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George Caleb Bingham

United States (1811 -  1879 ) Wikipedia® : George Caleb Bingham
BINGHAM George Caleb John Quincy Adams

Grogan & Co.
Dec 6, 2015
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Artworks in Arcadja
44

Some works of George Caleb Bingham

Extracted between 44 works in the catalog of Arcadja
George Caleb Bingham - Martial Law

George Caleb Bingham - Martial Law

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Lot number: 137
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19 TH C. ENGRAVING, MARTIAL LAW , G.C. BINGHAM Lot 0137 DetailsShipping & PaymentAuction Terms & InfoLot 0137MARTIAL LAW pencil signed l.l. G C Bingham mezzotint/engraving, image 21.75 by 31 in.; framed under glass 31 by 39.5 in. After painting by George Caleb Bingham (Missouri, 1811-1879), engraved by John Sartain (1808-1897) Ex. Andriance Van Brunt (1836-1916) estate, St. Louis, MO Van Brunt fought in the Civil War with the 22nd New Jersey Infantry Regimen. After the war he began an architectural practice. In 1878 he moved to Kansas City and in associating with his brother John designed a large number of well known residences.ConditionTwo vertical lines of ghosting. Water damage to lower edge at corners. See photo.
George Caleb Bingham - The Jolly Flatboatmen

George Caleb Bingham - The Jolly Flatboatmen

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Lot number: 1080
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Description: GEORGE CALEB BINGHAM Missouri/Kansas, 1811-1879 "The Jolly Flatboatmen". After the original 1846 oil painting now in the National Gallery of Art, Washington, D.C. Engraved by T. Doney. Published by George S. Appleton. Provenance: The personal collection of the late Lewis "Julian" Kotekas, Manchester, New Hampshire. Image size 18.63" x 24". Unframed.
George Caleb Bingham - John Quincy Adams

George Caleb Bingham - John Quincy Adams

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Lot number: 19
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Description:

GEORGE CALEB BINGHAM

(American, 1811-1879)

JOHN QUINCY ADAMS

May 1844, oil on panel

10 x 7 3/4 in. (19 1/2 x 17 1/2 in.)

Provenance: Presented by the artist to his close friend James Sidney Rollins (1812-1888), then to his son, Curtis Burnam Rolilns (1853-1940), then by descent within the family.

Exhibitions: University of Missouri, Columbia, Missouri, 1910, cat. no. 23.

National Collection of Fine Arts, Smithsonian Institution, Washington, DC,

George Caleb Bingham
, October 2, 1967 - June 30, 1968 (label verso), cat. no. 8.; also shown: The Cleveland Museum of Art, Cleveland, OH and The Art Galleries, University of California Los Angeles, Los Angeles, CA.

National Portrait Gallery, Smithsonian Institution, Washington, DC,

The Life Portraits of John Quincy Adams
, November 5, 1970-Januray 3, 1971 (label verso).

Literature: Bloch, E. Maurice,

The Paintings of George Caleb Bingham, University of Missouri Press, 1986, cat. no. 133.

Other Notes: John Quincy Adams, the sixth president of the United States, recalls in his memoirs sitting for Bingham six times between the 14th and 29th of May 1844. According to art historian E. Maurice Bloch, Bingham produced this small oil on panel of Adams during these six sittings, and then, in 1850, created two additional portraits of Adams based on this work. Today, one of these later portraits hangs in the National Portrait Gallery in Washington, D.C., while the other hangs at the Detroit Institute of Arts. This painting was given by George Caleb Bingham to his close friend James Sidney Rollins (1812-1888) and has been passed down through generations of the Rollins family to the present owner.
George Caleb Bingham - Mrs. George Caleb Bingham And Son, Newton

George Caleb Bingham - Mrs. George Caleb Bingham And Son, Newton

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Lot number: 50
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LOT 50
GEORGE CALEB BINGHAM
1811 - 1879
MRS. GEORGE CALEB BINGHAM AND SON, NEWTON
8,000—12,000 USD
measurements
measurements
35 by 28 1/2 in.
alternate measurements
88.9 by 72.4 cm.
Description
oil on canvas, unframed
PROVENANCE
Mrs. Thomas Benton King (Clara Bingham), daughter of the artistand her husband, Stephenville, TexasMrs. William Perrin Bowdry (Clara King), granddaughter of theartist, Dallas, TexasMr. Robert G. Whittington, Jr., great-great grandson of the artist,Dallas, TexasPrivate Collection
EXHIBITED
Washington, DC, National Collection of Fine Arts, SmithsonianInstitution, 1967-68The Cleveland Museum of Art, 1968Los Angeles, The Art Galleries, UCLA, 1968
LITERATURE AND REFERENCES
Helen Fern Rusk, George Caleb Bingham: The Missouri Artist,Jefferson City, Missouri, 1917, p. 20John Francis McDermott, George Caleb Bingham, River Portraitist,Norman, Oklahoma, 1959, p. 426, no. 69Maurice E. Bloch, George Caleb Bingham: The Evolution of an Artistand A Catalogue Raisonne: Two Volumes, Berkeley, 1967, pp. 62, 64,336, illustrated p. 38Maurice E. Bloch, The Drawings of George Caleb Bingham with aCatalogue Raisonne, Columbia, Missouri, 1975, p. 37 (A97)Maurice E. Bloch, The Paintings of George Caleb Bingham: ACatalogue Raisonne, Columbia, Missouri, 1986, pp. 161-162,illustrated, pl. 121
CATALOGUE NOTE
Mostly self-taught, Bingham made his living painting portraitsof prominent citizens in the various parts of the country hevisited, from Missouri and Mississippi to Philadelphia, New Yorkand Washington, DC. The present portrait of his wife and son waspainted in the latter city. Newton was the eldest son of the artistand his wife, Sarah Elizabeth Hutchinison, whom he married in 1836.He was born in 1837 and died at the age of four. It is believedthat the present portrait was painted to serve as a memorial to thechild, possibly at the request of the mother.
George Caleb Bingham - Landscape: Rural Scenery

