Peter Miller

Indian Chief, Southwestern Modernist Social Commentary Painting by Female Artist

1930's

"Man Thinking of Winter Fields" is a 12 x 9 1/8 inches, oil on board painting by American modernist and surrealist, female artist Peter Miller. Signed and titled "Man Thinking of Win...

"Seated Figure" is a 30 x 25 inches, oil on canvas painting by American modernist, female artist Peter Miller. The work is painted in a muted color palette with intense color highlights only placed strategically to draw attention to the figures mystique. Peter Miller often used methods like this to create a strong sense of spirituality, creating patterns simulating the texture of canyon walls and the surrounding terrain. The work is estate stamped 202190 on verso and framed in a natural wood frame. The painting has been conserved and inspected by conservation specialist, Gratz Gallery & Conservation Studio, Inc. "Seated Figure" is signed "Peter Miller" and titled on verso, and framed in dark, natural wood. Provenance: Estate of the Artist; Private Collection, Saugerties, New York; Gratz Gallery & Conservation Studio, Doylestown, Pennsylvania. American artist Peter Miller (1913-1996) was born Henrietta Myers in Hanover, Pennsylvania. She began using the name Peter Miller after concluding her studies at the Pennsylvania Academy of the Fine Arts in 1934 and her marriage to fellow artist and Academy student Earle Miller in 1935. She felt collectors and critics would take her paintings more seriously if she was identified as a male. In childhood, Henrietta and her best friend Ruth picked fictitious nicknames for themselves, and Henrietta reportedly decided upon the name Peter because she liked the idea that it was derived from the Greek word for “rock” or “stone”. Drawn to being one with the natural world would prove to be an essential inspiration to her creativity throughout her life. Miller is classified as an American Modernist, a reputation she earned for having shown at the prestigious gallery and premiere showcase for Surrealist painting of Julien Levy in New York in the 1940s. Reviewers of her exhibitions noted the unmistakable influence of the artists Joan Miró, whose work she owned and whom she knew, and Arthur Carles, whom she studied with, and sources in Native American culture, which came from sharing time between her home state of Pennsylvania and New Mexico. Peter and her husband Earle considered New Mexico their spiritual home, and in 1935 they built a ranch in Española, about 25 miles north of Santa Fe. Being neighbors of the indigenous people of the Tewa Pueblo, their crafts and religious beliefs fascinated Peter and the reliance of Native Americans upon the land and the animals permeated her work for most of her career. Their belief that all creatures could serve as intermediaries in communication with the spiritual world, inspired Miller to incorporate their symbols in her own paintings, along with signs drawn from indigenous pottery...

"Phoebus Apollo" is a 18 x 22.25 inches, oil on canvas portrait of the god of light from Greek Mythology. The work is painted in a vibrant color palette and it is estate stamped #202...

"Hunters and Mountain Lion" is a 46.25 x 30 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is painted in a vibrant color pa...

"The Offerings" is a 14 x 17.125 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is painted in a vibrant color palette. The ...

"Five" is a 20 x 30 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. Peter Miller was an artist, a philanthropist, a mystic, and a wo...

ATTRIBUTION (original name in Vietnamese is "Nẻo về danh phận") Nguyen expresses one small part of the pitiable condition of social class. With the world more prosperous, the...

ANNA WARDĘGA Studies at Painting Departament at Academy of Fine Art in Cracow, Poland. She's dealing with easel painting, wall painting as well as drawing. Finalist of Competition fo...

Matched pair of detailed cast bronze bookends depicting a North American Indian Chief bust. There are no maker's marks, initials or signature of e...

Native American realism scene of American Indian bread baker by Dorothy May Strait (1934-1998). Oil on canvas framed in a beveled dark stained wo...

