Francis Orville Libby Paintings & Artwork for Sale | Francis Orville Libby Art Value Price Guide

Apr. 13, 2024
Francis Orville Libby (Am. 1883-1961), Mt. Mansfield, Evening, Oil on canvas, framed
Est: $800 - $1,200
Francis Orville Libby (Am. 1883-1961) Mt. Mansfield, Evening Oil on canvas, framed Signed l.r., Christopher Queen Galleries label verso 14" x 16 1/4" actual, 20 1/16" x 22 9/16" framed
Barridoff Auctions
Aug. 17, 2023
FRANCIS ORVILLE LIBBY (1881-1961) Study of a standing figure.
Est: $1,500 - $2,500
FRANCIS ORVILLE LIBBY (1881-1961) Study of a standing figure. Gum bichromate print, the image measuring 419x314 mm; 16 1/2x12 3/8 inches, the mount 572x502 mm; 22 1/2x19 3/4 inches, with Libby's signature, title, the notation FRPS, and location in pencil on mount verso. Circa late 1910s-early 20s.
Swann Auction Galleries
May. 13, 2023
Francis Orville Libby Fish Shack Oil On Canvas
Est: -
Frame Has Scuffs & Scratches. Frame Measures Approximately 15.5in X 17.5in. Image Measures Approximately 14in X 16in. Signed In The Lower Left Corner. Nr13065 Sa
EJ'S Auction & Appraisal
Nov. 11, 2022
FRANCIS ORVILLE LIBBY (ME/FL/UK, 1883-1961)
Est: $200 - $300
"The Little House, Capisic, Maine", impasto oil on canvasboard, signed and titled verso, dated 1932, in cream painted oak frame, OS: 10 3/4" x 12 3/4", SS: 7 1/4" x 9 1/4", good condition.
Thomaston Place Auction Galleries
Nov. 03, 2022
FRANCIS ORVILLE LIBBY (Maine/Florida/England, 1883-1961), Farm landscape, likely Maine., Oil on board, 14" x 16". Framed 16.5" x 18.5".
Est: $300 - $500
FRANCIS ORVILLE LIBBY Maine/Florida/England, 1883-1961 Farm landscape, likely Maine. Signed lower right "Libby".
Eldred's
Aug. 25, 2022
FRANCIS ORVILLE LIBBY (Maine/Florida/England, 1883-1961), Pair of salmon fishing scenes: “Mill Pool, Madeleine River Gaspe”., Watercolors, 16” x 22”. Framed 26.5” x 32.5”.
Est: $300 - $500
FRANCIS ORVILLE LIBBY Maine/Florida/England, 1883-1961 Pair of salmon fishing scenes: "Mill Pool, Madeleine River Gaspe". Both signed "Libby". Both with Boston Art Club labels for an exhibition of contemporary American watercolors, March 15-April 1, 1933, on the back of the frames.
Eldred's
Aug. 18, 2022
FRANCIS ORVILLE LIBBY (1883-1961) Male figure on the beach, Maine.
Est: $1,200 - $1,800
FRANCIS ORVILLE LIBBY (1883-1961) Male figure on the beach, Maine. Silver print, the image measuring 260x346 mm; 10 1/4x13 5/8 inches, the mount 387 mm; 15 1/4 inches square, with Libby's signature and date in pencil on mount recto. 1918.
Swann Auction Galleries
Feb. 19, 2022
FRANCIS ORVILLE LIBBY PUNTA RASSA FLORIDA PAINTING
Est: $500 - $800
LIBBY, Francis Orville, (American/English, 1883-1961): "Punta Rassa, Florida, 1952", Watercolor, 6.5" x 8.5", signed lower right and dated '52, unframed.
Burchard Galleries Inc
Jan. 17, 2021
Francis Orville Libby - 2 Florida Scene Paintings
Est: $300 - $500
Francis Orville Libby (1883-1961) - Florida scene. Oil on panel. Signed LR. Together with a second unsigned Florida scene oil on panel. Framed size H13-1/8" W15-1/8". Panel size H10" W 12".
New England Auctions
Jan. 17, 2021
Francis Orville Libby - Florida Night Scene
Est: $200 - $400
Francis Orville Libby (1883-1961) - Florida night scene. Oil on panel. Signed LR. Framed size H13-1/8" W15-1/8". Panel size H10" W 12".
New England Auctions
Jan. 17, 2021
Francis Orville Libby (1883-1961)- oil on panel
Est: $200 - $400
Francis Orville Libby (1883-1961) - Dawn Mist. Oil on panel. Signed LR. Framed size H13-1/8" W15-1/8". Panel size H10" W 12".
New England Auctions
Jan. 03, 2021
Francis Orville Libby (ME,FL,UK,1883-1961) oil painting
Est: $575 - $650
ARTIST: Francis Orville Libby (Maine, Florida, England, 1883 - 1961) NAME: Florida Coastal Scene MEDIUM: oil on board CONDITION: Very good. No visible inpaint under UV light. SIGHT SIZE: 10 x 12 inches / 25 x 30 cm FRAME SIZE: 13 x 15 inches / 33 x 38 cm SIGNATURE: lower left SIMILAR ARTISTS: William Worcester Churchill, Bryant Chapin, Walter Lansil, Eric Sloane, Arthur Goodwin, Charles Herbert Woodbury, Hayley Lever, Levi Wells Prentice, Frank Weston Benson, George Loftus Noyes, William Lester Stevens, John Joseph Enneking, Jane Peterson CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 117359 US Shipping $49 + insurance. BIOGRAPHY: Francis Orville Libby was born in Portland, Maine in 1883. After a Princeton fine art education, and extended trips to Europe to study fine art, Libby first exhibited his oil paintings and watercolors as a member of the Salmagundi Club in New York City where he lived after his graduation and early travels.Later and with studios eventually in Maine, New York and London, England where he was a member of the London Salon, Libby regularly exhibited his work at the Pennsylvania Academy of the Fine Arts, the Brooklyn Museum of Art, The Art Institute of Chicago and the Boston Art Club.Princeton University and Bowdoin College both hold examples of his work including landscape and seascape watercolors done in Florida in and around St. Augustine on the northeast coast of the State beginning in the 1920s.Francis Orville Libby died near Portland, Maine in 1961.
Broward Auction Gallery LLC
Dec. 17, 2020
Francis O. Libby, The Willows - Winter, 1919
Est: $600 - $800
Francis O. Libby, The Willows - Winter, 1919, Gum print, 13.25" x 9.75", mounted 20" x 16" (detached from mount). Signed and dated in pen on recto. Blind stamp on recto. Title, artist's credit , print details in pen on verso. Numbered in pencil on verso. "Exhibited at the London Salon of Photography 1922" affixed to verso. During his lifetime, Francis Orville Libby (born 1881, Portland, Maine; died 1961, South Portland, Maine) earned a national and international reputation as a master fine arts photographer. His work was Pictorialist, a once-dominant but now almost forgotten photographic style. As a teenager he had successfully exhibited his photographic work and went on to graduate from Princeton University in 1903 with a degree in fine arts. In the newly formed Portland Camera Club's 1900 salon, he received a commendation ribbon, an event noted in a local newspaper. He joined the Portland Camera Club in 1906 and maintained his membership until his death. His abilities were quickly recognized—within eight months of joining, he was recruited to lecture the club members on "Composition." Over the next two decades he held various offices in the club, including the presidency. His name became known nationally and internationally in the photographic world. At the time he carried on a parallel, successful career as a fine arts painter. Fame, in the early days of art photography, was earned by displaying one's pictures in camera clubs' "salons" in the United States, Great Britain and Continental Europe. These were, and still are, highly competitive juried shows. Their original rationale was to acquaint the public with the best in art photography, which, in many quarters of the art and museum worlds, was not considered art but merely scientific reproductions of the scene. Mr. Libby was prolific in entering his pictures and soon was well-known for his artistic skills. What was probably the capstone of his career was being invited to act as the jury for the 1922 London Salon (at the time one of the three most prestigious in the world), followed by being accepted as a Fellow in England's Royal Photographic Society, an honor few American photographers attained. Mr. Libby worked exclusively in a style called Pictorialism, a word that has had a number of meanings in the twentieth century. First, it simply meant "art photography." But soon, those advocating acceptance of photography-as-art split into two warring camps: One, which emerged first, became Pictorialists, advocating the belief that acceptance was through imitating painting and sought calmness, serenity and soft and romantic techniques; the other, the "straights," sought to rely on the innate advantages of the camera, such as sharp focus, specificity and "impact." One goal, however, diametrically opposed ways to get there. Pictorialists dominated art photography for almost 30 years. For the Pictorialist, creating the negative was only the beginning of achieving artistic creativity. Often using a soft-focus lens for atmospheric effect, the print was then manipulated through a variety of manual methods, including pencil, ink and razor blades, or by changing exposure, eliminating portions (or entirely) picture elements or adding elements. One of Libby's frequently used techniques was to darken the picture to imitate moonlight and drop in a crescent moon for atmosphere. But the Pictorialists lost the battle. By the 1930s, few professional photographers were using pictorial techniques. Mr. Libby continued in the early 1930s to try to re-energize his side by serving on the board of a group called The Pictorial Photographers of America. Pictorialism continued in camera clubs, but ultimately succumbed to cultural trends and photographic innovation and grew progressively closer to its old rival's style. The word Pictorialism has devolved into being only the name of an amorphous category. Some camera club competitions are divided into "nature" and "pictorial." "Nature" includes any picture that shows no evidence of human influence. "Pictorialist" is "everything else." As Pictorialism vanished into the fog of the past, so did the names and reputations of even its most devoted acolytes. But with the revival of interest in older photographic methods and styles, it is beginning to reappear for historic evaluation. The wheel of history is once again turning. (Dave Kirkwood, Portland Camera Club)
