HUDSON MINDELL KITCHELL AMERICAN, NEW YORK, 1862-1944 AMERICAN LANDSCAPE Oil on canvas Lower right signed: H. M. Kitchell Catalogue note: Hudson Kitchell was an early 20th Century American artist known primarily for his luminescent and tonalist landscapes. Kitchell was a contemporary and friend of the artist Ralph Blakelock; his use of color and heavy impasto often led to his landscapes being compared to Blakelock's in style and composition.
American, 1862-1944 The Gloaming, 1910 Signed HMMitchell and dated 1910 (lr) Oil on canvas 12 1/4 x 16 1/4 inches (31.1 x 41.3 cm) (Framed 16 1/4 x 20 inches)
Tonalist depiction of a distant forest across a lake in subdued colors. Kitchell is best known for is tonalist and luminescent landscapes, exhibiting at the Society of Independent Artists.
Hudson Mindell Kitchell (AMERICAN / NEW YORK / NEW JERSEY / RHODE ISLAND, 1862 - 1944) oil painting on canvas depicting a landscape scene with figures. Signed to lower left. Mounted in a gold gilt wooden frame. Canvason stretcher measures approx. 8" height x 12" width. Measures approx. 18 1/4" height x 22 1/4" width overall including frame. Shows loss on frame. Some cracqueleture. Otherwise, appears in overall good conditionfor age. JD/B13/SH:14B
Hudson Mindell Kitchell (America, 1862-1944). This oil painting on canvas is faintly signed, lower right. The work is housed in the inner layer of a gilt frame. The autumnal landscape painting has craquelure, varnish beading, and paint loss to its outer margins. The canvas measures 12" x 16", and the inner frame measures 15 1/2" x 19 1/2". In-house shipping is available. Please see our website regarding our in-house shipping procedures.
Hudson Mindell Kitchell, American, 1862-1944, Fall Landscape, oil on canvas laid onto board, signed lower left, on small wooden easel in an Beers Brothers c.1890 American wooden frame, labeled
Hudson Mindell Kitchell, American, 1862-1944, oil on canvas laid onto board, signed lower left, on small wooden easel in an Beers Brothers c.1890 American wooden frame, labeled
This is an original Hudson Mindell Kitchell (American, 1862-1944) oil painting on board featuring an Autumn landscape with a view of open water in the background. Signed on the lower right corner. The board is backed with some newsprint of horse racing dating to Daturday, April 26, 1913. The frame is 19 1/4 x 15 1/4". The sight is 13 1/2 x 9 5/8". The board is 14 x 10"
Hudson Mindell Kitchell (American / New York 1862-1944), "Autumn Landscape" oil on canvas depicting a tree with copper leaves near water on a sunny day, signed H. M. Kitchell to lower left and having a Knoke Fine Arts Marietta GA label en verso, framed. Approximate measurements: canvas h. 16. 125", w. 20. 25"; frame h. 21. 75", w. 25. 75", d. 2. 625".
Hudson Kitchell (American 1862-1944), oil on canvasboard landscape, signed lower right, 10" x 14". Competitive in-house shipping is available for this lot.
(American, 1862-1944) Boater at Dusk, signed lower left "H.M. Kitchell", oil on board, 25 x 30 in.; ornate carved gilt wood and composition frame, 36 x 43 in. Provenance: Dave and Chris Knoke, Marietta, Georgia
Hudson Mindell Kitchell American, (1862 - 1944) landscape, 1920 oil on canvas Signed and dated lower right. Biography from the Archives of askART: Hudson Mindell Kitchell was born in Madison, New Jersey in November 1862. Little is known about the artist's childhood and formal art education. Historical records indicate that Kitchell married Lydia Pierce of Rhode Island in September 1880, when he was just seventeen. The young couple had a son, Percy, four years later. In the early part of his career, Kitchell worked as a contract painter in a Newark art factory. He was listed in local directories as a "painter and decorator" throughout the 1880s. Kitchell is known primarily for his ethereal landscapes and forest scenes. His distinctive work is often compared to that of the Tonalist master, Ralph A. Blakelock. In fact, the lives of the two artists are inextricably entwined. Blakelock and Kitchell first became acquainted at the art factory, Meekers, where they worked closely together for some years: "To help with expenses, he (Blakelock) took a menial job painting plaques, trinkets, and mass-produced landscapes in an art factory, E. C. Meekers Art Novelty Shop, in Newark…. Of course, the other artists knew whom he was. H. M. Kitchell …was part of the (Meekers) team, and became a friend and imitator. Kitchell, a strongly built man and a heavy drinker, was called 'the mick' and was said to keep a quart of whiskey on his easel. He 'could uncork it and take a drink with his left hand while still rubbing color with his right.'" [Source: The Unknown Night: The Madness and Genius of R. A. Blakelock by Glyn Vincent] In the late 1880s, Kitchell left Meekers to set up a paper business with several investors. In 1890, the artist established the Kitchell Embossing Company in Bayonne, N.J., which he sold six years later. From 1889 to 1904, the Kitchell family resided in Brooklyn, New York. They subsequently relocated to nearby Long Island where the artist set up a new studio at 305 Fairtown Park in Hempstead. At that time, Kitchell became embroiled in an art scandal widely publicized by the press. It was alleged that the artist was part of a forgery ring that produced copies of Blakelocks. However, these charges were never substantiated. Recent biographies on Blakelock address the counterfeiting allegations that pursued Kitchell throughout his latter years: "So abundant were the forgeries that the authorities began an investigation. John T. Dooling, an assistant district attorney of New York City, was quoted in an newspaper report as saying that 'there is a factory somewhere in Brooklyn where clever artists are turning out scores of Blakelocks….' After his meeting with Blakelock, Dooling investigated a former student and associate of the artist, H. M. Kitchell, a painter and a decorator, who had known Blakelock thirty-five years earlier, when they had worked for the same furniture maker. They had collaborated on decorating panels, screens and furniture with Blakelock doing the landscapes and Kitchell, the still lives. After the furniture maker went out of business, Kitchell became a paper salesman and later a painter. Through much of his forty-year career, Kitchell painted typical Blakelock subjects such as moonlit forest scenes with thickly painted trees, forest interiors, and Indian encampments which he rendered more prosaically… Although Kitchell admitted having touched up one painting Blakelock identified as spurious, Dooling did not press charges." [Source: Ralph Albert Blakelock by A. A. Davidson] "Mrs. (Beatrice Van Rensselaer) Adams, however, pressed on with her own investigation. She was convinced that the Young Gallery in Chicago was responsible for selling a number of fake paintings made in the New York area. About a month after Dooling gave up, Adams, accompanied by a detective, went to Lynbrook, Long Island, and paid a surprise visit to the studio of H. M. Kitchell, whom she suspected of supplying Young with fakes…. The art periodicals rallied to Young and Kitchell's defense, portraying her (Mrs. Adams) as a philistine who had long exploited Blakelock for sensationalistic purposes. But Adams, this time, was not far off the mark. Kitchell, it turned out, was none other than the 'mick', the painter who had once worked alongside Blakelock in the art factory in Newark in the early 1880s. Kitchell did indeed paint like Blakelock and admitted to supplying Young with dozens of paintings. Kitchell, though, said he signed his