LeGrand Lockwood, a Civil War financier, built the Mansion in 1868, about the time this was probably painted.
Frederic Edwin Church (1826â1900) was an American landscape painter associated with the Hudson River School, a group of artists known for their detailed and romanticized portrayals of American landscapes. Here are key points about Frederic Edwin Church:1. **Birth and Early Life:** Frederic Edwin Church was born on May 4, 1826, in Hartford, Connecticut, USA. He showed early artistic talent and received guidance from Thomas Cole, a prominent landscape painter and a founder of the Hudson River School.2. **Training under Thomas Cole:** Church became Thomas Cole's pupil and worked in Cole's studio. Under Cole's influence, Church developed a deep appreciation for landscape painting and a love for nature.3. **Hudson River School:** Church became a leading figure in the Hudson River School, a group of American painters who celebrated the grandeur of the American landscape. The school emphasized detailed and realistic depictions of nature.4. **Travels and Inspirations:** Church's artistic career involved extensive travels. He drew inspiration from his journeys to various places, including the Hudson River Valley, South America, the Middle East, and the Arctic.5. **Niagara Falls:** Church gained acclaim for his early masterpiece, "Niagara" (1857), which depicted the powerful and majestic Niagara Falls. The painting showcased his skill in capturing the effects of light and water.6. **South American Expeditions:** Church's travels extended to South America, where he explored Ecuador and Colombia. His South American paintings, including "Heart of the Andes" (1859), are known for their lush landscapes and attention to botanical details.7. **Arctic Expedition:** In 1859, Church joined an Arctic expedition led by Dr. Isaac Israel Hayes. The experience inspired several Arctic-themed paintings, such as "The Icebergs" (1861), which depicted the grandeur and danger of the Arctic landscape.8. **Olana:** Church built a mansion called Olana on a hill overlooking the Hudson River in upstate New York. The house, completed in 1872, served as Church's residence and studio. Olana is now a designated National Historic Landmark.9. **Later Works:** Church continued to paint throughout his career, producing works such as "Cotopaxi" (1862) and "The Parthenon" (1871). His later works often incorporated mythological and historical themes.10. **Legacy:** Frederic Edwin Church was a key figure in the Hudson River School and one of the most successful and celebrated American artists of his time. His works are known for their technical skill, attention to detail, and the sense of awe they inspire.11. **Death:** Frederic Edwin Church passed away on April 7, 1900, in New York City, leaving behind a legacy of influential landscape paintings that captured the essence and beauty of the American and global landscapes. Measures 40 x 22.
The Hudson River School in Focus: Property from the Friedman Collection Frederic Edwin Church 1826 - 1900 Andean Sketch oil and pencil on paper laid down on canvas 10 ½ by 16 ½ in. 26.7 by 42 cm. Executed circa 1872. We are grateful to Dr. Gerald L. Carr for his assistance in researching this lot, which will be included in his forthcoming catalogue raisonné of the artist's oil paintings.
Attributed to Frederic Church (1826-1900) Attributed to Frederic Church (1826-1900) "Sunset with Ruins" Oil on board Unsigned, old label on back 9" x 12"
Mountain Farm, Upstate New York, oil on linen, unsigned, depicting a worker with scythe and sheep on hillside behind splitrail fence, overlooking rich valley, fading into the shadow of the steep hills and distant mountains, in what may be the original gold cove frame, OS: 13 3/4" x 15 3/4", SS: 7 1/2" x 9 1/2", cleaned and relined.