Keith Delellis Gallery LLC
Dec. 17, 2020
Francis O. Libby, Below the Ridge, c. 1919
Est: $600 - $800
Francis O. Libby, Below the Ridge, c. 1919, Gum print, 16.5" x 12.25". Signed in pen on recto. Signed, titled, and address in pencil on verso. Numbered in pencil on verso. During his lifetime, Francis Orville Libby (born 1881, Portland, Maine; died 1961, South Portland, Maine) earned a national and international reputation as a master fine arts photographer. His work was Pictorialist, a once-dominant but now almost forgotten photographic style. As a teenager he had successfully exhibited his photographic work and went on to graduate from Princeton University in 1903 with a degree in fine arts. In the newly formed Portland Camera Club's 1900 salon, he received a commendation ribbon, an event noted in a local newspaper. He joined the Portland Camera Club in 1906 and maintained his membership until his death. His abilities were quickly recognized—within eight months of joining, he was recruited to lecture the club members on "Composition." Over the next two decades he held various offices in the club, including the presidency. His name became known nationally and internationally in the photographic world. At the time he carried on a parallel, successful career as a fine arts painter. Fame, in the early days of art photography, was earned by displaying one's pictures in camera clubs' "salons" in the United States, Great Britain and Continental Europe. These were, and still are, highly competitive juried shows. Their original rationale was to acquaint the public with the best in art photography, which, in many quarters of the art and museum worlds, was not considered art but merely scientific reproductions of the scene. Mr. Libby was prolific in entering his pictures and soon was well-known for his artistic skills. What was probably the capstone of his career was being invited to act as the jury for the 1922 London Salon (at the time one of the three most prestigious in the world), followed by being accepted as a Fellow in England's Royal Photographic Society, an honor few American photographers attained. Mr. Libby worked exclusively in a style called Pictorialism, a word that has had a number of meanings in the twentieth century. First, it simply meant "art photography." But soon, those advocating acceptance of photography-as-art split into two warring camps: One, which emerged first, became Pictorialists, advocating the belief that acceptance was through imitating painting and sought calmness, serenity and soft and romantic techniques; the other, the "straights," sought to rely on the innate advantages of the camera, such as sharp focus, specificity and "impact." One goal, however, diametrically opposed ways to get there. Pictorialists dominated art photography for almost 30 years. For the Pictorialist, creating the negative was only the beginning of achieving artistic creativity. Often using a soft-focus lens for atmospheric effect, the print was then manipulated through a variety of manual methods, including pencil, ink and razor blades, or by changing exposure, eliminating portions (or entirely) picture elements or adding elements. One of Libby's frequently used techniques was to darken the picture to imitate moonlight and drop in a crescent moon for atmosphere. But the Pictorialists lost the battle. By the 1930s, few professional photographers were using pictorial techniques. Mr. Libby continued in the early 1930s to try to re-energize his side by serving on the board of a group called The Pictorial Photographers of America. Pictorialism continued in camera clubs, but ultimately succumbed to cultural trends and photographic innovation and grew progressively closer to its old rival's style. The word Pictorialism has devolved into being only the name of an amorphous category. Some camera club competitions are divided into "nature" and "pictorial." "Nature" includes any picture that shows no evidence of human influence. "Pictorialist" is "everything else." As Pictorialism vanished into the fog of the past, so did the names and reputations of even its most devoted acolytes. But with the revival of interest in older photographic methods and styles, it is beginning to reappear for historic evaluation. The wheel of history is once again turning. (Dave Kirkwood, Portland Camera Club)
Keith Delellis Gallery LLC
Dec. 17, 2020
Francis O. Libby, Niagara, 1916
Est: $600 - $800
Francis O. Libby, Niagara, 1916, Gum print, 10.5" x 13.5", mounted 16" x 20". Signed/dated in pencil on mount recto. Titled, signed, etc. in pencil on mount verso. During his lifetime, Francis Orville Libby (born 1881, Portland, Maine; died 1961, South Portland, Maine) earned a national and international reputation as a master fine arts photographer. His work was Pictorialist, a once-dominant but now almost forgotten photographic style. As a teenager he had successfully exhibited his photographic work and went on to graduate from Princeton University in 1903 with a degree in fine arts. In the newly formed Portland Camera Club's 1900 salon, he received a commendation ribbon, an event noted in a local newspaper. He joined the Portland Camera Club in 1906 and maintained his membership until his death. His abilities were quickly recognized—within eight months of joining, he was recruited to lecture the club members on "Composition." Over the next two decades he held various offices in the club, including the presidency. His name became known nationally and internationally in the photographic world. At the time he carried on a parallel, successful career as a fine arts painter. Fame, in the early days of art photography, was earned by displaying one's pictures in camera clubs' "salons" in the United States, Great Britain and Continental Europe. These were, and still are, highly competitive juried shows. Their original rationale was