Harry Lane

Intermezzo, Oil Painting by Harry Lane

ca. 1965

Artist: Harry McCormick, American (1942 - ) Title: Man on a Park Bench Year: circa 1985 Medium: Oil on Canvas, signed l.r. Size: 58 x 72 in. (147.32 ...

Artist: Fil Mottola, American (1915 - 2008) Title: Market Place, Taxco Mexico Medium: Oil on Masonite, signed l.r. Size: 30 x 40 inches [76 x 102.5 cm] Framed: 38 x 48 inches [96.5 ...

Artist: Jan de Ruth, Czech (1922 - 1991) Title: Young Dancer Year: circa 1964 Medium: Oil on Canvas, signed l.l. Size: 44 in. x 18 in. (111.76 cm x 45.72 ...

Artist: Sandu Liberman, Romanian/Israeli (1923 - 1977) Title: Rabbi with Torah Scroll Year: Circa 1970 Medium: Oil on Canvas, signed and dedicated verso S...

This oil painting is a portrait of artist Page Ogden capturing a moment in time when she was sitting at a table reading a book by American artist John Hardy.

Artist: John McCormick, American Title: Rolls Royce Year: 1983 Medium: Oil on Canvas Size: 18 in. x 32 in. (45.72 cm x 81.28 cm)

William John Hennessy was born in Ireland. He came to America in 1849 with his mother and brother a year after his father had fled their homeland after taking part in the unsuccessful Young Ireland Party uprising. The Hennessys settled in New York, and when young William came of age, he decided upon a career as an artist. At the age of fifteen, he enrolled at the National Academy of Design, where he learned to draw from the antique, and the following year he was granted admission to the Academy’s life-drawing class. Hennessy first exhibited at the National Academy in 1857, starting a continuous run of appearances in their annuals that lasted until 1870, when he expatriated himself to Europe. During his time in America, Hennessy was principally known as a genre painter and prolific illustrator for such publications as Harper’s Weekly and a number of books, including illustrated works of William Cullen Bryant...

In the latter half of the nineteenth century and into the first decade of the twentieth, New York City art aficionados could count on finding recent work of Seymour Joseph Guy hanging on the walls of the city’s major galleries. Primarily a genre artist, but also a portraitist, between 1859 and 1908 Guy showed more than seventy works at the National Academy of Design. From 1871 to 1903 he contributed over seventy times to exhibitions at the Century Club. From 1864 to 1887, he sent about forty pictures to the Brooklyn Art Association. A good number of these works were already privately owned; they served as advertisements for other pictures that were available for sale. Some pictures were shown multiple times in the same or different venues. Guy was as easy to find as his canvases were omnipresent. Though he lived at first in Brooklyn with his family and then in New Jersey, from 1863 to his death in 1910 he maintained a studio at the Artist’s Studio Building at 55 West 10th Street, a location that was, for much of that period, the center of the New York City art world. Guy’s path to a successful career as an artist was by no means smooth or even likely. Born in Greenwich, England, he was orphaned at the age of nine. His early interest in art was discouraged by his legal guardian, who wanted a more settled trade for the young man. Only after the guardian also died was Guy free to pursue his intention of becoming an artist. The details of Guy’s early training in art are unclear. His first teacher is believed to have been Thomas Buttersworth...

"Civil Rights." Evergood's early commentary on racial issues in the 1950s depicts four black men gagged, roped and hanging from a tree. In the background, imprisoned blacks look on through a barbed-wire fence. Whites watch in horror but do nothing to help. Meanwhile, a two-legged and three-headed serpent who symbolizes evil - wraps himself around the tree that physically and symbolically separates the races. This is an important work in the history of American art. It may be one of the very earliest examples of a major American painter doing a major work that challenges racial segregation and injustice at a time when no one else would. The title of the work is inspired by a Historic Supreme Court decision on racial segregation. The Little Rock...

Exhibited: National Academy of Design, New York, 1906 (as no. 101) Art Institute of Chicago, 1908 (as no. 74)

A fine early work by the artist done while he was a student at the ART STUDENTS LEAGUE in the class of the noted teacher and artist Kenneth Hays Miller----Provenance: purchased direc...

There is a reason why there are few contemporary painters who can paint a portrait this good. It's hard to do. It's easy to throw some paint or spray a mess of graffiti on canvas. That's easy art. Executing a portrait with a great depth of anatomy and structure takes years of academic training. In Riggs's time, there were teachers who knew how to pass on this knowledge. He studied at the Art Students League and the Académie Julian . Today, they are very few and far between. Tempera mixed with gum arabic and alcohol on Renaissance Panel - Robert Riggs was a Gay Artist...