Art by Medium: Paint

Medium: Oil on Canvasboard Signature: Signed Lower Right Revere F. Wistehuff was one of the central group of cover artists in the New Rochelle Art Colony in the 1920's, '30s, '40s w...

Medium: Oil on Canvasboard Signature: Unsigned Dimensions: Sight Size 18.00" x 24.00;" Framed 28.50" x 35.50" Cover for Fate Magazine - August 1953 The original cover painting by H.W. McCauley used for the August 1953 cover of Fate (True Stories of the Strange and Unknown), illustrating "The Gods of Voodoo" by North Hildabrand. In this offering a dancing pin...

Signature: Signed Lower Right "Stevan Dohanos" Framed dimensions are 27.00" x 31.00." Interior scene with a family cooking. Original advertisement for American Optical published in ...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

Medium: Watercolor and Graphite on Illustration Board Signature: Unsigned, Christies Stamp Verso. In silver molded frame, french-lined mat, glazed. OS: 18 1/2" x 22", SS: 11" x 15". Shinn took over from Joseph Urban as the Art Director on the William Randolph Hearst's Cosmopolitan Pictures film, shot in New York City and Tarrytown, NY. Directed by E. Mason Hopper, starring Marion Davies...

A painting by Max Pellegrini. "Quadro teologico in onore di Puccetto, Canarino Morto da Tempo" is an oil on canvas painting executed primarily in a palette of blues and yellows with ...

Signature: Initialed Lower Left

An abstract oil on canvas by Brazilian contemporary artist Christian Rosa. This large format, untitled oil is executed in bright yellow, black, red and blue in a subdued, neutral pal...

Hannukah at Valley Forge

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe...

Signed & Dated Lower Right

Date: 1918 Medium: Oil on Board Dimensions: 24.00" x 18.00" Signature: Signed Lower Right American Art Works Calendar Illustration

Medium: Oil on Canvas Signature: Signed "A.O.F 19" Lower Left "Man & Woman in Disagreement" Long affiliated with The Saturday Evening Post (nearly 50 years), he did dozens of covers and much story art, most notably the long-running Tug-Boat Annie and with maritime painting, Fischer was more versatile than depicting the sail and dreadnaughts when given a chance. Still, he's best known for painting the sea, her beauty and her dangers (whether hurricanes or U-Boats). It's no surprise that his oils graced such titles as The Cruise of the Cachalot: Round the World After Sperm Whales, Treasure Island, The Mutineers, 20000 Leagues Under the Sea...

Medium: Oil on Canvas Signature: Signed Lower Right This painting was reproduced on page 151 of John La Gatta-An Artist's Life by Jill Bossert, Madison ...

Signed Lower Left

Painting for a Woodstock film's poster.

Medium: Oil on Canvas Dimensions: 20.00" x 29.00" Signature: Signed Lower Right

Medium: Acrylic on Panel Signature: Signed Lower Right Dimensions: 36.00" x 30.00"

A painting by contemporary Scottish sculptor, painter and performance artist Bruce McLean.

Dana Frankfort In the middle of the road, 2017 oil on canvas over panel 48 x 48 x 1.75 inches For over two decades, Dana Frankfort has explored the vexing periphery between language and sight by painting words. Rather than laying claim to the paintings, controlling their semiotic pulse, her words serve as the formal armature; they prop up, ventilate, and allow the many layers of paint to breathe. Imperatives, allusions, evocations—the words dissolve into a palimpsest of obscured serifs and stems, into color and form. The title of the work is a phrase from a poem by Carlos Drummond de Andrade’s “In the Middle of Road.” Here it is, translated from the Portuguese by Elizabeth Bishop...

Signature: Unsigned Artist Unknown 20th Century American Illustration

Date: 1944 Medium: Oil on Board Dimensions: 19.00" x 13.00" Signature: Signed Upper Left Advertisement for Gulf Oil, 1944.

oil on canvas

Medium: Oil on Canvas Signature: Unsigned

Medium: Oil on Canvas Dimensions: 24.00" x 30.00" Signature: Signed Lower Right Hobo & 3 clowns at poker

Oil on canvas Canvas size: 6 x 12 inches Framed size: 13.5 x 17.5 inches Signed

Medium: Oil on Board Signature: Signed Lower Right Book cover for "Company K" by William March. Subject matter features three army soldiers in monochrome ...

Medium: Gouache on Board Dimensions: 27.00" x 12.75" Signature: Unsigned Written by Price on the mount below the image: Like endless lines of phantoms, men, horses, guns, wagons, continued to pass through the smoking forest. A striking and emotional night scene at the Battle of the Wilderness...

