Lynn Curtis

'Spring', Large Modernist Oil, Dartmouth, Slade School, McDowell Colony Fellow

Signed lower right, 'Gren Hayes' (American, born 1932); additionally signed verso twice, titled 'Port of Oakland' on stretcher bar and dated 1976. Inscribed 'Oak. Cathedral Bldg Mural #1 sketch' verso. Bay Area Figurative / Bay Area Feminist Art Movement artist, Patricia Gren-Hayes, studied at Winnipeg Public Art School in 1950. She received early recognition in Museum and Gallery competitions and exhibitions and was awarded a Special Education in Art recognition by the Winnipeg Museum of Fine Art, and was awarded a scholarship to the Banff College of Fine Art. Further studies were at The University of Manitoba. She was a Member of Winnipeg Free Press Sketch Club and was a Cartoonist and paste-up for a French-English bi-weekly, in Eastern Canada. She studied outdoor impressionism in New York in 1960; in 1962, attended The California College of Arts and Crafts, and in 1976 B.A., U.C. Berkeley where she studied under Elmer Bischoff, David Simpson, Joan Brown, Felix Ruvolo, Yolanda Lopez and Vincent Perez...

Signed lower right, 'Caputo' for Antonio "Tonino' Caputo (Italian, 1933-2021) and dated 1962. Born in 1933, Antonio Caputo studied in Rome at the Faculty of Architecture and held hi...

Oil landscape showing a view of several age-worn buildings near waters edge, with two sailboats making their way past, and gold and lavender hued hills in the background. Signed low...

Signed lower right, 'Thomas Nash' and painted circa 1900; additionally, signed and titled verso 'Hermosa Beach, Drawing in the Fish Net'. A turn of the ...

Signed lower left, 'K. Loncor' and dated 1999; retains original artist card, verso. A view of a California auto shop with a Jeep International Harvester...

A muted, mid-century oil on canvas view of a street scene in Brussels with vintage cars parked and a group of people conversing beside billboards with a view of a church in the distance. Signed lower left, 'P. van Mol...

Duncan Gleason lived in New York and other places for work or studies but it was really Southern California where he felt most at home, and looking at his body of work, that love of ...

An elegant vintage impressionist oil on canvas painting signed by artist Tasica -1977. The painting features a street scene in the...

An elegant oil on canvas landscape painting featuring a lake view in a paradisiac environment. The painting is finely framed in custom giltwood frame. A wonderful addition to any liv...

A landscape snowy scene by K.Bernath. The day snowy scene depicts a house / cabin in the middle of the snowy woods with a blue sky. The painting is framed. Dimensions Framed: 17.75...

This is an oil on canvas painting depicting a group of people, seaside. The gilt frame is finely hand carved. The piece is from the 1980s and is signed Dimensions: Framed 18" H, ...

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...