to acquaint the public with the best in art photography, which, in many quarters of the art and museum worlds, was not considered art but merely scientific reproductions of the scene. Mr. Libby was prolific in entering his pictures and soon was well-known for his artistic skills. What was probably the capstone of his career was being invited to act as the jury for the 1922 London Salon (at the time one of the three most prestigious in the world), followed by being accepted as a Fellow in England's Royal Photographic Society, an honor few American photographers attained. Mr. Libby worked exclusively in a style called Pictorialism, a word that has had a number of meanings in the twentieth century. First, it simply meant "art photography." But soon, those advocating acceptance of photography-as-art split into two warring camps: One, which emerged first, became Pictorialists, advocating the belief that acceptance was through imitating painting and sought calmness, serenity and soft and romantic techniques; the other, the "straights," sought to rely on the innate advantages of the camera, such as sharp focus, specificity and "impact." One goal, however, diametrically opposed ways to get there. Pictorialists dominated art photography for almost 30 years. For the Pictorialist, creating the negative was only the beginning of achieving artistic creativity. Often using a soft-focus lens for atmospheric effect, the print was then manipulated through a variety of manual methods, including pencil, ink and razor blades, or by changing exposure, eliminating portions (or entirely) picture elements or adding elements. One of Libby's frequently used techniques was to darken the picture to imitate moonlight and drop in a crescent moon for atmosphere. But the Pictorialists lost the battle. By the 1930s, few professional photographers were using pictorial techniques. Mr. Libby continued in the early 1930s to try to re-energize his side by serving on the board of a group called The Pictorial Photographers of America. Pictorialism continued in camera clubs, but ultimately succumbed to cultural trends and photographic innovation and grew progressively closer to its old rival's style. The word Pictorialism has devolved into being only the name of an amorphous category. Some camera club competitions are divided into "nature" and "pictorial." "Nature" includes any picture that shows no evidence of human influence. "Pictorialist" is "everything else." As Pictorialism vanished into the fog of the past, so did the names and reputations of even its most devoted acolytes. But with the revival of interest in older photographic methods and styles, it is beginning to reappear for historic evaluation. The wheel of history is once again turning. (Dave Kirkwood, Portland Camera Club)
Keith Delellis Gallery LLC
Dec. 17, 2020
Francis O. Libby, Mt. Adams of the Northern Peaks, 1919
Est: $600 - $800
Francis O. Libby, Mt. Adams of the Northern Peaks, 1919, Gum print, 16.25" x 13.5", mounted 20" x 16" (detached from mount). Signed in pen on lower left recto. Signed, titled, numbered, & address in pencil on verso. Artist's credit affixed to mount verso with title and process. During his lifetime, Francis Orville Libby (born 1881, Portland, Maine; died 1961, South Portland, Maine) earned a national and international reputation as a master fine arts photographer. His work was Pictorialist, a once-dominant but now almost forgotten photographic style. As a teenager he had successfully exhibited his photographic work and went on to graduate from Princeton University in 1903 with a degree in fine arts. In the newly formed Portland Camera Club's 1900 salon, he received a commendation ribbon, an event noted in a local newspaper. He joined the Portland Camera Club in 1906 and maintained his membership until his death. His abilities were quickly recognized—within eight months of joining, he was recruited to lecture the club members on "Composition." Over the next two decades he held various offices in the club, including the presidency. His name became known nationally and internationally in the photographic world. At the time he carried on a parallel, successful career as a fine arts painter. Fame, in the early days of art photography, was earned by displaying one's pictures in camera clubs' "salons" in the United States, Great Britain and Continental Europe. These were, and still are, highly competitive juried shows. Their original rationale was to acquaint the public with the best in art photography, which, in many quarters of the art and museum worlds, was not considered art but merely scientific reproductions of the scene. Mr. Libby was prolific in entering his pictures and soon was well-known for his artistic skills. What was probably the capstone of his career was being invited to act as the jury for the 1922 London Salon (at the time one of the three most prestigious in the world), followed by being accepted as a Fellow in England's Royal Photographic Society, an honor few American photographers attained. Mr. Libby worked exclusively in a style called Pictorialism, a word that has had a number of meanings in the twentieth century. First, it simply meant "art photography." But soon, those advocating acceptance of photography-as-art split into two warring camps: One, which emerged first, became Pictorialists, advocating the belief that acceptance was through imitating painting and sought calmness, serenity and soft and romantic techniques; the other, the "straights," sought to rely on the innate advantages of the camera, such as sharp focus, specificity and "impact." One goal, however, diametrically opposed ways to get there. Pictorialists dominated art photography for almost 30 years. For the Pictorialist, creating the negative was only the beginning of achieving artistic creativity. Often using a soft-focus lens for atmospheric effect, the print was then manipulated through a variety of manual methods, including pencil, ink and razor blades, or by changing exposure, eliminating portions (or entirely) picture elements or adding elements. One of Libby's frequently used techniques was to darken the picture to imitate moonlight and drop in a crescent moon for atmosphere. But the Pictorialists lost the battle. By the 1930s, few professional photographers were using pictorial techniques. Mr. Libby continued in the early 1930s to try to re-energize his side by serving on the board of a group called The Pictorial Photographers of America. Pictorialism continued in camera clubs, but ultimately succumbed to cultural trends and photographic innovation and grew progressively closer to its old rival's style. The word Pictorialism has devolved into being only the name of an amorphous category. Some camera club competitions are divided into "nature" and "pictorial." "Nature" includes any picture that shows no evidence of human influence. "Pictorialist" is "everything else." As Pictorialism vanished into the fog of the past, so did the names and reputations of even its most devoted acolytes. But with the revival of interest in older photographic methods and styles, it is beginning to reappear for historic evaluation. The wheel of history is once again turning. (Dave Kirkwood, Portland Camera Club)
Keith Delellis Gallery LLC
Dec. 17, 2020
Francis O. Libby, The Silver Night, 1919
Est: $600 - $800
Francis O. Libby, The Silver Night, 1919, Gum print, 16.5" x 12.25", mounted to tissue paper. Signed in pen on lower right recto. Signed and titled in pencil on verso. Artist's credit affixed to verso with title and process. Numbered in pencil on verso. During his lifetime, Francis Orville Libby (born 1881, Portland, Maine; died 1961, South Portland, Maine) earned a national and international reputation as a master fine arts photographer. His work was Pictorialist, a once-dominant but now almost forgotten photographic style. As a teenager he had successfully exhibited his photographic work and went on to graduate from Princeton University in 1903 with a degree in fine arts. In the newly formed Portland Camera Club's 1900 salon, he received a commendation ribbon, an event noted in a local newspaper. He joined the Portland Camera Club in 1906 and maintained his membership until his death. His abilities were quickly recognized—within eight months of joining, he was recruited to lecture the club members on "Composition." Over the next two decades he held various offices in the club, including the presidency. His name became known nationally and internationally in the photographic world. At the time he carried on a parallel, successful career as a fine arts painter. Fame, in the early days of art photography, was earned by displaying one's pictures in camera clubs' "salons" in the United States, Great Britain and Continental Europe. These were, and still are, highly competitive juried shows. Their original rationale was to acquaint the public with the best in art photography, which, in many quarters of the art and museum worlds, was not considered art but merely scientific reproductions of the scene. Mr. Libby was prolific in entering his pictures and soon was well-known for his artistic skills. What was probably the capstone of his career was being invited to act as the jury for the 1922 London Salon (at the time one of the three most prestigious in the world), followed by being accepted as a Fellow in England's Royal Photographic Society, an honor few American photographers attained. Mr. Libby worked exclusively in a style called Pictorialism, a word that has had a number of meanings in the twentieth century. First, it simply meant "art photography." But soon, those advocating acceptance of photography-as-art split into two warring camps: One, which emerged first, became Pictorialists, advocating the belief that acceptance was through imitating painting and sought calmness, serenity and soft and romantic techniques; the other, the "straights," sought to rely on the innate advantages of the camera, such as sharp focus, specificity and "impact." One goal, however, diametrically opposed ways to get there. Pictorialists dominated art photography for almost 30 years. For the Pictorialist, creating the negative was only the beginning of achieving artistic creativity. Often using a soft-focus lens for atmospheric effect, the print was then manipulated through a variety of manual methods, including pencil, ink and razor blades, or by changing exposure, eliminating portions (or entirely) picture elements or adding elements. One of Libby's frequently used techniques was to darken the picture to imitate moonlight and drop in a crescent moon for atmosphere. But the Pictorialists lost the battle. By the 1930s, few professional photographers were using pictorial techniques. Mr. Libby continued in the early 1930s to try to re-energize his side by serving on the board of a group called The Pictorial Photographers of America. Pictorialism continued in camera clubs, but ultimately succumbed to cultural trends and photographic innovation and grew progressively closer to its old rival's style. The word Pictorialism has devolved into being only the name of an amorphous category. Some camera club competitions are divided into "nature" and "pictorial." "Nature" includes any picture that shows no evidence of human influence. "Pictorialist" is "everything else." As Pictorialism vanished into the fog of the past, so did the names and reputations of even its most devoted acolytes. But with the revival of interest in older photographic methods and styles, it is beginning to reappear for historic evaluation. The wheel of history is once again turning. (Dave Kirkwood, Portland Camera Club)
Keith Delellis Gallery LLC
Nov. 12, 2020
Francis O. Libby, Wardens of the Sky, Maine, 1918
Est: $1,000 - $1,200
Francis O. Libby, Wardens of the Sky, Maine, 1918, Gum print, 13.5" x 9.75". Artist's credit and date in pen on recto. Signed, titled, & artist's address in pencil on verso. Numbered in pencil on verso.
