Ray Quigley

Church Interior

1950s

Born in Szeged, Hungary, he became one of the better known and successful illustrators of the Golden Age of Illustration, completing over 100 books. Among them are "A Treasury of Verse for Little Children," "The Rubaiyat of Omar Khayyam," and "The Rime of the Ancient Mariner." He is probably best known for pen and ink drawings of mythology subjects geared towards children. He studied at Budapest Technical University and attended art schools in Munich and Paris before moving to London at age 23. In 1907, he began illustrating children's books and did a series of annual gift books...

Antique American modernist signed portrait oil painting by Sidney Gross (1921 - 1969). Oil on canvas. Signed.

Impressive 1970s modernist interior scene. Great palette and a sophisticated composition. Oil on canvas. Framed. Signed and dated verso.

Antique American modernist landscape painting by Marion D Freeman Wakeman (1891 - 1953). Oil on canvas. Framed. Signed. Image size, 26H x 20L

Original Painting Cathedral Interior New Yorker Cover Proposal 1939 Jesus Church Antonio Petruccelli (1907 – 1994) Cathedral New Yorker cover proposa...

Interior of The Church is an original Artwork realized by Remy Hetreau (1913-2001). Realized with pencil, and watercolor on cardboard. in good condition.

Oil on Board realized by Jules Victor Génisson (1805-1860) in the mid-19th Century. Hand signed lower left. Good condition.

-ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey...