Jasper Francis Cropsey

(18231900 ) - Artworks Wikipedia® - Jasper Francis Cropsey
CROPSEY Jasper Francis Landscape View Near Catskill Mountain House

Christie's /May 22, 2014
21,963.54 - 36,605.90
31,990.00

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Artworks in Arcadja
170

Some works of Jasper Francis Cropsey

Extracted between 170 works in the catalog of Arcadja
Jasper Francis Cropsey - River Landscape

Jasper Francis Cropsey - River Landscape

Original 1855
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Lot number: 142
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Jasper Francis Cropsey (American, 1823-1900) River Landscape, 1855 oil on canvas signed J.F. Cropsey 12 1/4 x 18 inches. Property from a Private Collection Provenance: Zeniar Kizer Edwards Dwaine & Don Bauer Auctioneers, Windsor, Illinois Acquired from the above by the present owner The Newington-Cropsey Foundation has kindly confirmed the authenticity of this work and will include it in any forthcoming supplements to their catalogue raisonné of the artist. Please contact us for a complete condition report.
Jasper Francis Cropsey - The Greenwood Lake

Jasper Francis Cropsey - The Greenwood Lake

Original 1875
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Lot number: 46
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Jasper Francis Cropsey 1823 - 1900 THE GREENWOOD LAKE signed J. Cropsey and dated 1875 (lower left); inscribed For Louisville / The Greenwood Lake / J.F. Cropsey 1875, probably by the artist (on the stretcher) oil on canvas 19 by 28 1/2 inches (48.2 by 72.4 cm) Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication This painting will be included in the forthcoming catalogue raisonné of the artist's work to be published by the Newington-Cropsey Foundation. Provenance with Louis R. Menger, New York DeWitt Clinton Littlejohn, Oswego, New York Kende Galleries, Gimbel Brothers, New York Francis D. Culkin, Oswego, New York (acquired from the above, circa 1935) By descent from the above, the grandparents of the present owners Exhibited Kentucky, Louisville Industrial Exposition, September 1 - October 16, 1875, no. 134 According to Kenneth Maddox of the Newington-Cropsey Foundation, The Greenwood Lake was likely painted on the southwestern shores of this body of water that borders northern New Jersey and southern New York. The lake was a frequent subject for Cropsey as his wife's family lived in the area and his father-in-law built the artist a studio on their property. Other portrayals of Greenwood Lake by Cropsey can be found in the collections of the de Young Museum, San Francisco; the New York Historical Society and the Smithsonian American Art Museum, Washington. Between 1869 and 1876, one of the artist’’s most successful periods, Cropsey’’s representations of the American landscape favored a more poetic approach as opposed to a strictly topographical one. While the present depiction of the lake is accurately portrayed, the mountainous foreground is fictitious. The Greenwood Lake was most likely framed by Louis R. Menger, whose label appears on the reverse of the painting’’s frame, which in turn appears contemporaneous with the stretcher bars. Menger was a framer and art dealer based at 22 Dey Street in New York and both a friend and collector of Cropsey’’s work. During the 1850s Menger was known to occasionally represent the artist’’s paintings as a dealer and may have done so for The Greenwood Lake. In addition to the Menger label, the frame bears an original label addressing the work to “Littlejohn” of “14 Bronson St”. According to the 1974 Journal of the Oswego County Historical Society, DeWitt Clinton Littlejohn resided in a red brick house on Bronson Street, which was later occupied by the Veterans of Foreign War. Today, that house still stands at 14 Bronson Street and is still the home of the V.F.W. DeWitt C. Littlejohn began his career as a merchant in Oswego, but soon turned his efforts toward politics, becoming Mayor of Oswego from 1849 to 1855 and then member of the New York State Assembly, where he served as Speaker. During the American Civil War, Littlejohn recruited and eventually lead, as Colonel, the 110th New York Volunteer Infantry. Following the war, he was elected to the House of Representatives, serving from 1863 to 1865, during which time he chaired the Committee on Revolutionary Pensions. Ironically, The Greenwood Lake later came to be owned by another member of the House of Representatives, Francis D. Culkin, who, according to a 1945 Oswego Palladium-Times, lived just down the road from Congressman Littlejohn’’s original residence. This appears to be coincidence, as family lore has it that Congressman Culkin purchased the painting in the 1930s from Gimbel Brothers in New York City. Like Littlejohn, Culkin also served for a time in the military, with the New York Army National Guard in the Spanish-American War. Following his service, Culkin served as Secretary of the Oswego Civil Service Commission, eventual became District Attorney, from 1911 to 1921, and later judge of Oswego County. Culkin was elected to the House of Representatives in 1928 and served until his death in 1943. Canvas is lined. SURFACE: in good condition; color, texture and detail retention is very good--canvas shows through slightly in lights (sky area), which is more thinly painted than rest of surface UNDER UV: clean, aside from a few scattered specks in sky and a couple of small spots at lower right edge; surface was cleaned at one time--darks at lower corners (including signature and date) are still under older varnish In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Jasper Francis Cropsey - Interior Of A English Cathedral

