Nicholas Richard Brewer (1857 - 1949 St. Paul, MN) oil on board, signed lower left, "Blue Skies", Landscape with cottage. 9" x 12" board, 16" x 19" overall, condition- 2 small paint chips
Title is Brook in Winter. 25 1/2" by 21 1/2" framed. Nicholas Richard Brewer (1857 - 1949) was active/lived in Minnesota, Texas. Nicholas Brewer is known for Landscape and portrait painting of prominent persons. A prominent 19th century portrait and landscape painter in Minnesota, New York and Texas, Nicholas Brewer was born in Olmstead County, Minnesota and was raised on a farm along the Root River in southeastern Minnesota. He was a student in New York of Dwight Tryon and Charles Noel Flagg at the National Academy of Design where he also exhibited. He painted a crucifixion in the Cathedral of St. Paul, in Minnesota as well as portraits of many prominent persons in his native state. Exhibition venues include the Minnesota State Art Society, the Minneapolis Art Institute, Museum of Fine Arts in Houston, and Carnegie Institute in Pittsburgh. He was a member of the American Federation of Arts, California Art Club and Salmagundi Club. Brewer wrote an autobiography, Trails of a Paintbrush, published in 1938. It describes his life growing up in rural Minnesota, his travels to St. Paul and later to New York, and his attempts to provide for his family, including artist son Adrian, while becoming a renowned artist. Additionally, it contains Brewer's insights into the art world of late nineteenth century American and the process by which cultural institutions and patronage spread across the nation.
NICHOLAS RICHARD BREWER AMERICAN, 1857-1949 PORTRAIT OF PRESIDENT FRANKLIN DELANO ROOSEVELT, 1934 Oil on canvas Signed and dated lower left: N.R. BREWER 1934
Chinese cloisonne vase depicting flowers and a flying bird. This vase was depicted in a painting by Nicholas R. Brewer in the still life offered in the previous lot.
Nicholas R. Brewer (American, 1857-1949). Oil on board still life painting depicting a lovely spray of pink and white flowers in a cloisonne vase. Signed along the lower right. The vase painted in the work is offered in the following lot. A partial label from Keljik's is included.
Nicholas R. Brewer (American, 1857-1949). Oil on canvas portrait painting of Otto Bremer (German/American, 1867-1951). Signed along the lower left, painted ca. 1900. Otto Bremer was a prominent banker and philanthropist known for founding the Otto Bremer Trust in 1944. His significance to Minnesotan history lies in his establishment of the Bremer Bank, which played a crucial role in supporting local businesses and communities, particularly during times of economic hardship such as the Great Depression. Bremer's philanthropic efforts continue to impact Minnesota through the trust, which focuses on improving the quality of life for individuals and communities in the region.
Nicholas Richard Brewer (1857 - 1949) Oil painting, signed lower left, measures 16 x 22 and 21.5 x 28 inches w/ frame. A prominent 19th century portrait and landscape painter in Minnesota, New York and Texas, Nicholas Brewer was born in Olmstead County, Minnesota and was raised on a farm along the Root River in southeastern Minnesota. He was a student in New York of Dwight Tryon and Charles Noel Flagg at the National Academy of Design where he also exhibited. He painted a crucifixion in the Cathedral of St. Paul, in Minnesota as well as portraits of many prominent persons in his native state. Exhibition venues include the Minnesota State Art Society, the Minneapolis Art Institute, Museum of Fine Arts in Houston, and Carnegie Institute in Pittsburgh. He was a member of the American Federation of Arts, California Art Club and Salmagundi Club. Brewer wrote an autobiography, Trails of a Paintbrush, published in 1938. It describes his life growing up in rural Minnesota, his travels to St. Paul and later to New York, and his attempts to provide for his family,
Nicholas R. Brewer (American, 1857-1949). Oil on canvas landscape painting depicting a road curving into a group of trees with towering mountains rising in the background. Signed along the lower right. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer's work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel's daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.
Nicholas Richard Brewer (1857-1949). Oil on canvas titled "The Toilet," depicting a young woman preparing her hair in a mirror, ca. 1906. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer's work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel's daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.
Nicholas Richard Brewer (1857-1949). Oil on canvas titled "Texas Hill Country," depicting a lovely Texan landscape, ca. late 1920s. Signed along the lower right. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer's work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel's daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.
Nicholas Richard Brewer (1857-1949). Oil on canvas painting depicting two figures in a walled garden, one shrouded in shadow and the other bathed in sunlight. Signed along the lower right. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer's work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel's daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.
Nicholas Richard Brewer (1857-1949). Oil on canvas titled "Texas Hill Country," depicting a lovely Texan landscape, ca. late 1920s. Signed along the lower right. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer's work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel's daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.
