My listings all include vital information which you will find informative, and should cover most of your questions. If you need additional information, you can send me a message. Thank You, Christian Chaffee. This is a beautiful antique California plein air painting, fresh from an old estate. This is in perfect original condition, with no damage, repairs or restoration. This is an oil on canvas on it’s original stretcher. The back foam board was added to protect it from humidity and temper changes. This was cleaned by a well qualified professional art conservator with 30+ years experience. This is an impressive colorful painting by the well known artist, Kathryn Leighton, with California Art Club history. This was painted before 1916, when she was painting her colorful California Plein Air landscapes that brought her fame. In 1918, she started painting American Indians, which brought her international recognition. This is a painting is a good solid investment, and will add beauty to your home. This painting measures 18 X 24, and comes in a beautiful antique gold gilt California plein air frame. Here is her biography as borrowed from askart. Com. Born in Plainfield, New Hampshire, Kathryn Leighton became a celebrated Indian portrait and landscape painter, especially big-screen scenes of glaciers, which resulted from trips to Glacier National Park beginning 1923. An exhibition reviewer for the Los Angeles Evening Herald, February 27, 1926 wrote: The first to bring to galleries here the strange, wild charm of Glacier National park for an entire exhibit, Leighton has a masculine sweep and strength to her brush, and few men painters can outdo the virility of her sunbathed peaks and wind-winnowed snowfields. (Trenton 58) She attended Kimball Union Academy near Plainfield and graduated in 1900 from the Massachusetts Normal Art School. That same year, she married attorney Edward Leighton, then the youngest lawyer ever in New Hampshire to have passed the bar exam. Throughout their marriage, he was totally supportive of his wife’s art talent, and of the relationship it was written that it proved that stereotypical gender roles do not always deter a successful partnership. Edward Leighton’s financial support, the summers away from his law practice, and his companionship on vacations, enabled Kathryn to benefit as an artist from their bond and most likely contributed to her success as one of the foremost painters of Native Americans at a time when the subject was reserved for males. (Trenton 58) In 1910, she and her husband moved to Los Angeles where he became a prominent lawyer, and she studied at the Stickney School of Art in Pasadena and with Jean Mannheim, and established a studio on West 46th Street. From there she painted nearly 700 Indian portraits, and often had the actual subjects in her studio doing war dances, whooping and playing drums. She was also respected for her dedication to homemaking, to their adopted son, Everett, and to civic projects. For several years, she was vice-president of the California Art Club. Her brother, Frederic Thomas Woodman, was in Los Angeles, where from 1916 to 1919, he served as mayor, and his wide-ranging contacts helped establish the Leightons in the community. In fact, Woodman’s office resembled an art gallery, resplendent with Kathryn’s paintings. (Trenton 58) Also doing floral still life and landscapes, she repeatedly depicted her favorite subject, which was the desert in bloom. Having been told about Glacier National Park by Charles Russell, she spent much time in that region where she created panoramic landscapes. The trip was also fortuitous because it cemented the Leighton’s friendship with artist Charles Russell and his wife as guests at the Russell’s summer home at Bull Head Lodge on Lake McDonald. The invitation had resulted from Kathryn meeting Russell in Los Angeles at a party hosted by painter Jack Wilkinson Smith at Smith’s studio in Los Angeles. In 1918, she had begun painting American Indian portraits, many of them signed by the sitter, and this endeavor brought her international recognition. In 1926 in Montana, Russell introduced her to the Blackfeet Indians and to officials of the Northern Pacific Railway. These contacts paved the way for success with a project of doing portraits of Blackfeet elders for The Great Northern Railway, whose personnel wanted them for an exhibition with lecture series about the disintegration of Indian cultural traditions. The goal of railroad officials was to preserve a record of a vanishing way of life. To initiate the portrait project with Leighton, officials brought her and her family to Glacier National Park for three months as their guests. Then railroad personnel brought in the chiefs of the Blackfeet tribes, and paid them to serve as her models. At the end of that summer, the project seemed such a success that the railroad reportedly bought 20 of the portraits for high prices, and then sent the paintings on a cross-country tour with a lecturer explaining the Blackfeet culture. Needless to say, this project was a’shot in the arm’ for Leighton’s professional career, and she became known as the expert portraitist of Native Americans. The Blackfeet adopted her into their tribe and gave her the name “Anna -Tar-Kee”, which in English translated to’beautiful woman in spirit. I have painted all of the Blackfeet Indians in the colours of the sacred paints they use on their faces; you will notice their hands are usually a different colour. (Trenton 62) Following this project for the Northern Pacific Railroad, Leighton made annual painting trips to Indian tribes including Blackfeet, Hopi, Iroquois, Sioux and Cherokee, Navajo, Pawnee and Osage, and major exhibitions were held around the country. She visited many of her subjects in their homes such as hogans, tepees and wigwams. Many portraits using tribal clothing and cultural items were painted in her Los Angeles studio. In 1929, she did a tour of Europe and the Eastern United States with her paintings, and gained widespread recognition for her artistic skill and the educational aspects of her work. In addition to portrait painting, Kathryn Leighton did seascape and landscape paintings with a specialty being wildflowers. Titles include Wild Flowers of Glacier National Park, Mount Rainier and Spring in Coachella Valley. As you can see in the link above, Kathryn Leighton exhibited: “FROM THE BANK OF THE ARROYO SECO” in 1916. My painting has the original label from a California Art Club Traveling Exhibition, of which there were only three; in 1915, 1916, and 1917. Just looking at my painting, I can see it was very likely painted… Along the bank of the Arroyo Seco in Pasadena. An example of this “exhibition label” was unknown to exist before it was found on my painting. This painting measures about 18″ high by 24″ wide. The painting was cleaned by professional art restorer: Alfredo Antogini, who also put the backing board on it. The CAC Traveling Exhibition label is on the stretcher, and covered with a thin sheet of plastic to protect it, and is now partly under the backing board. THIS ITEMS CONDITION REPORT. This is in good original condition with no damage, and was recently cleaned, had the back board and frame added. This weighs about 2 lbs before packing. I will be sending your item from San Diego, California 92116 USA. Larger items are usually sent by ground service. Package Express services are not available at all greyhound bus stations, so you do need to find out where your nearest Greyhound Package Express station is located. The larger and more fragile an item, the more it costs me to pack it properly. On expensive fragile items, we may need to double box them. This will require additional labor and material costs. I would rather pack your item properly to make sure that the item arrives intact, rather than to deal with a claim. EVERY ITEM IS GUARANTEED TO BE AS DESCRIBED. Every item I offer is guaranteed to be in as described condition, as written in my listings. I sell mostly antiques and collectibles, which will usually have the normal wear that you would expect to occur from normal use and age. You are guaranteed that there are no repairs, alterations, or damage, unless I specifically mention them in my condition report above. I SELL ONLY GENUINE ORIGINAL ITEMS. I do my very best to accurately represent each and every item I sell. I do not sell fakes or reproductions of any kind, unless they are clearly described as such. I guarantee every item I sell to be authentic, and to be made in the time period as represented. I welcome input from dealers and collectors in specialized areas, to help insure my listings are complete and accurate. If the listing ends over the weekend, you will normally receive an invoice on Monday. CUSTOMERS FROM FOREIGN COUNTRIES. An example of this would be undisclosed existing damage, like a chip or crack. An example would be if the measurements were slightly off. You will need to save the box and packing materials to show the shipper. This is the proof that they require, so if you discard the packing materials, your claim may be denied. Shippers do not accept parcels packed in damaged boxes as a rule, so damage is normally evidenced by damage to the box. The item “EARLY CALIFORNIA ARROYO SECO OIL PAINTING BY FAMOUS ARTIST KATHRYN LEIGHTON” is in sale since Thursday, January 19, 2017. This item is in the category “Art\Paintings”. The seller is “finearts29mv” and is located in San Diego, California. This item can be shipped worldwide.

• Size: Medium (up to 36in.)
• Region of Origin: US
• Artist: Katheryn Leighton
• Style: Impressionism
• Listed By: Dealer or Reseller
• Painting Surface: Canvas
• Medium: Oil
• Date of Creation: 1900-1949
• Original/Reproduction: Original
• Signed?: Signed
• Size Type/Largest Dimension: Medium (Up to 30″)
• Framed/Unframed: Framed
• Year: about 1910 to 1920
• Width (Inches): 24
• Subject: Landscape
• Originality: Original
• Height (Inches): 18