Jack Reilly

"Fascination" Large 5-Foot Original Abstract Acrylic on Canvas by Jack Reilly

1979

Untitled Abstract, an original oil on canvas by Edward Gilliam, is a piece for the true collector. Gilliam's use of color and paint thickness immediately captivates the viewer. It is...

"1940 - A Study of Apples" is an original acrylic painting on canvas by Tom Perkinson. His use of saturated violets, vivid yellows, and resplendent oranges pushes color to almost-otherworldly realms. Perkinson describes his style of painting as "Romantic Realism," a technique that incorporates two iconic art movements. This style, in combination with the imagination of the artist, produces remarkable results, showcasing Perkinson's keen ability to capture emotion, nature, and life - all in a brushstroke. Both his technical talent and choice of subject matter pair perfectly with its original carved, custom, gilt frame. This masterful work would make a great addition to an art collection and enhance most any home, perfect for those who have an affinity for still lifes, fruit-themed art, impressionism, romanticism, realism, plein-air painting, apples, and nature. In the artist’s own words: “My color combinations aren’t in the realm of the natural world, because I don’t paint reality; I’m a painter of fiction. I try to paint a sense of place, as though this scene really does exist. I have had my collectors ask me where this scene is, and I just have to point to my head and say I made it up. Thus, I think of my work as romantic realism. I’m painting a certain reality that I’ve invented, inspired by the fascinatingly rich Southwestern landscape.” “Color gets all the credit, but it’s the values that do all the work. I don’t begin with sketches, because I want to be free to follow the painting in any direction. I start with washes of different values and tints. Then, I begin to look for a landscape. Several directions will appear to me at this time, and then I have to decide on one of them. During these first few moments, I must establish my distance from the scene. Am I a mile away or just across the river? This is one of the first steps, and I have to decide before I can continue. It’s important for working out the perspective and how things are going to relate to one another in the picture. Then, as the landscape evolves, I look for more images to add to the composition.” Artist: TOM PERKINSON (1940-) Title: 1940 - A STUDY OF APPLES Medium & Surface: ORIGINAL ACRYLIC PAINTING ON CANVAS (framed) Signed: HAND SIGNED AND DATED BY ARTIST LOWER RIGHT Year Created: 1987 Country of Creation: UNITED STATES Image Area Dimensions: 21 x 28 INCHES Frame Dimensions:* 31.125 x 37.125 x 2.25 INCHES *This work of art is being sold framed. If you would like to change the frame to better match your style or environment, please contact us for Custom Archival Framing options. Additional Info: HIGHLY COLLECTIBLE WORK BY TOM PERKINSON IN GREAT CONDITION IN ITS ORIGINAL CARVED CUSTOM GILT FRAME. FRAME IS IN GREAT CONDITION CONSISTENT WITH AGE AND STYLE. Artist Info/Bio: ARTIST BIOGRAPHY DOCUMENT IS INCLUDED Documentation: CERTIFICATE OF AUTHENTICITY IS INCLUDED About the Artist: Tom Perkinson, born in Indiana in 1940, has become distinguished as a regional painter, known for his work grounded in the visually dramatic landscape of the Southwest. As a child, Perkinson discovered he had a love for the natural landscape, and a talent for art. He fostered that talent through classes at the John Herron Institute of Art in Indianapolis, and then at the Chicago Art Academy upon graduating from high school. He received a degree in art from Oklahoma Baptist University in 1964, before moving on to graduate school at the University of New Mexico. Here, among noted works of a larger scale, he continued to paint the landscape, and it was this work that began to reflect a new fascination with the Southwest. He had found what would become an infinite source of inspiration. Influenced by early painters of the southern Indiana landscape...

