Charles Alvah Walker

Brookside

1889

Born in Bohemia in what is now the Czech Republic, Rudolph Ruzicka emigrated to the United States when he was ten years old. His family settled in Chicago, where Ruzicka worked as a ...

Unframed

In 1852, twenty-nine year old William Bradford was a failing shopkeeper in Fairhaven, Massachusetts. With a wife and child at home, Bradford, by his own admission, “spent too much time in painting to succeed” in business. Rescued from insolvency by his well-to-do in-laws, this is not the beginning of a narrative that generally leads to a happy ending. Not so with Bradford, who ultimately found international fame and fortune as a painter of arctic seascapes and dramatic marine paintings. William Bradford, the artist, was a lineal descendant of the 17th-century Separatist leader William Bradford, a founder of the Plymouth Plantation, signer of the Mayflower Compact and Governor of the Plymouth Colony. Our Bradford born to a New Bedford ship outfitter in Fairhaven, Massachusetts By the nineteenth century, this line of Bradfords were Quakers, living on the tract purchased nearly two centuries earlier by their pilgrim ancestor. Fairhaven, across the mouth of the Acushnet River from the whaling center of New Bedford was described by a New York journalist in 1857 as “the Brooklyn of New Bedford” (Home Journal, January 3, 1857). Young Bradford displayed an early predilection for the arts, but his Quaker parents were disinclined to support this particular pursuit. After working in his father’s business and then for a dry goods merchant in New Bedford, by 1849 Bradford had set up in New Bedford as a “merchant tailor” offering outfits for “those going to California,” “seamen’s clothing,” custom-tailored “piece goods...

Signed (at lower right): FJK

William Mason Brown was born in Troy, New York, where he studied for several years with local artists, including the leading portraitist there, Abel Buel Moore. In 1850, he moved to ...

Oil and India ink on canvas, 34 1/4 x 54 1/4 in. Signed (at lower right): Joseph Lee Painted about 1876 EX COLL.: Captain Oscar Conrad Kustel (1834–1921), ...

Dramatic imagery from FILM NOIR series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett crea...

Dramatic imagery from FILM NOIR series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett crea...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of w...

David Hockney 220 for 2020. Art Edition No. 101–200 ‘Self-Portrait in My Living Room’, 2021 11-color inkjet print on cotton-fiber archival paper 45.7 × 102.6 cm (18 × 40.4 in) Signed, numbered and dated Edition number 47 (from an edition of 100) In mint condition Unframed From a small, picturesque farmhouse in the rich fields and meadows of the northern French region of Normandy, Hockney followed and recorded the changing seasons throughout the COVID-19 pandemic. For the past decade, Hockney’s medium of choice has been the iPad and it was this technological instrument, he used to spontaneously depict impressions of the Norman landscape surrounding him. The two-year project entitled “220 for 2020” documents the passage of time by portraying the first spring blossoms, the smell of summer, the saturated colours of autumn, and the stark shapes of dark branches in winter time. This poetic undertaking represented a lifeline for the artist, and offered its viewers a message of hope in unprecedented times. As part of this project, Hockney included drawings from his “La Grande Cour, Rumesnil, Normadie, 26 Juli 2019”, sketchbook. These almost autobiographical accounts started in the vicinity of the artist’s Los Angeles home...

Anton Schutz, 'Philadelphia – Broad Street', etching, edition not stated, circa 1927. Signed in pencil. Annotated 'Philadelphia Broad St. Showing City Hall', in another hand, in the ...

Anton Schutz, 'U.S. Chamber of Commerce', etching, edition not stated, 1928. Signed in pencil. Annotated 'U.S. Chamber of Commerce S/516', in another hand, in the bottom right margin...