Laurence Edwardson

PONCHARTRAIN Louisiana New Orleans Beach AMUSEMENT PARK Ferris Wheel CARNIVAL

1930’s

Here we have a beautiful period 1921 charming oil painting by Emile Ancelet. Painting depicts a mother and child in a landscape. Painted almost Like a ...

Adolfo Belimbau (1845-1938) Italian Impressionist painting of a mother and a child in a Garden playing. Beautiful quality and colors quality! Adolfo Belimbau is a famous Italian Jewish painter...

Here we have a partial male nude by admired American artist John Brock Lear, Jr. He was able to contrast the earthy reality of the flesh with vividly c...

Up for sale is an original 1965 oil painting by Leroy Neiman (1921-2012) famous American Sport Artist Painting Depicts the famous Joe Namath playing the Jets Neiman was famous for...

Here we have a Surreal Male Nude by a famous Cuban artist Carlos Macia (1951-1994). *** please excuse the photos, it is under glass and there are reflections of a yellow light. I’v...

1950’s Cubist abstract arrangements of flags by Edward August Landon (1911 - 1984). Acrylic/oil on board, signed lower right Landon. Housed in the original frame. Overall with fra...

'Bendix Diner' in New Jersey is an American Diner Painting by Leading British Urban Landscape Artist Angela Wakefield, forming part of her Americana Ser...

Painting of New York City Fire Department in New York City by Contemporary British Artist, Angela Wakefield. Art measures 36 x 24 inches Frame measures 41 x 29 inches Angela Wake...

Tony Khawam's recent work stems from his interest in histories, human emotion, allusions to place, memory, and the ubiquitous fleeting moments of the conscious and unconscious. The recent work has iconic undertones with a focus on the artist’s fascination with historical imagery from the ancient Mesopotamia, Assyria, Egypt, Greek, Roman, with influences of post-war German and American art adopted into his daily artistic and structural practices with the current surroundings and happenings by marrying a skewed perspective with dimensional flatness, his paintings allude to the continuous development of the American culture. The past and present of “Living the Dream” make the case for the way art and its language of color, line, and shape enrich a viewer’s experience of the work and offer a delicate balance between representation and abstraction, mirroring the real and unreal ways in which he paints lived experience. Moreover, his myriad mediums including acrylic, colored pastel, and spray paint further referencing painterly collage in a more experimental and risk-taking approach. The new work features historical and modern figures, social commentary, fashion motifs, everyday object, pop culture ads, cartoons, film, and Florida flora and fauna that inhabit flat, kaleidoscopic surfaces. The artist’ dialogue with the traditions of the past interweave with his participation in current global artistic discussions. This simultaneous engagement with the past, present, and future speaks to a singular creative presence. The new work is charged with a rawness produced by an ambiguous method to narrative and a fractal, unfinished approach to representing the subjects of the paintings. Characters appearing to piece themselves together from aggregated painterly gestures, these forms become figures of power and personal freedom through their abjection. Khawam’s boundless visual appetite for making pattern paintings with women...

This large green field overlooking the Long Island Sound Beach depicts a parent without definition, mother or father, observing their child in the gr...

Six O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA About the Painting Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.” About the Artist Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...

This painting is illustrated in the Catalogue of the 1945 Encyclopedia Britannica Collection of Contemporary American Painting, p.84. Written and edited by Grace Pagano. "Painting ...