Nicholas Richard Brewer (1857-1949). Oil on canvas titled "The Toilet," depicting a young woman preparing her hair in a mirror, ca. 1906. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer's work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel's daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.
Nicholas Richard Brewer (1857-1949). Oil on canvas titled "Pastoral Scene," depicting a Texas prairie scene of cattle grazing on rolling hills dotted with wildflowers, 1927. Signed and dated along the lower right. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer's work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel's daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.
NICHOLAS R. BREWER (Minnesota/Texas, 1857-1949) oil on canvas, portrait of business man. Signed lower left, dated 1917, 53" x 46.25" (image), in a gilt wood frame, 57" x 50" (frame).
NICHOLAS R. BREWER (Minnesota/Texas, 1857-1949) oil on canvas, portrait of business man. Signed lower left, dated 1917, 53" x 46.25" (image), in a gilt wood frame, 57" x 50" (frame).
Nicholas Richard Brewer (American/Minnesota, 1857-1949) , "The Stars' Vigil, San Juan Capistrano", 1922, oil on canvas, signed and dated lower left, titled en verso, 20 in. x 24 1/4 in., framed.
Nicholas Richard Brewer (American/Minnesota, 1857-1949), "The Stars' Vigil, San Juan Capistrano", 1922, oil on canvas, signed and dated lower left, titled en verso, 20 in. x 24 1/4 in., framed.
Nicholas Richard Brewer (American, 1857 - 1949) Oil on Canvas Family Portrait. Signed and dated "N.R. Brewer '15" in lower right corner. (MROG693)(SCL)
Nicholas R. Brewer (American, 1857-1949). Oil on board impressionist painting depicting white ruins of a building along the road. A worn down wooden gate is seen along its perimeter while the grass surrounding it is overgrown. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer's work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel's daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.
NICHOLAS R. BREWER (Minnesota/Texas, 1857-1949) oil on canvas, portrait of business man. Signed lower left, dated 1917. Image measures 53" x 46.25". In a gilt wood frame; 57" x 50" overall.
Nicholas R. Brewer (American, 1857-1949). Oil on canvas titled "Moon Light over Hell Gate N.Y.," 1888. Signed and dated along the lower right; further signed, titled, and dated along the verso. This serene harborscape is a rare and lovely example of Brewer's work from his time in New York. Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. Unframed; height: 12 in x width: 18 in. Framed; 16 1/2 in x width: 22 1/2 in.
Nicholas Brewer (American, 1857-1949). Landscape painting in oil on canvas titled "San Joaquin Hills," depicting the verdant, dramatic hills near Laguna beach. Signed and dated 1921 along the lower right. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works. "San Joaquin Hills" was painted on one such trip, to California in 1921. The work depicts the hills around Laguna Beach. However, it depicts a humble view of the hills, with the larger ridge a blur in the background, and the foreground a rolling hill dotted with trees that would not look out of place in the midwest. While the impression of scale is somewhat muted, the colors are far from it. The grass on the hillside is a bright, electric green, and the ridge in the background is a mass of vivid teal and indigo with highlights in a dusty pink that reflects the pink of the skies. This painting is notable among Brewer’s work for its strong sense of temporality. The clouds are rolling in over the hills, as if a storm is about to start, and the tree in the foreground appears to bend slightly in the wind. The viewer is left with the impression that this bright, sunny landscape will shortly be altered into something quite different. The sketchy nature of the painting adds to the impression that it depicts a definite moment in time, an unusual quality in a Brewer painting. Certainly it is possible that this was a sketch painted en plein air, as Brewer created many sketches while outdoors sightseeing during his time in California. Regardless of whether it was painted from a scene in front of Brewer, or one reconstructed later in a studio, it perfectly captures the mood of a bright hillside, and the fleeting bliss of Brewer’s trip to California. Unframed; height: 20 1/2 in x width: 24 in. Framed; height: 25 3/4 in x width: 29 3/4 in.
Nicholas Brewer (American, 1857-1949). Oil on board landscape titled "On the Beach," depicting a rocky beach scene on Laguna Bay, 1921. Signed along the lower left. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works. "On the Beach" depicts the shore around Laguna Beach, painted during Brewer's 1921 visit to California. The landscape is rendered in swift, sweeping brush strokes, providing an impression of the movement of the scene, from the waves out to sea to the calm water in the small inlet depicted. The jagged rocks are made up of highly textured layers of paint, and the texture of the pebbly beach is evident in the thicker deposits of paint along the water’s edge. Thin strokes of green around the rocks and the water suggest clumps of slick seaweed washed up on the shore. The viewer can almost feel the texture of the beach under their feet just by looking at the painting. The sense of intimacy in the painting, encouraged by its scale, is strengthened by the composition. The composition also contributes to the calm solitude: the small pool, tightly framed by expanding semicircles of craggy rock, feels hidden from the outside world. Coupled with the lack of figures, a characteristic aspect of Brewer’s landscapes, it creates the feeling of having stumbled upon a secret cove, exclusively shared by painter and viewer. Unframed; height: 10 in x width: 14 in. Framed; height: 14 3/4 in x width: 19 in.
