Edward Chalmers Leavitt

"DUCK HUNT" MERGANSERS, DUCK CALL, SHOTGUN DATED 1889 FRAME 43 X 35 NEWCOMB

1889

Herb Booth (1942 - 2014) Texas Artist Image Size: 29 x 41 Frame Size: 39 x 51 Medium: Watercolor "Waterfowl" Geese, ducks, more Herb Booth (1942 - 2014) Wat...

Reveau Bassett (1897 - 1981) Dallas Artist Image Size: Varied Sizes: See description Frame Size: 16 x 16.25 Medium: Oil "Ducks in a Row" Individual imag...

Herb Booth (1942 - 2014) Texas Artist Image Size: 11 x 15 Frame: 19 x 24 Medium: Watercolor on Paper "Mallard Pasture" Signed Herb Booth (1942 - 2014) Wat...

Robert Quill Johnson (1927-1980) Castroville Artist Image Size: 30 x 40 Frame Size: 39 x 49 Medium: Watercolor / Mixed Media on Board, Signed "Covey of Bobwhites" Quail Castroville, ...

Impressive pair of large 19th-century game still lifes by the German painter Ferdinand Hoppe (1848–1890), each signed and dated “F. Hoppe 85” at lower left. Both works are oil on can...

In the closing years of the nineteenth century, American painters became infatuated with trompe l'oeil—French for "deceive the eye." It wasn't enough to paint well. The challenge was...

Vernon Ward British (1905-1985) Pintails in May Medium: Oil on canvas Framed size: 28 x 24 inches Unframed size: 22 x 18 inches Signed and dated 48 Provenance: Frost and Reed Gall...

ALFRED S. WALL United States, 1825-1896 Nature Morte: Fallen Doves (1865) Oil on canvas signed and dated lower left "Alfred Wall 1865" ref. 412APH13E 26 1/2" H x 32 1/2" W x 2 1/2" D [frame] 20 1/8" H x 26" W [canvas] Essay This finely executed still life painting captures a group of three doves laid upon a forest floor, rendered with meticulous attention to texture and natural detail. The composition follows the tradition of nature morte, a genre that captures the stillness of life through carefully arranged subjects. The artist employs a rich, earthy palette, contrasting the softness of the birds’ feathers with the dense foliage and scattered undergrowth, the colors in the foliage and fallen leaves suggesting an early fall setting for the scene. An almost ecclesiastical light falls on the doves, lighting them and showcasing the realism, drawing attention to the delicate gradations of color in the plumage and the subtle sheen of the wings. While the subject matter suggests themes of the hunt or the passage of life, the restrained execution avoids overt dramatization. Instead, the scene invites quiet contemplation, emphasizing form, texture, and atmosphere. Works of this nature were historically popular in European and American art, particularly in the 19th century, serving both as studies in naturalism and as reflections on mortality and transience. It is housed in what is almost certainly its first frame, a finely worked gilded composition that complements the painting beautifully with still-life emblems in the corners. Provenance: Private Collection, Senoia, Georgia Condition: Original stretchers in good condition, these only allowing for four keys instead of eight; linen is taut and unlined, in good condition. Ground layer is overall stable with fine age related craquelure throughout. Several losses under the frame rabbet that have associated inpainting. Areas of old overpaint on the dove chests removed during the conservation process. Our conservator removed the old varnish, inpainted the minor losses and applied a traditional Dammar varnish. Frame is likely the original frame and presents with minor losses, chips and overall discoloration to the gilding. A very fine presentation, ready to place. Biography Alfred S. Wall (1825–1896) was a central figure in the development of Pittsburgh’s artistic community during the 19th century. Born in Mount Pleasant, Pennsylvania, he was the son of English immigrants William and Lucy Wall. His father, a sculptor specializing in tombstones, instilled in him an appreciation for the arts, a legacy shared with his older brother, William Coventry Wall...