Frederic Edwin Church (American, 1826-1900). "The Heart of the Andes" steel engraving on heavy wove paper laid on canvas. Engraved by William Forrest (Scottish, 1805-1889). Published by J. McCLure, 1st May, 1862 London Day & Son". "Print Sellers Association, LRB" blind stamp outside platemark in lower right margin. Artist, engraver, publisher, and title identified in lower margin. A rare engraving of Frederic Edwin Church's "Heart of the Andes" mounted in a custom gilded frame that is beautifully embellished with a floral vine relief as well as a beaded border. Church spent 9 weeks in Ecuador during the spring of 1857, creating sketches and watercolors of the natural environment that would inform this panoramic view of the Andes. While he conducted this field research, "Heart of the Andes" also embraced the 19th century's taste for the romantic sublime. For Church's contemporaries, seeing his monumental painting was akin to a theatrical experience. Church presented "Heart of the Andes" in a dark room, dramatically lit via gas lamps, and surrounded by a colossal frame to suggest the scene was viewed through a window. "Heart of the Andes" was remarkable for its scope and countless details. In fact, viewers wore opera glasses in order to avoid missing any of its elements. Size (image): 13.25" L x 24.75" W (33.7 cm x 62.9 cm) Size (sight view): 17.75" L x 27.75" W (45.1 cm x 70.5 cm) Size (frame): 27.5" L x 37.1" W (69.8 cm x 94.2 cm) As described by Dr. Bryan Zygmont, "The monumental snow-capped mountain in the deep background is Mt. Chimborazo, one of the highest peaks in South America. Moving to the foreground, Church leads the viewer through a variety of topographical zones which all contain unique flora and fauna. There is but a little human presence in this vast depiction of space. A colonial Spanish hacienda appears in the central middle ground, resting on the banks of a river. This waterway flows to the viewer's right, eventually arriving at a waterfalla Niagara in miniatureon the right side of the painting. A well-travelled footpath in the left foreground leads the eye to a pair of people who worship before a simple wooden cross. Beyond these 'major' elements, the composition is filled with minute details unobservable in any reproduction. Flowers bloom, birds flutter, water flows, and wind seems to blow." Although Church is probably best known for his association with the Hudson River School, his pursuit of landscape painting took him beyond the United States. Church spent more than two months in South America, most of which was in Ecuador, and was extremely enamored with the philosophy of Alexander von Humboldt, particularly his "Kosmos" - a two volume work of geological and natural history published in Germany in 1845 and 1847 and shortly thereafter translated into English. In addition to South America, Church traveled to Mexico, Europe, Newfoundland, the Middle East, and Labrador. Church's painting "Heart of the Andes" (1859) is a masterpiece that has been admired by man countless viewers, initially unveiled in a theatrical display at Lyrique Hall on Broadway in New York City in 1859, and later accessioned by the Metropolitan Museum of Art. According to the Met's description, "This picture was inspired by Church's second trip to South America in the spring of 1857. Church sketched prolifically throughout his nine weeks travel in Ecuador, and many extant watercolors and drawings contain elements found in this work. The picture was publicly unveiled in New York at Lyrique Hall, 756 Broadway, on April 27, 1859. Subsequently moved to the gallery of the Tenth Street Studio Building, it was lit by gas jets concealed behind silver reflectors in a darkened chamber. The work caused a sensation, and twelve to thirteen thousand people paid twenty-five cents apiece to file by it each month. The picture was also shown in London, where it was greatly admired as well." Provenance: private Brighton, Colorado, USA collection; acquired via descent and has been in the family for 4 generations All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #178124
Lot of 3 Pieces of Art including Jesso Oil on Board depicting Flowers in Vase - Unsigned - Frame has loss, Giclee on Canvas by Frederick Edwin Church (1826-1900) Entitled "Tropical Scenery" - Rolled and Unframed and Print on Paper mounted on Canvas of George Washington - Tears in linen. Framed one measures 21" tall x 17" wide. All invoices must be paid within 24 hours of the sale. This auction is Local Pick Up or Shipping with the Local UPS Store in Monmouth Junction, NJ. Local pickups are at our Monmouth Junction location on Thursday, Friday, Saturday and Monday ONLY! All pickups are by appointment only. Any condition issues will be listed in the description. Please read the terms for full information.
