Still Life Painting of Peaches by George Cope

Oil on canvas of two boxes of strawberries on a table one spilling out.

One of the best tools a painter can have is a pick up truck. Several days I worked from my portable “studio” in the late Spring in the early evening to capture this family of deer as...

The stream continues to flow through this timeless landscape. Abiah Taylor who built the barn, circa 1710 would feel perfectly at home in the present landscape.

A reflection on longevity. Standing since the founding of Pennsylvania this giant has stood witness to our founding fathers and their descendants. Humphrey Marshall once owned the land.

Painted during an unusual snow storm in October. A visual surprise of snow on fall color. Also, being a nocturne the colors are subtle.

It is time to put aside small matters for the big picture.

In good condition From a private collection Free international shipping Peaches Still Life Oil Painting 19th Century

Vintage (20th Century) unframed canvas still life oil painting depicting a blue vase filled with blossoming pink, yellow and white florals behind a golden tray...

Vintage (20th Century) unframed canvas still life oil painting depicting a blue vase filled with blossoming pink, yellow and white florals behind a golden tray...

Vintage (20th Century) unframed canvas still life oil painting depicting a blue vase filled with blossoming pink, yellow and white florals behind a golden tray...

Vintage (20th Century) unframed canvas still life oil painting depicting a blue vase filled with blossoming pink, yellow and white florals behind a golden tray...

MORSTON CONSTANTINE REAM United States, 1840-1898 Still Life of Six Peaches in a Porcelain and Glass Bowl with a Knife Oil on canvas unsigned circa 1880 Item # 403EDF06S An exquisite still-life rich with texture, color and brilliant use of light. This tranquil scene features six peaches in a beautifully decorated ceramic bowl with a translucent glass rim resting on a table covered in two layers of cloths. The first has a a pearl color with a greek-key border, overall having a silky sheen and a chaotic fringe edge; the second is a green fabric with geometric patterns. Along the side of the bowl is situated a pearl handled bread knife, something of a hallmark for Morston Ream, as he used several styles of pearl-handled knives in almost this exact orientation for several of his paintings. For a nearly identical knife and placement, see Christie's, New York, 3 March 2011, lot 76 ("Fine American Paintings, Drawings and Sculpture"), 10" x 11 3/4", achieved $ 8750. Another example with identical angling of the knife sold at Doyle, New York, 2 November 2021, lot 71 [achieved $ 4250]. A solitary bead drips from the center peach as a fly stands perched at the top. The work is unsigned, but is without any question the work of Ream. It likely dates between 1880 and 1888, as the original frame had a label on it from Thomas A. Wilmurt, a well-established framing and looking glass company in New York City that moved to its 54 East 13th Street premises noted on the label around 1880. Images of that label and the original frame from when this painting was offered at Tremont Auctions of Sudbury, Massachusetts (lot 209, 25 April 2021) will be included with the information packet our gallery provides. ARTIST Born in Lancaster, Ohio in 1840, Morston Constantine Ream was the younger brother of Carducius Plantagenet Ream (American, 1837-1917), an artist who became at least as famous as Morston for his brilliant fruit pictures. Morston began painting in the late 1860s, leaving his career as a daguerreotypist for fear it was damaging to his health. He exhibited extensively, his first exhibit recorded at the National Academy in 1872 while he was living at 56 Bank Street in the west part of Greenich Village in New York City. He listed his address at Union Square in Philadelphia from 1876 through 1882 when he listed his address as 862 Broadway. He began sending paintings to the exhibitions at the Art Institute of Chicago in 1888, then listing his address as 1244 Broadway in New York City, but by 1896 he had moved to Chicago to live at 558 50th Street. He actively sent paintings to the major exhibitions, regularly exhibiting at the National Academy from 1872 through 1883, sending paintings to the Pennsylvania Academy of Fine Arts in 1876 and 1881, as well as exhibiting at Moore’s Art Rooms and the Brooklyn Art Association. He died in 1898 at 58 years of age in New York City. Similar market examples: Still Life with...