Keith Delellis Gallery LLC
Nov. 12, 2020
Francis O. Libby, Birches of Kennebago, Maine, c. 1920
Est: $1,000 - $1,200
Francis O. Libby, Birches of Kennebago - An Impression, Maine, c. 1920, Gum print, 9.75" x 12", mounted 17.25" x 16.75" paper. Artist's credit, title, and notes in pen on mount verso. Numbered in pencil on verso. Blind stamp on lower left of print recto.
Keith Delellis Gallery LLC
Nov. 12, 2020
Francis O. Libby, Reflection, Maine, c. 1920
Est: $1,200 - $1,500
Francis O. Libby, Reflection, Maine, c. 1920, Gum print, 12.75" x 16.5". Signed on recto. Numbered in pencil on verso.
Keith Delellis Gallery LLC
Nov. 12, 2020
Francis O. Libby, Niagara Falls, 1916
Est: $800 - $1,000
Francis O. Libby, Mist, Spray, & Roaring Waters (Niagara Falls), 1916, Gum print, 12.5" x 9.75", mounted 20" x 16". Signed in pencil on mount recto. Signed, titled, dated, & notes in pencil on mount verso. Numbered in pencil on verso.
Keith Delellis Gallery LLC
Oct. 04, 2020
Francis Orville Libby - Florida Scene
Est: $150 - $250
Francis Orville Libby (1883-1961) Florida scene, oil on panel. Signed LL. Framed size: H 13", W 15". Panel size H 10", W12". Excellent condition.
New England Auctions
Oct. 04, 2020
Francis Orville Libby- Lake Scene
Est: $150 - $250
Francis Orville Libby (1883-1961) Lake scene, oil on panel. Signed LL. Framed size: H 13", W 15". Panel size H 10", W12". Excellent condition.
New England Auctions
Oct. 04, 2020
Francis Orville Libby - oil on panel
Est: $150 - $250
Francis Orville Libby (1883-1961) landscape. Signed LL. Framed size: H 13", W 15". Panel size: H 10", W 12".
New England Auctions
Oct. 04, 2020
Francis Orville Libby - Florida Coastal Scene
Est: $150 - $250
Francis Orville Libby (1883-1961) Florida coastal scene. Signed LL. Framed size: H 13", W 15". Panel size: H 10", W 12".
New England Auctions
Oct. 04, 2020
Francis Orville Libby - Taxco Mexico
Est: $150 - $250
Francis Orville Libby (1883-1961) Taxco Mexico. Signed LR. Framed size: H 13", W 15". Panel size: H 10", W 12".
New England Auctions
Oct. 04, 2020
Francis Orville Whitney - Two Coastal Scene
Est: $100 - $200
Francis Orville Libby (1883-1961) coastal scene painting. Oil on panel. Signed LR. Framed size H 13", W 15". Panel size: H 10", W 12".
New England Auctions
Oct. 04, 2020
Francis Orville Libby - two oils on panel
Est: $300 - $500
Francis Orville Libby (1883-1961) Two oils on panel. Funchal Maderia Signed LL. Together with an unsigned oil by Libby. Framed size: H 13", W 15". Panel size: H10", W12". Excellent condition.
New England Auctions
Oct. 04, 2020
Francis Orville Libby 2 Florida Palm Tree Scenes
Est: $300 - $500
Francis Orville Libby (1883-1961) Two oils on panel. Palm Tree Florida scenes. One signed Signed LR. Together with an unsigned oil by Libby. Framed size: H 13", W 15". Panel size: H 10", W12". Excellent condition.
New England Auctions
Oct. 17, 2019
FRANCIS ORVILLE LIBBY (1883-1961) A collection of 36 Pictorialist landscapes by the Maine-based artist.
Est: $3,000 - $4,500
FRANCIS ORVILLE LIBBY (1883-1961) A collection of 36 Pictorialist landscapes by the Maine-based artist. Multiple gum bichromate prints, the images measuring 10x11 1/2 to 16 3/8x13 1/2 inches (25.4x29.2 cm.), the mounts (all but 6 mounted) 26x19 3/4 inches (66x50.2 cm.), and smaller, each with Libby's signature and some with a date or the notation FRPS, in ink or in pencil, on print recto or mount recto, a few also with the Portland Photo Pictorialists embossed blind stamp on print recto; about half with Libby's label and/or exhibition labels associated with Pictorialist salons, and some with his or other period notations, in ink or in pencil, on mount or print verso. 1916-20s
Swann Auction Galleries
Mar. 07, 2019
Francis Orville Libby, American. (Maine/Florida/England) (1883-1961), Palm Trees, Watercolor on paper. Framed under glass., 29" x 21 1/
Est: $400 - $600
Francis Orville Libby American. (Maine/Florida/England) (1883-1961) Palm Trees Watercolor on paper. Framed under glass. Signed lower left. 29" x 21 1/2" (sight)
Barridoff Auctions
Mar. 07, 2019
Francis Orville Libby, American. (Maine/Florida/England) (1883-1961), "Kennebago", Watercolor on paper. Framed under glass., 19" x 27 1
Est: $200 - $300
Francis Orville Libby American. (Maine/Florida/England) (1883-1961) "Kennebago" Watercolor on paper. Framed under glass. Signed and inscribed on verso. 19" x 27 1/2" (sight)
Barridoff Auctions
Mar. 07, 2019
Francis Orville Libby, American. (Maine/Florida/England) (1883-1961), Flower, Watercolor on paper. Framed under glass., 13" x 10 1/2" (
Est: $100 - $150
Francis Orville Libby American. (Maine/Florida/England) (1883-1961) Flower Watercolor on paper. Framed under glass. Signed lower center. 13" x 10 1/2" (sight)
Barridoff Auctions
Mar. 07, 2019
Francis Orville Libby, American. (Maine/Florida/England) (1883-1961), Mountain Seascape, Rangley Lake, Watercolor on paper. Framed unde
Est: $300 - $500
Francis Orville Libby American. (Maine/Florida/England) (1883-1961) Mountain Seascape, Rangley Lake Watercolor on paper. Framed under glass. Signed lower right. 14" x 21" (sight)
Barridoff Auctions
Feb. 15, 2018
FRANCIS ORVILLE LIBBY (1883-1961) Group of 10 fascinating Pictorialist landscapes and seascapes of New England.
Est: $3,000 - $4,500
FRANCIS ORVILLE LIBBY (1883-1961) Group of 10 fascinating Pictorialist landscapes and seascapes of New England. Multiple gum bichromate prints, the images measuring 13 1/4x7 1/4 to 16x13 inches (33.7x18.4 to 40.6x33 cm.), the mounts 18x15 1/2 to 25x19 3/4 inches (45.7x39.4 to 63.5x50.2 cm.), each with Libby''s signature, on print recto or mount recto or verso, 9 with a title, several with a date and F.R.P.S., in ink, or the P.P.P. debossed hand stamp, on recto; some with Libby''s original prices and exhibition labels assoicated with Pictorialist salons on mounts verso; one with his printing notations. 1916-22
Swann Auction Galleries
Aug. 04, 2017
Francis Orville Libby - The Rider, Taxco, Mexico
Est: $600 - $900
Francis Orville Libby Am. 18831961 The Rider, Taxco, Mexico Signed "Libby" l.l. Oil on board 9 1/2 x 11 1/2 in. 24.1 x 29.2 cm
Barridoff Auctions
Aug. 29, 2016
FRANCIS ORVILLE LIBBY (ME, 1883-1961) - Sailboat and Fish Shanties, pastel on artist's board, unsigned, artist identified verso, in gold frame, matted and glazed, OS: 27 1/2" x 32", SS: 17 3/4" x 23". Good condition. ..
Est: $800 - $1,200
FRANCIS ORVILLE LIBBY (ME, 1883-1961) - Sailboat and Fish Shanties, pastel on artist's board, unsigned, artist identified verso, in gold frame, matted and glazed, OS: 27 1/2" x 32", SS: 17 3/4" x 23". Good condition. From a Yarmouth Maine collection.