(American, 1826-1900) Sketch at Chimborazo, signed lower right "F. Church 185(?)", oil on paper mounted on panel, 11 x 17 in.; fine period carved gilt wood and composition frame, 18 x 24 in. Note: In 1853, still in his 20s, Frederic Church was already achieving recognition as perhaps the most promising artistic talent of his generation. The paintings he exhibited after his two trips to South America in 1853 and 57 secured his place on that throne. Church created many preparatory works for his grand, awe inspiring landscapes such as Mountains of Ecuador, 1855, in the collection of the Wadsworth Atheneum, Hartford, Connecticut (accession # 948.177). While this oil sketch is not necessarily tied to any one particular grand exhibition work, it does at the very least share the specific detail of the stone footbridge with the Wadsworth Mountains. This lot is accompanied by a letter confirming that the painting was authenticated by Gerald L. Carr and will be included in the forthcoming catalog raisonne of paintings by Frederic Edwin Church. This lot is accompanied by an additional reproduction frame for the painting. Provenance: Gene Shannon, Milford, Connecticut, early 1980s; Alfred Harrison, Oakland, California; Howard's Antiques, Bedford, New York; Dr. Howard Diamond, New York; by descent Private Collection; at Hirschl & Adler Galleries, New York, NY; Private Collection, Portsmouth, New Hampshire
Artist: Frederic Edwin Church (American, 1826-1900). Engraver: William Forrest (Scottish, 1805-1889). "The Heart of the Andes" steel engraving on heavy wove paper. "Published by J. McCLure, 1st May, 1862 London Day & Son" in upper right margin. Proof before letters, blind stamp outside platemark left margin, "Print Sellers Association, RGG", Signature "Frederic E. Church" on lower right margin in pencil. A rare pencil-signed engraving of Frederic Edwin Church's "Heart of the Andes". The masterful composition presents a panoramic view of the Andes in a horizontal format that captures Church's embrace of the romantic sublime and was also informed by his study of Prussian naturalist Alexander von Humboldt's "Kosmos"(1840s). Size of image: 13.6" L x 24.875" W (34.5 cm x 63.2 cm) Size of sheet: 19.8" L x 29.875" W (50.3 cm x 75.9 cm) Size of matte: 24.25" L x 33.75" W (61.6 cm x 85.7 cm) For Church's contemporaries, seeing his monumental painting was akin to a theatrical experience. Church presented "Heart of the Andes" in a dark room, dramatically lit via gas lamps, and surrounded by a colossal frame to suggest the scene was viewed through a window. "Heart of the Andes" was remarkable for its scope and countless details. In fact, viewers wore opera glasses in order to avoid missing any of its elements. As described by Dr. Bryan Zygmont, "The monumental snow-capped mountain in the deep background is Mt. Chimborazo, one of the highest peaks in South America. Moving to the foreground, Church leads the viewer through a variety of topographical zones which all contain unique flora and fauna. There is but a little human presence in this vast depiction of space. A colonial Spanish hacienda appears in the central middle ground, resting on the banks of a river. This waterway flows to the viewers right, eventually arriving at a waterfalla Niagara in miniatureon the right side of the painting. A well-travelled footpath in the left foreground leads the eye to a pair of people who worship before a simple wooden cross. Beyond these major elements, the composition is filled with minute details unobservable in any reproduction. Flowers bloom, birds flutter, water flows, and wind seems to blow." Although Church is probably best known for his association with the Hudson River School, his pursuit of landscape painting took him beyond the United States. Church spent more than two months in South America, most of which was in Ecuador, and was extremely enamored with the philosophy of Alexander von Humboldt, particularly his "Kosmos" - a two volume work of geological and natural history published in Germany in 1845 and 1847 and shortly thereafter translated into English. In addition to South America, Church traveled to Mexico, Europe, Newfoundland, the Middle East, and Labrador. Church's painting "Heart of the Andes" (1859) is a masterpiece that has been admired by man countless viewers, initially unveiled in a theatrical display at Lyrique Hall on Broadway in New York City in 1859, and later accessioned by the Metropolitan Museum of Art. According to the Met's description, "This picture was inspired by Church's second trip to South America in the spring of 1857. Church sketched prolifically throughout his nine weeks travel in Ecuador, and many extant watercolors and drawings contain elements found in this work. The picture was publicly unveiled in New York at Lyrique Hall, 756 Broadway, on April 27, 1859. Subsequently moved to the gallery of the Tenth Street Studio Building, it was lit by gas jets concealed behind silver reflectors in a darkened chamber. The work caused a sensation, and twelve to thirteen thousand people paid twenty-five cents apiece to file by it each month. The picture was also shown in London, where it was greatly admired as well." This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the worlds largest database of stolen art, collectibles, and antiques. Provenance: Jon and Mary Williams private art collection, Denver, Colorado, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #166582
