Will Moses

"Turkey Trot, " Will Moses, Rural Folk Art, Autumn Landscape with Pumpkins, Fall

2012

Fred E. Robertson (1878 - 1953) Neighborhood Shivaree, 1945 Signed and dated lower left Oil on masonite 16 x 20 inches Exhibited: Buffalo, The Buffalo Fine Arts Academy, Albright A...

Fred E. Robertson (1878 - 1953) Swapping Horses, 1947 Signed and dated lower right Oil on masonite 12 5/8 x 24 inches Fred Robertson, like his more famous older sister, Anna Mary Ro...

Joseph Yoakum Andes Mountains Peru So America, circa 1960s Colored pencil and ballpoint pen on paper 7 1/4 x 10 1/2 inches Provenance: Karen Lennox Gallery, Chicago Private Collection, South Dakota Yoakum began drawing in the early 1960s. Most of his work consists of radiantly colored landscapes with mountains, water, trees, and winding roads in abstract and complex configurations. his period of greatest activity — 1965 to 1970 — when he usually made one drawing a day. Yoakum maintained he had seen all the places represented in his drawings, a statement that may not be true in some instances. He traveled a great deal, beginning in his early teens when he ran away from home and became a circus handyman. Yoakum’s drawings can be considered memory images growing out of either actual or imagined experiences. All of his drawings have titles that grew longer and more specific over the years. He dated his works with a rubber stamp — an oddly impersonal, labor-saving device. Although Joseph Yoakum gave vastly different accounts of his background, he was, throughout his life, classified as an African American. Sometimes Yoakum claimed that he was a full-blooded ​“Nava-joe” Indian, one of twelve or thirteen children born to a farmer on an Indian reservation in Window Rock, Arizona. At other times he insisted that he was of African-American descent. He described his mother as a strong woman who was a doctor and knowledgeable in the use of herbal medicines. Yoakum’s family moved to Kansas City, Missouri, during his early childhood. His father was employed briefly in the railroad yards prior to settling permanently on a farm in nearby Walnut Grove...

Henry Charles Hannig (1883 - 1948) The Green Parasol Oil on canvas mounted on board 6 x 7 3/4 inches Provenance: R.H. Love Galleries, Chicago, Illinois Private Collection, Lake Orion, Michigan Hannig, born in Hirschberg, Germany on 27 February 1883, came to America with his parents at the age of seven. He attended school in the southwest suburbs before the family settled in Chicago. Young Henry enrolled in the Chicago Academy of Fine Arts where Lawton Parker became his mentor. He made ends meet by working in industrial design and illustration. By 1908 he was a pupil in the School of the Art Institute of Chicago where students followed the traditional European drawing curriculum, beginning with the copying of master engravings and drawing after plaster casts, then concentrating on the nude figure. Students worked toward the goal of winning various academic prizes. One of Hannig's fellow students was Louis Ritman...

Charles Green Shaw Harvard vs. Yale, 1944 Signed and dated on the reverse Oil on canvasboard 9 x 12 inches Provenance: Harvey and Francois Rambach, New Jersey Private Collection, California Washburn Gallery, New York D. Wigmore Fine Art, New York Private Collection, New York Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...

Nathan Hoffman Brighton Beach, July 31, 1946 Signed, dated, and estate stamped on the reverse Oil on artist's board 10 x 13 1/2 inches Provenance: Esta...

Signed "Martha Cahoon" lower right. Provenance: private collection, Palm Beach Florida About this artist: Born of Swedish immigrant parents in 1905, in Rosindale, Massachusetts, Martha Farham Cahoon had a highly successful business partnership with her husband Ralph Cahoon...

Fantasy landscape naive art oil painting, signed, S. Smith, left side of painting.

Girl with Sheep and Car is a oil on board landscape painting depicting figures and animals in a Folk Art style painted in the mid-twentieth century by Martin Saldana (1874-1965). Presented in a custom frame measuring 29 3⁄4 x 33 1⁄2 x 1 inches; image size is 19 1⁄2 x 23 1⁄2 inches. Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born Mexico 1874 Died 1965 Born in 1874, Saldaña grew up at Rancho Neuvo in Mexico. In 1950, at the age of 76, he began attending children's art classes at the Denver Art Museum. For the next fitfteen years, Saldaña Imaginatively documented whimsical memories from his childhood in San Luis Potosi, Mexico, portraying ranch life, landscapes, and his great love of animals. The prolific artist painted every day, completing a new piece about every three days and amassing an impressive body of work for the former cook at the Denver landmark, the Brown Palace Hotel. Saldaña’s vibrant palette and geometric figures are reminiscent of the tapestries of his Mexican heritage and the paintings, primarily in oil, are innocent and endearing. Saldaña is considered to be a outsider artist, a folk artist who is self-taught, whose work is simple, direct, and high personal. Works Held: Denver Art Museum, University of Wyoming Art Museum, The Colorado Springs Fine Art Center, International Folk Art Museum, Neuss In Aberthor Museum, Stedelijk Museum ©David Cook Galleries...

I think this is one of the finest paints Gustavo Novoa has done. It's from his early period in the mid-1970s. I am privileged to own it. The artist creates a dreamy world of magica...

An artist who knew the vessels he painted firsthand, Baltimore artist Otto Muhlenfeld has captured the Great Lakes Steam Tug CALUMET in a colorful, working profile. Her American Ensi...

Signed with initials lower right "H.H." for Hyacinthe Hill (American, 1920-1989) and painted circa 1955 A substantial mid-century figural oil of a young woman seated naked in an ope...