Harry Lane

Untitled (Houses and Railroad Tracks)

My Only Working Tool, 1949, oil on panel, signed and dated lower right, 16 x 12 inches, remnant of exhibition label verso, exhibited at the Art News Second Annual National Amateur Co...

Orange Grove Landscape, 1941, gouache on illustration board, 14 inches x 18 inches (image), 22 x 26 inches (framed) signed and dated lower right, newly framed with museum glazing ...

Rabbit Hunters, egg tempera on Masonite, 12 x 9 inches, 1947, signed and dated lower left, signed, titled and dated verso “Rabbit Hunters Egg Tempera Roger Medearis 1947,” exhibited at Medearis' solo show at Kende Galleries, New York, in 1949 (Medearis’ record book, a copy of which is held by Vose Galleries in Boston, MA, indicates this is painting “No. 23” and that is was completed in 1947 and sold via Kende Galleries (at Gimbel Brothers...

Landscape, 1940, oil on canvas, 24 x 20 inches, signed, dated and titled verso: “Marcel Cailliet ’40 – S.C.” and “Marcel Cailliet Landscape”; likely exhibited at the annual juried st...

Untitled (Collapsed Shacks), c. 1940s, oil on canvas, signed lower left, 20 ½ x 26 ½ inches, presented in a period frame This work is part of our exhibition America Coast to Coast: ...

This work is part of our exhibition America Coast to Coast: Artists of the 1940s Untitled (Farm in Winter), 1940s, oil on canvas, signed lower right, 26 x 30 inches, presented in an original frame Julius Delbos...

Swimmers and sun tanners at the local watering hole. Her birth name was Theresa Berney. At the time of her passing she was known as Theresa Loew. Birth place: Baltimore artist, blo...

Alfred Henry Maurer has been called the First American Modern because of his role in bringing modern methods of working to the United States

"Homesteaders" is an original oil on board painting by artist Harold Vincent Skene (1883-1978) painted in 1960. The painting depicts two figures plowing a field with a pair of oxen, ...

Oil on board landscape painting of a Pueblo near Santa Fe, New Mexico signed by artist Eliot Candee Clark (1883-1980), painted in 1932. Signed by the artist in the lower left corner. Composed of shades of brown, tan, and blue. Presented in a custom frame, outer dimensions measure 23 ½ x 25 x 1 3⁄4 inches. Image size is 17 1⁄4 x 19 1⁄2 inches. About the Artist: Son of landscape painter Walter Clark and Jennifer Woodruff Clark, a student of psychic phenomena, Eliot Clark was a precocious artist who became a landscape painter in the late American Impressionist style. Moving to Albemarle, Virginia in 1932, he was one of the few Impressionist artists of the Southern states. Likely this was a result of his association with James Whistler and his painting in 1900 at Gloucester, Massachusetts with John Twachtman, a family friend. Showing his obvious interest in Impressionism, he wrote a book about its exponents including Twachtman, Theodore Robinson, Childe Hassam, Julian Weir, and Robert Vonnoh. Clark was a teacher including at the National Art Club from 1943, the Art Students League, and New York City College. Early in his youth, Clark traveled with his father and other prominent artists to paint in the summer art colonies at Annisquam, Gloucester, Chadd's Ford and Ogunquit where he met artists of stature such as Edward Potthast and John Henry Twachtman. Clark's only formal instruction was a short two months at the Art Students League in New York. His landscapes evoked a "spiritualized rendition of nature" that was to stay with him for the rest of his life. Clark (perhaps related to his mother's interest in physic phenomena) developed an early interest in oriental philosophy that ended up having a major effect on his artistic development, the sense of spirituality in his landscape paintings slowly grew in importance. Clark was educated in the New York public schools, and at age 13 exhibited with the National Academy and the New York Water Color Club. By 1912, he had won national painting awards, and by 1916 was writing books on American artists as well as the history of the National Academy. In his early years Clark was privately tutored, and then later graduated from Washington Irving High School at the early age of fifteen. Although he later was quoted as saying "he had no formal training from his father", his early work was notable influenced by Walter Clark's tonalist style. Between 1904 and 1906, Clark studied in France in Paris and Giverny, and in London he saw the impressionist work of James Whistler. He wrote to his father about the Whistler Exhibit stating that some of Whistler's work impressed him, "not so much in the handling, but in the use of color, and subtle arrangement of line and balance of masses." He engaged in a "walking tour" of Europe with a fellow artist whom he met in earlier in Paris. They visited many of the major galleries in Holland and then traveled through the Alps, finally reaching Venice on August 10, 1906. I n Venice, he produced some Whistlerian style pastels similar to the ones he had seen in the Whistler Exhibition. He returned to New York in 1906, and a year later took a studio in the Van Dyke Studio Building on Eighth Avenue...

A painting depicting a lighthouse in Martha's Vineyard by Francis Chapin, from around 1950. Francis Chapin, affectionately called the “Dean of Chicago Painters” by his colleagues, w...

A gem of a painting depicting a Nantucket lighthouse by Francis Chapin, from around 1950. Francis Chapin, affectionately called the “Dean of Chicago Painters” by his colleagues, was...