Artist: Frederic Edwin Church (American, 1826-1900). Engraver: William Forrest (Scottish, 1805-1889). "The Heart of the Andes" steel engraving on heavy wove paper. "Published by J. McCLure, 1st May, 1862 London Day & Son" in upper right margin. Proof before letters, blind stamp outside platemark left margin, "Print Sellers Association, RGG", Signature "Frederic E. Church" on lower right margin in pencil. A rare pencil-signed engraving of Frederic Edwin Church's "Heart of the Andes". The masterful composition presents a panoramic view of the Andes in a horizontal format that captures Church's embrace of the romantic sublime and was also informed by his study of Prussian naturalist Alexander von Humboldt's "Kosmos"(1840s). Size of image: 13.6" L x 24.875" W (34.5 cm x 63.2 cm) Size of sheet: 19.8" L x 29.875" W (50.3 cm x 75.9 cm) Size of matte: 24.25" L x 33.75" W (61.6 cm x 85.7 cm) For Church's contemporaries, seeing his monumental painting was akin to a theatrical experience. Church presented "Heart of the Andes" in a dark room, dramatically lit via gas lamps, and surrounded by a colossal frame to suggest the scene was viewed through a window. "Heart of the Andes" was remarkable for its scope and countless details. In fact, viewers wore opera glasses in order to avoid missing any of its elements. As described by Dr. Bryan Zygmont, "The monumental snow-capped mountain in the deep background is Mt. Chimborazo, one of the highest peaks in South America. Moving to the foreground, Church leads the viewer through a variety of topographical zones which all contain unique flora and fauna. There is but a little human presence in this vast depiction of space. A colonial Spanish hacienda appears in the central middle ground, resting on the banks of a river. This waterway flows to the viewers right, eventually arriving at a waterfalla Niagara in miniatureon the right side of the painting. A well-travelled footpath in the left foreground leads the eye to a pair of people who worship before a simple wooden cross. Beyond these major elements, the composition is filled with minute details unobservable in any reproduction. Flowers bloom, birds flutter, water flows, and wind seems to blow." Although Church is probably best known for his association with the Hudson River School, his pursuit of landscape painting took him beyond the United States. Church spent more than two months in South America, most of which was in Ecuador, and was extremely enamored with the philosophy of Alexander von Humboldt, particularly his "Kosmos" - a two volume work of geological and natural history published in Germany in 1845 and 1847 and shortly thereafter translated into English. In addition to South America, Church traveled to Mexico, Europe, Newfoundland, the Middle East, and Labrador. Church's painting "Heart of the Andes" (1859) is a masterpiece that has been admired by man countless viewers, initially unveiled in a theatrical display at Lyrique Hall on Broadway in New York City in 1859, and later accessioned by the Metropolitan Museum of Art. According to the Met's description, "This picture was inspired by Church's second trip to South America in the spring of 1857. Church sketched prolifically throughout his nine weeks travel in Ecuador, and many extant watercolors and drawings contain elements found in this work. The picture was publicly unveiled in New York at Lyrique Hall, 756 Broadway, on April 27, 1859. Subsequently moved to the gallery of the Tenth Street Studio Building, it was lit by gas jets concealed behind silver reflectors in a darkened chamber. The work caused a sensation, and twelve to thirteen thousand people paid twenty-five cents apiece to file by it each month. The picture was also shown in London, where it was greatly admired as well." This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the worlds largest database of stolen art, collectibles, and antiques. Provenance: Jon and Mary Williams private art collection, Denver, Colorado, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #166582
Follower of Frederic Edwin Church (American, 1826-1900), Twilight in South America oil on canvas (lined), unsigned, presented in an antique gilt composition frame. Stretcher size 24 x 36 in.; Frame dimensions 33 1/2 x 42 1/2 in. Additional high-resolution photos are available at www.lelandlittle.com
