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Check out the RiversideArtFinds Etsy store for new finds. Small paintings, etchings, tintypes, and frames. Inventory is available with the quick Etsy checkout system, of course I am always available by phone or email for questions or additional pictures. Great for gift items or a little art treat!
She attended no art schools, and started to paint at age fourteen, when she was taught by her mother.
When she died in 1878 at age 36, her father summed up the inspiration nature held for Smith, and her love of it, in “A Brief Sketch of the Life of Mary Smith, the Painter.” “Such habits early in life no doubt laid the foundation of that strong love of nature that was more a passion than a predilection, and remained the ruling principle of her life and art.”
As a child, she had enjoyed tending her flock of chickens, and these birds were often represented in her paintings. Chicks and chickens appear in “Picking Cherries,” for example. The browns, reds and yellows in the painting are characteristic of her rich, warm color.
Smith never married. She looked after the family home when her mother died in 1874.
In 1876, Smith exhibited at the Centennial International Exhibition in Philadelphia. She had often exhibited at the Pennsylvania Academy of the Fine Arts between 1859 and 1869, and the National Academy of Design exhibited two paintings in 1868.
Smith helped other women artists in Philadelphia for nearly a century after her death by bequeathing monies from sales of her work. In the student exhibition of the Pennsylvania Academy of the Fine Arts, the Mary Smith Prize was given yearly, until 1969, to a woman for her outstanding work.
Mary Smith’s paintings are in the Pennsylvania Academy of the Fine Arts in Philadelphia, and the Reading Public Museum, Pennsylvania.
She was born at the family’s rural home, Rockhill, a few miles north of Philadelphia, and settled at their next estate, Edgehill, in Jenkintown, Pennsylvania, for the rest of her life. Her mother, a noted flower and still-life painter, trained her at home, and Mary produced her first work at the age of fourteen. She quickly became an accomplished artist, showing her paintings at the Pennsylvania Academy of the Fine Arts annual exhibitions from 1859 to 1869, and again in 1876 and 1878. In her short career, she painted over three hundred paintings, which she carefully detailed in her “Account of Work Done by Mary Smith, Artist.” (Collection of the Archives of American Art, Smithsonian Institution.)
In his famous critical volume, “Book of the Artists” (1867), Henry Tuckerman remarked that Mary Smith’s work was “remarkable for grace, fidelity, and skill in the delineation of the feathered tribe-her special branch.” At the Edgehill estate, she raised and nurtured the beloved chickens she portrayed from nature, often incorporating landscape or still-life elements, as in this small table-top composition of a chick and a lovely bouquet of flowers-all painted in rich and delicate tones and textures.
She was one of the most promising young artists of the early 20th century in Boston. She quickly became a popular portraitist and figure painter and received praise for her work. One of the leading figures in the Arts & Crafts movement, Gretchen (Margaret) Rogers was born and educated in Boston. Among her teachers was Albert Munsell, inventor of the Munsell color system, an early attempt to classify color by value and hue. She produced both jewelry and decorative objects, often with saw-pierced rims and enameled interiors. As early as 1911, she exhibited at the Museum of Fine Arts, Boston, and she became a frequent contributor to annual exhibitions at the Pennsylvania Academy of the Fine Arts, the Art Institute of Chicago, and the Corcoran Gallery. In 1915, she won silver medals at the 1915 Panama-Pacific International – San Francisco Exposition.In 1915 Rogers was awarded the Society of Arts and Crafts Boston’s Medal of Excellence . In the 1930s, she submerged her career to domesticity and never painted again. (From AskArt, including notes from Hirshler, E. “A Studio of Her Own, Women Artists in Boston 1870-1940” )
The Arts and Crafts movement was an exciting time of change in the American aesthetic. Generally accepted to be between 1880 and 1920, with the core of popularity 1910- 1915. Well known is the distinctive Mission style Stickley furniture, Frank Lloyd Wright architecture, gorgeous pottery and stained glass. Emphasizing simple lines and breaking from the Victorian ornateness, arts and crafts focused on craftsmanship, color and form. Check the Paintings post 1900 page for four period works presented in vintage early twentieth century dark oak frames. Each a wonderful addition to the Arts & Crafts themed interior where period works are desired.
Just added, two new Robert Loftin Newman oil paintings. Newman is a very unique American artist born in 1827 and died in 1912. He is often compared to American icon Albert Pinkham Ryder but Newman was Ryder’s senior and biographical information confirms Newman was an established artist visited by Ryder – most likely the inspiration and influence traveled from Newman to Ryder. They painted a triptych together in 1898. Interested collectors and historians should obtain a copy of the 1974 book published by the Smithsonian in conjunction with the museum exhibition (by Marchal Landgren). It has much detailed history and many wonderful images on this great American artist. Note the Madonna and Child painting listed for sale here was in that very exhibition 40 years ago!
Best known for his equine art, he was the son of John Frederick Herring, Sr.,
animal and sporting painter.John F. Herring, Jr. was born in Doncaster c.1820; an older brother born 1815 and bearing the same name, presumably had died before 1820. John, as well as his brothers Charles and Benjamin all became painters in the style of their father and often collaborated on a single
painting. Herring Jr. undoubtedly benefited from his father’s popularity with
the British nobility and his sporting and animal paintings became increasingly
popular. After 1836, Herring Sr. began incorporating the Sr. at the end of his
signature to distinguish his works from those of his son’s.Though he stayed with the subject matter as before, in the course of his career, Herring Jr. began loosening his brushwork, widening his views, and, characteristically,
placing farm animals in farmyards or at the banks of a stream. He married Kate
Rolfe, an artist and the daughter of Alexander Rolfe, the English angling and
sporting artist. During his lifetime, Herring exhibited at all the major
exhibition halls including the Royal Academy, where he exhibited: The Farm –
Autumn (1863), Farm-yard (1864), Watering the Team (1869),
The Homestead (1871) and A Farm yard (1872) among others. John Frederick Herring, Jr. died in 1907.
