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Jewish artist CARVALHO Civil War Oil Painting FREMONT

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Curent Price

0.99 USD

Item #

320275530030

Status

Completed

Subject

Figures, Portraits

Date of Creation

1800-1899

Medium

Oil

Style

Realism

Original/ Reproduction

Original

Region of Origin

US

Signed?

Signed

Listed By

Dealer or Reseller

Size Type/ Largest Dimension

Medium (Up to 30")

End time

7/25/2008 11:05:57 PM (EST)

Ships From

St. Petersburg, FL

Category

Art > Art from Dealers & Resellers > Paintings

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Jewish artist CARVALHO Civil War Oil Painting FREMONT

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  • Described By: Barbara
  • Title: Jewish artist CARVALHO Civil War Oil Painting FREMONT
    Famous Jewish American painter explorer John C. Fremont a very
    important painting BY A VERY IMPORTANT ARTIST. A STUNNING FIND.
  • Signature: Signature and date lower left in red, S.N. Carvalho
  • Subject Matter: Civil War Colonel John C. Fremont
  • Medium: Oil
  • Material: Artists Board
  • Circa Date: 1864
  • Genre: Portrait / Realism
  • Condition of piece: Darkened by the last century of mellowed varnish, the painting was dismantled from it original gilded gesso and wood frame for better observation and photographing, exhibiting typical cracklure throughout, with edge wear rubbing to painting from frame. Frame suffers typical gesso and edge wear with scattered paint losses. Notice that the bright photos were taken with flash photography to better show detail.
  • Measurements: 14” high x 12” wide board, within a floral decorated gilded gesso and wood frame with a dome window, 20 ¾” high x 18 ¾” wide x 2 3/8” deep.
  • Provenance: The painting comes to us on consignment from a local Bay Area resident. She states the painting has been in her family for many years. This is NOT from a dealers inventory. This is a known painting and is listed in the inventory from the Metropolitan as being shown there in 1864.  
  • Shipping in the U.S.: NOTE: a small shipping and warehouse fee has been added due to the extra care in packaging and handling. Please note that shipping paintings and framed art can be very expensive due to the care and packaging of such sensitive materials. Smaller dimensions of packaging are obviously less expensive than larger paintings, which may cost hundreds of dollars due to their size and weight.
    Shipping charges are based on dimensional weight.
    An outsourced shipper may be used if so desired, and all paintings exceeding 28" x 34" in their entirety must be outsourced.

  • Sources: jewishvirtuallibrary /biography/carvalho, Library of Congress Website, and jewish-history.com/wildwest/carvalho
  • Here are the specifications

    Attention all historians and Civil War collectors - Hess fine Auctions is thrilled to offer for your consideration, this OUTSTANDING Civil War Union Solider portrait of explorer Colonel John C. Fremont by the Jewish American artist Solomon Nunes Carvalho who traveled with Col. Fremont's Last Expedition, during the winter of 1853-54, through the territories of Kansas, Colorado, and Utah searching for a railroad route to the Pacific.

    Painted with oils on board, the painting measures approximately 14” high x 12” wide, with the artists signature and date in the lower left corner in red (please see photos), S.N. Carvalho, within a floral decorated gilded gesso and wood frame with a dome window, measuring approximately 20 ¾” high x 18 ¾” wide x 2 3/8” deep.
    The reverse of the portrait is beautifully inscribed in calligraphic lettering of the era as follows;
    Painted and presented to the Metropolitan Fair for the benefit the Sick and Wounded Soldiers New York 21st March 1864 by Carvalho .
    With artist board label; Prepared Mill-Board, Winsor & Newton, ARTIST’ COLOURMEN, Co Per Majesty, and to, His Royal Highness Prince /Albert, 38, Rathbone Place, London
    Darkened by the last century of mellowed varnish, the painting was dismantled from it original gilded gesso and wood frame for better observation and photographing, exhibiting typical cracklure throughout, with edge wear rubbing to painting from frame. Frame suffers typical gesso and edge wear with scattered paint losses. Notice that the bright photos were taken with flash photography to better show detail. < BR >Paintings by artist Solomon Nunes Carvalho hang in the National Gallery and information on this historical Jewish artist can be found in the Library of Congress.

    Absolutely OUTSTANDING MUSEUM PIECE offered WITHOUT RESERVE with a starting bid of only 99 cents! Good luck on your bid!

    Please view our many detailed photos and read on for some brief biographies.

    Solomon Nunes Carvalho was born in Charleston, South Carolina, into a Jewish family of Spanish-Portuguese descent. Carvalho worked as both a painter and a photographer. During the winter of 1853-54, Carvalho accompanied the explorer John C. Frémont through the territories of Kansas, Colorado, and Utah searching for a railroad route to the Pacific. The daguerreotypes that Carvalho took on this expedition no longer exist. It is believed that the copy daguerreotype of an Indian village that came to the Library with the Brady collection was made from one of Carvalho's daguerreotypes.

    Major John C. Frémont (1813-90), popularly admired for his mapmaking expeditions to the West, was court-martialed on grounds of mutiny and disobeying orders on January 31, 1848. General Stephen Kearny brought charges against Frémont when a dispute arose over who held governing authority in California—a region that had been recently ceded to the United States by Mexico in accordance with the Guadalupe Hidalgo Treaty.

    In recognition of his role in the occupation of California, Commodore Robert F. Stockton appointed Frémont military governor of California in 1847. Meanwhile, federal authorities sent General Kearny to California to establish a government. Tension developed between Kearny and Stockton, with Frémont siding with Stockton. In August 1847, Kearny ordered Frémont arrested and charged with insubordination. Frémont was found guilty by a court martial and subjected to penalties, including removal from the army. Although this decision was reversed by President James K. Polk, Frémont chose to resign his commission.

    In spite of this episode, Frémont retained his popularity and esteem with the American public. He and his wife Jesse Benton Frémont, daughter of Missouri Senator Thomas Hart Benton, remained in California at their Mariposa County estate. During the Gold Rush, Frémont became a multimillionaire. His well-publicized explorations of the West and his exploits in California's rebellion against Mexico contributed to his election as one of California's first senators in 1850.

    In 1855, the Frémonts settled in New York. Frémont had established a reputation as an outspoken abolitionist. On June 17, 1856, the Republican Party nominated Frémont as their first presidential candidate. Frémont campaigned as the "Pathfinder" who would lead the country out of the shame of slavery.

    We also invite you to visit the other Art Auctions as the many other interesting decorative items from art to jewelry and watches, and please check out our “Buy it NOW or Best Offer” auctions! We gladly combine auctions for reduced shipping.




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    On Jul-16-08 at 20:10:30 PDT, seller added the following information:


    SquareTrade © AP6.0
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    On Jul-18-08 at 18:16:07 PDT, seller added the following information:

    please note:   a simple search of google books turned up a listing of the very beginning of the Metropolitan Museum in 1864 at the Metropolitan Fair in 1864 that this piece was exhibited.

    It is listed as number 267 as being a painting of MAJOR GENERAL FREMONT DONATED BY CARVALHO.  YOU CAN DO THE SEARCH YOURSELF. FURTHER WE FIND JUST HOW IMPORTANT THIS FAIR WAS IN THE FOLLOWING HISTORY OF THE METROPOLITAN: On April 13, 1870, when the Metropolitan Museum of Art was legally established Under a grant of incorporation voted by the New York State legislature, it had no collection. It did, however, have an influential hoard of trustees of twenty-seven gentlemen, among whom were major collectors of contemporary American pictures and a number of noted New York painters, including the landscapists Frederic Edwin Church and John Frederick Kensett. These and other artists had been involved intimately in discussions, meetings, and events that had resulted in the museum's incorporation.  

    The need for an art museum had been felt in New York City for many years. It was brought into focus by the great success OF the art exhibition at the center of the 1864 Metropolitan Fair which was organized to raise Rinds for the medical care of Union troops during the Civil War (see P1. III). The exhibition of a large number of American and European paintings was arranged under Kensett's direction and housed in a temporary building on Union Square at Fourteenth Street. [2] Three years later, this event was remembered in the introduction to Book of the Artists: American Artist Life... by Henry T. Tuckerman (1813-1871):

    The surprise delight exhibited by the thousands of oil degrees, who visited the Picture Gallery of the Metropolitan Fair, has suggested to many, for the first time, and renewed in other minds more emphatically, the need, desirableness, and practicability of a permanent and free Gallery of Art in our cities. The third metropolise of the civilized world [after London and Paris] should not longer he without such a benign provision for and promoler of high civilization. [3]

    Also in 1867 the idea of such a museum was given serious review by the art committee of New York City's Union League Club. Kensett was on the committee, as was the landscape painter Thomas Worthington Whittredge. According to the latter, the committee came up with a proposed list of founding trustees, which

    modestly left our names oat, and the matter took such a worldly turn that it was a long time before we were mentioned as ever having bad anything at all to do with the inception of The Metropolitan Museum of Art. [4]

    Whittredge's friend and fellow landscapist Sanford Robinson Gifford, a Civil War veteran, was another of the artist-organizers whose diffidence and modesty kept his name off the list of original trustees.

    All of those behind the concept of the museum shared the feelings of New York's elderly sage, the poet William Cullen Bryant (1794-1878), who in 1869 delivered a long speech at the Union League Club calling for an institution that would display art from around the world:

    Such a comment helps describe the supportive mood surrounding the birth of the museum.   GOOD LUCK!  THIS IS A HISTORIC PIECE OF ART THAT IS IMPORTANT IN SO MANY WAYS. 

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