‎Impressionnisme‎

‎Cikovsky, Nicolai‎

‎Winslow Homer. Watercolors.‎

‎(New York), Hugh Lauter Levin, (1991). 120 S. Mit 16 s/w Textabb. u. zahlr. farbigen, meist ganzseitigen Abb. Quer-4to (30 x 42 cm). OLn m. illustr. Orig.-SU.‎

‎Winslow Homer [1836-1910]. - Zeigt eine Auswahl aus den über 700 Arbeiten umfassenden Aquarell-Werk: Arbeiten der frühen Jahre, Motive aus den im Nordosten Englands gelegenen Cullercoats, den Adirondacks und der Halbinsel Prouts Neck und schließlich Bilder, die bei Aufenthalten in den Tropen entstanden (u.a. Bermuda, Bahamas und Key West). - Sehr gutes, sauberes Exemplar‎

书商的参考编号 : 68573

‎CIPRIANI Renata -‎

‎Impressionisti francesi.‎

‎Milano, Garzanti, (anni '50) 16mo brossura editoriale con copertina illustrata a colori, pp. nn. (60 circa) con una tavola in antiporta e 38 tavole in nero e a colori, anche ripiegate e a pagina doppia (Serie Arte Garzanti) .‎

‎Clay Jean‎

‎L'impressionnisme‎

‎Hachette Réalités Cartonné avec jaquette 1996 In-4° cartonnage de l'éditeur sous jaquette illustrée, 317 pp., très nombreuses oeuvres reproduites en couleurs in et hors-texte, quelques photographies en noir et blanc, préface de René Huyghe ; incidents minimes sur la jaquette, très bon état Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

书商的参考编号 : bj566

‎CLARK Kenneth‎

‎French Landscapes‎

‎Catalogo di mostra, Marlborough Gallery, Londra ottobre - dicembre 1961. Testo di Kenneth Clark. Tavole in bianco e nero e a colori (opere di Pierre Bonnard, Eugène Boudin, Georges Braque, Gustave Caillebotte, Paul Cezànne, Jean-Baptiste-Camille Corot, Gustave Courbet, Andrè Derain, Raoul Dufy, Paul Guigou, Stanislas Lépine, Henri Matisse, Camille Pissarro, Paul Signac, Alfred Sisley, et al.). Catalogo delle opere. Lingua inglese . 8vo. pp. 100. . Molto buono (Very Good). . . .‎

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Autumn landscape with falling leafs.‎

‎o.J. Black chalk, surround by one line, on handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 29,4:22,5 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 115-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Clearing at the edge of the forest and big tree.‎

‎o.J. Black chalk, surround by one line, on handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 22,8:30,4 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 112-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎High sky with clouds above a hill.‎

‎o.J. Black chalk, surround by one line, on handmade paper, signed and dated in blue ?Eliot Clark 1904?, verso studio stamp. 22,7:28,7 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 096-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Hilly landscape with tree and fences.‎

‎o.J. Oil, on brown paper, signed in blue ?Eliot Clark?, verso studio stamp. 17,4:25,7 cm. ? Little bit dirty along margins.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 092-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Impression of a landscape with trees and water.‎

‎o.J. Brown chalk, on vellum (page of a sketch-book), monogram ?EC?, verso studio stamp. 12,8:18 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 080-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Impressionistic landscape with house, figure and trees.‎

‎o.J. Black chalk, surround by one line, on handmade paper, signed ?Eliot Clark?, verso studio stamp. 29:22,4 cm. ? Small damage at the right margin.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 097-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Impressionistic river landscape with trees under a high sky.‎

‎o.J. Black chalk, surround by one line, on handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 22,3:29 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 107-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Landscape with fields, bush and street in foreground.‎

‎o.J. Black chalk, surround by one line, on handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 24,5:35,3 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 100-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Landscape with trees on the left side.‎

‎o.J. Black and white chalk, surround by one line, on brown paper, signed ?Eliot Clark?, verso studio stamp. 30,5:22,6 cm. ? Damages at the margins.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 098-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Meadow with brook, tree and bush.‎

‎o.J. Chalk, surround by one line, on handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 22,5:29,2 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 102-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎New York, East River, nocturne.‎

‎o.J. Black and white chalk, surround by one line, (1910), on green paper, signed ?Eliot Clark?, verso studio stamp. 19:20 cm. Preparatory drawing for the oil-painting (53,3:61 cm) which was sold at Sotheby?s New York, June 21, 2006.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 091-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Riverscape, ships and tree in foreground.‎

‎o.J. Soft pencil, hightend with white, 1907, on grey paper, surround by one line, monogramm ?EC?, verso signed and dated ?Eliot Clark 1907? and studio stamp. 22,3:15,3 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 099-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Small forest of birch-trees.‎

‎o.J. Black chalk, surround by one line, on handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 22,4:29,1 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 078-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Study of yellow and lilac blooming plants.‎

‎o.J. Watercolour and gouache, on brown paper, monogram in blue ?EC?, verso studio stamp. 29,5:21 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 094-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎View across a river to trees and bushes on a hill.‎

‎o.J. Chalk, surround by one line, on handmade paper, signed with pencil ?Eliot Clark?, verso studio stamp. 29,1:22,3 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 101-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Wooded landscape by the river.‎

‎o.J. Black chalk, surround by one line, on handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 24,8:35,3 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