Nicholas Brewer (American, 1857-1949). Oil on canvas titled "Aliso Canyon, California," depicting a dramatic scene of Aliso Canyon in Laguna Beach, California, 1921. Signed along the lower right; further signed, titled, and dated along the verso. With three books and a copy of a newspaper article regarding Nicholas Brewer: "The Art of Nicholas Richard Brewer" from the Gallery of The Woman's College Library at Duke University in Durham, North Carolina, April 7th to 21st, 1932; Nicholas Brewer's autobiography "Trails of a Paintbrush," Boston: The Christopher Publishing House, 1938; and Julie L'Enfant "Nicholas R. Brewer: His Art and Family," Inver Grove Heights: Afton Press, 2018; Newspaper article titled "Art Institute Buys Picture from Brewer" The Decatur Herald, Decatur, Illinois, May 1, 1922. Lot Essay: Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching. In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt. The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works. In 1921, Brewer made a trip to California to paint. While there, he befriended a number of fellow artists working there, whom he found delightfully open and welcoming. Among these were Jack Smith (1873-1949), best known for his landscapes and seascapes of the American west. Smith invited Brewer to come stay with him in Laguna Beach, where they spent several weeks painting what Brewer calls in his autobiography “the marvelous coast with its rocky cliffs.” During this trip, they made several trips to Aliso Canyon in the San Joaquin Hills. It is clear that Brewer was impressed by the grandiosity of the canyon. His choice of vantage point for this painting--positioned at the bottom of the canyon, looking up--emphasizes the tremendous size of the canyon. Positioning the viewer within the landscape in such a tangible way enables the viewer to experience the wonder Brewer must have felt being dwarfed by this geological landmark. The grove of trees in the lower left of the composition provide scale, further reinforcing how small a visitor to the land must feel. The influence of Brewer’s new friend and fellow artist William Wendt (1865-1946) is evident in the way Brewer captures the form of the land. Wendt is best known for his preoccupation with the land itself, through its geographic features and topography. This attitude is noticeable in Brewer’s handling of the canyon. The texture and outcrops in the rocky walls of the canyon are highlighted with sun and shade, and emphasized with pastel-colored patches of wildflowers. The thick impasto used on these flowered areas further accentuates the bouldered surface of the canyon walls. The creek flows along the base of the canyon, so subtly rendered it is barely noticeable save for the area of reflecting sunlight just downstream from the trees. The creek itself primarily serves as a border for the canyon, once again drawing attention to the topography by providing contrast to the curves and caves along the bottom of the cliff wall. In 1922, Aliso Canyon, California was exhibited at the Decatur Institute of Civic Arts in Decatur, Illinois, as part of a Brewer solo exhibition. The Institute then purchased the painting for its permanent collection. A contemporary newspaper article in The Decatur Herald discussing the sale provided a glowing review of the piece: “The Aliso Canyon [Aliso Canyon, California] is looked upon as the best painting in the collection shown by Mr. Brewer and he was frankly rather loath to sell it. [...] It was painted by Mr. Brewer when he was in California last summer and carries in it not only the distance and coloring but seemingly also the very atmosphere of that land of sunshine.” It was later included in “The Art of Nicholas Richard Brewer,” an exhibition put on by the Gallery of the Woman’s College Library at Duke University, Durham, North Carolina, from April 7 to 21, 1932. Unframed; height: 34 in x width: 44 1/4 in. Framed; height: 40 in x width: 49 3/4 in.
Nicholas R. Brewer (1857-1949). Oil on board titled "Autumn at Muskeegan," depicting a vibrant autumnal scene of Muskegon, Michigan. Signed lower right and titled on verso. Unframed; height: 11 3/4 in x width: 15 in. Framed; height: 18 5/8 in x width: 21 5/8 in.
Nicholas Richard Brewer (American/Minnesota, 1857-1949), "Everglades", oil on canvas, signed on stretcher, titled en verso, 32 in. x 40 1/4 in., framed
NICHOLAS RICHARD BREWER (American 1857-1949) Summer Landscapes - 1915, a pair of paintings Oil on board One signed and dated lower left, one signed and dated lower right Both 12 inches x 16 inches, both contained in original matching Newcomb-Macklin gilt frames. SHIPPING NOTICE: Jackson's is your sole and only source for one stop packing and shipping. With over 50 years of experience, our professional, affordable and efficient in-house shipping department will be happy to provide you a fair and reasonable shipping quote on this lot. Simply email us before the auction for a quick quote: shipping@jacksonsauction.com or call 1-800-665-6743. Jackson's can expertly pack and ship to meet any of your needs. To ensure quality control Jackson's DOES NOT release to third party shippers.
