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Seller Store cadmium24
(1549) 100.0%,

Location: Pitman, New Jersey
Ships to: US,
Item: 326333170734

Restocking Fee:No
Return shipping will be paid by:Buyer
All returns accepted:Returns Accepted
Item must be returned within:14 Days
Refund will be given as:Money Back
Unit of Sale:Single-Piece Work
Artist:Otto Sommer
Signed By:Otto Sommer
Size:Medium (up to 36in.)
Framing:Unframed
Region of Origin:New York, USA
Personalize:No
Year of Production:1866
Original/Licensed Reproduction:Original
Item Height:16 in
Style:Realism
Features:One of a Kind (OOAK)
Handmade:Yes
Item Width:26 in
Culture:Hudson River School
Time Period Produced:1850-1899
Signed:Yes
Color:Multi-Color
Period:Victorian (1830-1900)
Material:Canvas
Certificate of Authenticity (COA):No
Subject:Adventure Time,Boys,Figures,Fishing,Forest,Inspirational,Landscape,New York,Ships,States & Counties,USA
Type:Painting
Theme:Americana,Art,Famous Places,History,Hobbies & Leisure,Nature,Nautical,Patriotic,People,Topographical,Travel & Transportation
Production Technique:Oil Painting
Country/Region of Manufacture:United States

This is a real treasure of the Hudson River School. A ‘long and low’ oil on canvas, the painting is by listed American artist Otto Sommer. It measures 16 x 26 inches, it’s signed and dated “Otto Sommer 1866”, and is unframed. It’s a rare ‘fresh’ antique oil painting: amazingly, not yet restored (it does need it) and never before seen on the internet. When I used to do online dating, most women said that one of their interests was: Boating. Even if all that meant was just liking the idea of boating, a painting of that theme and subject is of great appeal. If someone is going to live with a painting, well, it better be something they like and want to look at. Shipping on this will be via USPS Registered Mail (a bit slow, but very safe) due to the amount I need to insure it for. When I type the artist’s name into Google, big pictures of Otto Sommer’s paintings pop right up (even though I wasn’t searching by images) & the first words seen are “Sotheby’s” and “Artnet”. So, here on the internet, anybody (not just me) would see right off the bat that this artist isn’t a nobody. As it turns out, you don’t need Artnet to tell you some prices because other sites just tell you for free. One of my funniest art stories ever is when I had a Thomas Bigelow Craig painting (with cows in it) and a major buyer asked me “How much for the moo-moo’s?”. What do you even say to that? So, I ended up taking it to a renowned gallery, where the owner scolded me for not wearing a necktie. I told him I’d go to Brooks Brothers and be right back. He didn’t know I was just kidding. I walked the painting around the corner, where the not so snobby gallerist (he wasn’t wearing a necktie) told me that if I left the painting with him, he was pretty sure he could get me what I needed for it. A week later, I got the check in the mail. At their slow pace, cows do go home (“until the cows come home”!), but my cows weren’t going home with the moo-moo guy or the tie guy. Otto Sommer is noted in publications such as: “Hastings-on-Hudson Gallery, NY – Light and Landscape: The Hudson River School of Painters, An Exhibition from Private Collections, May-June, 1981” (no. 10) and “American Paradise: The World of the Hudson River School”. Sommer’s art trail included Lake George, West Point, Catskill Clove, Au Sable Lake in the Adirondacks, etc. There’s no writing on it, but to me this painting looks like a scene up around the Arden Point, Garrison, NY area on the Hudson. In March of 1866, Otto Sommer exhibited a painting titled “The Young Fisherman” at the Brooklyn Art Association, as #80. I can’t find that Sommer ever painted any portraits, so I’d imagine that 1866 painting and this 1866 painting were similar, if not one in the same. Whatever the 1866 painting by Sommer, it’s going to be special because he, Ernest Parton, and other artists in their studio building at 650 Broadway in NY had just lost everything to a fire in 1865. To emerge from that (and in the climate at the time with the ki*ling of Lincoln and the Civil War going on) with such an optimistic painting as this one is what American spirit is all about! This painting surfaced per an old timer who passed and his family wanting to sell things. I bought this and one other piece. Oils by Otto Sommer have sold at auction on several or more occasions for tens of thousands each, up to around 50K. They were a mix, from Westward Expansion to Northeastern United States scenery to Civil War subjects. Mid-range works (farm scenes, deer pictures, cow paintings) by Sommer are nice too and still not usually in the ‘under 5K’ range. His foreign scenes are the cheapies. I’ve posted some pictures from internet sites and from books but they’re just pictures to look at here, for reference purposes (I have no physical copies to send anyone). Besides the basics (clean, fill, inpaint, varnish), there’s a 2x rip/tear area upper left to resolve. The one small tear can’t be seen on the back, because of the stretcher. I’d work a little patch to that. The other tear would need a 3.0 x 0.50″ patch. For both, I’d use old scrap linen