own name to his work." [Source: The Unknown Night: The Madness and Genius of R.A. Blakelock by Glyn Vincent] "Kitchell continued to cast his shadow. On March 24, 1923, Robert Vose wrote that he heard that Cora (Blakelock) had authenticated Blakelocks that 'in the opinion of my informants were very bad.' He was concerned that N.Y. and Chicago were being flooded with 'pictures of the Kitchell brand,' and because of this many dealers were afraid to handle Blakelocks." Letter from R. Vose to Allen Blakelock, 1924. [Source: Ralph Albert Blakelock by A. A. Davidson] The mystery of who painted the fake Blakelocks may never be solved. Did Kitchell, who worked alongside Blakelock at Meekers, forge the work of his friend and colleague since Blakelock paintings were fetching record-breaking prices? Did unscrupulous dealers "reassign" Kitchell's work to Blakelock? Or were the counterfeit Blakelocks created by third parties unknown to either Blakelock or Kitchell? Regardless of the answer to these questions, it is clear that the quality of Kitchell's original body of work has withstood the test of time. The artist received a modest level of critical recognition and success in the 1910s and 1920s. During this time frame, he actively exhibited his Tonalist paintings, which commanded respectable prices in the art market. Unfortunately, it appears that the artist entered a period of obscurity after the twenties. Like many painters, Kitchell may not have been able to comfortably support his family during the Great Depression that began in late 1929. Allen P. Crawford, a dealer and expert on Kitchell, reported that the artist "died a pauper" in Providence, Rhode Island in 1944. H. M. Kitchell was interred at the North Burial Ground in Providence, alongside his wife who passed away twelve years earlier. Nearly four decades after Kitchell's death, there was a resurgence of interest in his paintings. Retrospectives of the artist's work included an exhibition at the Barnwell County Museum (1980) and an exhibition by the Anderson County Arts Council, S.C. (1981). Today, Kitchell's haunting landscapes and seascapes are sought after by collectors of American Tonalism. H. M. Kitchell is listed in numerous art reference books including, but not limited to: Beyond Madness - The Art of Ralph Blakelock: 1847-1919 (2007) by Norman Geske; The Artists' Bluebook (2005) by Lonnie Pierson Dunbier; Davenport's Art Reference (2005) by Ray Davenport; The Unknown Night: The Madness and Genius of R. A. Blakelock (2003) by Glyn Vincent; Who Was Who in American Art, 1564-1975 (1999) by Peter Hastings Falk; Ralph Albert Blakelock (1996) by Abraham Davidson & R.A. Blakelock; A Checklist of Painters c. 1200-1994 Represented in the Witt Library (1995) by the Witt Library & Courtauld Institute of Art, London; The American Painting Collection of the Sheldon Memorial Art Gallery (1988) by Norman Geske & Karen Janovy; The Society of Independent Artists: Exhibition Records 1917-1944 (1984) by Clark Marlor; and the Directory to the Bicentennial Inventory of Paintings (1976) by the National Collection of Fine Arts. The work of H.M. Kitchell is in the following museum collections: Philbrook Art Museum, Tulsa, OK; Michigan University Museum of Art; Smithsonian American Art Museum; and Hibbing Library Collection - Hibbing, MN. Published exhibitions of Kitchell's work during his lifetime included: Philadelphia Galleries - Feb 1917; Brooklyn Society of Artists, the Red Cross Exhibition - Oct 1917 (aka the International Studio); Inaugural Exhibition of the Butler Art Institute - 1918-19; Young's Galleries of Chicago - 1918; Canadian Club of NYC - 1924; and the Society of Independent Artists - 1924. Biography from the Archives of askART Photo of Hudson Mindell Kitchell Hudson Mindell Kitchell (1862-1944) - New Jersey, New York, Rhode Island Hudson Mindell Kitchell was born in Madison, New Jersey in November 1862. Little is known about the artist's childhood and formal art education. Historical records indicate that Kitchell married Lydia Pierce of Rhode Island in September 1880, when he was just seventeen. The young couple had a son, Percy, four years later. In the early part of his career, Kitchell worked as a contract painter in a Newark art factory. He was listed in local directories as a "painter and decorator" throughout the 1880s. Kitchell is known primarily for his ethereal landscapes and forest scenes. His distinctive work is often compared to that of the Tonalist master, Ralph A. Blakelock. In fact, the lives of the two artists are inextricably entwined. Blakelock and Kitchell first became acquainted at the art factory, Meekers, where they worked closely together for some