Jasper Francis Cropsey - Interior Of A English Cathedral

Original 1866
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Lot number: 1310
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Description: JASPER FRANCIS CROPSEY American, 1823-1900 "Interior of a English Cathedral". Portrays the interior of Holy Trinity Church in Stratford-on-Avon, England, where William Shakespeare and his wife are buried. Signed and dated lower right "J.F. Cropsey 1866". Alternately titled "Burial Place of Shakespeare - Stratford on Avon", "Interior of Church at Stratford-on-Avon", "Shakespeare's Burial Place" and "Gothic Church Interior". Provenance: P.V. Rogers, Esq., July 10, 1866, "Burial Place of Shakespeare - Stratford on Avon 150.00" (JFC account book). Harry Shaw Newman Gallery, The Old Print Shop, Inc., New York, by 1946, no. 893 as "Interior of an English Cathedral". Bessie Cropsey Gillender, 1946. Howard A. Sharrott, Mountain Lakes, New Jersey. References: "Jasper F. Cropsey, 1823-1900, The Colorist of the Hudson River School" by Bartlett Cowdrey in the May 1946 issue of Panorama , p. 89. Illustrated as "Interior of an English Cathedral". "Looking Anew At Cropsey's Landscapes" by Jo Gibbs in the May 15, 1946 issue of The Art Digest , p. 8. Titled "Interior of an English Cathedral". Talbot 1977, p. 432, no. 145, illustrated as "Gothic Church Interior". Yarnall and Gerdts 1986, p. 885, no. 21461. Exhibited: Utica Art Association, Utica, New York, 1867, no. 198, as "Interior of Church at Stratford-on-Avon, Shakespeare's Burial Place". Harry Shaw Newman Gallery, The Old Print Shop, Inc., New York, 1956: "Jasper F. Cropsey, 1823-1900, The Colorist of the Hudson River School" as "Interior of an English Cathedral". Note: Prior to painting "Interior of an English Cathedral" in 1866, Cropsey painted "Interior of Arreton Church, Isle of Wright" in 1865 (NCF 456) and "Interior of Stoke Poges Church, Near Windsor, England", also in 1865 (NCF 205). For Cropsey's interest in William Shakespeare, see Anne Hathaway's Cottage , 1858 (NCF 359). Oil on canvas, 14.5" x 12". Framed. Small amount of inpainting around the edges of the canvas, receently professionally cleaned and revarnished.
Jasper Francis Cropsey - Landscape View Near Catskill Mountain House

Jasper Francis Cropsey - Landscape View Near Catskill Mountain House

Original -
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Lot number: 123
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Jasper Francis Cropsey (1823-1900) Landscape View near Catskill Mountain House signed 'J.F. Cropsey' (lower left)--dated '1867' (lower center) oil on panel 12¼ x 9½ in. (31.1 x 24.1 cm.) (Possibly) C.W. Wheeler. Private collection. Private collection, acquired from the above. Christie's, New York, 27 September 2011, lot 81. Questroyal Fine Art, LLC, New York, acquired from the above. Acquired by the present owner from the above, 2011.
Jasper Francis Cropsey - View Of Richmond Hill

Jasper Francis Cropsey - View Of Richmond Hill

Original
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Lot number: 81
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Property from a Private Collection, Charlottesville, Virginia Jasper Francis Cropsey (American, 1823-1900) View of Richmond Hill oil on canvas 12 1/2 x 20 1/2in Footnotes PROVENANCE: The artist Isabel Steinschneider, granddaughter of the above, by descent Private collection, doctor of the above, possibly acquired from the above Dr. Michael Bender, acquired from the above By descent to the present owner LITERATURE: K. Maddox, Jasper Francis Cropsey Catalogue Raisonné Works in Oil, Volume One: 1842-1863 , Hastings-on-Hudson, New York, 2013, p. 359, no. 670, illustrated. EXHIBITED: Hastings-on-Hudson, New York, Newington-Cropsey Foundation, Scenes from a Century Past--Reflections of the Spirit: Vibrant Forces for Rebirth as We Enter the New Millennium , 2000 (as Study for Richmond Hill in the Summer of 1862 ). Yonkers, New York, Hudson River Museum, The Panoramic River: the Hudson and the Thames , February 2-May 19, 2013, p. 164, illustrated (as Richmond Hill Study ). During his second trip England from 1856-1863, Jasper Cropsey produced two grand scale, panoramic landscapes that were met with great critical acclaim. Autumn - On the Hudson River of 1860 which now resides in the National Gallery in Washington D.C., was well received by the press and burnished the young artist's reputation earning him, in part, an audience with Queen Victoria. Following on his recent success, Cropsey unveiled Richmond Hill in the Summer of 1862 . Both works were massive in scale, nine and eight feet long respectively, and seen at the time as virtual pendants. The view of the Thames from Richmond Hill outside of London was always a popular prospect for many artists, poets and sightseers. The city of Richmond, Virginia derives its name because its view over the James River reminded its founder William Byrd of his experience in Richmond, England as a youth. Richmond Hill most likely dates from 1861 and is one of two extant preparatory oils for his larger composition. Here, the artist concentrates solely on the landscape attempting to capture the summer atmosphere above the shimmering river. In his later study he adds a couple of figures to the landscape, ultimately including an array of men, women, children and animals in the foreground in the final composition. Saleroom notices Please note that this lot is incorrectly listed as lot 82 in the printed catalog.
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