"House, and Flowers, and Moonlight," an original oil on canvas by Ralph Rosenborg, is a piece for the true collector. In 1988, Louise Nevelson wrote: "Ralph Rosenborg was the first recognized pioneer whose experimental art announced the coming of Abstract Expressionism in the United States during the mid-1930s. Rosenborg was the first to introduce and instruct Jackson Pollock on Abstract Expressionism while at the Non-Objective Painting Museum in the early 1940s, which became the Guggenheim Museum. Ralph Rosenborg is The American Artist. Rosenborg produced daring artworks and explored the possibilities of movements that are expressive of ideas, sensations and passions intended to provoke pure emotions." Both the technical talent of Rosenborg and his choice of subject matter pair perfectly with custom wood frame. This masterful work is perfect for those who have an affinity for abstracts, abstract expressionism, landscapes, and color-rich works. This Rosenborg painting has an important history, with the rare provenance of moving through both Sothebys and Christies auction houses, as well as two notable dealers including Nat Halper and H. Marc Moyens. Full provenance details are outlined below. Artist: RALPH ROSENBORG (1913-1992) Title: HOUSE, AND FLOWERS, AND MOONLIGHT Medium & Surface: ORIGINAL OIL ON CANVAS (framed) Signed: HAND SIGNED AND DATED BY ARTIST LOWER RIGHT AND ON VERSO Year Created: 1957 Country of Creation: UNITED STATES Canvas Dimensions: 22.25 x 28.25 INCHES Frame Dimensions:* 33.25 x 39.25 x 1.875 INCHES *This work of art is being sold framed. Additional Info: HIGHLY COLLECTIBLE WORK BY RALPH ROSENBORG IN GREAT CONDITION AND FEATURING ITS BEAUTIFUL CUSTOM WOOD FRAME. ORIGINAL ARTIST LABEL IS AFFIXED TO VERSO, AS WELL AS SOTHEBY'S AND CHRISTIE'S LABELS. Artist Info/Bio: ARTIST BIOGRAPHY DOCUMENT IS INCLUDED Documentation: CERTIFICATE OF AUTHENTICITY IS INCLUDED Provenance: CHRISTIE’S, NEW YORK, JAN 12, 2010 COLLECTION OF H. MARC MOYENS SOTHEBY’S, NEW YORK, APRIL 1, 1998 COLLECTION OF NATHAN (1907-1983) & HELEN HALPER (1908-1996), MA HCE GALLERY, PROVINCETOWN, MA (OWNED BY NATHAN HALPER) About the Artist: Ralph Rosenborg, an American painter, was known for his abstract paintings that inclined not toward geometric form, but rather the interpretation of nature. Rosenborg was born in New York in 1913, his talent for the fine art appearing early. While still in high school, he won a scholarship to classes at the American Museum of Natural History, meeting Henriette Reiss, who he continued to study under privately well after the classes ended. Reiss had worked with Wassily Kandinsky earlier in her career, and as such introduced Rosenborg to the vast arena of vanguard European ideas, as well as provided him a broad-based instruction in music, literature, and art history. After four years, Rosenborg was ready to exhibit. He did so initially in group exhibitions at ACA Galleries, and later in Mayor La Guardia’s 1934 Mile of Art at Radio City. He quickly gained notoriety, and began to show frequently throughout the 1930s, leading up to his first solo exhibition at the Eighth Street Theater...

"Large Sumi Brush Mark Series, Untitled #II.2.1975," an original watercolor on paper by Tim Nordin, is a piece for the true collector. Nordin's use of color...

"City Lines" 40X50x1.75" acrylic on canvas 2018 NYC Signed, dated and titled on the reverse side. "Line series influenced by the digital city"

Richard Andres (American, 1927-2013) Garden, 1972 acrylic on canvas signed, dated and titled verso 59.5 x 50 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

Richard Andres (American, 1927-2013) Erie Shore, c. 1975 acrylic on canvas signed lower right, signed and titled verso 50 x 72 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

In creating this piece, I embraced the raw emotions of expressionism, channeled through the spontaneity of abstract forms. I layered acrylic using lack to set contrasts—capturing the...