Unknown

American Ink Drawing of Two Work Horses

20th Century

John Fincher (American, b. 1941) Physical Activities, c. Late 20th Century Watercolor and collage on paper Sight: 16 1/4 x 23 3/4 in. Framed: 22 x 30 1/4 x 1 3/8 in. Provenance: Th...

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...

Two Watercolors of a Bird and Panda Watercolor on paper 4 7/8 x 7 in. 11 x 14 in. Signed, dated, and stamped with artist insignia

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...

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...

Robert Kipniss (American, b. 1931) At Dawn, 1975 Pencil on paper 10 1/2 x 7 1/4 in. Framed: 14 2/3 x 11 1/3 in. Signed upper right: Kipniss '75 Verso bears Hirschl & Adler Galleries Label Robert Kipniss, painter and printmaker, was born in New York City in 1931. He creates essentially monochromatic*, stylized vistas with natural and architectural elements intended to evoke an elegiac, nearly surrealistic mood in haunting, silent landscapes; the melancholy of nostalgia. Trees, in mid and far-distance, form clusters or act as misty individuals containing a haunted, indefinable presence, witnesses to the foreground drama of more specific shape, form and detail, often a close-up tree. Kipniss studied at the Art Students League* in 1947; Wittenberg University in Springfield, Ohio, 1948-50; and the University of Iowa, receiving a BA degree in English literature in 1952, and an MFA in painting and art history in 1954. The artist employs a meticulous technique combining a multiplicity of specific strokes, whether with brush, pencil or print-maker's needle and burin*, to create the essence of his generalized, non-specific forms. Light and darkness are clearly Kipniss' compositionally constructive elements. They also exist as contestants in the emotional drama at the heart of each work of art. The contrast, and sometimes combat, between these two opposites, symbolically represent with blackness -- ideas of threat, fear, trouble, evil; with whiteness safety, redemption, fulfillment and good. In Kipniss' 1995 mezzotint*, Clear Vase and Landscape, with a foreground image of precisely leafy stalks, the vase holding them, nearly invisible in its transparency, suggests an almost Salvador Dali-like surrealist device. This central image dominates but seems to invite association with, and commentary from, the surrounding clumps and individual round-topped, yet cedar-like trees. His mezzzotint, For Stella," 1997, depicts a gently twisting, curving, pale and smoothly-barked foreground, leafless tree limb or trunk, like a female human body, suggesting weakness, fatigue, an inability to deal with the staccato background screen of textured bush that seems to uncomfortably impinge upon it. This print is arguably a metaphor for a delicate soul struggling to overcome the prickly difficulties of domineering life. The classic mezzotint process, invented in the middle of the 17th Century, is the reverse of most of the other print-making media, since the artist works from a black ground to increasingly lighter areas. The copper plate is first roughened by a "rocker," creating a burr over the entire surface (the more burr left intact, the more ink it holds, the darker the final finished print). The artist, Robert Kipniss, in this instance, gradually burnishes, smoothes down the burr in varying degrees to produce the gradations of lights and darks of the final design. The deepest darks in the final picture are those areas on the plate that have been little touched after the initial roughening. Mezzotint relies on shade and tone rather than outline for its effect, which fits the Kipniss style of atmospheric* masses of value. A recent oil painting by Robert Kipniss, Hillside Silhouettes, 2001, 40 x 29, is somewhat more complex in composition than many, with four cubically-constructed houses each set in their own zones, seemingly unrelated to one another, with receding hills and similarly isolated, increasingly misty trees beyond. In his career, Robert Kipniss has had over 40 one-man shows since the first in New York in 1951, including an important retrospective exhibition at the Associated American Artist Gallery, New York in 1977. Many of these one-man exhibitions have been mounted by over 50 museums in the United States, South America and Europe, including the Chicago Art Institute, Metropolitan Museum of Art, Museum of Modem Art, Whitney Museum of American Art, Library of Congress and British Museum in London. Robert Kipniss is represented in the permanent collections of the institutions above, among many others, as well as the Philadelphia Museum of Art; New York Public Library; Museum of Fine Arts, Boston; Detroit Art Institute; Yale University Museum; National Collection of Fine Arts, Smithsonian Institution; Museum of Fine Arts, Houston; Los Angeles County Museum of Art; Portland Art Museum; and the New Orleans Museum of Art. He was elected to the National Academy of Design* in 1980, and to the Royal Society of Painter-Printmakers, London in 1998 Robert Kipniss can be referenced in numerous publications, including Who's Who in American Art from the 1950s to the present, and multiple reviews in periodicals like Art News, Art in America and Art Forum. There are also three important catalogues raisonne published on his work. Robert Kipniss has received many awards: 1965 - Ohio University National Drawing Show, Purchase Prize 1976 - National Academy of Design, New York City, The Ralph Fabri Prize 1978 - The Print Club of Philadelphia, Charles M Lea Prize 1979 - Charlotte Printmakers Society, Purchase Award 1979 - Society of American Graphic Artists, Printmaking Award 1979 - Wittenberg University, Springfield, OH, Honorary Doctorate 1980 - Elected to the National Academy of Design, New York City 1980 - Audubon Artists, New York City, Silver Medal 1980 - National Academy of Design, New York City, The Leo Meissner...

Represented by George Billis Gallery, NY & LA -- From the artist statement, "My artwork centers on mid-century American architecture and design, once revered for its groundbreaking i...

Bronx Post Office Mural Study WPA Horse Social Realism Mid 20th Century Modern Jo Cain (1904 - 2003) Couriers of History Bronx Post Office Mural Study Horse in the Sun (with two ad...

This artwork "Two Monkeys) is an original ink drawing on thick Bristol paper by American artist Lynn Gertenbach, b.1940. It is hand signed at the lower rig...

Peter Rabbit happened to be looking out of the dear Old Briar-patch as the young Fox ran past. Ink on paper, 1955 Signed "H. Cady," and dated 11-15 lower left (see photo) Annotated w...

"Dragon," by Quang Ho, is a secondary market work with one previous owner. It is signed and dated (1988) on the lower left. The painting comes with it's original frame (measures 50 x...

Dina Brodsky is a contemporary realist miniaturist painter and curator known for her detailed drawings of animals, architecture, and trees. Her miniatures carry with them the traditi...