Gloucester Harbor from Banner Hill
View Similar Items
Want more images or videos?
Request additional images or videos from the seller
1 of 4
Nell BlaineGloucester Harbor from Banner Hill1986
1986
About the Item
- Creator:Nell Blaine (1922 - 1996, American)
- Creation Year:1986
- Dimensions:Height: 24 in (60.96 cm)Width: 46 in (116.84 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Dallas, TX
- Reference Number:Seller: 199921stDibs: LU257689012
About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Established in 1954
1stDibs seller since 2013
151 sales on 1stDibs
Typical response time: A week
Associations
Art Dealers Association of America
More From This SellerView All
- Mid-SummerLocated in Dallas, TXLloyd Goff studied at the Art Students League, and has work in the collections of the Smithsonian American Art Museum, Whitney Museum of American Art, and T...Category
1930s American Modern Landscape Paintings
MaterialsCanvas, Oil
- San Agustin - Zacatecas (From Azotea of Hotel)By Loren MozleyLocated in Dallas, TXsigned "Mozley" at lower rightCategory
Late 20th Century American Modern Paintings
MaterialsCanvas, Oil, Panel
- The FamilyBy Valton TylerLocated in Dallas, TXIn The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...Category
1980s Modern Landscape Paintings
MaterialsCanvas, Oil
- Scattering AshesBy Miles Cleveland GoodwinLocated in Dallas, TXIn Hyperallergic (April 8, 2017) Edward M. Gómez writes of Miles Cleveland Goodwin, his "portraits and images of nature or people in nature... capture moments of heightened awareness...Category
2010s Contemporary Figurative Paintings
MaterialsCanvas, Oil
- On the Edge of LandscapeBy Valton TylerLocated in Dallas, TXIn The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (Edward M. Gomez, "Futuristic Forms Frolic Under Eerie Texan Skies...Category
1990s Surrealist Paintings
MaterialsCanvas, Oil
- Interspersed Field Realization, Big Bend, TXBy Jim WoodsonLocated in Dallas, TX"Interspersed Field Realization, Big Bend, Texas," by artist Jim Woodson is oil on canvas. The unframed dimensions are 24 x 48 inches. The artist signed and titled the painting on ve...Category
21st Century and Contemporary Contemporary Paintings
MaterialsCanvas, Oil
You May Also Like
- Landscape Beach Town Oil on Canvas Painting Signed by Artist AustinLocated in Plainview, NYA stunning oil on canvas painting portraying a panoramic view of a town by the beach. The painting is finely framed in a decorative gilt frame and is signed by the artist Austin. D...Category
1980s American Modern Landscape Paintings
MaterialsCanvas, Oil
- Americana Landscape Oil on Canvas Painting Signed P. Paul, FramedLocated in Plainview, NYAn 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...Category
1980s American Modern Landscape Paintings
MaterialsOil, Canvas
- Six O'ClockLocated in Los Angeles, CASix 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...Category
1940s American Modern Landscape Paintings
MaterialsCanvas, Oil
$12,500 - Gracie MansionBy Isabella Banks MarkellLocated in Los Angeles, CAThis painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Gracie Mansion, c. 1944, oil on canvas, signed lower right, 25 x 30 inches, presented in a ne...Category
1940s American Modern Paintings
MaterialsCanvas, Oil
- Gold Mine, Central City, ColoradoBy Joseph MeertLocated in Los Angeles, CAThis painting is part of our exhibition America Coast to Coast: Artists of the 1930s Goldmine, Central City, Colorado, oil on canvas, 36 x 28 inches, c. 1936, signed lower right, ex collection of Platt Fine Art, Chicago, Illinois (label verso). About the Painting Joseph Meert’s painting, Goldmine, Central City, Colorado, depicts the short-lived resurrection of a once prominent city just outside Denver. Central City was founded in 1859 soon after John Gregory struck gold in the area. As word spread, thousands of miners converged into “Gregory’s Gulch” and its surroundings became known as the “richest square mile on earth.” Mining production quickly increased resulting in Central City to becoming Colorado’s largest city in the early 1860s. Despite some technical difficulties transitioning to lode mining and the rise of competition from Leadville, Central City remained an economic boom town through the turn of the century. But, with every boom, there is a bust. World War I marked the end of Central City’s prominence as ore production ground to a halt and by 1925, the town’s population shrank to only 400 people. The desperation of the Great Depression and a nearly 100% increase in the price of gold lured labor and capital back to Central City. Meert painted in Colorado during the mid-1930s, a time when he created his most desirable works. It is during this period of renaissance that Meert captures one of Central City's outlying dirt streets bordered by 19th century wooden houses from the town's heyday and the more recently installed electric lines leading to a distant gold mine. A lone figure trudges up the hill, a mother with a baby in her arms, putting us in mind of the rebirth of the town itself. Meert had solo exhibitions at the Colorado Springs Fine Arts Center in 1936 and the Denver Art Museum. Although it is not known whether Goldmine, Central City was included in either of these exhibitions, it seems likely. Moreover, the painting is closely related to Meert’s painting, The Old Road, which was painted in 1936 and exhibited at the Corcoran Gallery of Art in Washington, DC and at the Dallas Museum of Art. About the Artist Joseph Meert was a well-regarded painter and muralist, who initially made a name for himself in the American Scene and later as an abstract expressionist. Although initially successful, Meert struggled financially and with mental illness later in life. He was born in Brussels, Belgium, but moved with his family to Kansas City, Missouri. As a child, a chance encounter at the Union Pacific Railyard changed his life. Meert happened upon a worker repainting and stenciling a design on a railroad car. Meert later recalled that this experience introduced him to the idea of being a painter. Without support from his father, Meert obtained a working scholarship to the Kansas City Art Institute. After four years at the Kansas City Art Institute, Meert studied seven years at the Art Students League and in Europe and Los Angeles. At the Art Students League, Meert fell under the spell of Thomas Hart Benton and Stanton MacDonald-Wright. In 1931, he befriended Jackson Pollock. By 1934, Meert was part of the Public Works of Art Project when he met his wife, Margaret Mullin...Category
1930s American Modern Landscape Paintings
MaterialsCanvas, Oil
- Church in TreesLocated in Los Angeles, CAThis painting is part of our exhibition Charles Goeller: A Wistful Loneliness. Oil on canvas, 13 x 9 inches, Signed lower leftCategory
1940s American Modern Landscape Paintings
MaterialsOil, Canvas
Price Upon Request
Recently Viewed
View AllMore Ways To Browse
Italian View Of Venice Painting
Spanish Globe
Sailboat Oil Canvas Paintings
American Landscape Painting With Barn
Autumn Salon
19th Century American Portraits New York
Hudson Hill
19 C Portraits
American Lake Scene Oil
Oil Paintings Of Cowboys
4 Piece Painting Set
Fair Trade
European Harbor Paintings
Landscapes With Wild Flowers
Antique Beach Signs
Sailing Boat Paintings
River Stones Painting
Antique Beach Sign