years: "To help with expenses, he (Blakelock) took a menial job painting plaques, trinkets, and mass-produced landscapes in an art factory, E. C. Meekers Art Novelty Shop, in Newark…. Of course, the other artists knew whom he was. H. M. Kitchell …was part of the (Meekers) team, and became a friend and imitator. Kitchell, a strongly built man and a heavy drinker, was called 'the mick' and was said to keep a quart of whiskey on his easel. He 'could uncork it and take a drink with his left hand while still rubbing color with his right.'" [Source: The Unknown Night: The Madness and Genius of R. A. Blakelock by Glyn Vincent] In the late 1880s, Kitchell left Meekers to set up a paper business with several investors. In 1890, the artist established the Kitchell Embossing Company in Bayonne, N.J., which he sold six years later. From 1889 to 1904, the Kitchell family resided in Brooklyn, New York. They subsequently relocated to nearby Long Island where the artist set up a new studio at 305 Fairtown Park in Hempstead. At that time, Kitchell became embroiled in an art scandal widely publicized by the press. It was alleged that the artist was part of a forgery ring that produced copies of Blakelocks. However, these charges were never substantiated. Recent biographies on Blakelock address the counterfeiting allegations that pursued Kitchell throughout his latter years: "So abundant were the forgeries that the authorities began an investigation. John T. Dooling, an assistant district attorney of New York City, was quoted in an newspaper report as saying that 'there is a factory somewhere in Brooklyn where clever artists are turning out scores of Blakelocks….' After his meeting with Blakelock, Dooling investigated a former student and associate of the artist, H. M. Kitchell, a painter and a decorator, who had known Blakelock thirty-five years earlier, when they had worked for the same furniture maker. They had collaborated on decorating panels, screens and furniture with Blakelock doing the landscapes and Kitchell, the still lives. After the furniture maker went out of business, Kitchell became a paper salesman and later a painter. Through much of his forty-year career, Kitchell painted typical Blakelock subjects such as moonlit forest scenes with thickly painted trees, forest interiors, and Indian encampments which he rendered more prosaically… Although Kitchell admitted having touched up one painting Blakelock identified as spurious, Dooling did not press charges." [Source: Ralph Albert Blakelock by A. A. Davidson] "Mrs. (Beatrice Van Rensselaer) Adams, however, pressed on with her own investigation. She was convinced that the Young Gallery in Chicago was responsible for selling a number of fake paintings made in the New York area. About a month after Dooling gave up, Adams, accompanied by a detective, went to Lynbrook, Long Island, and paid a surprise visit to the studio of H. M. Kitchell, whom she suspected of supplying Young with fakes…. The art periodicals rallied to Young and Kitchell's defense, portraying her (Mrs. Adams) as a philistine who had long exploited Blakelock for sensationalistic purposes. But Adams, this time, was not far off the mark. Kitchell, it turned out, was none other than the 'mick', the painter who had once worked alongside Blakelock in the art factory in Newark in the early 1880s. Kitchell did indeed paint like Blakelock and admitted to supplying Young with dozens of paintings. Kitchell, though, said he signed his own name to his work." [Source: The Unknown Night: The Madness and Genius of R.A. Blakelock by Glyn Vincent] "Kitchell continued to cast his shadow. On March 24, 1923, Robert Vose wrote that he heard that Cora (Blakelock) had authenticated Blakelocks that 'in the opinion of my informants were very bad.' He was concerned that N.Y. and Chicago were being flooded with 'pictures of the Kitchell brand,' and because of this many dealers were afraid to handle Blakelocks." Letter from R. Vose to Allen Blakelock, 1924. [Source: Ralph Albert Blakelock by A. A. Davidson] The mystery of who painted the fake Blakelocks may never be solved. Did Kitchell, who worked alongside Blakelock at Meekers, forge the work of his friend and colleague since Blakelock paintings were fetching record-breaking prices? Did unscrupulous dealers "reassign" Kitchell's work to Blakelock? Or were the counterfeit Blakelocks created by third parties unknown to either Blakelock or Kitchell? Regardless of the answer to these questions, it is clear that the quality of Kitchell's original body of work has withstood the test of time. The artist received a modest level of critical recognition and success in the 1910s and 1920s. During this