Artist: Frederic Edwin Church (American, 1826-1900). Engraver: William Forrest (Scottish, 1805-1889). "The Heart of the Andes" steel engraving on heavy wove paper. "Published by J. McCLure, 1st May, 1862 London Day & Son" in upper right margin. Proof before letters, blind stamp outside platemark left margin, "Print Sellers Association, RGG", Signature "Frederic E. Church" on lower right margin in pencil. A rare pencil-signed engraving of Frederic Edwin Church's "Heart of the Andes". The masterful composition presents a panoramic view of the Andes in a horizontal format that captures Church's embrace of the romantic sublime and was also informed by his study of Prussian naturalist Alexander von Humboldt's "Kosmos"(1840s). Size of image: 13.6" L x 24.875" W (34.5 cm x 63.2 cm) Size of sheet: 19.8" L x 29.875" W (50.3 cm x 75.9 cm) Size of matte: 24.25" L x 33.75" W (61.6 cm x 85.7 cm) For Church's contemporaries, seeing his monumental painting was akin to a theatrical experience. Church presented "Heart of the Andes" in a dark room, dramatically lit via gas lamps, and surrounded by a colossal frame to suggest the scene was viewed through a window. "Heart of the Andes" was remarkable for its scope and countless details. In fact, viewers wore opera glasses in order to avoid missing any of its elements. As described by Dr. Bryan Zygmont, "The monumental snow-capped mountain in the deep background is Mt. Chimborazo, one of the highest peaks in South America. Moving to the foreground, Church leads the viewer through a variety of topographical zones which all contain unique flora and fauna. There is but a little human presence in this vast depiction of space. A colonial Spanish hacienda appears in the central middle ground, resting on the banks of a river. This waterway flows to the viewers right, eventually arriving at a waterfalla Niagara in miniatureon the right side of the painting. A well-travelled footpath in the left foreground leads the eye to a pair of people who worship before a simple wooden cross. Beyond these major elements, the composition is filled with minute details unobservable in any reproduction. Flowers bloom, birds flutter, water flows, and wind seems to blow." Although Church is probably best known for his association with the Hudson River School, his pursuit of landscape painting took him beyond the United States. Church spent more than two months in South America, most of which was in Ecuador, and was extremely enamored with the philosophy of Alexander von Humboldt, particularly his "Kosmos" - a two volume work of geological and natural history published in Germany in 1845 and 1847 and shortly thereafter translated into English. In addition to South America, Church traveled to Mexico, Europe, Newfoundland, the Middle East, and Labrador. Church's painting "Heart of the Andes" (1859) is a masterpiece that has been admired by man countless viewers, initially unveiled in a theatrical display at Lyrique Hall on Broadway in New York City in 1859, and later accessioned by the Metropolitan Museum of Art. According to the Met's description, "This picture was inspired by Church's second trip to South America in the spring of 1857. Church sketched prolifically throughout his nine weeks travel in Ecuador, and many extant watercolors and drawings contain elements found in this work. The picture was publicly unveiled in New York at Lyrique Hall, 756 Broadway, on April 27, 1859. Subsequently moved to the gallery of the Tenth Street Studio Building, it was lit by gas jets concealed behind silver reflectors in a darkened chamber. The work caused a sensation, and twelve to thirteen thousand people paid twenty-five cents apiece to file by it each month. The picture was also shown in London, where it was greatly admired as well." This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the worlds largest database of stolen art, collectibles, and antiques. Provenance: Jon and Mary Williams private art collection, Denver, Colorado, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #166582
View of the Connecticut River from Mount Holyoke, Northampton, Massachusetts, oil on canvas, unsigned, depicting the distant valley with rock face and scrub pine to the left, housed in what appears to be the original water gilt carved and molded panel frame, OS: 14 1/2" x 19 1/2", SS: 7 1/2" x 12 1/2". Cleaned and relined, minor frame loss.
Italian Landscape with River and Mountains, oil on paper laid to board, signed "FEC" lower left, housed in lemon gold molded frame, OS: 9 1/4" x 12 1/2", SS: 4 1/4" x 7 1/2". One small raised blemish in sky. Church was born in Hartford, CT, became a central figure in the Hudson River School of painters. He was the son of a banker who convinced the well established Thomas Cole to take him on as a student. in Catskill, NY. Church opened his studio in New York City, immediately gained fame for his view of Niagara Falls. He traveled broadly until the end of the Civil War, creating views of the Arctic and South America. After the death of his two children from diphtheria in 1865, Church and his wife went to Jamaica, where his fasciation with botany blossomed, followed by an 1867 trip to the Middle East. He built a Persian inspired home "Olana' overlooking the Hudson, became the Parks Commissioner in New York City and was a founding trustee of The Metropolitan Museum of Art.
