Godel & Co. Fine Art, Inc.

Godel & Co. Fine Art, Inc. An art gallery, specializing in 19th and early 20th-century American art. We are a different art gallery. We welcome all inquiries. G.

We own the vast majority of our inventory because we believe that artworks of superior quality prove to be excellent investments over time. During the past thirty-four years we have sold artworks of major historical importance to museums and private collections across the country. We understand the relevance of rarity, composition, subject matter, dating, condition, provenance, and framing. For ov

er thirty years, Godel & Co. has offered the finest quality 19th and early 20th century American art to private and corporate collectors, dealers, and museums. Our extensive inventory regularly features landscapes in the Hudson River School and luminist styles, as well as still-life, genre, and marine subjects. Our collections also incorporate Impressionism, Post-Impressionism, the Ash Can School, and early modernism. Artists represented include:
Albert Bierstadt,
William Bradford,
J. Brown,
James Buttersworth,
Thomas Cole,
Jasper Cropsey,
Asher B. Durand,
Childe Hassam,
Martin Johnson Heade,
Winslow Homer,
Eastman Johnson,
John F. Kensett,
Fitz Henry Lane,
John Marin,
Willard Metcalf,
Thomas Moran,
Raphaelle Peale,
William Trost Richards,
Theodore Robinson,
Severin Roesen, and
Taos School artists such as Irving Couse,
E. Martin Hennings and Walter Ufer, just to name a few. Member Art and Antiques Dealers League of America,
Fine Art Dealers Association,
Established 1980

Childe Hassam (1859-1935) | Mount Vernon Street, Boston, | Looking Toward the State House, c. 1890 | Oil on canvas, 18 ¼...
11/22/2017

Childe Hassam (1859-1935) | Mount Vernon Street, Boston, | Looking Toward the State House, c. 1890 | Oil on canvas, 18 ¼ x 16 inches | Signed lower right: Childe Hassam
Born and raised in nearby Dorchester, Massachusetts, Childe Hassam spent his early career in Boston, before studying in Paris. In our painting, Boston emerges from overcast and snowy weather for the first time in Hassam’s oeuvre. Under a blue sky, strong sunlight reflects on the golden dome of the State House to the east and catches the dormer windows and chimneys of Beacon Hill’s Federal townhouses. Mount Vernon Street below remains in shadow, save for narrow shafts of late afternoon light that stream through the intersections, dramatically illuminating the figures and carriages. In keeping with the Impressionist style he had seen in Paris, Hassam chose a light effect specific to a time of day and used broad strokes and bright colors to describe it, even if this came at the expense of precise modeling. The painting is an announcement of Hassam’s stylistic allegiance, and it predicts the leading role he would play in American Impressionism from this point on.
For more impressionist paintings check out our full inventory here: http://www.godelfineart.com/impressionism

Alessandro Guaccimanni (1864-1927) | Madison Square, 1894 | Oil on canvas, 16 x 22 inches | Signed and dated lower right...
11/20/2017

Alessandro Guaccimanni (1864-1927) | Madison Square, 1894 | Oil on canvas, 16 x 22 inches | Signed and dated lower right: | AGuaccimanni / "94 / New-York
Born in Ravenna, Italy, Count Alessandro Guaccimanni was active in New York and London as a miniaturist and a painter of city scenes. Madison Square depicts the view looking north from the intersection of Broadway and Fifth Avenue, just north of 24th Street, in New York City. Working in a style reminiscent of the Italian artist Giuseppe de Nittis, who painted views of Paris, Guaccimanni portrayed well-dressed men and women scurrying through New York’s busy streets on a rainy day. In this cool, misty scene, a burst of color catches the eye as a flower vendor laden with bouquets strides up the avenue. Since Guaccimanni was not focusing on individual figures, but rather on the bustle of the city to which they contribute, he rendered even the more prominent ones in a sketchy, abbreviated style, as though they had been glimpsed in passing.

