William Merritt Post (American, 1856 - 1935), "Stream in Autumn", watercolor on paper, landscape with tall bare trees and traces of red and orange leaves, low horizon line with a winter sky, signed lower left, wear consistent with age, framed and matted behind glass, ss: 16" h. x 13 1/2" w.
William Merritt Post (American, 1856 - 1935), oil on rigid support, depicts landscape of lake at the foot of mountain ridge, small embankment with tree at left corner, figure in canoe in midground, signed "W. Post" at lower right, hazy blue sky and mountains, in newer gilded frame, wear consistent with age and use, crease to lower right corner, waving of support, light toning, occasional minor marks, etc., ss: 8 1/2" h. x 17 3/8" w.
Oil on board depicting a nautical scene with sailboats near shore, signed W. Post. 10 x 19 in, framed 12.5 x 22 in. (William Merritt Post 1856-1935 was a CT/NY artist)
WILLIAM MERRITT POST (American 1856-1935) A PAINTING, "Landscape with Pond," 20TH CENTURY, oil on canvas, signed L/R, "W Merritt Post;" 14" x 20", framed 20 1/2" x 26 1/4".
WILLIAM MERRITT POST (American 1856-1935) A PAINTING, "Autumn Landscape," 20TH CENTURY, oil on canvas, signed L/L, "W. Merritt Post;" 14" x 20", framed 18" x 23 1/2".
William Merritt Post 1856-1935 New England Autumnal Riverscape Watercolor Signed lower left "W. Merritt Post." Provenance: Property from a Private Collection
Both signed W. Post in the lower right. A pair of Hudson River landscapes. The first depicting a bend in the river with tree lined shores. The second depicting rapids with a rocky and tree lined shore. Both having elaborately decorated gilt wood frames, H 19", W 28". Provenance: Collection of a prominent, Grosse Pointe Park, MI collector of American art.
A William Merritt Post (American, 1856-1935) oil on board painting depicting rapids flowing downhill into a lake in a wooded area with a mountain in the distance. Signed 'W Post' lower right. Presented in a gilt wood cassetta style frame. Sight: 10" x 17.5"
Both signed W. Post in the lower right. A pair of Hudson River landscapes. The first depicting a bend in the river with tree lined shores. The second depicting rapids with a rocky and tree lined shore. Both having elaborately decorated gilt wood frames, H 19", W 28". Provenance: Collection of a prominent, Grosse Pointe Park, MI collector of American art.
Antique American coastal view by William Merritt Post (1856 - 1935). Oil on board. Signed. Framed. Please see all images for condition. Size is measured and written on the back of the painting. The first size is the overall size, the second size is the image size. For detailed condition questions please text 617-835-2496. Artist Bio: Scholars continually rediscover competent American artists who enjoyed successful careers at the turn of the century, but whose legacy has been lost over time. One of these, William Merritt Post, was a tonalist landscape painter often associated with the Barbizon school and the early New England Impressionists. Born on December 11, 1856 in Brooklyn, Post was the son of a commodities merchant. His parents separated after sixteen years of marriage and four children, suggesting a troubled home life. Post's attraction to nature began in the fall of 1879, when an excursion from Brooklyn to a marshy region made Post think, "If I were an artist, this region would be one of the first places I would strike out for." Unlike many artists of the day who studied in Paris, Germany and Holland, Post developed his eye for composition, his technical knowledge of the craft of painting and his deft draftsmanship in the artistic community of New York.At the age of twenty-four, he began taking drawing lessons from the relatively unknown Samuel Frost Johnson. By 1880, Post had already begun painting Hudson River pictures on academic board and signing them "W. Post." By 1881-1882, he moved on to the Art Students League, where he worked with J. Carroll Beckwith. Paintings during this phase were signed "W. M. Post."By 1884, Post was twenty-eight and had launched a career as a landscapist. That same year, the National Academy of Design accepted for its autumn exhibition one of his paintings signed W. Merritt Post. This remained his signature for the rest of his professional life. It was in these years that he became greatly influenced by the landscape painter, Hugh Bolton Jones. Both men were attracted to tightly focused landscape scenes, particularly streams amid trees and meadows, and their primary goal was to capture light at different times of day and in different seasons.This predeliction, in turn, drove both artists to excursions outside of New York into the countryside of the marsh towns in New Jersey and on Long Island. It was in the marsh areas of Milburn, South Orange and Nutley, New Jersey that the country stream emerged as an infinitely variable formula to display subtle reactions to a particular aspect of nature.In the 1890s, Post perfected the country stream motif and the evident salability of these paintings no doubt explains how he became financially independent of his father, and it also obliges us to assume that his significance as an artist depended on his vituoso interpretation of this theme to the end of his long life.Post exhibited continually at the National Academy of Design, the Philadelphia Academy of Fine Arts as well as the Boston Museum of Fine Arts. He also exhibited in Buffalo, Chicago, St. Louis and