"Descending to Harvest the Fields", oil on canvas, done on Frederic Church's uncle's Farm in Vermont sometime in 1847 or 48 , unsigned, depicting farmhands having left their coats and lunch baskets in the foreground working their way towards a valley field past a split rail fence, storm clouds receding to the left, housed in a vintage gold cove frame, OS: 13 3/4" x 15 3/4", SS: 7 1/2" x 9 1/2". Cleaned and relined. Church was born in Hartford, CT, became a central figure in the Hudson River School of painters. He was the son of a banker who convinced the well established Thomas Cole to take him on as a student. in Catskill, NY. Church opened his studio in New York City, immediately gained fame for his view of Niagara Falls. He traveled broadly until the end of the Civil War, creating views of the Arctic and South America. After the death of his two children from diptheria in 1865, Church and his wife went to Jamaica, where his fasciation with botany blossomed, followed by an 1867 trip to the Middle East. He built a Persian inspired home "Olana' overlooking the Hudson, became the Parks Commissioner in New York City and was a founding trustee of The Metropolitan Museum of Art.
SECOND GENERATION HUDSON RIVER SCHOOL (19th/20th Century) A PAINTING, "Mountain with Palms and Swans In Riverbend," follower of Frederic Edwin Church (American 1826-1900), oil on pressed cardboard. 8 1/2" x 13 1/2" Provenance: Property of a South Texas Collector.
Artist: Frederic Edwin Church (1826 - 1900) Title: Scene on the Magdalene Year: 1980 Medium: Poster on foamcore Size: 28 x 25.25 in. (71.12 x 64.14 cm)
[Autograph] Church, Frederick Edwin (1826-1900). American landscape painter. Autograph Letter Signed, 1p, 8vo, December 12, 1958, to Elliot. Church has received his note of a few days ago, is much pleased at the success attending the efforts to assist our noble friend Duggan Please put me down for twenty dollars F. C. Church, with postscriptI got your note a day or two attending the offer to assist Dugan I would have given much more if many disagreab;le prudence. I will try and see someone this week and hand him the money. Framed 26" x 22" with portrait and reproduced landscape. Condition Sight condition very good, not examined out of frame.
19th century So. American panoramic oil painting of a sailboat on lake in mountain ravine with exotic foliage. Signed lower left "FE CHURCH". Titled on plaque "In the Heart of the Andes". 30 x 45 inches, framed 39 x 54 in. Relined, some restoration. (possibly Frederic Edwin Church 1826-1900, NY/CT/Mexico artist).
FOLLOWER OF FREDERIC EDWIN CHURCH (1826-1900), AMERICANROMANTIC PANORAMA WITH FIGURES ARRIVING AT A RIVERSIDE TEMPLE UNDER A FULL MOONOil on original American canvas stamped “J.H. Kirks Art Store, Wheeling, W.V” to the verso34" x 40" — 86.4 x 101.6 cm.Estimate: $1,000—1,500
An important oil on canvas depicting South American mountain range by Frederic Edwin Church. Church was inspired by Alexander Von Humboldt to travel and paint in equatorial South America. At age 51 his right hand was crippled by rheumatoid arthritis. This work is obviously a later celebration of his earlier success with painting the Andes. Canvas measures 30" x 45". Good condition.
