John Fincher

John Fincher Stallions Watercolor

c. Late 20th Century

Jane Wooster Scott (American, b. 1920) Untitled (Cat House), 20th century Watercolor on paper Sight size: 10 x 14 in. Framed: 17 x 20 3/4 in. Signed lower le...

Jane Wooster Scott (American, b. 1920) Untitled (Cats), 20th century Watercolor on paper Sight size: 10 x 14 in. Framed: 17 x 20 3/4 in. Signed lower left: Wooster In the "Guinness Book of Records" as one of the most reproduced artists in America, Jane Wooster Scott began copying work by folk artists such as Grandma Moses and gradually evolved into her own style. A turning point for her career was a joint showing at the Ankrum Gallery in Los Angeles with her comedian friend, Jonathan Winters. It was mostly a business crowd, and she sold 40 paintings in an hour. Scott grew up in the Philadelphia area and moved West following her dream to be a movie star. She quickly learned that goal was not for her, but became the host of a talk show where she interviewed movie stars. Then she married and quit that work, becoming a full-time mother. Currently (2002) she resides in homes in Los Angeles and Sun Valley...

Seymour Meyer (American, 1914-2009) Untitled, c. 21st Century Permanent marker on paper 28 x 22 in. Signed: S. Myer A hand surgeon who broke into the arts later in life, Seymour Mey...

Untitled (Two Workhorses), c. 20th Century Ink on paper Sight: 4 x 4 3/4 in. Framed: 7 5/8 x 8 3/8 x 1/2 in. Initialed lower left: W.H.H.S. This ink drawing masterfully captures to ...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

The Remains, A series of 10 works An insect approaches a crumpled paper doily to eat what remains of a party. This series explores the moment when the trimmings become debris and presumptions of human control are upended. The text-like marks on white vertical rectangles are deliberate, but indecipherable. They appear as if a poem, written in an ancient language, that honors this eternal cycle of destruction and regeneration. Winifred McNeill...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

The Remains, A series of 10 works An insect approaches a crumpled paper doily to eat what remains of a party. This series explores the moment when the trimmings become debris and ...