Washington DC (the Corcoran gallery), receiving many awards. Also an active member of the two watercolor clubs that had been established in New York City, Post was later elected an associate member of the National Academy of Design (1910).Post's era was really the first when American artists could actually make a living from their art. Biographical dictionaries suggest that there were more than a thousand artists living in New York City at the turn of the century. Many landscape artists spent extended periods of time in the coutryside sketching, which Post had done since the early 1880s. But most artists returned to their New York studios to create their paintings and to take part in the city's active art community. In 1906, Post married his wife, Katherine Van Nest. He was 49; she was 36. They had a daughter, Katherine (later Mrs. William E. Gardner), three years after they wed. Even though Post became noted for his landscape paintings done in Connecticut, the Posts always kept an apartment in the city. The Posts first summered in Bethlehem, Connecticut around 1908. In 1912, they purchased a 15-acre farm, Applewood, in West Morris (Bantam) fifteen miles northwest of Waterbury. With the help of New York architects, the Posts completely remodeled the place adding a studio addition in the process. The Bantam River ran westerly at the back of the property. After settling in his West Morris studio, Post began painting plein-air landscapes, and traveled throughout the northeast, collecting landscape motifs in his sketchbooks. Perhaps more so than any other American artist, he was fascinated with country streams and reflections on water, and concentrated on these themes all of his professional life. Connecticut had been attracting landscape painters for decades, but most of them were attracted to the shoreline colonies at Cos Cob, Old Lyme and Mystic and to an Impressionist approach to landscape painting. Post stands apart for his choice of a rural retreat in the northwest hills of Connecticut and his steady exploration of his chosen theme, the country stream.While his peers turned toward the bright palette of Impressionism, he remained committed to tonalist hues and the rich greens that also appealed to his mentor, Hugh Bolton Jones. Those seeking an escape from the increasingly urban New York metropolitan area, rode the Shepaug Railroad, completed in 1872, into the quiet Litchfield colony, where they helped create and preserve an idealized rural lifestyle, a reminder of an America that they feared was rapidly disappearing. This railroad ran only a few miles from Applewood. When at the age of seventy, Post moved back to Manhattan with his wife to be close to their daughter, Post's only serious professional effort lay in offering two paintings at the National Academy of Design annual exhibitions about 1930. This was later reduced to one painting per year. William Merritt Post died in New York City of heart problems on March 22, 1935 at the age of seventy-eight. The contents of his studio in West Morris were auctioned off in 1937, and the high bidder donated many of the items purchased to the Mattatuck Museum, including drawings, sketchbooks, small oil paintings, documents, and artists' materials.Biography submitted by: Kevin Murphy
Lot 52 William Merritt Post American (1856-1935) Landscape oil on panel 10 3/4 x 20 1/4 inches frame dimensions: 16 1/2 x 25 3/4 x 1 1/2 inches, wood frame Provenance: Collection of Paul Ehrlich
Pair of St. Lawrence River Scenes: (i) 'Landscape with Moored boat'. Oil on artist board. Signed lower right.(ii) 'Landscape with River Rapids'. Oil on artist board. Signed lower left. Property from a Rye, NY estate. Dimensions: (i) 10' h x 19.50" w. (ii) 10" h x 19.50" w. Frame: (i,ii) 15.25" h x 25" w. (Two items in the lot)
POST, William Merritt, (American, 1856-1935): Autumnal landscape with river and house, Oil/Canvas, signed lower right, 25.25" x 30.5", framed 32.5" x 37.5".
William Merritt Post (American, 1856-1935), "Autumn," oil on canvas, signed lower right, canvas: 25.25"h x 30.25"w, overall (with frame): 30"h x 34.75"w
William Merritt Post (American, 1856 - 1935) oil on canvas, autumn landscape with stream and arched bridge, signed lower right, framed, wear consistent with age, ss: 23 1/4" h. x 29 1/4" w.
A William Merritt Post (American, 1856-1935) oil on board painting depicting a tributary running through a wooded area with a mountain in the background. Signed 'W Post' lower right. Presented in a gilt wood cassetta style frame. Sight: 10" x 17.5"
A William Merritt Post (American, 1856-1935) oil on board painting depicting a large lake emptying into a two tiered waterfall in a wooded area. Signed 'W Post' lower right. Presented in a wooden frame with an inner gilt wood border. Sight: 10" x 18.5"
A William Merritt Post (American, 1856-1935) oil on board painting depicting rapids flowing downhill into a lake in a wooded area with a mountain in the distance. Signed 'W Post' lower right. Presented in a gilt wood cassetta style frame. Sight: 10" x 17.5"
Lot 57 William Merritt Post American (1856-1935) Landscape oil on panel 10 3/4 x 20 1/4 inches frame dimensions: 16 1/2 x 25 3/4 x 1 1/2 inches, wood frame Provenance: Collection of Paul Ehrlich
William Merritt Post (American, 1856-1935), oil on canvas depicting a pond in autumn, reflecting the cloudy sky on its calm water, signed l.l., 25 1/4" x 30 1/4" canvas, 33 1/4" x 39" framed.
