Spaightwood Galleries

120 Main Street, Upton MA 01568-6193; 800-809-3343

Last updated: 6/23/2019
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Readers of works like Jane Austen's Pride and Prejudice or Sense and Sensibility will remember the delight viewers took and the pride owners possessed at the parks they had enjoyed either by sight or right of ownership. Artists too were not insensible of the desire to tame the wilderness and to find sublimity in the sight of a newly constructed temple as seen from the other side of a lake or pond. Sometimes, clearly, the view was all.

Our selections by artists working in the 19th century includes the ever popular Anonymous, hard at work in a number of different genres and with results varying from work to work. Some are no more than a travel record, others quick sketches from life, others still, ways of thinking about possible ways to lay out a composition, yet still others finished works of art serving not only as a model for another work but as independent, polished pieces capable of standing on their own. Some of these artists are anonymous because they never had any desire to be thought of as artists; others because they hoped that the little they knew about how to draw could serve to help them remember something they wanted to remember but feared that publicly releasing them might bring them unflattering public attention. Others are by professional artists, sometimes continuing a long-time family trade, sometimes immensely successful, sometimes barely known. We have identified works by Hans (Johann) Beckmann, Theophile Chauvel, Heloise Suzanne Colin, William Crotch, Felix O. C. Darley, E. F. Gehme, Otto Greiner, Emil Kinkelin, Johann Mader, Mauer, Lothar Meggendorfer, Adrian Ludwig Richter, Marianne von Rohden, Samuel Prout, and Adalbert Wolfe.
William Crotch (English, 1774-1847), St. Clements Church, Oxford. Ink and watercolor on laid paper, 1826. Extensively annotated below the drawing and on verso. Below: "St Clements Old (2nd) Church Oxford 14th C. Dec 30 12:45 pm 1826. From the front of McCostons. Pears Esq. Children rode by." Verso: Drawing of the windows in the 3rd Church, Oxford, and comments on the distinctions. The church was subsequently pulled down and replaced by another, and its site is now a roundabout at the east end of Magdalen Bridge. Crotch was a musician and artist. He was an organist at Oxford from 1790-1810 and after that he was in London. Between 1799 and 1810, 3 of his landscapes were on display at the Royal Academy. In 1809, he executed 6 etchings on Christ Church, Oxford and 6 nature studies after his own drawings. The British Museum has three of his drawings and several of his lithographs, one of which, a landscape, is dated 1815. From our drawing, it is clear that his love of drawing and his love of Oxford were consistent parts of his life, even after he moved to London, and from the familiarity he shows with the people of Oxford in 1826, it seems he returned there later in his life. I owe the attribution of this beautiful little drawing to a kind letter from Mr. J.T. Munby BA FSA, Oxford Archaeology. Image size: 178x112mm. Price: Please call or email for current pricing information.
Anonymous (English School, early 19th century), Two horses grazing in a park. Ink and wash on paper, c. 1830. This is part of a collection of drawings put together in the 1830s by an Oxford don. A beautiful little drawing of horses at ease. Image size: 112x150mm. Price: Please call or email for current pricing information.
Wilhem Richter (Austrian, 1829-1892), Garden with sculptures. Signed and dated lower left. Richter specialized in genre scenes, hunting scenes, and portraits. The Musee de Gratz owns at least two of his paintigs. 3/4" tear upper right. Image size: 159x210mm. Price: Please call or email for current pricing information.
Heloise Suzanne Colin (French, 1820-1873), In the Garden. Pencil on wove paper, c. 1860. Suzanne Colin ws married to J. B. Leloir. She was a well-known observor of middle-class life during the Second Empire. Colin was a well-known observer of court life, working mostly in small-format paintings and miniatures. Image size: 242x206mm. Price: Please call or email for current pricing information.
Anonymous (English, late 18th-early 19th century), Wych Elms, St John's Walks, Cambridge. Pen and brown ink and wash on wove paper. Titled and dated July 25 on an attached paper label. Two mothers and their children talk while another person with his back to them looks off into the distance. Image size: 106x139mm. Price: Please call or email for current pricing information.
Johann Mader (Austrian, 1796-1848), St George and the Dragon. Ink drawing on wove paper, 1833. Mader was trained at the Academy in Vienna and then in Munich. Signed and dated in black ink. On the verso is a pencil drawing of a mounted knight battling a much more serpentine dragon. Dragon kiling, of course, is perhaps the ultimate act of taming nature one can imagine. Image size: 129x89mm. Price: Please call or email for current pricing information.
Anonymous (German or Austrian, 19th century), Two women talking in a garden while their children play with a dog and try to climb on their mother's lap and a young man spies on them from behind. Original pencil drawing. Old tape stain on the verso visible top right. Image size: 165x142mm. Price: Please call or email for current pricing information.
Emil Kinkelin (German, later 19th century), Farmhouse. Pencil on wove paper, c. 1870. A Karl Kinkelin (1842-1920), who may have been a relative (Father? uncle? brother?) was responsible for paintings for the Bavarian Court theatre in Munich. Image size: 153x382mm. Price: Please call or email for current pricing information.

Spaightwood Galleries, Inc.

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For directions and visiting information, please call. We are, of course, always available over the web and by telephone (see above for contact information). Click the following for links to past shows and artists. For a visual tour of the gallery, please click here. For information about Andy Weiner and Sonja Hansard-Weiner, please click here. For a list of special offers currently available, see Specials.

Visiting hours: Noon to six Saturdays and Sundays; other times by arrangement.
Please call to confirm your visit. Browsers and guests are welcome.