time frame, he actively exhibited his Tonalist paintings, which commanded respectable prices in the art market. Unfortunately, it appears that the artist entered a period of obscurity after the twenties. Like many painters, Kitchell may not have been able to comfortably support his family during the Great Depression that began in late 1929. Allen P. Crawford, a dealer and expert on Kitchell, reported that the artist "died a pauper" in Providence, Rhode Island in 1944. H. M. Kitchell was interred at the North Burial Ground in Providence, alongside his wife who passed away twelve years earlier. Nearly four decades after Kitchell's death, there was a resurgence of interest in his paintings. Retrospectives of the artist's work included an exhibition at the Barnwell County Museum (1980) and an exhibition by the Anderson County Arts Council, S.C. (1981). Today, Kitchell's haunting landscapes and seascapes are sought after by collectors of American Tonalism. H. M. Kitchell is listed in numerous art reference books including, but not limited to: Beyond Madness - The Art of Ralph Blakelock: 1847-1919 (2007) by Norman Geske; The Artists' Bluebook (2005) by Lonnie Pierson Dunbier; Davenport's Art Reference (2005) by Ray Davenport; The Unknown Night: The Madness and Genius of R. A. Blakelock (2003) by Glyn Vincent; Who Was Who in American Art, 1564-1975 (1999) by Peter Hastings Falk; Ralph Albert Blakelock (1996) by Abraham Davidson & R.A. Blakelock; A Checklist of Painters c. 1200-1994 Represented in the Witt Library (1995) by the Witt Library & Courtauld Institute of Art, London; The American Painting Collection of the Sheldon Memorial Art Gallery (1988) by Norman Geske & Karen Janovy; The Society of Independent Artists: Exhibition Records 1917-1944 (1984) by Clark Marlor; and the Directory to the Bicentennial Inventory of Paintings (1976) by the National Collection of Fine Arts. The work of H.M. Kitchell is in the following museum collections: Philbrook Art Museum, Tulsa, OK; Michigan University Museum of Art; Smithsonian American Art Museum; and Hibbing Library Collection - Hibbing, MN. Published exhibitions of Kitchell's work during his lifetime included: Philadelphia Galleries - Feb 1917; Brooklyn Society of Artists, the Red Cross Exhibition - Oct 1917 (aka the International Studio); Inaugural Exhibition of the Butler Art Institute - 1918-19; Young's Galleries of Chicago - 1918; Canadian Club of NYC - 1924; and the Society of Independent Artists - 1924.
Hudson Mindell Kitchell (American, 1862-1944) Woodland scene, circa 1920 Oil on canvas 18 x 24 inches (45.7 x 61.0 cm) Signed and indistinctly dated lower right: HM Kitchell / 192... PROVENANCE: Bunte Auctions, Hampshire, Illinois, December 17, 2016, lot 1365 (as Impressionist landscape with stream); Private collection, Chicago, Illinois, acquired from the above. HID01801242017
Hudson Mindell Kitchell (American, 1862-1944) Landscape at Sunset Oil on canvas 16 x 20 inches (40.6 x 50.8 cm) Signed and indistinctly dated lower left: H.M. Kitchell PROVENANCE: Bunte Auctions, Elgin, Illinois, June 1, 2012, lot 1503; Private collection, Chicago, Illinois, acquired from the above. HID01801242017
Hudson Mindell Kitchell (American, 1862-1944) An original oil painting on board. A landscape painted in a luminescent and tonalist style, with influences from the contemporaneous Hudson River School. Artist signed to lower right, and frame having brass front name plate. The artist's use of color and heavy texture has often drawn comparisons with his contemporary artist and friend Ralph Blakelock (1847-1919). Presented in a decorative wood frame. Work Size: 9.25 x 9 in. Dimensions: 12 X 11.5 X 2.5 in. Condition: Good overall condition with normal surface wear. Frame having moderate storage wear to edges and corners. Estate fresh to the market. Shipping: Hill Auction Gallery offers in-house ground contiguous USA domestic shipping, excluding New Mexico, for $85 plus insurance. Gallery will refer third party shippers for international buyers. Purchaser pick up available upon request. Got something to sell? Contact us at HillAuctionGallery.com
KITCHELL, Hudson Mindell, (American, 1862-1944): Autumnal Scene with Figure in a Field, 25" x 30", signed lower right and dated 1938, encased in period gilded gesso frame, 33" x 36.5".
Hudson Mindell Kitchell (American 1862 - 1944) oil on canvas, Landscape w/ hunter and Indian encampment, canvas 12 x 16 inches. framed 25-1/2 x 21-1/2 inches. 2 inch repair in center of canvas.
Hudson Mindell Kitchell (American, 1862-1944). "Forest Landscape" -1911, oil on panel. Signed lower left and dated, giltwood frame. Approx. 7.375" x 5.25" (panel), 14.75" x 12.625" (frame).