August Gottfried Ludwig Fricke (1829-1894) | New York Harbor from Bedloe’s Island, c. 1890 | Oil on canvas, 32 ½ x 53 in...
11/17/2017

August Gottfried Ludwig Fricke (1829-1894) | New York Harbor from Bedloe’s Island, c. 1890 | Oil on canvas, 32 ½ x 53 inches | Signed lower right: A. Fricke
The multi-talented August Fricke was born in Brunschweig, Germany, and lived for most of his life in Berlin. He was active both as a painter and an opera singer. Fricke studied art with the landscape and figure painter Wilhelm Benjamin Hermann Echke, and sang with the Berlin Opera and Prussian State Opera companies. New York Harbor from Bedloe’s Island was painted during the course of one of Fricke’s visits to New York. Interestingly, the view that is pictured, which features the Brooklyn Bridge at far right, resembles a photograph by Charles Bierstadt titled New York Harbor from the Statue of Liberty, c. 1890 (New-York Historical Society).

Paul Cornoyer (1864-1923) | Place de l'Étoile, Paris, 1893 | Oil on canvas, 35 x 28 inches |Signed and dated lower left:...
11/15/2017

Paul Cornoyer (1864-1923) | Place de l'Étoile, Paris, 1893 | Oil on canvas, 35 x 28 inches |Signed and dated lower left: Paul. Cornoyer. – Paris – 93
Paul Cornoyer began his artistic education at the Saint Louis School of Art, and then studied in Paris at the Académie Julian. Towards the end of his stay in Paris, Cornoyer painted this classic Belle Époque painting that captures the elegant metropolis as rush-hour bustle yields to tranquil twilight. As the sun sets over the Place de l'Étoile, at the western end of the Champs-Élysées, pedestrians, cabs, and a streetcar fill the wide square with movement. In the foreground, a lady in a red dress wearing a dark bonnet and fur mantle walks toward the viewer, and a gentleman wearing a cape and top hat and walking with an umbrella or cane follows a few steps behind. They pass the typical accoutrements of a fashionable Parisian boulevard: a row of tall, slender trees; a double-sided bench; an elegant cast-iron street lamp; and two hexagonal pillars for advertisements, called colonnes Morris, with their characteristic copper domes. Above the dim buildings visible in the distance rises the monumental Arc de Triomphe, with its classical frieze tinted violet by the sunset.

Irving Ramsey Wiles (1861-1948) | Lady in Black: The Red Room, 1890 | Oil on panel, 16 x 10 inches | Signed and dated lo...
11/14/2017

Irving Ramsey Wiles (1861-1948) | Lady in Black: The Red Room, 1890 | Oil on panel, 16 x 10 inches | Signed and dated lower left: to my friend Chase / Irving R. Wiles 1890
Lady in Black: The Red Room is a fine example of Wiles’ mastery of the bravura brushstroke with which he builds volume through the energetic application of paint. A young woman, dressed in black, sits reading on an elegant wicker chair. She is engulfed in a rich interior of vibrant red drapery. Her delicate features stand out against the bold background, and her frontal pose gives the scene a sense of immediacy. Despite its small size, this painting is a striking and technically sophisticated effort. Wiles himself must have been pleased with the picture, for he dedicated it to his mentor, William Merritt Chase.

Ammi Phillips (1788-1865) | A Portrait of Jeanette Payne, c. 1841 | Oil on canvas, 33 ½ x 28 inchesAmmi Phillips was bor...
11/10/2017

Ammi Phillips (1788-1865) | A Portrait of Jeanette Payne, c. 1841 | Oil on canvas, 33 ½ x 28 inches
Ammi Phillips was born in Colebrook, Connecticut, in 1788 and set off in 1811 to begin his career as an itinerant portrait painter. The sitter for this portrait, Jeanette Payne, was born in 1818. Phillips portrayed the sitter with her elbows angled outward, one leaning on a pile of books on a table. This pose creates triangular negative spaces between the sitter’s arms and the narrow waist of her dress. These spaces echo both the triangular shape of her exposed neck and shoulders and the broadly triangular shape formed by her arms and shoulders leading up to her head. The slanting upper neck and three quarters profile of the sitter interrupt this regularity, as do her hands, one of which holds an herb, while the other hangs limply from the table. In addition to carefully rendering the sitter’s pleasant features and confident gaze, Phillips paid a good deal of attention to her black dress, which is attractively modeled with white highlights and trimmed with crisp lace.

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26 Village Green, Suite 2
Bedford, NY
10506

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Monday 10am - 4pm
Tuesday 10am - 4pm
Wednesday 10am - 4pm
Thursday 10am - 4pm
Friday 10am - 4pm

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