Frederic Edwin Church American, 1826-1900 View of Baalbek, circa 1868 Oil and pencil on heavy card 9 1/2 x 20 inches Provenance: The artist Sarah (Sally) and Louis Church, son of the artist By gift to Louise Good Murray, Patton, PA By descent to the current owner This painting was examined by the Church authority Dr. Gerald Carr, who was kind enough to provide the accompanying essay. We wish to thank Dr. Carr for his assistance in authenticating this work. In his discussion of the painting, Dr. Gerald Carr writes that it: ...has a provenance connected to and in my opinion is by the American landscape painter Frederic E. Church (1826-1900). Carefully brushed in oils over pencil outlines (a frequent procedure of Church's), it panoramically depicts the ruined temple precincts and surroundings at the ancient Roman city of Baalbek, in present-day Lebanon. Church memorably visited Baalbek with his wife Isabel (1836-99) in May 1868. The present picture is an important addition to his known oeuvre. Presumably Church painted it mostly or entirely outdoors. Aesthetically combining ''sketch" and "finished painting," the picture was, if he chose afterward (as he did), fit for framing, in this case for his and his wife's pleasure. The vantage point is from a slightly elevated position several hundred yards east southeast of the city's acropolis, looking approximately west northwest. Preceded by dry acreage--portions evidently a vineyard--partitioned with snaky low walls, and by the village of Baalbek (comprising, in Church's day, about one hundred houses), the architectural remnants are wreathed with rich greenery and backdropped by rolling, snow-crested Lebanese mountains extending toward the left (southwest). The chief visible architecture fragments are, at middle left, six tall Corinthian columns and connecting entablatures of the Great Temple (as it was then known), and, farther right and nearer on a lower platform, a robust, former peripteral Corinthian structure variously designated in the nineteenth century a Temple of Jupiter, Temple of the Sun, or, simply, Temple of Baal. A cylinder of one of the latter's fallen columns leans against its southeastern wall. (Presently identified as a temple of Bacchus, several of its encircling uprights have been re-erected in recent years). Traveling through the Holy Land with their mother-in-law and small son during early 1868, the married Churches--'mama' and 'the baby' (as Mrs. Church referred to them in an extant diary [photostatic copy, New-York Historical Society; typed transcript at Olana] she carried with her) remaining at Beirut--proceeded toward remote destinations via Jerusalem to Damascus. Thence, in late April 1868, accompanied by a few Euro-American men including a photographer, and escorted by an Arab guide and 'armed guard,' they headed by mule and camel caravan for the historically earthquake-prone "'giant cities of Bashan'"--Isabel's Church's re-quoted phrase, borrowed from the title of an oft-reprinted British book (1865, etc.) by Rev. J. L. Porter; the Churches owned an 1867 New York edition. Porter introduced "Bashan," a Biblical name associated with the region, by calling it "the land of sacred romance."1 The Churches had planned to visit the spacious Roman ruins at Palmyra in Syria, before proceeding to ancient Baalbek in Lebanon. Old Palmyra had staged events romanticized during the nineteenth century, especially involving its legendary Queen, Zenobia (third century A.D.). Mr. Church was interested in Zenobia; Rev. Porter had been more impressed with Palmyra than Baalbek. Regretfully unable, however, to reconnoiter the sizeable expedition required--in a different direction--for Palmyra, Church contented himself with meeting, at Damascus, a modern-day Zenobia, English-born "Lady" Jane Elizabeth Digby (1807-81), and viewing her sketches of Palmyra. At some point he also purchased about two dozen recent photographs of that site (all in the collections of Olana State Historic Site). But Baalbek, designated "Heliopolis"--"City of the Sun"--by Alexander the Great and in some nineteenth-century literature, was neither substitute nor consolation. It was instead a major, venturesome goal of Church's Near Eastern tour, comparable to the "stony mountains of Arabia Petrea" and "valley of Petra" in present-day Jordan.2 Unaccompanied by family members, Church intrepidly journeyed by camel convoy to and from Petra via Jerusalem, Gaza, Beirut, and Jaffa during February and March 1868. The English author of an architectural history (1855) that