(New York/New Jersey/Rhode Island, 1862-1944), sunset in a woodland clearing with man standing by forest stream with small shoals, signed lower right "H.M. Kitchell", oil on canvas, sight 24 1/2"H x 29 1/2"W, painted wood and composition frame 36 1/2"H x 41 3/4"W; some areas of retouch, relined (Ref. 94)
Hudson Kitchell New York, New Jersey, Rhode Island. (1862-1944) Tonalist River Landscape, 1928 oil on canvas signed and dated lower left, gilt-framed. 24 x 31 inches; Frame dimensions: 32 1/2 x 40 1/2 x 2 1/2 inches
HUDSON MINDELL KITCHELL (1862-1944) A PAINTING, "Landscape with Sunrise," 1927, oil on canvas, signed and dated L/R. 29 1/2" x 24 1/4" Provenance: The Estate of Jeanne Closuit Long, Houston, Texas.
Hudson Mindell Kitchell (American, 1862-1944) The Forest Oil on canvas 16-1/4 x 20-1/8 inches (41.3 x 51.1 cm) Signed lower left: Kitchell Signed and titled on the stretcher: Kitchell The Forest PROVENANCE: A.E. Chegg Family; Santa Barbara Museum of Art, gift from the above, 1991; Sotheby's, Chicago, Illinois, April 3, 2000, lot 845; Private collection, Chicago, Illinois. HID01801242017
Hudson Kitchell (American, 1862-1944) oil on board landscape depicting a small group of Native Americans gathered around their teepees at sunset, in a valley beside a river. Signed and dated "HM Kitchell 1925" lower left. Housed behind glass in a carved giltwood frame. Sight - 6 1/2" H x 8 1/2" W. Framed - 12 1/2" H x 14 1/2" W. Provenance: private Nashville, TN collection.
Two (2) Hudson Kitchell (American, 1862-1944) oil on canvas landscape paintings. 1st item: Nocturnal landscape depicting the moon shining down on a Native American man in a canoe. Signed and dated "HM Kitchell 1926". Housed in a giltwood frame. Sight - 8 5/8" H x 11 5/8" W. Sight - 15" H x 18" W. 2nd item: Nocturnal landscape depicting a group of Native Americans standing by a teepee with a fire, on a moonlit night by a river. Signed and dated "HM Kitchell 1926" lower right. Leger Galleries label en verso. Housed in a giltwood frame. Sight - 8 1/2" H x 11 1/2" W. Framed - 14 1/8" H x 17 1/8" W. Provenance: private Nashville, TN collection.
Hudson Kitchell (American, 1862-1944) oil on canvas landscape painting, depicting a grove of trees with clearing illuminated by glowing light, center. Signed and dated 1926 lower left. Period, likely original giltwood frame with brass plaque engraved with artist's name. Sight - 15 1/2" H x 21 1/2" W. Framed - 29" H x 35" W. Provenance: the estate of Stanley Horn, Nashville, Tennessee, by descent in his family to current consignor. Biography: New Jersey born Hudson Kitchell is known primarily for his haunting landscapes and forest scenes. His distinctive work is often compared to -and mistaken for- that of the Tonalist master, Ralph A. Blakelock. The two men became friends when both worked as contract painters at a Newark art factory, but Blakelock soon achieved greater commercial success. In the 1920s, Kitchell admitted to supplying dozens of paintings to Young Gallery in Chicago, which was accused of passing them off as Blakelock's work (although Kitchell said he signed his own name to the works). Kitchell died in poverty in 1944. Nearly four decades later, there was a renewed interest in his work that culminated in retrospectives at the Barnwell Museum (1980) and the Anderson County, S.C. Arts Council (1981). (source: Askart, The Artists' Bluebook, and The Unknown Night: The Madness and Genius of R.A. Blakelock by Glyn Vincent.