Date: 1952 Medium: Oil on Board Dimensions: 23.00" x 16.00" Signature: Signed Lower Left This is the paperback cover for A Bullet For My Love by Octav...

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Ink, Graphite, and Watercolor on Paper Mounted Signature: Signed Lower Right circa 1881 Exhibited: Kennedy Galleries, with their label suggesting the creation date of 1881.

Medium: Oil on Canvas Signature: Signed Twice and Dated Lower Left: Harvey / Dunn 1932 Harvey Dunn's Dawn, Dawn, Dawn is a truly exceptional illustration that captures a key moment of American History. In the present work, Dunn skillfully depicts colonial soldiers...

Date: 1921 Medium: Oil on Canvas Signature: Signed and Dated Lower Right Dimensions: 26.00" x 40.00" Illustration for American magazine.

Date: 2011 Medium: Acrylic on Canvas Dimensions: 30.00" x 24.00" Signature: Signed and Dated Lower Right and Verso

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Medium: Oil on Board Signature: Signed Lower Left Story illustration for "In The Cathedral" by Achmed Abdullah published in Cosmopolitan, May 1938, pages 24-25. The magazine descri...

"Amazing New Discovery" is written in the background. Signed Lower Right. Robert Patterson was born in Chicago and attended the Chicago Art Institute. Among his teachers there and later were Harvey Dunn, Walt Louderback, Ralph Barton...

Date: 1932 Medium: Oil on Canvas Dimensions: 18.00" x 20.00" Signature: Signed Lower Right A New Year's themed cover painting by Leslie Thrasher for the January 9, 1932 edition of L...

Cleve Gray Conjugations, 1975 Vermont Series Mixed media on paper 14 1/2 x 22 1/2 inches each

Medium: Oil on Canvas Dimensions: 32.00" x 35.00" Signature: Signed Lower Right Story illustration for “Mrs. Parkington” by Louis Bromfield for Cosmopolitan, published November 1942, pages 56 and 57. The full caption reads: “‘And you’re not to tell anyone where you’re going or that you’re going away together,’ Mrs. Parkington said as she told Janie and Ned her plan.” A Native American finding a Raggedy Ann doll...

Napolitan School, 19th century "Views of Naples, Italy" Oil on canvas Sold as a pair Each work : Canvas: 20" high x 30" wide Frame : 24" high x 34" wide

Vittore Ghislandi, called Fra Galgario Provenance: Robert L. and Bertina Suida Manning, New York, ca. 1966-1996 Private Collection, USA Exhibited: “Eighteenth Century European Pai...

An abstract painter who has been an active member of the New York art scene since the early 1980s, James Walsh follows in the modernist tradition of Pollock in using art to reveal it...

Date: 1927 Medium: Oil on Canvas Signature: Signed Lower Right Liberty Magazine Cover, September 24, 1927

Medium: Acrylic on Panel Signature: Signed Lower Left Dimensions: 29.5" x 22.75"

Approximate Date: 1920-1925 Medium: Oil on Canvas Signature: Signed Lower Right Size: 29.50" x 23.00" Interwoven Socks Advertisement Literatu...

Boys' Life, The Boy Scouts' Magazine Cover, February 1922 Harold Anderson studied at the Fenway Art School in his native Boston. Among his instructors were Chase Emerson, Harold Brett, and Arthur...

Medium: Oil on Board Signature: Signed Lower Right Vogue magazine cover 3/15/13

Medium: Gouache Signature: Signed Lower Right a slave with shackles on the ground behind him appealing to Abraham Lincoln with the Civil War battle s...

Signed on verso

Medium: Oil on Canvas Signature: Signed and Dated Lower Right Cover of American Boy Weekly Magazine, 1927 of a Striding Drum Major Edgar Franklin Wittmack ...

Young boy on a horse shooting a buffalo.

Beth Secor, Elm Along The Bayou, 2014-2015 Ink, gouache and pencil on paper overall diptych 20 x 28 inches 20 x 14 inches each Beth Secor understands tr...

Medium: Oil on Canvas Dimensions: 28.00" x 22.00" Signature: Signed Lower Right

Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC

Medium: Oil on Canvas Signature: Signed Lower Right Revere F. Wistehuff was one of the central group of cover artists in the New Rochelle Art Colony in the 1920's, '30s, '40s which ...

Diana Horowitz painted World Trade Center Reflecting Pools and Harbor #1 during her tenure as a guest artist on the 48th floor of the re-built 7 World Trade Center. When 7 World Trad...

Medium: Oil on Canvas Signature: Signed and Dated Lower Right Inscribed "PAGE #17/'Stay outta this, you hear?' he yelped in sharp alarm. 'This is my job!'" on the reverse. Harold v...