"Chief" Wyoming, USA 2020 Large: 71" x 96” Edition of 12 Standard: 52" x 69" Edition of 12 This work is sourced directly from the artist. Framed Digital Pigment Print on Archival 315gsm Hahnemuhle Photo Rag Baryta Paper Hand-signed by artist with Certificate of Authenticity Over the last few weeks we have quietly been photographing senior Native Americans against the backdrop of quintessential and emblematic American vistas.⁣⁣ ⁣⁣ Whilst we will be releasing some of the series in the run up to the Presidential Election, this is not an overtly political statement from us. We know that Native Americans have long had a leaning toward the Democratic Party, but we took this assignment on because it is relevant, not to be political.⁣⁣ ⁣⁣ There is wide recognition now that Christopher Columbus did not discover America in 1492 and the events in Minneapolis have accelerated the debate on the possibility of institutionalised racism in the teaching of American history. This is not a discussion we want to fully engage in - as we are ill equipped to add value, but I do want to celebrate some of the tribal elders I have had the fortune to encounter in the last month. Their pride, manners, grace and humility have been humbling. We have made new friends in the North.⁣⁣ ⁣⁣ For this project we worked with Chief John Spotted Tail, the great-great-grandson of the fabled Lakota chief Spotted Tail. We spent two days with him in Northern Wyoming and he was so excited to wear the headpiece that only the most senior Native American chiefs like him can wear. His attire was emphatically his decision not ours. Their heritage is integral to their souls.⁣⁣ ⁣⁣ The ground in front of Devils Tower...

Gouache on paper by the native american artist Mopope. Dimensions framed: 35x28 cm. Stephen Mopope was born on 27 August 1898 near the Redstone Baptist Mission on the Kiowa Reservation in Indian Territory. Qued Koi was his Kiowa name, which translates as "Painted Robe," and is sometimes spelled, "Wood Coy." His maternal grandfather was Appiatan, a famed Kiowa warrior, and his great-uncles were Silver Horn and Oheltoint (Ohettoint), both of whom were accomplished artists. Oheltoint was one of the Fort Marion ledger artists.[1] Mopope's paternal grandfather was a Spanish captive, adopted by Kiowa chief Many Bears. When Mopope was a young child, his relatives observed him drawing pictures in the sand, so the artists in his family taught him how to paint on hides in the traditional manner. His grandmother was also instrumental in his early education. In 1916, Mopope attended St. Patrick's Indian Mission School in Anadarko, Oklahoma, where he received further art instruction under Sister Olivia Taylor, a Choctaw nun. In a move that contradicted US federal policy at the time, Susan Peters, the Kiowa agency field matron, arranged for Mrs. Willie Baze Lane, an artist from Chickasha, Oklahoma, to teach painting classes for young Kiowas in Anadarko. Recognizing the talent of some of the young artists, Peters convinced Swedish-American artist, Oscar Jacobson...

Oil Painting by William Broome of Ramsgate "Coastal Shipping" 1838 -1892. Broome was a painter of local maritime scenes, especially "The wreck of the...

John Berry is a well-known English artist who painted portraits of the royal family. During his career, he discovered Edward Curtis's photographs of Native Americans and became awestruck by the strength and power each portrait held. He studied them in-depth and became an expert in depicting the Native American lifestyle and portraits. This painting entitled "Yellow Hair Sioux" is an original oil on canvas painting measuring 60x36 in. This is a portrait of chief Yellow Hair of the Sioux Tribe. Chief Yellow Hair, a Native American Rosebud Sioux is holding a sword, with a feathered headdress, a leather and fringe shirt...

Artist: Nancy Mclaughlin Powell – American (1932-1985) Title: Young Piegan Woman Year: 1958 Medium: Pastel on paper Sight size: 15.5 x 11.5 inches ...

David Rankin is a New York-based, British-born Australian post-war and contemporary artist known for his expressionistic abstract paintings. His work can be categorized by his use of quick, loose brushstrokes, reminiscent of scribbles on a page. Rankin works predominantly in oil painting and acrylic on canvas, but also works with paper, prints, sculptures and ceramics. Rankin has held over 100 one-person exhibitions in cities across the world, including New York, London, Paris, Beijing, Mexico, Vienna, Berlin and Cologne, as well as all over Australia. Represented in many of the world’s leading public and private collections and museums, David Rankin’s work is featured in Australia’s leading institutions, including the National Gallery of Australia, Art Gallery of New South Wales, National Gallery of Victoria and Queensland Art Gallery. David Rankin was born in Plymouth, Devon, England in 1946 then emigrated to Australia with his family in 1948. He spent his childhood in the 1950s in the semi-rural Port Hacking region South of Sydney and his teenage years in country New South Wales, from Hay, Wagga Wagga and Albury in the South to Bourke and Brewarrina in the North. Rankin is self-taught, developing his techniques and ideas in the outback towns of his youth. He was inspired by the greats from Leonardo da Vinci to Paul Klee as well as being influenced by the history of Buddhism and Asian art. In his travels before he arrived in Sydney in 1967 he developed a concept of what he wanted to achieve as an Australian artist. His dream was to express the anima, the life spirit or the essence of God in all nature. As an Australian artist he believed could bring the elements of Western Art together with an understanding and love for the cultures of Asia and the Australian Aborigine. He also felt that as Australia was closer to Asia than Europe it made sense to think about the art of Indian, Chinese and Japanese artists, and that one could not be an authentic articulate Australian artist without a love and respect for the artistic and spiritual expressions of the various Aboriginal artists, peoples and cultures. His work combined elements of Abstract Expressionist painting with Jewish and Aboriginal influences. In 1979 his first wife, Jennifer Mary Roberts (née Haynes) died. Rankin subsequently met his current wife Lily Brett, whose own life was etched by tragedy with her parents being survivors of the Holocaust. She too migrated to Australia as a child after the Second World War in 1948. The artist recounts that his empathy for Lily and the pity for his first wife's death fused into what he calls "the dark blessing of my life." The darkness was transformed into images. The author Dore Ashton writes that the events of 1979 and the fire which ravished his studio in 1997 and burnt his art works and many personal possessions, had a profound impact on his work. Having personal life experiences as his subject matter, Rankin's paintings contemplate these things. For example, his Jerusalem series followed a trip to Jerusalem in 1988, which then led to his Golgotha works. His travels to the Australian, American and Mexican deserts became the subject matter for many of his canvases, such as Ridge – Mungo, Golden Prophecy – San Antonio, Grey Sonora Landscape and then led to his Witness Series. From the fire in his studio he then painted Buddha and Flames. He illustrated two books by Lily Brett on the holocaust and explored the theme further in his huge work The Drowned and The Saved from a book by Primo Levi of the same name. Through Brett he encountered Jewish mythology and painted judaica imagery, Black Menorah...

Norman Rockwell 1894-1978 | American Man Seated by Radiator Signed “Norman Rockwell” (lower right) Oil on canvas Combining Norman Rockwell’s remarkable talents for narrative and nostalgia, this oil on canvas by the great American illustrator was almost certainly created as an advertisement for a radiator company. Depicting a kindly old man and his feline companion warming themselves next to the heater, this delightful oil on canvas represents the artist’s immense talent for rendering the nuances of everyday life. The painting boasts extraordinary detail and endless charm, and it is heartwarmingly Rockwellian in all aspects. With his astute eye for narrative, Rockwell conveys the utility and convenience of a radiator, which was considered a luxury appliance in the early 20th century but was gaining in popularity around the time of this work’s creation circa 1935. Rockwell crafts an inviting setting, drawing viewers into the living space of his charming subject with believable and masterfully executed details, from the gentleman placing his book down for a moment to warm his hand over the radiator to the snow falling outside. The composition’s rich, warm palette enhances the coziness of the scene, and the subject’s friendly smile seems to invite the viewer into the scene. Rockwell's ability to capture the character of the nation was prized not only by magazine art editors from popular publications such as Life, Literary Digest and the iconic Saturday Evening Post, but also by advertisers. Nearly all major companies of the day sought the artist out for his highly appealing compositions, including Jell-O, Coca-Cola, General Motors, Ford, Post Cereals, and the U.S. Army. Taken together, his many paintings capture the essence of the American spirit. “I paint life as I would like it to be,” Rockwell once said. Mythical, idealistic, and innocent, his paintings evoke a longing for a time and place that existed in his rich imagination and in the hopes and aspirations of the nation. Norman Rockwell led a long and successful career as an artist. While history was in the making all around him, Rockwell chose to fill his canvases with the small details and nuances of ordinary people in everyday life. Taken together, his many paintings capture the essence of the American spirit. Rockwell said, "Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have noticed." Rockwell's distinguished career earned him the Presidential Medal of Freedom in 1977, the highest honor bestowed upon an American civilian. This work is pictured in Norman Rockwell: A Definitive Catalogue, Volume II, by Laurie Norton Moffatt. Circa 1935 Canvas: 40" high x 30 1/4" wide Frame: 49 5/8" high x 39 3/4" wide Provenance: Collection of Studio 53...

In "Whisper" Kristy Gordon paints rabbits purring thoughts into the ears of a modern-day woman. The woman gazes at the viewer thoughtfully, her hair blows out around her, blurred at ...

"Candyland" is a fantastic multi-figure composition from Kristy Gordon. Gordon is clearly making comments on the state of today's society; civil unrest, riots, protests, and the perc...

An Upper East Side of Manhattan New York city scene of bald guy reading newspaper on bench with East River and tugboat in background. The 1970s were the “glory days,” Huffaker says, for himself and a stable of talented illustrators whose work routinely found itself on the covers of the nation’s premier newsmagazines and in the pages of The New York Times. For the better part of that decade, Huffaker was among an elite breed of commercial artists—his hero and fellow Southerner Jack Davis, the legendary Mad Magazine illustrator, among them—working during a remarkable period when art directors routinely turned to illustration to give comic relief to the country’s deeply serious and dark problems. From civil rights and the women’s movement to Vietnam and Watergate, the gas crisis and inflation to the rise of Jimmy Carter, Huffaker mined a deep well of material ripe for his brand of visual wit and caustic satire. He sent his portfolio to children's book illustrator Maurice Sendak, the legendary “Where The Wild Things Are” illustrator to gauge his prospects, and when Sendak replied, “C’mon up, you’ll do all right,” SELECT HONORS: 2 Page-One Awards (from the New York Newspaper Guild), for work in Fortune Magazine and Sports Illustrated. Nominated 3 times for Cartoonist-of-the-Year by the National Cartoonists Society (illustration category). Desi Award of Excellence (Graphic Design Magazine). 20 Award of Merit citations from the Society of Illustrators. One-man show, Society of Illustrators. Illustrators 22 - annual national exhibition for the Society of Illustrators. SELECT MAGAZINE COVERS Time Magazine (6), Sports Illustrated (2), Business Week (12), Forbes, Saturday Review, New York Times Sunday Magazine, The New Republic, Family Weekly, Madison Avenue, New York Daily News Sunday Magazine (2), Junior Scholastic, ACLU, The Nation , and more EDUCATION BA, University of Alabama. Attended Pratt Graphic Center and The Art Students League, New York City. BOOKS WRITTEN AND ILLUSTRATED The Dispensible Man (M. Evans and Co.) and The Bald Book (M. Evans and Co.) BOOKS ILLUSTRATED White Is (Grove Press), The Begatting of a President (Ballantine Books), The Biggest Sneeze (Harper-Collins), H. Phillip Birdsong's ESP (Young Scott Books), Kids Letters to President Reagan (M. Evans), The Worlds Greatest Left-Handers (M. Evans), Does My Room Come Alive at Night (HarperCollins), The Man With Big Ears (HarperCollins), Jake Snake's Race (HarperCollins), and more POLITICAL CARTOONING Political cartoonist at The News and Obsever in Raleigh, NC and syndicated during the early 70's. Today, syndicated in 750 publications 3-times a week with Cagle Cartoons. FINE ART SHOWS Allied Artists of America, Salmagundi Club, Phillips Mill Annual (honorable mention), New Hope Shad Festival (grand Prize), Hunter Museum in Chattanooga ( one -man career retrospective), Santa Fe public library (one--man), Rosenfeld Gallery (Philadelphia), Potter's House (DC), 7 A Gallery (NYC), P.A.C.A. Gallery ( one-man, NYC), Phebe's Gallery (NYC, one-man), Princeton Art Association, 4-Corners Gallery (NJ), Rockbridge (VA) County Fair (2 second places and a third place in oil painting), and more. Opened Huffaker Gallery in Santa Fe, NM during 1991. QUOTES "Sandy is one of the heavies in cartooning in America his stuff can be devastating. His understanding of politics is amazing." Eric Seidman, New York Times Art Director People Magazine "Huffaker is an extraordinary artist. The soft gray shadows of his work hold a bizarre, blasphemous message: The world makes more sense when you look at it cockeyed." The News and Observer "We can scan our great concentrations of American humor in our avowed humor magazines, from the old Life, Puck and Judge to The New Yorker, but a similar review of our mutitudinous newspaper comic strips through the years will leave a different taste. We can jump from Alajalov to Dick Tracy, from Charles Dana Gibson to Horrible Hagar. We can sweep from The Katzenjammer Kids to Walt Disney, from The Wonder Clock to Krazy Kat and Donald Duck, and from Palmer Cox and Peter Newel to Al Hirschfeld, Sandy Huffaker, David Levine, Carol Anthony...

Susan Moore Oil and paint stick on canvas. Vanity series. Title "Red Ruby" Depicts an elegant woman in an aqua, green and yellow dress on a gold backgr...

Oil on canvas signed by artist Angelo Di Benedetto (1913-1992) featuring two young figures reading a book together while sitting from 1947. Painted in shades of green, orange, red, gray, and green. Image measures 28 x 38 inches, framed dimensions are 33 ¾ x 39 ¾ inches. Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born New Jersey 1913 Died Central City, CO 1992 The son of Italian immigrants from the Salerno province in southern Italy, as a teenager Di Benedetto worked to study at the Cooper Union Art School in New York City (1930-34) from which he graduated with a certificate in freehand drawing. He won a scholarship to the Boston Museum Art School where he studied for three years, beginning in 1934. In 1937, he entered his first juried exhibition at the Montclair Museum in New Jersey, winning first prize and first honorable mention. In December 1938, the Royal Netherlands Steamship Line sent him on a two-month ethnological study trip to Haiti, his first exposure to a different environment outside the United States. In 1940, his Haitian paintings were exhibited at the Montross Gallery in New York – his first solo show. Before World War II, Di Benedetto traveled extensively around the United States doing regional paintings. During the war in 1941, Di Benedetto volunteered for a secret mission based in Eritrea, Africa before the Allied invasion. Following Africa, he served as an orientation officer and aerial photographic officer in the District of Columbia. In 1945 he was assigned to a mapping unit at Buckley Airfield in Denver where he served until his discharge in 1946. Like many other servicemen stationed at the time in Colorado, Di Benedetto chose to remain in Colorado, impressed by the state’s physical grandeur and healthful climate. He settled in the old mining town of Central City in 1947. In 1949 Di Benedetto and his wife, ceramist Lee Porzio, opened the Benpro Art School in his studio where he conducted summer art classes. In 1950, Di Benedetto teamed up with Frank Vavra...