HM Kitchell (1862-1944) (American) “Autumn Landscape” oil on canvas 16” x 20” signed lower left, excellent condition. Born/lived: Born in Madison, NJ and lived in New York and Providence Rhode Island. Known: as a painter of landscapes, marine and nocturne paintings. His paintings were often dark, evening landscapes similar in style to those of Ralph Blakelock, with whom he painted. Member: Society of Independent Artists. Exhibited: Society of Independent Artists, Philadelphia Galleries - Feb 1917; Brooklyn Society of Artists, the Red Cross Exhibition - Oct 1917 (aka the International Studio); Inaugural Exhibition of the Butler Art Institute - 1918-19; Young's Galleries of Chicago - 1918; Canadian Club of NYC - 1924; and the Society of Independent Artists - 1924. Work: museum collections: Philbrook Art Museum, Tulsa, OK; Michigan University Museum of Art; Smithsonian American Art Museum; and Hibbing Library Collection - Hibbing, MN. Publications: Beyond Madness - The Art of Ralph Blakelock: 1847-1919 (2007) by Norman Geske; The Artists' Bluebook (2005) by Lonnie Pierson Dunbier; The Unknown Night: The Madness and Genius of R. A. Blakelock (2003) by Glyn Vincent; Who Was Who in American Art, 1564-1975 (1999) by Peter Hastings Falk; Ralph Albert Blakelock (1996) by Abraham Davidson & R.A. Blakelock; A Checklist of Painters c. 1200-1994 Represented in the Witt Library (1995) by the Witt Library & Courtauld Institute of Art, London; The American Painting Collection of the Sheldon Memorial Art Gallery (1988) by Norman Geske & Karen Janovy; The Society of Independent Artists: Exhibition Records 1917-1944 (1984) by Clark Marlor; and the Directory to the Bicentennial Inventory of Paintings (1976) by the National Collection of Fine Arts.
Hudson Mindell Kitchell (American, 1862-1944). Oil on wood panel of an ethereal forest landscape with a red-shirted figure. Signed lower left and dated 1911. In wood and gesso frame with now painted finish. Approx. 7.375" x 5.25" W (panel), 14.75" x 12.625" W (frame, overall)
HUDSON M. KITCHELL New York/New Jersey/Rhode Island, 1862-1944 Autumn landscape, similar to the work of Ralph Blakelock. Signed lower left "H. Kitchell". Hudson M. Kitchell's career is entwined with that of master tonalist Ralph A. Blakelock. The two met and worked closely together painting at a mass-production factory in the early 1880s, and some years later Kitchell was accused of forging Blakelocks. Around the turn of the century, when Blakelock paintings began selling for record prices, a huge number of counterfeit paintings began to hit the market. Despite the highly publicized scandal and multiple investigations over a number of years, the accusations against Kitchell were never substantiated. Art historians pose that Kitchell may have forged his friend's work, that dealers intentionally misattributed Kitchell's work to Blakelock, given the similarity of their style and composition, or that someone unknown to both Blakelock and Kitchell created the forgeries. While little is known about Kitchell's early years or his art education, he was moderately successful with his own work prior to the Depression. In addition to his work as a commercial artist, he also was a paper salesman and an embosser. He lived in obscurity the last years of his life and purportedly died a pauper in Providence, Rhode Island in 1944. Source: Biography written by Tina A. Kasper published on AskArt.com. Oil on canvas, 9" x 7" sight. Framed 10.75" x 8.5".
Oil on canvas. Luminous forest interior signed lower left. Dimensions: (Frame) H 25" x W 29", (Canvas) H 16" x W 20" Condition: Some crackling, dirty surface, yellowed varnish. Couple spots of small paint loss. Frame with damages.
Hudson Mindell Kitchell Oil on Canvas Landscape (American 1862-1944) signed lower right corner. Landscape with fires. Kitchell was active in New York and New Jersey in the early 20th c. He was a Tonalist, a friend and associate of Ralph Blakelock and known for his luminescent landscape. 16" X 12" Frame 21 7/8" X 17 3/4" [17]. CONDITION: All-over craquelure
American oil on board by Hudson Mindell Kitchell (1862 - 1944) depicting a fall landscape scene. Signed bottom left corner "HM Kitchell". Beautiful gilt frame, has some damage. Measures approx 9 1/4" x 12 1/4" image size, 19 1/4" x 22 1/4" frame size.
