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William Sartain

(1843 -  1924 )
SARTAIN William Mariana

Skinner /Feb 12, 2014
365.60 - 511.85
989.31

Find artworks, auction results, sale prices and pictures of William Sartain at auctions worldwide.
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Along with William Sartain, our clients also searched for the following authors:
Elie Nadelman, Hans Arp, Ethelbert White, Byron George Browne, Jean Puy, Manfred Schwartz, John Steuart Curry
Artworks in Arcadja
27

Some works of William Sartain

Extracted between 27 works in the catalog of Arcadja
William Sartain - At East Gloucester

William Sartain - At East Gloucester

Original
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Lot number: 122
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Description: WILLIAM SARTAIN (american 1843-1924) AT EAST GLOUCESTER Signed 'W. Sartain' bottom right; also inscribed '497 / At East Gloucester, Mass / 14-17 / W. Sartain' verso, oil on canvas 14 1/4 x 17 1/4 in. (36.2 x 43.82cm) provenance: From the Estate of Daniel W. Dietrich II.
William Sartain - In The Valley Of The Oise

William Sartain - In The Valley Of The Oise

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Lot number: 68165
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WILLIAM SARTAIN (American, 1843-1924) In the Valley of the Oise Oil on canvas 18 x 24 inches (45.7 x 61.0 cm) Signed lower right: W. Sartain FROM 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 - 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

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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
Other WORKS AT AUCTION
Description:
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.
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