ARTIST: William Merritt Post (Connecticut, New York, 1856 - 1935) TITLE: Country Landscape MEDIUM: oil on canvas CONDITION: One small patch. Few small paint losses. Some craquelure. No visible inpaint under UV light. Wear to frame. ART SIZE: 18 x 24 inches / 45 x 60 cm FRAME SIZE: 24 x 30 inches / 60 x 76 cm SIGNATURE: lower right CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 127812 US Shipping $90 + insurance. BIOGRAPHY: Born on December 11, 1856 in Brooklyn, Post was the son of a commodities merchant. His parents separated after sixteen years of marriage and four children, suggesting a troubled home life. Post's attraction to nature began in the fall of 1879, when an excursion from Brooklyn to a marshy region made Post think, "If I were an artist, this region would be one of the first places I would strike out for. "Unlike many artists of the day who studied in Paris, Germany and Holland, Post developed his eye for composition, his technical knowledge of the craft of painting and his deft draftsmanship in the artistic community of New York. At the age of twenty-four, he began taking drawing lessons from the relatively unknown Samuel Frost Johnson. By 1880, Post had already begun painting Hudson River pictures on academic board and signing them "W. Post." By 1881-1882, he moved on to the Art Students League, where he worked with J. Carroll Beckwith. Paintings during this phase were signed "W. M. Post. "By 1884, Post was twenty-eight and had launched a career as a landscapist. That same year, the National Academy of Design accepted for its autumn exhibition one of his paintings signed W. Merritt Post. This remained his signature for the rest of his professional life. It was in these years that he became greatly influenced by the landscape painter, Hugh Bolton Jones. Both men were attracted to tightly focused landscape scenes, particularly streams amid trees and meadows, and their primary goal was to capture light at different times of day and in different seasons.This predeliction, in turn, drove both artists to excursions outside of New York into the countryside of the marsh towns in New Jersey and on Long Island. It was in the marsh areas of Milburn, South Orange and Nutley, New Jersey that the country stream emerged as an infinitely variable formula to display subtle reactions to a particular aspect of nature. In the 1890s, Post perfected the country stream motif and the evident salability of these paintings no doubt explains how he became financially independent of his father, and it also obliges us to assume that his significance as an artist depended on his vituoso interpretation of this theme to the end of his long life.Post exhibited continually at the National Academy of Design, the Philadelphia Academy of Fine Arts as well as the Boston Museum of Fine Arts. He also exhibited in Buffalo, Chicago, St. Louis and Washington DC (the Corcoran gallery), receiving many awards. Also an active member of the two watercolor clubs that had been established in New York City, Post was later elected an associate member of the National Academy of Design (1910). Post's era was really the first when American artists could actually make a living from their art. Biographical dictionaries suggest that there were more than a thousand artists living in New York City at the turn of the century. Many landscape artists spent extended periods of time in the coutryside sketching, which Post had done since the early 1880s. But most artists returned to their New York studios to create their paintings and to take part in the city's active art community. In 1906, Post married his wife, Katherine Van Nest. He was 49; she was 36. They had a daughter, Katherine (later Mrs. William E. Gardner), three years after they wed. Even though Post became noted for his landscape paintings done in Connecticut, the Posts always kept an apartment in the city. The Posts first summered in Bethlehem, Connecticut around 1908. In 1912, they purchased a 15-acre farm, Applewood, in West Morris (Bantam) fifteen miles northwest of Waterbury. With the help of New York architects, the Posts completely remodeled the place adding a studio addition in the process. The Bantam River ran westerly at the back of the property. After settling in his West Morris studio, Post began painting plein-air landscapes, and traveled throughout the northeast, collecting landscape motifs in his sketchbooks. Perhaps more so than any other American artist, he was fascinated with country streams and reflections on water, and concentrated on these themes all of his professional life. Connecticut had been attracting landscape painters for decades, but most of them were attracted to the shoreline colonies at Cos Cob, Old Lyme and Mystic and to an Impressionist approach to landscape painting. Post stands apart for his choice of a rural retreat in the northwest hills of Connecticut and his steady exploration of his chosen theme, the country stream. While his peers turned toward the bright palette of Impressionism, he remained committed to tonalist hues and the rich greens that also appealed to his mentor, Hugh Bolton Jones. Those seeking an escape from the increasingly urban New York metropolitan area, rode the Shepaug Railroad, completed in 1872, into the quiet Litchfield colony, where they helped create and preserve an idealized rural lifestyle, a reminder of an America that they feared was rapidly disappearing. This railroad ran only a few miles from Applewood. When at the age of seventy, Post moved back to Manhattan with his wife to be close to their daughter, Post's only serious professional effort lay in offering two paintings at the National Academy of Design annual exhibitions about 1930. This was later reduced to one painting per year. William Merritt Post died in New York City of heart problems on March 22, 1935 at the age of seventy-eight. The contents of his studio in West Morris were auctioned off in 1937, and the high bidder donated many of the items purchased to the Mattatuck Museum, including drawings, sketchbooks, small oil paintings, documents, and artists' materials.
William Merritt Post American, 1856-1935 Bridge in the Marshes Signed W Merritt Post and inscribed NY (lr) Oil on canvas 16 x 26 inches (Framed: 21 1/4 x 31 1/4 inches) Frame rub.
