James Denmark

Solitaire

2018

Noland Anderson is a self taught portrait artist who strives to create works of art that are a celebration of people of color. Represented by Neema Fine Art Gallery, he is known for ...

This painting captures the sense of "double victory" the Tuskegee Airmen fought for--victory abroad and victory at home. The Tuskegee Airmen was the all-black World War II fighter squadron that never lost a bomber. The flag-wrapped Statue of Liberty's ringing of the Liberty Bell against the backdrop of clouds shaped in "V"s mirror the optimism some blacks had. They hoped that helping to win World War II would translate into victory against Jim Crow...

Charleston Flowerbox, 2020

Melancholy of Lonliness, 2020

Noland Anderson is a self taught portrait artist who strives to create works of art that are a celebration of people of color. He is known for his deta...

Midnight Blues, 2020

Pen and ink on paper, laid down on canvas, mounted to wooden scroll bars Signed and dated lower right: “Drawn by N. B. Rogers August. 1843” Inscribed with an ownership inscription on the verso: Rev. E. D. Daniels, Palmer, Mass. Provenance: Rev. Eugene Davidson Daniels, Palmer, Massachusetts, 1871 This extraordinary manuscript map is a rare survivor of the devotional and educational culture of New England in the first half of the nineteenth century. Although at first glance resembling a large-scale engraving or printed publication, this precisely rendered wall map was entirely drawn by hand, the product of meticulous research by a minister working in isolation in rural Maine. The map shows New Testament era cities, towns, tribal areas, and political borders as well as physical features such as rivers, lakes, mountains, and hills (indicated by half-tone cross-hatching). On to this geographically accurate rendering of the Holy Land, Rogers has located and inscribed significant locales mentioned in the Gospels and has annotated these places with relevant citations from the Bible. He further records these by plotting the travels of Jesus on what resemble a series of trails across the Holy Land. Each is distinguished by a different pattern of dots and dashes – correlated to an explanatory table at the lower right. From this we know that these lines document the “Flight into Egypt and return,” “Travels of Christ from Nazareth to Jerusalem and return,” “Travels from the commencement of his Ministry to the first Passover,” “Travels from the first and the second Passover,” “Travels from Jerusalem to Galilee after the 2nd Passover,” and “Travels from the third Passover to the Crucifixion.” An inset map of “Jerusalem...

Claude Lorrain landscape with the God Hermes, Amor and the Muses. Richard Earlom aquatint c1817 by Lorrain, Claude le/Earlom, Richard Countryside with ...

Pierre Berchet, Drawing of Putti playing in a landscape, Painter of decorative history subjects; trained under La Fosse; worked in France and during the 1690s...

Though he is most celebrated today for his extraordinary work as an artist of ornithological and zoological subject matters, Schouman was also a prolific documenter of landscape in his native Holland. The present drawing, which depicts a view of the Castel of Vianen, fits securely into a corpus of drawings Schouman produced on the same scale and in the same distinctive combination of media, examples of which are today housed in the collection of the Koninklijk Zeeuwsch Genootschap der Wetenschappen, Middelburg. Castle Batestein (also called Batenstein ) is a castle disappeared from the Netherlands . It was built on the banks of the Lek in the small town of Vianen, then in the province of South Holland (now in the province of Utrecht ). The castle was burned down in 1696 and then demolished. Remains only the Hofpoort (or castle gate...

Claude Lorrain landscape with the temptation of Saint Anthony .Richard Earlom aquatint c1817 by Lorrain, Claude le/Earlom, Richard Country...

Jan van der Heyden (1637 Gorinchem - 1712 Amsterdam), attributed. Old Master Drawing, Westerkerk Keizersgracht in Amsterdam, 17th century, Dutch Westerkerk and Keizersgracht in Amsterdam Backside: later drawn backside with village church of the 18th century Chalk and pen on paper 23,5 x 18,5 cm Preliminary drawing for a painting from the creative period c. 1667 - 1670. This painting has been published a few years ago by Peter C. Sutton in the catalogue raisonné of the artist. Van der Heyden was initially a pupil of a glass painter, but later turned exclusively to architectural painting and went to Amsterdam, where he painted views of churches, castles, palaces, public squares, streets, canals, etc., most of which are richly decorated with staffage. In addition, van der Heyden was also active as an inventor, for example, he developed a street lighting system for Amsterdam by means of oil street lamps, which was in operation from 1669 to 1840. After a stay in London, he painted the London fire of 1666, which he either witnessed himself or had seen the consequences of. Certainly influenced by this, he did much to further the technical and organisational development of the fire brigade from 1669 onwards. His greatest invention was probably the fire hose, which enabled significant improvements in fire-fighting technology and tactics. He also improved the hand-operated fire engines of the time by making them smaller, more mobile and more powerful, and he developed the series connection of several pumps to increase the pressure in order to achieve a greater range for the water jet. In 1690, together with his son, he was the author and illustrator of the Brandspuiten-boek, the first manual for fire fighting. Johann Lingelbach, Adriaen van de Velde and Eglon van der Neer...