William Sartain

(18431924 ) - Artworks
SARTAIN William Arab Camp, Algiers

Christie's /Aug 31, 2010
3,025.49 - 4,538.23
1,675.77

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Artworks in Arcadja
21

Some works of William Sartain

Extracted between 21 works in the catalog of Arcadja
William Sartain - Two Views Of The Washington Family

William Sartain - Two Views Of The Washington Family

Original 1865
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Lot number: 1167
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Two views of the Washington Family The first: William Sartain (1843-1924) after Christian Schussele (1824-1879) Washington and his Family, 1865 Engraving Published by Bradley & Co., 66 North Fourth Street, Philadelphia 13 3/4 x 19 1/4 (34.9 x 48.9cm) The second: John Sartain (1808-1897) after Edward Savage (1761-1817) The Washington Family, (n.d.) engraving Published by William Smith, 706 South 3rd Street, Philadelphia 16 1/4 x 23 3/4 (41.3 x 60.3cm) Footnotes Literature: For the Washington Family by Sartain after Schussele: Barbara J. Mitnick, The Changing Image of George Washington , (New York: Fraunces Tavern Museum, 1989), cat. no. 55, p. 38 Exhibited: Fraunces Tavern Museum, New York, 1989, The Changing Image of George Washington , cat. no. 55. Christian Schussele was a German-born artist; he studied under Paul Delaroche before emigrating to the United States, where he established a career as a history painter as well as a teacher at the Pennsylvania Academy of the Fine Arts in Philadelphia. Edward Savage was self-trained in America in the eighteenth century as a portrait painter; he is perhaps best known for his painting of The Washington Family (in the collection of the National Gallery of Art), which serves as the original source of this engraving. In it, George and Martha Washington are seen within a representation of Mount Vernon along with Martha's grandchildren Eleanor Parke Custis, George Washington Parke Custis, and the slave, William Lee. See Charles Henry Hart, Catalogue of the Engraved Portraits of Washington (New York, 1904), no. 236; "Two Memorable Birthdays: Famous Prints by John and William Sartain," The Antiquarian , Vol. II, No. 1 (February, 1924), pp. 22-23; and Mark Thistlewaite, The Image of George Washington: Studies in Mid-Nineteenth Century American History Painting , Ph.D. dissertation, University of Pennsylvania, 1977, p. 281.
William Sartain - Mariana

William Sartain - Mariana

Original -
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Gross Price
Lot number: 148
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William Sartain (American, 1843-1924) Mariana , Head of a Peasant Woman. Signed "W. Sartain" l.r., titled and numbered "Mariana/No. 321." on the reverse. Oil on canvas, 20 x 16 in., in a period frame (under glass). Condition: Craquelure, varnish inconsistencies, surface grime. William Sartain, Head
William Sartain - Meadow Brook

William Sartain - Meadow Brook

Original
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Price: Not disclosed
Lot number: 64073
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Description: WILLIAM SARTAIN (American, 1843-1924) Meadow Brook Oil on canvas 10 x 20 inches (25.4 x 50.8 cm) Signed lower right: William Sartain THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Philadelphia landscapist William Sartain was known primarily for his Tonalist paintings, especially scenes of the tidal wetlands of Nonquitt, Massachusetts, where he spent many summers, and along the Manasquam River in New Jersey, where he often traveled on weekends. He was a lifelong friend of Thomas Eakins, who was a classmate of his at the Pennsylvania Academy and with whom he shared an apartment in Paris while training there with Adolphe Yvon, Leon Bonnat in his Montmartre studio, and at the École des Beaux-Arts. At age thirty-three in 1876, upon returning to Philadelphia, Sartain experienced a brutal rejection from his father when he sought exhibition space in the International Centennial Exposition at Philadelphia. John Sartain, who was Secretary of the new Pennsylvania Academy at the time, and Director of the art section of the Exposition, refused to allow William to enter because he did not respect what his son was doing. In a fit of depression, William destroyed much of his early work and spent most of his time in New York, where he was able to distance himself from his father who was so powerful in the art world of Philadelphia. Sartain achieved critical success with his quiet works, which almost always have a powerful emotional charge to them.
William Sartain - Arab Camp, Algiers

William Sartain - Arab Camp, Algiers

Original 1902
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Gross Price
Lot number: 10
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Description:
William Sartain (American, 1843-1924) Arab Camp, Algiers signed 'WSARTAIN.' (lower right) oil on canvas 18 x 24 in. (45.7 x 61 cm.) Painted in 1902. D. Phillips, A Catalogue of the collection of American Paintingsin the Corcoran Gallery of Art, 1966, I, p. 146. D. Sellin, Memoirs of William Sartain, 1972, illustrated. Exhibited Knoxville, The Dulin Gallery of Art, A Century and a Half ofAmerican Painting, 3 April-13 May 1963, no. 17.
William Sartain - Andrew Johnson.

William Sartain - Andrew Johnson.

Original 1865
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Lot number: 107
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Description:
107. SARTAIN, William. Andrew Johnson. Philadelphia: Published by William Sartain, 728 Sansom Street. Printed by Irwin & Sartain, 1865. Mixed method, mezzotint and engraving. Printed on fine india and mounted onto thick wove sheet, as issued. "Proof" printed in lower left corner of sheet. Facsimile signature in lower right corner. Sheet size: 24 1/4 x 17 1/2 in. Condition : slight rubbed line in upper left corner. This is a rich impression of this commanding portrait of Andrew Johnson by William Sartain, one of the most celebrated American engravers. What is extremely interesting about this print of Johnson was that Sartain executed an identical portrait of Johnson's successor Ulysses S. Grant. Both images are almost identical with the exception of the sitter. Sartain published this print of Johnson in 1865 after his inauguration as President, and likewise the portrait of Grant must have been completed shortly after he assumed office. The astounding similarity between the two images raises questions about whether Sartain reworked the same plate for both portraits.
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