William Merritt Post (1856-1935) American, Watercolor. New England autumn landscape with stream running through. Fine original frame. Signed in the lower left W. Merritt Post. William Post is known for Landscape-streamside and harbor view painting, drawing. Post was the son of a commodities merchant. His parents separated after sixteen years of marriage and four children, suggesting a troubled home life. Post's attraction to nature began in the fall of 1879, when an excursion from Brooklyn to a marshy region made Post think, "If I were an artist, this region would be one of the first places I would strike out for." Unlike many artists of the day who studied in Paris, Germany and Holland, Post developed his eye for composition, his technical knowledge of the craft of painting and his deft draftsmanship in the artistic community of New York. Overall Size: 22 1/2 x 28 1/2 in. Sight Size: 12 x 17 1/2 in. Frame Thickness: 3 in. #1544 Location RACK 3
William Merritt Post 1856-1935 oil on academy board. signed lower right W. Post. Frame size 13x22". Site size 10x19".Scholars continually rediscover competent American artists who enjoyed successful careers at the turn of the century, but whose legacy has been lost over time. One of these, William Merritt Post, was a tonalist landscape painter often associated with the Barbizon school and the early New England Impressionists. from ask art. Well listed Artist
WILLIAM MERRITT POST (American, 1856-1935), ''Indian Summer'', oil on canvas, signed lower left, signed and titled on stretcher verso. Lined, small loss left of center, craquelure, dirt and grime. Canvas 22''h, 36-1/4''w. Provenance: Estate of Joseph ''Jay'' St. Mark, PhD, of Newtown, Connecticut, historian, appraiser, and collector of fine Americana.
Painting Oil on Canvas, William Merritt Post, American (1861-1938), Scene of Barn & Haystacks. Signed Lower Right. Provenance from a Garden City, NY Collector. Generally good condition. A few craquelure, mostly in sky section. Needs cleaning. Dimensions- Sight-26" x 20", Frame-30" x 24". Please note the absence of a Condition Report does not imply that there are no condition issues with this lot. Please contact us for a detailed Condition Report. It is the Buyer's responsibility to inspect each lot and deem their own opinions on Condition, Description, Provenance, and Validity before purchasing. Please make an appointment to preview or ask for Condition Reports. Condition Reports are rendered as an opinion by the staff of the Auction House and not as statements of fact. REMEMBER ALL SALES ARE FINAL AND ALL ITEMS ARE SOLD AS-IS, WHERE IS.
William Merritt Post (American, 1856-1935) Landscape with Cascades oil on board signed "W. Post" (lower right) 10 x 18 1/2 inches (sight) 14 3/4 x 23 inches (frame)
ARTIST: William Merritt Post (Connecticut, New York, 1856 - 1935) NAME: Sunset Landscape MEDIUM: oil on canvas. Canvas applied to board. CONDITION: Very good. One small inpainting/touch up 1 x 3 mm under UV light. Wear to frame. SIGHT SIZE: 25 x 30 inches / 63 x 76 cm FRAME SIZE: 31 x 36 inches / 78 x 91 cm SIGNATURE: lower left PROVENANCE: Wally Findlay Galleries, Chicago IL (has label on verso) CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120840 US Shipping $120 + insurance. BIOGRAPHY: Born on December 11, 1856 in Brooklyn, Post was the son of a commodities merchant. His parents separated after sixteen years of marriage and four children, suggesting a troubled home life. Post's attraction to nature began in the fall of 1879, when an excursion from Brooklyn to a marshy region made Post think, "If I were an artist, this region would be one of the first places I would strike out for." Unlike many artists of the day who studied in Paris, Germany and Holland, Post developed his eye for composition, his technical knowledge of the craft of painting and his deft draftsmanship in the artistic community of New York.At the age of twenty-four, he began taking drawing lessons from the relatively unknown Samuel Frost Johnson. By 1880, Post had already begun painting Hudson River pictures on academic board and signing them "W. Post." By 1881-1882, he moved on to the Art Students League, where he worked with J. Carroll Beckwith. Paintings during this phase were signed "W. M. Post."By 1884, Post was twenty-eight and had launched a career as a landscapist. That same year, the National Academy of Design accepted for its autumn exhibition one of his paintings signed W. Merritt Post. This remained his signature for the rest of his professional life. It was in these years that he became greatly influenced by the landscape painter, Hugh Bolton Jones. Both men were attracted to tightly focused landscape scenes, particularly streams amid trees and meadows, and their primary goal was to capture light at different times of day and in different seasons.This predeliction, in turn, drove both artists to excursions outside of New York into the countryside of the marsh towns in New Jersey and on Long Island. It was in the marsh areas of Milburn, South Orange and Nutley, New Jersey that the country stream emerged as an infinitely variable formula to display subtle reactions to a particular aspect of nature.In the 1890s, Post perfected the country stream motif and the evident salability of these paintings no doubt