George Caleb Bingham - Landscape: Rural Scenery

Original 1845
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Lot number: 17
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LANDSCAPE: RURAL SCENERY
MEASUREMENTS
measurements
29 by 36 in.
alternate measurements
(73.7 by 91.4 cm)
DESCRIPTION
signed
G.C. Bingham
oil on canvas
Painted in 1845.
PROVENANCE
The American Art-Union, 1845 (acquired from the artist)
James Thompson, New York, 1845 (prize from the above)
Private Collection, Pittsburgh, Pennsylvania
Craig Libhart, Lancaster, Pennsylvania, 1974
Vose Galleries, Boston, Massachusetts, 1976
Acquired from the above, 1976
EXHIBITED
New York, The American Art-Union, 1845, no. 102
St. Louis, Missouri, St. Louis Art Museum; Washington, D.C., TheNational Gallery of Art,
George Caleb Bingham
,February-September 1990, pp. 97, 99, 100, 146, illustrated in colorp. 99, pl. 22
LITERATURE AND REFERENCES
Fern Helen Rusk,
George Caleb Bingham: Missouri Artist
,Columbia, Missouri, 1917, pp. 23, 125
John Francis McDermott,
George Caleb Bingham: RiverPortraitist
, Norman, Oklahoma, 1959, p. 413, no. 27
E. Maurice Bloch,
George Caleb Bingham: A CatalogueRaisonné
, Berkeley, California, 1967, pp. 48, 234
E. Maurice Bloch,
The Paintings of George Caleb Bingham: ACatalogue Raisonné
, Columbia, Missouri, 1986, no. 163, p. 173,illustrated p. 65
Michael Edward Shapiro,
George Caleb Bingham
, New York,1993, pp. 42, 45, 51, illustrated in color p. 42
CATALOGUE NOTE
In 1845, following a trip east to establish his reputation as anartist, George Caleb Bingham submitted two landscapes and two genresubjects to the American Art-Union. An increasingly popularinstitution, the American Art-Union drew large crowds to itsexhibitions and awarded works from the exhibitions to members ofthe union by way of lottery. Inclusion in an Art-Union exhibitionwas an easy way to catch the eye of discerning taste makers andBingham, after increasing notoriety in Missouri, sought to earnrecognition in the bigger metropolis of New York.
Bingham exhibited
Fur Traders Descending the Missouri
,
The Concealed Enemy
,
Cottage Scenery
and the presentwork,
Landscape: Rural Scenery
. Elizabeth Johns suggeststhat with his selection of two landscapes, "Bingham makes a claimfor his skills in the higher arena of landscape ...The landscapes... embodied Bingham's ambitions to exalt the view above theeveryday into the dignified realm of the aesthetic" (
GeorgeCaleb Bingham
, 1990, p. 97).
Bingham, like many American landscape artists, shaped histechnique based on the principles of the English landscape school,and most notably the work of Claude Lorrain, whose examples Binghamwould have seen through engravings. Of the two landscapes Binghamsubmitted to the American Art-Union, the present work and
Cottage Scenery
, the latter is more British in itsinterpretation of the landscape. Elizabeth Johns continues, "Theother painting,
Landscape: Rural Scenery
is a pendant [to
Cottage Scenery
]. The flora may be American or English—willows and oaks are found in abundance along rivers in bothsettings. But the young woman washing her clothes at the riverbank,with the humble accessories of the handmade bench and buckets,suggests beginnings, perhaps the beginnings of a settlement inMissouri. And while a Morland scene was clearly Bingham's teacherin
Cottage Scenery
, a painting by the American landscapistDurand was his guide for the second work. The magnificent oak treethat dominates the center of Bingham's image echoes the centralmotif in Durand's
The Solitary Oak
, one of the most popularlandscapes at the National Academy exhibition the previous yearwhen Bingham was in New York himself. The delicately narrativeaspect of Bingham's two landscapes, and their sources, provide twonuances of meaning:
Cottage Scenery
conveys the Englishantecedents of the Missouri settler, and
Landscape: RuralScenery
shows the settler in the vast American countryside. Thefirst painting points to pictorial sources, while the second honorsthe achievements of the new school of American landscapists"(
George Caleb Bingham
, 1990, p. 100).
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