Art by Medium: Paint

In Colin Hunt’s new paintings, myriad tiny rocks, grains of sand, and strands of rockweed form a coastal beach, while lush forests pierce a crystalline sky. Elsewhere, palpable mists...

"Blue Waters" is an oil on canvas painting by Dorothy Hood. The painting size is 90 x 70 inches. Early in her maturation, Hood established herself as an artist of metaphysically cha...

Signed and dated (at lower right): BROSEN•20 A native New Yorker, Brosen has spent a lifetime wandering its streets, discovering its long history and witnessing its constant metamor...

In this detailed and colorful rendering of a Vermont countryside entitled “Reminiscence of Vermont,” William Hart paints two figures walking along a stream

William Stanley Haseltine paints a beautiful river landscape in Roman Campagna at the end of day in his artwork entitled, “Sunset Glow, Roman Campagna.”

Oil on canvas Canvas size: 20 x 30 inches Framed size: 25.25 x 35.25 inches Signed lower right

Benjamin Ferris Gilman paints an intriguing view of Venice through a narrow canal in his oil painting entitled, “Canal in Venice.”

Medium: Oil on Canvas Dimensions: 29.00" x 25.00" Signature: Signed Upper Right

Looking at a painting by Colin Hunt is like watching someone pass through a hole in our consciousness. As the landscape refracts through the sitter’s absence and fills that emptiness...

Max Kuehne paints a dockyard across the river from the skyscrapers of New York City in his artwork entitled, “New York Skyline”

Signed Lower Right by Artist Caricature by George Wachsteter (1911-2004) for the 1965 CBS telecast of 'The Miss Universe' Pageant with hosts Jack Linkletter, June Lockhart, John Dal...

"The Young Artist" is an oil on panel painting made in 1926 by Grant Wood. The work is signed lower right, "Grant Wood". The painting size is 11 x 14 x 1 inches. The framed size is 2...

Signed Lower Left by Artist

MAXA, 2024 by Alec Franco Mixed media acrylic and oil pastel on canvas Image Size: 130 cm H x 215 cm W Unframed Signed by the artist _______ The artist's works are based on time and...

Signed with initials lower right The painting is one of the 4 illustrations that JWS did for the book “Evangeline: Tale of Acadia”, by Henry Wadsworth Longfellow...

Signed Lower Left by Artist Hand written to back Painting by Russell Sandbrook (Cousin of Jim Disney)

Signed Lower Left by Artist Cover of The Saturday Evening Post, April 23, 1960

Signed Lower Right by Artist

A Surgeon for Susan

Signed Center Right by Artist Collier's Magazine Cover, December 23 1916

Signed Lower Right by Artist PROVENANCE: Private collection, Berkshire, NY Sotheby's, New York- The Illustration Art Collection of Kendra and Allan Daniel, April 11, 2011- Lot 84 ...

Initialed Lower Left

"The Final Judgment." Illustration for the same-titled story published in The Saturday Evening Post, with their stamp on verso, circa 1960. Signed in image, lower left (disguised as ...

Signed Lower Left by Artist Illustration for 'The Lone Trail'

Signed Lower Right by artist

This work is accompanied by a certificate of authenticity from Anthony Tucker on behalf of the artist’s estate. signed ‘ETUCKER’ (lower left)

Signed by artist lower left. The Century Illustrated Monthly Magazine Cover

Oil on canvas

Oil on canvas, 2023

Oil on canvas

Signed (on verso): AF/2021

Oil on canvas

This work is accompanied by a certificate of authenticity from Anthony Tucker on behalf of the artist’s estate. signed ‘ETUCKER.’ (lower right)

An undated story illustration depicting the 1889 bare-knuckle heavyweight title fight in Richburg, Mississippi, which Sullivan won, having lasted 75 rounds.

Lyrical abstraction in black

Signed Upper Left by Artist

An artwork by Carlos Luna. "Miel y Canela" is a contemporary painting, gouache and charcoal on amate paper in red, black, and brown by Latin American artist Carlos Luna. The artwork ...

"Parisian Model" is an oil on canvas painting by Max Weber painted in 1908. The work is signed and dated, lower right, "Max Weber Paris 1908". The painting size is 35 1/2 x 19 5/8 inches. The framed size is 43 x 27 x 2 1/4 inches. "Parisian Model" was painted in 1908, when Weber participated in a life class in Matisse's studio in Paris and painted several nudes. Weber was influenced toward a more Cubist styler after seeing Cezanne's work in the 1906-07 Salon in Paris, and he consorted within avant-garde circles in Paris as early as 1905. After returning to the US in 1909, Weber was credited with showing American audiences Cubism based on his firsthand knowledge of the key players and the style. Several drawings of Weber's from this time are in museum collections at The Met, the Smithsonian, and MoMA and show a similar style and stocatto gesture. Parisian paintings by Max Weber are extremely rare as there are hardly any that have sold publicly. Provenance: Estate of the Artist Gerald Peters Gallery...

Kx2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

A painting by William Theophilus Brown. "Horse with Swimmers at Beach" is a Post-War figurative painting, acrylic on canvas in a palette of greens and purples by American artist Will...

Medium: Watercolor and Gouache on Paper laid on Board Signature: Signed and Dated on the Reverse

Medium: Oil on Canvas Signature: Initialed Lower Left Cover Illustration for American Boy Magazine, May 1934. Includes copy of the magazine.

Painterly swipes and drips light up an atmospheric sky in this dynamic acrylic by Lynne Fernie. The fiery horizon adds to the sense of brewing storm. Lynne Fernie is a Toronto artist...

Patrick Hughes (b.1939) Hanging on a Hook 1978 gloss paint on board 91 x 91 cm Price: £19,000 GBP Provenance: Private collection, UK (acquired directly from the artist in the late ...

A painting by Xiaoze Xie. "June 2001, J.T." is a contemporary painting, oil on canvas by Chinese photorealist Xiaoze Xie. The artwork is signed on the verso, "June 2001 Xie Xiaoze...

A painting by Jae Kon Park. ""Life and Roots"" is an abstract painting, oil on canvas in greens by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower right, ""Jae Kon Park, 92"". Born in South Korea, Park Jae Kon...

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

A painting by Nathan Oliveira. "Mask" is a Post-War painting, acrylic, earth, and oil on canvas by Bay Area Figurative artist Nathan Oliveira. The artwork is signed and dated in the ...

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...

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...

Unsigned

JM Rizzi (aka JMR) is a New York artist. His work has roots in Abstract Expressionism yet favors a Neo Contemporary flair. JMR has catapulted his vision by painting bold curves and l...

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.

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...

Medium: Oil on Canvas Signature: Signed Upper Left "Dan Content 29" Story Illustration, Good Housekeeping Magazine, September 1929, pg 32-33 Biography: Daniel Content was born of Dutch parents and grew up in New York City. He attended New Eutriek High School in Brooklyn, NY. He studied under Dean Cornwell at the Pratt Institute as well as attending the Art Students League. Mr. Content worked as a freelance artist for about thirty years. He illustrated for such magazines as Colliers, Cosmopolitan, Readers Digest, and McCall's. In 1928 he illustrated the Windermere Series printing of Robin Hood. During World War II he traveled with the USO to Burma and India entertaining the service men with personal sketches. In the late 1950s he was an Art Director for Benton & Bowles in NYC. He also taught at the workshop School of Advertising Art. Mr. Content continued his sculpting and painting long after retirement. Some of his work can be found at Society of Illustrators in their permanent Museum. Exhibited: Masters of the Golden Age: Harvey Dunn and His Students South Dakota Art...

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

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

Date: 1931 Medium: Oil on Canvas Dimensions: 20.00" x 16.00" Signature: Signed Lower Right Liberty Magazine Cover, October 17, 1931