explains how he became financially independent of his father, and it also obliges us to assume that his significance as an artist depended on his vituoso interpretation of this theme to the end of his long life.Post exhibited continually at the National Academy of Design, the Philadelphia Academy of Fine Arts as well as the Boston Museum of Fine Arts. He also exhibited in Buffalo, Chicago, St. Louis and Washington DC (the Corcoran gallery), receiving many awards. Also an active member of the two watercolor clubs that had been established in New York City, Post was later elected an associate member of the National Academy of Design (1910).Post's era was really the first when American artists could actually make a living from their art. Biographical dictionaries suggest that there were more than a thousand artists living in New York City at the turn of the century. Many landscape artists spent extended periods of time in the coutryside sketching, which Post had done since the early 1880s. But most artists returned to their New York studios to create their paintings and to take part in the city's active art community.In 1906, Post married his wife, Katherine Van Nest. He was 49; she was 36. They had a daughter, Katherine (later Mrs. William E. Gardner), three years after they wed. Even though Post became noted for his landscape paintings done in Connecticut, the Posts always kept an apartment in the city.The Posts first summered in Bethlehem, Connecticut around 1908. In 1912, they purchased a 15-acre farm, Applewood, in West Morris (Bantam) fifteen miles northwest of Waterbury. With the help of New York architects, the Posts completely remodeled the place adding a studio addition in the process. The Bantam River ran westerly at the back of the property. After settling in his West Morris studio, Post began painting plein-air landscapes, and traveled throughout the northeast, collecting landscape motifs in his sketchbooks. Perhaps more so than any other American artist, he was fascinated with country streams and reflections on water, and concentrated on these themes all of his professional life.Connecticut had been attracting landscape painters for decades, but most of them were attracted to the shoreline colonies at Cos Cob, Old Lyme and Mystic and to an Impressionist approach to landscape painting. Post stands apart for his choice of a rural retreat in the northwest hills of Connecticut and his steady exploration of his chosen theme, the country stream.While his peers turned toward the bright palette of Impressionism, he remained committed to tonalist hues and the rich greens that also appealed to his mentor, Hugh Bolton Jones. Those seeking an escape from the increasingly urban New York metropolitan area, rode the Shepaug Railroad, completed in 1872, into the quiet Litchfield colony, where they helped create and preserve an idealized rural lifestyle, a reminder of an America that they feared was rapidly disappearing. This railroad ran only a few miles from Applewood. When at the age of seventy, Post moved back to Manhattan with his wife to be close to their daughter, Post's only serious professional effort lay in offering two paintings at the National Academy of Design annual exhibitions about 1930. This was later reduced to one painting per year.William Merritt Post died in New York City of heart problems on March 22, 1935 at the age of seventy-eight. The contents of his studio in West Morris were auctioned off in 1937, and the high bidder donated many of the items purchased to the Mattatuck Museum, including drawings, sketchbooks, small oil paintings, documents, and artists' materials.
Watercolor landscape painting by noted American Tonalist artist William Merritt Post (NY / CT, 1856 - 1935). Signed in lower right hand corner "W. Merritt Post". Watercolor and gouache on paper. Landscape of trees and scrubs with fall foliage along a stream. Painting looks to be in quite good condition. Framed behind glass in vintage frame, with wear on frame. Acid burn on paper backing of matting, but not on painting. Opening: 12" tall by 16" wide. Frame: 24 1/2" tall by 28 1/2" wide by 2" deep. Keywords: fancy, wall, decor, decoration, house, home, household, art, artwork, paint, painter, Connecticut, New York, Tonalism
ARTIST: William Merritt Post (Connecticut, New York, 1856 - 1935) NAME: Sunset Landscape MEDIUM: oil on canvas. Canvas applied to board. CONDITION: Very good. One small inpainting/touch up 1 x 3 mm under UV light. Wear to frame. SIGHT SIZE: 25 x 30 inches / 63 x 76 cm FRAME SIZE: 31 x 36 inches / 78 x 91 cm SIGNATURE: lower left PROVENANCE: Wally Findlay Galleries, Chicago IL (has label on verso) CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120840 US Shipping $120 + insurance. BIOGRAPHY: Born on December 11, 1856 in Brooklyn, Post was the son of a commodities merchant. His parents separated after sixteen years of marriage and four children, suggesting a troubled home life. Post's attraction to nature began in the fall of 1879, when an excursion from Brooklyn to a marshy region made Post think, "If I were an artist, this region would be one of the first places I would strike out for." Unlike many artists of the day who studied in Paris, Germany and Holland, Post developed his eye for composition, his technical knowledge