Harry Leith-Ross 1886-1973 oil Painting Harbor Marine Boat Nautical PA New Hope
$ 12500.00
Up for is an original Nautical Harbor Scene painting by important Pennsylvania
impressionist Harry Leith-Ross. The painting alone (without frame) measures 8.25 by 10.25 inches with the overall dimensions being slightly larger. It is signed (Leith-Ross) in the lower right corner. There is also the artists name printed on the back of the frame along with a few numbers possibly an inventory or framers numerical values and instructions. The painting depicts a few boats in Harbour sheilded by a wall that breaks the waves into a mist above...with the waves in the background pounding on a dark and gloomy day...a pretty challenging and complicated setting for the artist no doubt. I believe the painting... it has a sense of realism and action with waves pounding on the coast and the breakwall protecting the passive floating vessels within...and when you hold the painting in your hands you will be a believer also it is that good! To me that's what it is all about...is the painting believable? Was the artist successful? Did he convey what he intended to...I am truly honored to own and hold a painting of this importance in my hands. I am literally not worthy to talk about such a piece! This man has walked amongst the Gods of our time and earlier and literally has shaped the lives of many students and followers for decades in the past and even today...in a sense he has changed the World. At present his auction record stands for a public transaction at $198,400.00 at Sotheby's Arcade on 12/15/2004 as lot 14. That was no fluke his painting are historically significant and highly sought after... If you have any questions or something to share please message me. Buyer pays shipping. Guaranteed authentic as with all of our art...with 24 years of dedicated service...with honest intentions and admirable feedback that has been earned one sale at a time day by day over decades by those who speak freely...thank you... JohnnyProvenance: Private Collection, Western Michigan. The painting was part of a very interesting private collection in Western Michigan...and of course we bought it all !!! The good better and best as well as the Good, Bad and the Ugly... I mean the collection runs the gammet so stay tuned for some real exciting stuff from Coast to Coast self taught to Pennsylvania Impressionists. If you have any questions or something to share please message me. Shipping: Signature confirmation required buyer pays shipping. Biography: Landscape painter Harry Leith-Ross was born in Mauritius in 1886, a British possession in the Indian Ocean. He came to America as a seventeen year old. Before beginning, some ten years later in 1914, his studies at the Art Students League Summer School in Woodstock, New York at the relatively late age of twenty-eight, Leith-Ross had worked as a commercial artist. He studied with John F. Carlson and Birge Harrison at the League Summer School, and later with C. Y. Turner at the National Academy of Design in New York City. He then went to Paris, studying with Jean Paul Laurens at the Academie Julien and in England with Stanhope Forbes.Long associated with the Bucks County artists' colony in New Hope, Pennsylvania, Leith-Ross may have first gone there in 1912. It is definitely known that he visited the area in 1916 at the invitation of a student he had met when both attended the Art Students League Summer School in Woodstock, John Fulton Folinsbee. Birge Harrison, his former instructor at the League, whom he met again, was also there in New Hope during the winters from 1914 to 1916. The third and last generation of the New Hope colony would be comprised of artists like Leith-Ross, Folinsbee and Kenneth R. Nunamaker.It is somewhat ironic that Leith-Ross, so long affiliated with the New Hope School of American Impressionism, waited until 1935 to move permanently to that town on the banks of the Delaware River. Other artists in the community included Daniel Garber and the well-known Edward Willis Redfield, whose painterly style, Leith-Ross echoed in his landscapes of the region in the 1920s and 1930s. But, in the 1930s, Leith-Ross' style began to respond to the influences of modernism.Under the influence of Winslow Homer and Leith-Ross' grand-uncle, the well-known marine watercolorist Hendrik Willem Mesdag, 1831-1915, Leith-Ross painted his own realistic watercolors with a spontaneous fluency. As a boy, Leith-Ross had visited Mesdag's studio in Europe.Leith-Ross wrote The Landscape Painter's Manual, published in 1956. He taught painting in New Hope, Rockport and Gloucester, Massachusetts, and at the Art Students League Summer School. He was a visiting artist at the University of Utah, Southern Utah State College, and the University of Buffalo.Harry Leith-Ross was a member of the Allied Art Association, American Federation of Arts, Connecticut Academy of Fine Arts, the Salmagundi Club and National Academy of Design, in New York City, where examples of his work may be seen. He also exhibited at the Pennsylvania Academy of the Fine Arts in Philadelphia. Leith-Ross died in 1973.Source: Michael David Zellman, 300 Years of American Art Best Regards,JohnnyJohnnyCrystal Est. 1987
impressionist Harry Leith-Ross. The painting alone (without frame) measures 8.25 by 10.25 inches with the overall dimensions being slightly larger. It is signed (Leith-Ross) in the lower right corner. There is also the artists name printed on the back of the frame along with a few numbers possibly an inventory or framers numerical values and instructions. The painting depicts a few boats in Harbour sheilded by a wall that breaks the waves into a mist above...with the waves in the background pounding on a dark and gloomy day...a pretty challenging and complicated setting for the artist no doubt. I believe the painting... it has a sense of realism and action with waves pounding on the coast and the breakwall protecting the passive floating vessels within...and when you hold the painting in your hands you will be a believer also it is that good! To me that's what it is all about...is the painting believable? Was the artist successful? Did he convey what he intended to...I am truly honored to own and hold a painting of this importance in my hands. I am literally not worthy to talk about such a piece! This man has walked amongst the Gods of our time and earlier and literally has shaped the lives of many students and followers for decades in the past and even today...in a sense he has changed the World. At present his auction record stands for a public transaction at $198,400.00 at Sotheby's Arcade on 12/15/2004 as lot 14. That was no fluke his painting are historically significant and highly sought after... If you have any questions or something to share please message me. Buyer pays shipping. Guaranteed authentic as with all of our art...with 24 years of dedicated service...with honest intentions and admirable feedback that has been earned one sale at a time day by day over decades by those who speak freely...thank you... JohnnyProvenance: Private Collection, Western Michigan. The painting was part of a very interesting private collection in Western Michigan...and of course we bought it all !!! The good better and best as well as the Good, Bad and the Ugly... I mean the collection runs the gammet so stay tuned for some real exciting stuff from Coast to Coast self taught to Pennsylvania Impressionists. If you have any questions or something to share please message me. Shipping: Signature confirmation required buyer pays shipping. Biography: Landscape painter Harry Leith-Ross was born in Mauritius in 1886, a British possession in the Indian Ocean. He came to America as a seventeen year old. Before beginning, some ten years later in 1914, his studies at the Art Students League Summer School in Woodstock, New York at the relatively late age of twenty-eight, Leith-Ross had worked as a commercial artist. He studied with John F. Carlson and Birge Harrison at the League Summer School, and later with C. Y. Turner at the National Academy of Design in New York City. He then went to Paris, studying with Jean Paul Laurens at the Academie Julien and in England with Stanhope Forbes.Long associated with the Bucks County artists' colony in New Hope, Pennsylvania, Leith-Ross may have first gone there in 1912. It is definitely known that he visited the area in 1916 at the invitation of a student he had met when both attended the Art Students League Summer School in Woodstock, John Fulton Folinsbee. Birge Harrison, his former instructor at the League, whom he met again, was also there in New Hope during the winters from 1914 to 1916. The third and last generation of the New Hope colony would be comprised of artists like Leith-Ross, Folinsbee and Kenneth R. Nunamaker.It is somewhat ironic that Leith-Ross, so long affiliated with the New Hope School of American Impressionism, waited until 1935 to move permanently to that town on the banks of the Delaware River. Other artists in the community included Daniel Garber and the well-known Edward Willis Redfield, whose painterly style, Leith-Ross echoed in his landscapes of the region in the 1920s and 1930s. But, in the 1930s, Leith-Ross' style began to respond to the influences of modernism.Under the influence of Winslow Homer and Leith-Ross' grand-uncle, the well-known marine watercolorist Hendrik Willem Mesdag, 1831-1915, Leith-Ross painted his own realistic watercolors with a spontaneous fluency. As a boy, Leith-Ross had visited Mesdag's studio in Europe.Leith-Ross wrote The Landscape Painter's Manual, published in 1956. He taught painting in New Hope, Rockport and Gloucester, Massachusetts, and at the Art Students League Summer School. He was a visiting artist at the University of Utah, Southern Utah State College, and the University of Buffalo.Harry Leith-Ross was a member of the Allied Art Association, American Federation of Arts, Connecticut Academy of Fine Arts, the Salmagundi Club and National Academy of Design, in New York City, where examples of his work may be seen. He also exhibited at the Pennsylvania Academy of the Fine Arts in Philadelphia. Leith-Ross died in 1973.Source: Michael David Zellman, 300 Years of American Art Best Regards,JohnnyJohnnyCrystal Est. 1987