of the right patina w/ Seam Repair wallpaper adhesive ($6 from Lowe’s; it’s water reversible, by wetting the back of the patch). As we see from the most famous examples such as Albert Bierstadt, Hudson River School artists painted all sorts of things. The artists didn’t just exclusively paint scenes on the Hudson. Bierstadt had a studio in Rome. Cropsey lived in England for years. Whittredge was based out of Dusseldorf for a decade. That’s the good news. The bad news is at some point by c. 1870’s, the Hudson River School manner, the American branch of Romanticism, started to fall out of favor. It was traded up for a French style called Barbizon School. American art changed course. One of the keys to Romanticism was Individualism. You can’t have that without an individual (!). The best Hudson River School paintings, such as Thomas Cole’s ‘Voyage of Life’ series (Childhood, Youth, Manhood, and Old Age) were not only ‘peopled’ but also told a story. Stories were usually based on literary works, such as Bunyan’s ‘A Pilgrims Progress’. Not even the top collectors can own those kinds of masterpieces, because they’re not for sale. They can, however, own things that bear some similarity to museum paintings. ‘Youth’, by Cole, is peopled, and a boat is part of the scene. This ‘peopled / boat theme’ is present in the top auction paintings by artists Bierstadt (Indians Spear Fishing; 7.3 million USD) + Sanford R. Gifford (A Lake Twilight; 2.9 million USD). They didn’t depict places on the Hudson, but it could be worse. Besides boats + people, the paintings depicted water w/ a rocky shoreline, trees, mountains, and sky. These are the ingredients making for a top piece. The most valuable auction paintings by artists of the ‘School’ (a group, like a ‘school of fish’), as I’ve described, were from the 1860’s. They were panoramic, the Bierstadt being 19 1/4 x 29 1/4″ & the Gifford being 16 1/8 x 28 1/4″. They weren’t too small or too big. They were both from the Civil War era (1860-66). Both were studio paintings, not painted on the spot. I’ve specified most of the elements making for the best of paintings by Hudson River School artists. The reason why is that I don’t see how we could know what exactly makes for the best Hudson River School painting unless we identified the things to look for. People today compare Otto Sommer to Bierstadt. They want to because they’re trying to fancify things. I think Sommer was more the down to earth type. Bierstadt was born in Germany, and he was a top Hudson River School artist. So, people want to say that Otto Sommer was from there, too. All I could find was that Otto Sommer’s beginnings were mostly in Newark, NJ. Bierstadt’s career beginnings were actually up in MA. They both started out as local artists. As Sommer became more well known, from NY to Chicago, people who wrote about him back then never mentioned him having a German accent or anything. They also never did that per his artist-brother, Charles A. Sommer. The period references I’ve read just mentioned they were brothers. In 1863, they both gave 650 Broadway as their studio addresses. Bierstadt also had a brother named Charles, who was an artist-photographer. The parallels are there, but it’s just background stuff to me. Otto Sommer married Henriette Ringpfeil at a Mulberry St., Newark, NJ church in 1855. They had a son, Friedrich August Sommer, baptized in the church 1860. In Newark, there were probably as many people of German heritage as there were people of British Isles ancestry. When the Civil War began, so many people in Newark wanted to enlist that there were too many than needed. But, there were other ways to serve. Sommer was an upstanding citizen. Marcus L. Ward of Newark, who’d been a delegate to the 1860 Republican National Convention (supporting abolition + Lincoln) in Chicago, led the Newark Public Aid Committee. It was a committee of citizens “to take in charge and carry forward all measures needful for the equipment of troops, and to take such measures in co-operating with the authorities for the general security and protection as may be deemed advisable”. The committee members varied over the years, but when Sommer served, at the time (involving First Regiment NJV, Second Brigade, NJV, Newark Volunteers in NY regiments), the other members were: Beach Vanderpool, Marcus L. Ward, I.M. Harrison, James F. Bond, A.M. Rodwell, John Renner, Jacob Stucky, Nathaniel P. Morris, H. A. Whitney, C.S. Macknet, and P.H. Ballantine. When Otto Sommer was living in Belleville (Woodside, N. Newark), his neighbors on his side of the street (Belleville Ave., later Washington Ave.) were listed in this quote: “On the west side were six houses, occupied (from south to north) by Messrs. Sommer, an artist; Shannan, Mrs. Van Wyck, James Gamble, George B. Callen and John P. Contrell”. That was in 1866; Sommer was living there by 1862. The area was like a paradise back then. I look at the names of people around Sommer and if he was German, he was as assimilated as could be. Based out of Newark, Sommer was painting Hudson River School oils by 1860. These were a mix of things. Likely just to learn but maybe as a commission, he made half scale replicas of Cole’s Voyage of