of the craft of painting and his deft draftsmanship in the artistic community of New York.At the age of twenty-four, he began taking drawing lessons from the relatively unknown Samuel Frost Johnson. By 1880, Post had already begun painting Hudson River pictures on academic board and signing them "W. Post." By 1881-1882, he moved on to the Art Students League, where he worked with J. Carroll Beckwith. Paintings during this phase were signed "W. M. Post."By 1884, Post was twenty-eight and had launched a career as a landscapist. That same year, the National Academy of Design accepted for its autumn exhibition one of his paintings signed W. Merritt Post. This remained his signature for the rest of his professional life. It was in these years that he became greatly influenced by the landscape painter, Hugh Bolton Jones. Both men were attracted to tightly focused landscape scenes, particularly streams amid trees and meadows, and their primary goal was to capture light at different times of day and in different seasons.This predeliction, in turn, drove both artists to excursions outside of New York into the countryside of the marsh towns in New Jersey and on Long Island. It was in the marsh areas of Milburn, South Orange and Nutley, New Jersey that the country stream emerged as an infinitely variable formula to display subtle reactions to a particular aspect of nature.In the 1890s, Post perfected the country stream motif and the evident salability of these paintings no doubt explains how he became financially independent of his father, and it also obliges us to assume that his significance as an artist depended on his vituoso interpretation of this theme to the end of his long life.Post exhibited continually at the National Academy of Design, the Philadelphia Academy of Fine Arts as well as the Boston Museum of Fine Arts. He also exhibited in Buffalo, Chicago, St. Louis and Washington DC (the Corcoran gallery), receiving many awards. Also an active member of the two watercolor clubs that had been established in New York City, Post was later elected an associate member of the National Academy of Design (1910).Post's era was really the first when American artists could actually make a living from their art. Biographical dictionaries suggest that there were more than a thousand artists living in New York City at the turn of the century. Many landscape artists spent extended periods of time in the coutryside sketching, which Post had done since the early 1880s. But most artists returned to their New York studios to create their paintings and to take part in the city's active art community.In 1906, Post married his wife, Katherine Van Nest. He was 49; she was 36. They had a daughter, Katherine (later Mrs. William E. Gardner), three years after they wed. Even though Post became noted for his landscape paintings done in Connecticut, the Posts always kept an apartment in the city.The Posts first summered in Bethlehem, Connecticut around 1908. In 1912, they purchased a 15-acre farm, Applewood, in West Morris (Bantam) fifteen miles northwest of Waterbury. With the help of New York architects, the Posts completely remodeled the place adding a studio addition in the process. The Bantam River ran westerly at the back of the property. After settling in his West Morris studio, Post began painting plein-air landscapes, and traveled throughout the northeast, collecting landscape motifs in his sketchbooks. Perhaps more so than any other American artist, he was fascinated with country streams and reflections on water, and concentrated on these themes all of his professional life.Connecticut had been attracting landscape painters for decades, but most of them were attracted to the shoreline colonies at Cos Cob, Old Lyme and Mystic and to an Impressionist approach to landscape painting. Post stands apart for his choice of a rural retreat in the northwest hills of Connecticut and his steady exploration of his chosen theme, the country stream.While his peers turned toward the bright palette of Impressionism, he remained committed to tonalist hues and the rich greens that also appealed to his mentor, Hugh Bolton Jones. Those seeking an escape from the increasingly urban New York metropolitan area, rode the Shepaug Railroad, completed in 1872, into the quiet Litchfield colony, where they helped create and preserve an idealized rural lifestyle, a reminder of an America that they feared was rapidly disappearing. This railroad ran only a few miles from Applewood. When at the age of seventy, Post moved back to Manhattan with his wife to be close to their daughter, Post's only serious professional effort lay in offering two paintings at the National Academy of Design annual exhibitions about 1930. This was later reduced to one painting per year.William Merritt Post died in New York City of heart problems on March 22, 1935 at the age of seventy-eight. The contents of his studio in West Morris were auctioned off in 1937, and the high bidder donated many of the items purchased to the Mattatuck Museum, including drawings, sketchbooks, small oil paintings, documents, and artists' materials.
WILLIAM MERRITT POST (American, 1856-1935), autumn landscape with river, signed lower left. Aging cracks, flaking with a few losses, one area with overpainting. Canvas 30''h, 40''w.