Thomaston Place Auction Galleries
Jan. 23, 2015
Francis Orville Libby (American, 1883-1961), The Home Port, Signed "Libby" l.l., titled and inscribed "...Libby So. Portland, Maine" in
Est: $800 - $1,200
Francis Orville Libby (American, 1883-1961) The Home Port Signed "Libby" l.l., titled and inscribed "...Libby So. Portland, Maine" in pencil on the stretcher. Oil on canvas, 25 x 30 in. (63.5 x 76.1 cm), framed. Condition: Good.
Skinner
Oct. 26, 2014
FRANCIS ORVILLE LIBBY, (American, 1883-1961), HAWAII, oil on canvas;, 34 1/2 x 41 in. (40 3/4 x 46 1/2 in.)
Est: $800 - $1,200
FRANCIS ORVILLE LIBBY (American, 1883-1961) HAWAII oil on canvas; signed Libby, l.l.; 34 1/2 x 41 in. (40 3/4 x 46 1/2 in.) Provenance: Grogan & Company, Dedham, Massachusetts, March 12, 2006, lot 101.
Grogan & Company
Sep. 19, 2014
Francis Orville Libby (American, 1883-1961), Cliff House Beach, Cape Elizabeth, Maine, Signed "Libby" l.r., titled in pencil on the str
Est: $1,000 - $1,500
Francis Orville Libby (American, 1883-1961) Cliff House Beach, Cape Elizabeth, Maine Signed "Libby" l.r., titled in pencil on the stretcher and on a partial exhibition label on the stretcher, also signed or inscribed with the artist's name and with alternate title "Maine Coast Sum..." on the stretcher. Oil on canvas, 14 1/4 x 16 in. (36.0 x 40.7 cm), framed (under glass). Condition: Very minor canvas deformation.
Skinner
Sep. 19, 2014
Francis Orville Libby (American, 1883-1961), Gaspésie, Signed "Libby" l.l., titled and signed "...Francis Orville Libby" in pencil and
Est: $1,000 - $1,500
Francis Orville Libby (American, 1883-1961) Gaspésie Signed "Libby" l.l., titled and signed "...Francis Orville Libby" in pencil and with a label from John F. Gould, Portland, Maine, on the stretcher. Oil on canvas, 14 x 16 in. (35.5 x 40.6 cm), framed (under glass). Condition: Good.
Skinner
Mar. 21, 2014
Francis Orville Libby
Est: $500 - $800
Francis Orville Libby (Maine, 1883-1961) SETTING SAIL oil on canvasboard, framed, signed lower right H21" W22" Provenance: Columbia, South Carolina private collection
Charlton Hall
Jun. 08, 2013
Francis Orville Libby Florida oil on board
Est: $300 - $500
Francis Orville Libby (American, 1883-1961) "Florida," c. 1950, oil on board, 6.25" x 9", signed lower left, framed
Toomey & Co. Auctioneers
May. 20, 2012
Francis Orville Libby (American, 1883-1961)
Est: $800 - $1,000
DESCRIPTION: Francis Orville Libby (American, 1883-1961). Nocturne. Circa 1957. Oil on canvas. Signed, lower left. With label from the Portland Summer Art Festival in 1957 and various inscriptions, verso. Depicts a boat in the water at night. In a silver leaf and red wood frame. MEASUREMENTS: 30" x 25". Overall with frame 36" x 31". CONDITION: No defects noted.
Cordier Auctions & Appraisals
Nov. 06, 2011
Francis Orville Libby (American, 1883-1961)
Est: $800 - $1,000
DESCRIPTION: Francis Orville Libby (American, 1883-1961). Nocturne. Circa 1957. Oil on canvas. Signed, lower left. With label from the Portland Summer Art Festival in 1957 and various inscriptions, verso. Depicts a boat in the water at night. In a silver leaf and red wood frame. MEASUREMENTS: 30" x 25". Overall with frame 36" x 31". CONDITION: No defects noted. Estimates: 800-1000
Cordier Auctions & Appraisals
Aug. 07, 2011
FRANCIS ORVILLE LIBBY (AMERICAN 1883-1961). AUTUMN IN THE PRESIDENTIAL RANGE.
Est: $800 - $1,200
Oil on canvas, 30 x 25 inches. Signed "Libby" l.r.Provenance: Godel & Co., New York.
Bourgeault-Horan Antiquarians
Sep. 09, 2006
Francis Orville Libby
Est: $500 - $800
SETTING OUT FOR SAIL oil on board, framed signed: lower right, Libby
Charlton Hall
Mar. 12, 2006
FRANCIS ORVILLE LIBBY (American, 1883-1961) HAWAII signed Libby, l.l.; oil on canvas; 34 x 40 inches
Est: $800 - $1,200
FRANCIS ORVILLE LIBBY (American, 1883-1961) HAWAII signed Libby, l.l.; oil on canvas; 34 x 40 inches
Grogan & Company