the Churches owned, described Baalbek's remnants as, altogether, "the most magnificent temple group now left to us of their class and age," while puzzling at the 'immense size' of their constitute stones.3 An English guidebook to the Near East (1868) by Rev. Porter that the Churches carried with them, referred to Baalbek's "world-wide celebrity" and "magnificence," which have "excited the wonder and admiration of every traveler who has been privileged to visit it;" the intricacies of the buildings' "sculptured friezes and doorways;" and their colossal "substructures."4 Other Euro-American writers of the nineteenth century and earlier ruminated on Baalbek's 'enormous magnitude and unparalleled richness;' its latter-day convulsive decay; and its elegiac historical elusiveness, akin, in some respects, to that of Stonehenge in England. In 1864 (English translation, 1865) a traveled male French Protestant cleric described Baalbek's component stones as "saturated with golden radiance" of centuries, and the "entire city" as a "sublime cenotaph" and "the ideal ruin of a dream, full of disorder, poetry, grandeur."5 Maria Cummins, in 1860 envisioned Baalbekian vestiges "thrown together in wildest confusion" atop a neighboring snow summit. She titled her tome (the Churches owned a copy) after a regional place name, El Fureidîs--loosely, Paradise".6 "With all this grandeur [at Baalbek] no human associations are linked; no great name of man or nation is bound up with these wonderful walls," wrote Elizabeth Rundle Charles (1828-96), a prolific, widely-published English author interested in theology, who had toured the "Bible Lands" in 1861. "What the eye saw" at Baalbek, Charles continued, "was grand beyond anything we had seen [elsewhere]; but what the eye saw was all."7 Had he read her words (her book, 1862, etc., was well known in Anglo-America), Frederic Church would have readied himself: his "eye" acuity exceeded any landscapist's of that period. C
Attributed to Frederic Edwin Church (American, 1826-1900), landscape with sunset, oil on canvas laid on panel, signed lower left, 5 1/2"h x 8"w (view), 10 1/2"h x 12 3/4"w (frame). Provenance: From a Florida estate.
Attributed to: Frederic Edwin Church (American 1826 - 1900), Antique oil on canvas, possibly study or preparatory for Twilight in the tropics / A Tropical Moonlight. Canvas size 26" x 19" some pencil markings on stretcher "FE Church"
AFTER FREDERIC EDWIN CHURCH (1826-1900): THE HEART OF THE ANDES Engraving with hand-coloring on heavy wove paper, 1826, with margins, published by J. McClure and Day & Son, engraved by William Forrest. 22 1/2 x 31 in. (sheet), 31 1/2 x 42 1/2 in. (frame). Provenance: Donald A. Heald, New York.
(New York, 1826 - 1900)View of Lake Lucerne, circa 1867, bears signature lower left "F.E. Church", oil on paper or fine canvas, 10 x 14 in.; 19th century gilt wood and composition frame, laid on canvas, signature added, crackle. Provenance: A New York Collection
(lot of 2) After Alberta Binford McCloskey (American, 1863 -1911), "Pink Poppies" and After Frederic Edwin Church (American, 1826-1900), View of Mount Chimborazo, acrylics on canvas, each bears no signature, canvas (each unframed): 24''h x 12''w
Church, Frederic E. (In the Manner of), 1826-1900, Connecticut / New York, Landscape. Oil on Canvas. Signed lower left "F. E. Curch 1874." h:13 w:17.50 in.
FREDERIC EDWIN CHURCH [AMERICAN 1826-1900], OIL ON PAPER ON BOARD, 9 5/8" X 15", TROPICAL LANDSCAPE: Unsigned landscape from direct descendants of Frederic E. Church's estate. From Olana Estate to Frederick Church's granddaughter to her child (the present seller). Framed in modern frame. Additional provenance: offered for sale at Sotheby's, 12-2-1993, lot 13, sale 6507, "American Paintings, Sculptures and Drawings" with the catalogue description including a complete authentication of the painting by Gerald L. Carr (who remembers the painting today as well). To see additional photos, please go to www.dumoart.com and click on the 'View Detail' for a total of 16 photos - see the last photo detail for the content of the Sotheby's catalogue description.
CHURCH, FREDERIC EDWIN. Niagara Falls. Mammoth chromolithographed print, 16 1/4x35 3/4 inches sight size (410x905 mm); light even toning; publisher's(?) overmat; modern mat and old gilt frame. [London: Day & Co., 1857 or later
![FREDERIC EDWIN CHURCH [AMERICAN 1826-1900], OIL ON PAPER ON BOARD, 9 5/8" X 15", TROPICAL LANDSCAPE](https://image.invaluable.com/housePhotos/DuMouchelles/82/422582/H0093-L44303983.jpg)