Life series. He painted a great scene on the Passaic River in that year. At least one of his two known paintings of Conway, NH was from 1860. These were all of the highest order, w/ at least 2 of his Voyage of Life oils in the Newark Museum at one time, the Passaic scene in the collection of the Newark Historical Society, and 1 of the Conway scenes owned by the author of the book ‘New Hampshire Scenery’. By 1862, Sommer was showing his work at the National Academy of Design (NAD) in New York City. From 1863 until at least 1868, Sommer’s studio was in NYC. The Newark area is only 10 miles from NYC, so Otto Sommer’s art career was based out of the ‘Greater New York’ area from around 1860-68. Besides showing at the NAD (1862-66) and the Brooklyn Art Association (1864-67), Sommer exhibited at: The Rochester Academy of Fine Arts over the Rochester Savings Bank, American and Foreign Paintings, #9, 1862; The Gallery of the Buffalo Fine Arts Academy, Arcade Buildings, Main Street, Buffalo, N.Y. Sixth Season, Paintings and Sculpture on Exhibition, #131 View in Lake George, 1863; The Fortieth Exhibition of The Boston Athenaeum, Beacon Street, Boston, Massachusetts, in 1864; The Artists’ Fund Society of New York, at 625 Broadway, where he showed his painting “At Bay”, No. 267, in the Fifth Annual Sale of Paintings, 1864; The Art Exhibition At The Metropolitan Fair (in aid of the Sanitary Commission), 1864, where John F. Kensett was Chairman of the Committee On The Fine Arts, showing #300, Landscape with Deer; Valuable Oil Paintings of the American, Dusseldorf and French Schools, exhibited for the Benefit of the Metropolitan Fair in Aid of the U.S. Sanitary Commission, at the Derby Galleries, 625 Broadway, from February 27th to March 13th, 1864, showing #58, The Proud Leader; The Derby Gallery, 845 Broadway, NYC, 1867, showing “Westward Ho!” (reviewed by Watson’s Art Journal Vol. 7, No. 11, Jul. 6, 1867, pp. 166-167; Kensett was also in the show); and, Bunyan Hall, E. 15th Street and Union Square West, Fifty Magnificent Paintings, (Otto Sommer, Chappel, Leutze, Wm. Hart, Gerry, Carmiencke, etc.), Sept., 1867. From the time he’d began his painting career, Otto Sommer was also active in Chicago. It’s hard to figure how he found the time, but it seems he was there in 1860 or earlier. The Chicago Art Union was formed in 1859. In their ‘The First Chicago Art Union Distribution’, Opened Dec, 7th, 1860, at Hesler’s Gallery, 113 Lake Street, 2nd Floor, Otto Sommer’s ‘Landscape in Wisconsin’, #70, was shown. At the Great North-Western Fair, for the Benefit of the U.S. Sanitary Commission and Soldiers’ Home, Art Department, Paintings, Statuary, etc., Chicago, Ill., June, 1865, Sommer showed Deer Attacked by Wolves, #108. In the Third Annual Exhibition, Chicago Academy of Design, at the Opera House, 1868, Sommer exhibited Farm Yard, #67. At the Inter-State Industrial Exposition of Chicago, Art Gallery, Chicago, 1876, four (4) paintings by Otto Sommer were exhibited (some, earlier works; I think all were lent by their owners): Ausable Lake #378, Storm in the Mountains #220, In the Tyrol #306, and Deer #444. It had been in 1868-69 that, likely for business reasons (commissions, etc.), Sommer relocated to Chicago. His NY work such as an Adirondacks scene was being shown there. His studio was on the 4th floor of Crosby’s Opera House (this was before The Chicago Academy of Design building, which also had studios, was completed in Sept., 1870). Sommer was with Jevne & Almini’s Gallery, 152-154 South Clark Street, Chicago, where they also showed work by Albert Bierstadt, the Healy Collection, etc. He was working on a Dutch scene that was on his easel in Chicago in April, 1870. He’d had commissions in Chicago to do some Civil War paintings. Sommer left for a sketching trip to the Alps and prolonged his stay there to produce large oils of his sketches; an art news reporter going by the name of ‘Chicagoan’ (see The Art Review, Vol. 1, No. 5), visited Sommer there; American painter and founder of the Loomis Chaffee School, Osbert Burr Loomis, was visiting too and bought 2 of Otto Sommers’ landscapes. Back home, the Great Chicago Fire happened, destroying 17,000 buildings including Crosby’s Opera House, the new Chicago Academy of Design building on Adams St., and the Historical Society building, on Ontario St. Also destroyed were the “Healy Collection of Paintings, belonging to the Chicago Art Gallery, and other valuable pictures, together with the Original Draft of the Great Emancipation Proclamation of President Lincoln”. With nothing to go back to, Sommer ended up remaining in Europe, based out of Munich. It was an art hub for Chicago artists including Walter Shirlaw, Duveneck from Cincinnati, W.M. Chase, Twachtman, etc. In 1872 + 1873, Sommer exhibited in the annual exhibitions of The Art Union (‘Krasoumna jednota’), Prague, Czech Republic. He participated in the 1876 opening exhibition of The Royal Aquarium and Winter Garden, Westminster, London, in the Picture Gallery (reviewed: “Among landscape subjects we would call attention to Otto Sommer’s cattle about to cross a stream on their ‘Return from Pasture’ (126)…”.

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