ARTIST: William Merritt Post (Connecticut, New York, 1856 - 1935) NAME: Autumn Landscape MEDIUM: oil on canvas CONDITION: Minor craquelure. No visible inpaint under UV light. Minor damages to frame. SIGHT SIZE: 14 1/2 x 20 inches / 38 x 50 cm FRAME SIZE: 20 x 26 inches / 50 x 66 cm SIGNATURE: lower right CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120766 US Shipping $75 + insurance. BIOGRAPHY: Born on December 11, 1856 in Brooklyn, Post was the son of a commodities merchant. His parents separated after sixteen years of marriage and four children, suggesting a troubled home life. Post's attraction to nature began in the fall of 1879, when an excursion from Brooklyn to a marshy region made Post think, "If I were an artist, this region would be one of the first places I would strike out for." Unlike many artists of the day who studied in Paris, Germany and Holland, Post developed his eye for composition, his technical knowledge of the craft of painting and his deft draftsmanship in the artistic community of New York.At the age of twenty-four, he began taking drawing lessons from the relatively unknown Samuel Frost Johnson. By 1880, Post had already begun painting Hudson River pictures on academic board and signing them "W. Post." By 1881-1882, he moved on to the Art Students League, where he worked with J. Carroll Beckwith. Paintings during this phase were signed "W. M. Post."By 1884, Post was twenty-eight and had launched a career as a landscapist. That same year, the National Academy of Design accepted for its autumn exhibition one of his paintings signed W. Merritt Post. This remained his signature for the rest of his professional life. It was in these years that he became greatly influenced by the landscape painter, Hugh Bolton Jones. Both men were attracted to tightly focused landscape scenes, particularly streams amid trees and meadows, and their primary goal was to capture light at different times of day and in different seasons.This predeliction, in turn, drove both artists to excursions outside of New York into the countryside of the marsh towns in New Jersey and on Long Island. It was in the marsh areas of Milburn, South Orange and Nutley, New Jersey that the country stream emerged as an infinitely variable formula to display subtle reactions to a particular aspect of nature.In the 1890s, Post perfected the country stream motif and the evident salability of these paintings no doubt explains how he became financially independent of his father, and it also obliges us to assume that his significance as an artist depended on his vituoso interpretation of this theme to the end of his long life.Post exhibited continually at the National Academy of Design, the Philadelphia Academy of Fine Arts as well as the Boston Museum of Fine Arts. He also exhibited in Buffalo, Chicago, St. Louis and Washington DC (the Corcoran gallery), receiving many awards. Also an active member of the two watercolor clubs that had been established in New York City, Post was later elected an associate member of the National Academy of Design (1910).Post's era was really the first when American artists could actually make a living from their art. Biographical dictionaries suggest that there were more than a thousand artists living in New York City at the turn of the century. Many landscape artists spent extended periods of time in the coutryside sketching, which Post had done since the early 1880s. But most artists returned to their New York studios to create their paintings and to take part in the city's active art community.In 1906, Post married his wife, Katherine Van Nest. He was 49; she was 36. They had a daughter, Katherine (later Mrs. William E. Gardner), three years after they wed. Even though Post became noted for his landscape paintings done in Connecticut, the Posts always kept an apartment in the city.The Posts first summered in Bethlehem, Connecticut around 1908. In 1912, they purchased a 15-acre farm, Applewood, in West Morris (Bantam) fifteen miles northwest of Waterbury. With the help of New York architects, the Posts completely remodeled the place adding a studio addition in the process. The Bantam River ran westerly at the back of the property. After settling in his West Morris studio, Post began painting plein-air landscapes, and traveled throughout the northeast, collecting landscape motifs in his sketchbooks. Perhaps more so than any other American artist, he was fascinated with country streams and reflections on water, and concentrated on these themes all of his professional life.Connecticut had been attracting landscape painters for decades, but most of them were attracted to the shoreline colonies at Cos Cob, Old Lyme and Mystic and to an Impressionist approach to landscape painting. Post stands apart for his choice of a rural retreat in the northwest hills of Connecticut and his steady exploration of his chosen theme, the country stream.While his peers turned toward the bright palette of Impressionism, he remained committed to tonalist hues and the rich greens that also appealed to his mentor, Hugh Bolton Jones. Those seeking an escape from the increasingly urban New York metropolitan area, rode the Shepaug Railroad, completed in 1872, into the quiet Litchfield colony, where they helped create and preserve an idealized rural lifestyle, a reminder of an America that they feared was rapidly disappearing. This railroad ran only a few miles from Applewood. When at the age of seventy, Post moved back to Manhattan with his wife to be close to their daughter, Post's only serious professional effort lay in offering two paintings at the National Academy of Design annual exhibitions about 1930. This was later reduced to one painting per year.William Merritt Post died in New York City of heart problems on March 22, 1935 at the age of seventy-eight. The contents of his studio in West Morris were auctioned off in 1937, and the high bidder donated many of the items purchased to the Mattatuck Museum, including drawings, sketchbooks, small oil paintings, documents, and artists' materials.
ARTIST: William Merritt Post (Connecticut, New York, 1856 - 1935) NAME: Sunset Landscape MEDIUM: oil on canvas. Canvas applied to board. CONDITION: Very good. One small inpainting/touch up 1 x 3 mm under UV light. Wear to frame. SIGHT SIZE: 25 x 30 inches / 63 x 76 cm FRAME SIZE: 31 x 36 inches / 78 x 91 cm SIGNATURE: lower left PROVENANCE: Wally Findlay Galleries, Chicago IL (has label on verso) CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120840 US Shipping $120 + insurance. BIOGRAPHY: Born on December 11, 1856 in Brooklyn, Post was the son of a commodities merchant. His parents separated after sixteen years of marriage and four children, suggesting a troubled home life. Post's attraction to nature began in the fall of 1879, when an excursion from Brooklyn to a marshy region made Post think, "If I were an artist, this region would be one of the first places I would strike out for." Unlike many artists of the day who studied in Paris, Germany and Holland, Post developed his eye for composition, his technical knowledge of the craft of painting and his deft draftsmanship in the artistic community of New York.At the age of twenty-four, he began taking drawing lessons from the relatively unknown Samuel Frost Johnson. By 1880, Post had already begun painting Hudson River pictures on academic board and signing them "W. Post." By 1881-1882, he moved on to the Art Students League, where he worked with J. Carroll Beckwith. Paintings during this phase were signed "W. M. Post."By 1884, Post was twenty-eight and had launched a career as a landscapist. That same year, the National Academy of Design accepted for its autumn exhibition one of his paintings signed W. Merritt Post. This remained his signature for the rest of his professional life. It was in these years that he became greatly influenced by the landscape painter, Hugh Bolton Jones. Both men were attracted to tightly focused landscape scenes, particularly streams amid trees and meadows, and their primary goal was to capture light at different times of day and in different seasons.This predeliction, in turn, drove both artists to excursions outside of New York into the countryside of the marsh towns in New Jersey and on Long Island. It was in the marsh areas of Milburn, South Orange and Nutley, New Jersey that the country stream emerged as an infinitely variable formula to display subtle reactions to a particular aspect of nature.In the 1890s, Post perfected the country stream motif and the evident salability of these paintings no doubt explains how he became financially independent of his father, and it also obliges us to assume that his significance as an artist depended on his vituoso interpretation of this theme to the end of his long life.Post exhibited continually at the National Academy of Design, the Philadelphia Academy of Fine Arts as well as the Boston Museum of Fine Arts. He also exhibited in Buffalo, Chicago, St. Louis and Washington DC (the Corcoran gallery), receiving many awards. Also an active member of the two watercolor clubs that had been established in New York City, Post was later elected an associate member of the National Academy of Design (1910).Post's era was really the first when American artists could actually make a living from their art. Biographical dictionaries suggest that there were more than a thousand artists living in New York City at the turn of the century. Many landscape artists spent extended periods of time in the coutryside sketching, which Post had done since the early 1880s. But most artists returned to their New York studios to create their paintings and to take part in the city's active art community.In 1906, Post married his wife, Katherine Van Nest. He was 49; she was 36. They had a daughter, Katherine (later Mrs. William E. Gardner), three years after they wed. Even though Post became noted for his landscape paintings done in Connecticut, the Posts always kept an apartment in the city.The Posts first summered in Bethlehem, Connecticut around 1908. In 1912, they purchased a 15-acre farm, Applewood, in West Morris (Bantam) fifteen miles northwest of Waterbury. With the help of New York architects, the Posts completely remodeled the place adding a studio addition in the process. The Bantam River ran westerly at the back of the property. After settling in his West Morris studio, Post began painting plein-air landscapes, and traveled throughout the northeast, collecting landscape motifs in his sketchbooks. Perhaps more so than any other American artist, he was fascinated with country streams and reflections on water, and concentrated on these themes all of his professional life.Connecticut had been attracting landscape painters for decades, but most of them were attracted to the shoreline colonies at Cos Cob, Old Lyme and Mystic and to an Impressionist approach to landscape painting. Post stands apart for his choice of a rural retreat in the northwest hills of Connecticut and his steady exploration of his chosen theme, the country stream.While his peers turned toward the bright palette of Impressionism, he remained committed to tonalist hues and the rich greens that also appealed to his mentor, Hugh Bolton Jones. Those seeking an escape from the increasingly urban New York metropolitan area, rode the Shepaug Railroad, completed in 1872, into the quiet Litchfield colony, where they helped create and preserve an idealized rural lifestyle, a reminder of an America that they feared was rapidly disappearing. This railroad ran only a few miles from Applewood. When at the age of seventy, Post moved back to Manhattan with his wife to be close to their daughter, Post's only serious professional effort lay in offering two paintings at the National Academy of Design annual exhibitions about 1930. This was later reduced to one painting per year.William Merritt Post died in New York City of heart problems on March 22, 1935 at the age of seventy-eight. The contents of his studio in West Morris were auctioned off in 1937, and the high bidder donated many of the items purchased to the Mattatuck Museum, including drawings, sketchbooks, small oil paintings, documents, and artists' materials.
William Merritt Post (American, 1856 - 1935), "Autumn Landscape", oil on canvas, autumn landscape with meandering brook leading up to low foot bridge in distance, signed lower left "W. Merritt Post", old paper label verso, wear consistent with age and use, craquelure, relined, gilded frame with wear, not examined out of frame, ss: 15 1/4" h. x 24 1/2" w.
William Merritt Post signed oil painting – PC: singed ‘W. Merritt Post’ (William Merritt Post – American 1856-1935) – small oil on canvas landscape in the artist’s typical detail, with three brown cows @foreground, red/grey roof house & outbuilding @left, large body of water @background; signed @lower right; in a later, painted gold wooden molding frame, 16” W X 11 ¾” T image size/20” W X 15 ¾” T overall - Good
William Merritt Post (American, 1856 - 1935), "Haystacks", oil on board, three haystacks in a field at dusk, the moon rising above, signed lower left, framed, gilt paint peeling off, missing in large areas, Cooley Gallery label verso, wear consistent with age, toning, craquelure, not examined out of frame, ss: 7 1/4" h. x 9 1/2" w.
William Merritt Post (American, 1856 - 1935), "Autumn Landscape" oil on board, trees with red and orange leaves hug the banks of a winding river, signed lower left, in molded frame with scroll motif, wear consistent with age and use including light toning and some areas of craquelure upper right, not examined out of frame, ss: 13 1/4" h. x 19 1/2" w., frame size: 18" h. x 24" w. x 2 1/2" d.