书商的参考编号 : 113-H

‎Clark, Walter A. - 1848 Brooklyn ? Bronxville/New York1917‎

‎Farmhouse behind trees and bushes.‎

‎o.J. Pastel, on grey vellum, monogrammed with pencil ?W. C.?, verso signed in blue pen ?Eliot Clark?. 29,5:42 cm. From the estate oft his son Eliot Clark.‎

‎?Born in Brooklyn, Impressionist Walter Clark (1848-1917) led a varied life prior to pursuing his artistic career. He originally studied to become an engineer at the Massachusetts Institute of Technology, traveled extensively through Europe and Asia after his graduation in 1869, and was a sheepherder in Wyoming for a short time. He eventually returned to New York in 1876, studying first at the National Academy of Design, then joining the Art Students League where he occupied a studio adjacent to George Inness. Inness, John Henry Twachtman, and Joseph DeCamp would all become significant influences on Clark?s art, which over the course of the 1880s and 1890s shifted from Tonalist-style pastoral landscapes to something more Impressionist in nature. Clark spent his summers at East Coast art colonies in places like Old Lyme, Connecticut and Ogunquit, Maine. His exhibition history with the National Academy of Design spanned multiple decades, and his art was featured at several major expositions, including the 1893 Columbian Exhibition in Chicago.? (Zit.: Madron Gallery, Chicago).‎

书商的参考编号 : 683-E

‎Clark, Walter A. - 1848 Brooklyn ? Bronxville/New York1917‎

‎Landscape, Impression.‎

‎o.J. Pastel, on grey paper (verso printed ornament), verso studio stamp. 21,3:25 cm. From the estate oft his son Eliot Clark.‎

‎?Born in Brooklyn, Impressionist Walter Clark (1848-1917) led a varied life prior to pursuing his artistic career. He originally studied to become an engineer at the Massachusetts Institute of Technology, traveled extensively through Europe and Asia after his graduation in 1869, and was a sheepherder in Wyoming for a short time. He eventually returned to New York in 1876, studying first at the National Academy of Design, then joining the Art Students League where he occupied a studio adjacent to George Inness. Inness, John Henry Twachtman, and Joseph DeCamp would all become significant influences on Clark?s art, which over the course of the 1880s and 1890s shifted from Tonalist-style pastoral landscapes to something more Impressionist in nature. Clark spent his summers at East Coast art colonies in places like Old Lyme, Connecticut and Ogunquit, Maine. His exhibition history with the National Academy of Design spanned multiple decades, and his art was featured at several major expositions, including the 1893 Columbian Exhibition in Chicago.? (Zit.: Madron Gallery, Chicago).‎

书商的参考编号 : 685-E

‎Clark, Walter A. - 1848 Brooklyn ? Bronxville/New York1917‎

‎Sketch of a Seascape with two loaded boats.‎

‎o.J. Pastel, on grey paper (verso printed ornament), monogramm ?W.C.?. 21,8:25 cm. From the estate oft his son Eliot Clark.‎

‎?Born in Brooklyn, Impressionist Walter Clark (1848-1917) led a varied life prior to pursuing his artistic career. He originally studied to become an engineer at the Massachusetts Institute of Technology, traveled extensively through Europe and Asia after his graduation in 1869, and was a sheepherder in Wyoming for a short time. He eventually returned to New York in 1876, studying first at the National Academy of Design, then joining the Art Students League where he occupied a studio adjacent to George Inness. Inness, John Henry Twachtman, and Joseph DeCamp would all become significant influences on Clark?s art, which over the course of the 1880s and 1890s shifted from Tonalist-style pastoral landscapes to something more Impressionist in nature. Clark spent his summers at East Coast art colonies in places like Old Lyme, Connecticut and Ogunquit, Maine. His exhibition history with the National Academy of Design spanned multiple decades, and his art was featured at several major expositions, including the 1893 Columbian Exhibition in Chicago.? (Zit.: Madron Gallery, Chicago).‎

书商的参考编号 : 688-E

‎Clausell, Joaquin and Jorge Alberto Manrique et al.‎

‎Joaquin Clausell y los Ecos Del Impresionismo en Mexico‎

‎This is a near fine softcover copy with virtually no wear. Completely clean inside and out. Text completely in Spanish. This catalog was prepared to accompany the exhibition of the same name presented at the Museo Nacional de Arte (Mexico, July-Oct. 1995). Texts by curator Jorge Alberto Manrique ('Impresionismo y Modernidad en México') and others. The essays contextualize Clausell's work within the Mexican art scene and the work of his contemporaries. Includes bibliographical references. Checklist with 178 works. 152 illustrations, almost all in color. 11" high X 9" wide, 192 pages. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.‎

‎COCCHI - AA. VV. (a cura di),‎

‎Mario Cocchi. Un pittore labronico del primo Novecento (1898-1957)‎

‎Saggio introduttivo di Francesca Dini. Con 182 illustrazioni in nero e a colori. Biografia, bibliografia ed elenco delle esposizioni. Antologia critica a cura di Mariangela Carrai . 8vo. pp. 158. . Perfetto (Mint). . . . Abbandonata la tecnica divisionista degli esordi, ha dipinto dal vero il mare e la campagna della sua Livorno per poi abbracciare un linguaggio formale più prossimo alla sensibilità novecentesca di un Soffici e di un Carrà.‎