John F. Herring was born in Surrey, England in 1795. For four years he drove
the coach, “York and London Highflyer”, and painting in his leisure, gained a
reputation as the “coachman-painter”. He eventually devoted himself
entirely to painting, receiving the only art instruction of his career from
Abraham Cooper. For thirty-three successive years he painted the winners of the
races at St. Leger. He exhibited at the Royal Academy from 1826; at the
British Institution and the Society of British Artists from 1841-1852. He died in 1865 at Tunbridge Wells, England.
John Frederick Herring Senior. was a member of an artistic family who specialized in sporting and animal subject matter. He preferred to paint racehorses and typically painted the likeness of the Derby and St. Leger winners. His worked was highly reproduced in engravings. Herring had three artist sons and a brother and it can be difficult to distinguish between the works of the various family members. ( From World Widwe)
Life and work
Herring, born in 1795, was the son of a London merchant of Dutch parentage, who had been born overseas in America. The first eighteen years of Herring’s life were spent in London, England, where his greatest interests were drawing and horses. In the year 1814, at the age of 18, he moved to Doncaster in the north of England, arriving in time to witness the Duke of Hamilton’s “William” win the St. Leger Stakes horserace. By 1815, Herring had married Ann Harris; his sons John Frederick Herring, Jr., Charles Herring, and Benjamin Herring were all to become artists, while his two daughters, Ann and Emma, both married painters.
In Doncaster, England, Herring was employed as a painter of inn signs and coach insignia on the sides of coaches, and his later contact with a firm owned by a Mr. Wood led to Herring’s subsequent employment as a night coach driver. Herring spent his spare time painting portraits of horses for inn parlors, and he became known as the “artist coachman” (at the time). Herring’s talent was recognized by wealthy customers, and he began painting hunters and racehorses for the gentry.
In 1830, John Frederick Herring, Senior left Doncaster for Newmarket, England, where he spent three years before moving to London, England. During this time, Herring might have received tuition from Abraham Cooper. In London, Herring experienced financial difficulties and was given financial assistance by W. T. Copeland, who commissioned many paintings, including some designs used for the Copeland Spode bone china. In 1840-1841, Herring visited Paris, painting several pictures, on the invitation of the Duc d’Orleans (the Duke of Orleans), son of the French King Louis-Phillipe.
In 1845, Herring was appointed Animal Painter to HRH the Duchess of Kent, followed by a subsequent commission from the ruling Queen Victoria, who remained a patron for the rest of his life.
In 1853, Herring moved to rural Kent in the southeast of England and stopped painting horse portraits. He spent the last 12 years of his life at Meopham Park near Tonbridge, where he lived as a country squire. He then broadened his subject matter by painting agricultural scenes and narrative pictures, as well as his better known sporting works of hunting, racing and shooting.
A highly successful and prolific artist, Herring ranks along with Sir Edwin Landseer as one of the more eminent animal painters of mid-nineteenth (19th) century Europe. The paintings of Herring were very popular, and many were engraved, including his 33 winners of the St. Leger and his 21 winners of the Derby. Herring exhibited at the Royal Academy from 1818-1865, at the British Institution from 1830-1865, and at the Society of British Artists in 1836-1852, where Herring became Vice-President in 1842
Thomas Percy Earl 1874 – 1947
Thomas Percy Earl was one of the renowned Earl family of sporting and animal painters. His father was George Earl (1824-1908), who was known principally as a painter of sporting dogs and who is also remembered for his important series of head studies Champion Dogs of England. George’s brother Thomas Earl (1836-1885) was a well-known painter of horses and dogs, who exhibited prolifically at the Royal Academy. Earl’s younger half-sister Maud Earl (1863-1943) was perhaps the pre-eminent painter of pure-bred dogs in the 19th Century, who painted dogs belonging to the Royal Family and whose work was widely reproduced in books and as prints. Maud emigrated to America during the First World War and died in New York.
Thomas Percy Earl was a fine and accomplished artist, whose horse portraiture is recognised as amongst the best of the period. Most of his work was commissioned by hunting families and consequently he does not appear to have exhibited his work in public galleries. In addition to the high quality of his paintings, they were well-composed and very natural, often including some favourite hounds, which set his work apart from the many horse portraitists of the day. He contributed some equestrian cartoons to Vanity Fair.
Born in Brooklyn, New York, Charles Appel is known for romantic landscapes and
marine paintings in Tonalist and Impressionistic styles.He was a pupil
of Francis Luis Mora and William Merritt Chase at the New York School of Art and
of Frank Vincent DuMond at The Art Students League. The major influence on his
career, however, was George Inness. Most of his life was spent in East
Orange, New Jersey from where he was active in New York art circles and was
elected a member of the Salmagundi Club in 1906. He studied at the New
York School of Art, New York City, with Francis Luis Mora and William Merritt
Chase, and at The Art Students League, New York City, with Frank Vincent DuMond.
He became a member of the Salmagundi Club, New York City, 1906. His work
is in the collections of the L.A. County Museum of Art, California, and Montclair Art Museum, New Jersey.