Nicholas R. Brewer (1857-1949). Oil on canvas-laid board depicting a meadow landscape. Signed along the lower left. Titled "Near the [illegible]" and dated 1912 along the verso. Provenance: Private collection, Minnesota Unframed; height: 9 in x width: 11 3/4 in. Framed; height: 14 1/2 in x width: 17 in. SKU: 02225 Follow us on Instagram: @revereauctions
BREWER, Nicholas Richard, (American, 1857-1949): ''In the Yosemite'' Half Dome in the Distance and One Mile High Made in 1921 from Nature, Oil/Canvas Board, 12'' x 16'', monogrammed lower left, framed 14.25'' x 18.50''.
BREWER, Nicholas Richard, (American, 1857-1949): "In the Yosemite" Half Dome in the Distance and One Mile High Made in 1921 from Nature, Oil/Canvas Board, 12" x 16", monogrammed lower left, framed 14.25" x 18.50".
Nicholas Richard Brewer (1857 - 1949 St. Paul, MN) Creek in a rolling hills landscape Oil on canvas laid to canvas Signed lower right: N.R. Brewer 20" H x 24" W
Framed oil painting on art board, Landscape, Fields & Hills, signed lower right N.R. Brewer (Nicholas Richard Brewer, Minnesota, Texas, 1857-1949), sight: 7.5"h, 10.5"w, overall: 9.75"h, 12.75"w, Start Price: $200.00
One painting of a landscape with yellow foliage, pink clouds, and a pond in the foreground. The mood of the artwork is soft and light, and the board used retains a canvas-like texture.Keywords: landscape, Impressionist, Impressionism, St. Paul, Minnesota, Texas, New York, National Academy of Design (ed), Dwight Tryon (prof.), Charles Noel Flagg (prof.), Salmagundi Club (mem.), American Federation of Arts (mem.), California Art Club (mem.), America, nineteenth century, Minnesota Museum of American Art (coll.), Butler Institute of American Art (coll.), Montgomery Museum of Fine Arts (coll.), Museum of the City of New York (coll.)
One painting of a landscape with mountains that reflect a low, intense sunlight with pink light blanketing mountain sides. Impressionist flowers in the foreground extend lively colors to the bottom of the composition.Keywords: landscape, Impressionist, Impressionism, St. Paul, Minnesota, Texas, New York, National Academy of Design (ed), Dwight Tryon (prof.), Charles Noel Flagg (prof.), Salmagundi Club (mem.), American Federation of Arts (mem.), California Art Club (mem.), America, nineteenth century, Minnesota Museum of American Art (coll.), Butler Institute of American Art (coll.), Montgomery Museum of Fine Arts (coll.), Museum of the City of New York (coll.)
NICHOLAS RICHARD BREWER (American, 1857-1949). PORTRAIT OF PRESIDENT FRANKLIN DELANO ROOSEVELT, signed and dated 1934 lower left. Oil on canvas - Framed, 56 in. x 24 in.
Nicholas Richard Brewer (Minnesota/New York/Texas, 1857-1949) SUMMIT GIANT (Giant Mountain, Lake Placid) oil on board, unframed, signed lower right H7 3/4" W11" Provenance: Roman J. and Adell Radecki collection, by descent to present owner Other Notes: old Salmagundi Club label on verso
NICHOLAS RICHARD BREWER (AMERICAN/MINNESOTA/TEXAS 1857-1949), OIL ON CANVAS, YOUNG WOMAN PLAYING THE VIOLIN, SIGNED 1905. 52 1/2 X 36"; FRAMED 59 X 43"
N. (Nicholas) R. Brewer oil on board, landscape titled "Spring Thaw", signed lower left, 19th - 20th C. American, sight size 32" x 42", frame size 37 1/2" x 48 1/2", artist label on verso
Nicholas Richard Brewer (Minnesota, 1857-1949) STUDY- HASTINGS ROAD oil on canvasboard, framed, signed lower right, titled verso H12 1/2" W16" Provenance: Aiken, South Carolina private collection
NICHOLAS RICHARD BREWER (American, 1857-1949) Woman on a Wooded Bridge oil on canvas on artist's board 10 x 14 inches (25.4 x 35.6 cm) Signed lower left: N.R. Brewer THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST
