ANNA ELIZA HARDY (1839-1934), American|
oil on canvas - image: 9" x 12" - framed: 18" x 15"
Notes: This painting comes with a beautiful period frame (superb condition). The painting
is signed front lower right corner. The canvas stamp on back dates the work to the 1860s
(Civil War period). Flowers identified by Univerisity of Maine Horticulture professor.
It is rare to find a painting this old in this good of condition. Hardy's auction
records go to $20,000. Museum quality condition. Stunningly elegant in any decor.
ANNA ELIZA HARDY (1839-1934), American
(painter, etcher, and engraver)
Anna Eliza Hardy, the daughter of the artist Jeremiah
Pearson Hardy and Catherine Sears Wheeler Hardy was born Jan. 26, 1839 in
Bangor Maine. She has been described by William Gerdts as "the finest
still-life specialist in Maine in the nineteenth century" ("Art Across
America"). Her family was at the center of Bangor's very important art
community. Anna Eliza, or Annie as she was known, was the only daughter
and youngest of four children. Hardy's early education was that of schools
in Bangor, Maine. She painted her first painting at the age of sixteen
under her father's encouragement, promising her one of his landscapes if
she would copy it. Her love of color thus aroused, she spent most of the
rest of her life in a prolific outpouring of small but exquisite still
life's. Her chief instructor was her father although she later painted for
a short time in the studio of George Jeannin in Paris and had some
instruction with the American Painter Abott H. Thayer. Never marrying, she
lived in Bangor, sharing her father's studio until his death.
known to have a wide-ranging interest in everything from science to
politics. The single theme of Anna Hardy's art was the intimate world of
still life. It has been said she executed her compositions with "loving
precision rendering bouquets of roses and wild flowers, peeled oranges,
translucent grapes, and folded linen napkins in a manner that blended the
decorative instinct of a primitive with the illusionism of a trompe-l'oeil
painter." Her sense of color was refined and delicate, though she had the
power to capture the quality and freshness of nature, which distinguished
her earlier paintings gradually diminished in the course of a career that
lasted nearly eight decades. Due to failing eyesight, her last works tend
to be much less detailed. In later life she lived for a time at South
Hardy was also a teacher of art and instructed a number
of women artists who also specialized in floral paintings. Among her
students were Charlotte Baldwin, Grace Hemenway, Florence Jennison, Nellie
Lincoln, Mary Merrill, Katherine Parker Stewart, and Emma Webb. These women
worked variously in oil, watercolor, and in china painting, a popular form
encouraged by Bangor's active Decorative Art Society.
exhibited at the National Academy of Design1876-1977, the Boston Art Club
1888-1909, the Society of Independent Artists 1917, and the Jordon Art
Gallery, Boston, 1894-1896. Lithographs of her flower paintings were made
by Louis Prang & Company Chromolithographs in the 1870s.
Hardy died of heart disease in Jamaica Plain, Massachusetts at the age of
ninety-five on Dec. 15, 1934.