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  The Mountain Ford

  The Mountain Ford

  Thomas Cole | 1846

  Painted two years before Cole’s early death, this picture appears to be the record of an entirely imagined vision, with an implied symbolic meaning. The mountain in the center, with light at its summit and shadow at its base, dwarfs and dominates the forest around it. Civilization has laid no mark on pure nature. Just at the edge of a murky body of water, however, a horseman appears on a hesitating white mount, pausing momentarily before plunging in to ford the dark and frightening depths. This confrontation of man and wilderness draws on a long allegorical tradition of the lonely rider journeying through an awesome world.

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  € 199,00
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  Santa Maria della Salute, Sunset

  Santa Maria della Salute, Sunset

  William Stanley Haseltine| ca. 1870

  The painting portrays the Basilica di Santa Maria della Salute in Venice, illuminated by the warm glow of a sunset. Haseltine masterfully captures the church’s elegant domes and intricate details, highlighting its grandeur against a striking sky and the still waters of the Grand Canal. His precise brushwork and ability to render atmospheric effects reflect his connection to the American Luminism movement, which emphasized light, clarity, and tranquility in landscape painting.

  Haseltine, widely recognized for his detailed depictions of landscapes and seascapes, frequently found inspiration in his travels across Europe, particularly in Italy. His work is distinguished by its meticulous attention to architectural forms and an acute sensitivity to light and atmosphere. In Santa Maria della Salute, Sunset, he conveys the serene beauty of Venice, capturing the balance between the city’s historic architecture and its natural surroundings. The Basilica itself, built in the 17th century as a votive offering following the plague, remains one of Venice’s most iconic landmarks, symbolizing both resilience and artistic splendor.

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  € 199,00
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  Heart of the Andes

  Heart of the Andes

  Frederic Church | 1859

  Frederic Church was the star pupil of Thomas Cole and the most important artist of the second generation of the Hudson River School. He did not limit himself to views of New York and New England; in the 1850s, inspired by the great explorer Alexander von Humboldt, he traveled to South America and created sketches that formed the basis for a grand panoramic painting of the Andes.

  Church painted nature with an uncanny level of detail and a lasting sense of awe. His landscapes embodied the American belief that expanding the frontier and territorial growth were part of the nation’s destiny. When this monumental painting was first exhibited in 1859—in a darkened room with hidden lighting—it caused a sensation. In many ways, the painting represented the Hudson River School’s ideas at their most dramatic peak.

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  € 199,00
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  Merced River, Yosemite Valley

  Merced River, Yosemite Valley

  Albert Bierstadt | ca. 1866

  On May 12, 1863, Albert Bierstadt embarked on his second journey to the American West, accompanied by journalist and explorer Fitz Hugh Ludlow. In August, they camped in California’s Yosemite Valley, likely influenced by Carleton E. Watkins’ stereoscopic photographs from 1861, which captured the valley’s breathtaking landscapes under different atmospheric conditions.

  During this expedition, Bierstadt created numerous studies that later served as the basis for several large-scale paintings completed in his New York studio. In this particular canvas, towering, rugged peaks dominate the scene, making the foreground figures appear small in comparison. These figures likely represent members of Yosemite’s Indigenous population, who had lived in the valley for thousands of years before Bierstadt’s arrival.

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  € 199,00