Edwin David Porter

'Still Life, Lilies', Dartmouth, Cooper Union, Corcoran Gallery, Whitney Museum

Circa 1955

Signed lower right, 'Goetz' for Jack Goetz (American, born 1919) and painted circa 1995. Additionally signed, verso, and titled, 'Onions!' A bright and breezy study of white onions in a blue glass bowl contrasted against a Regency-striped material of red, yellow and green against a cream background. Goetz has painted and exhibited with success for many years and continues to paint at the age of 104. Speaking of himself, the artist says: "I studied arts and languages at Santa Monica College, taking classes in oil and watercolor painting, sculpture, ceramics, art history and music. At the same time, I studied with master painter Sergei Bongart. Because he taught many people in the movie business, I had fun meeting and painting with people...

Signed lower left, 'Karl Goldschmidt' (Anglo-German, 1912-1995) and painted circa 1930. Photo of Karl Goldschmidt (Kenneth Gay) with Robert Graves courte...

Signed lower right, 'T.K.S' and painted 2019. A large and vibrant study of sunflower blossoms contrasted against a background of midnight blue. (The following is the artists's self-description of her work and process.) Teresa Smith received her B.A. in Visual Arts at Naropa University. Informed by spiritual practice and a naturalist philosophy, her art combines the richness of oil paint as a visceral material with contemplative practice, producing paintings on ecology with nature as icon. Influenced by Turner, O’Keeffe, Cezanne, and The Canadian Group of Seven, Smith paints the soul in nature. An appreciation for aesthetics and the deep woods provide seeds for the work revealing color combinations, line, and form. Bold colors and lyrical brushstrokes, scratches and drips of oil paint mutate creating a language of vital sensuality. Teresa’s oil paintings are about the mystery beneath the surface, the layer woven between worlds. The romance and richness of beauty, earth, salt air, wild roses, cedar and tide. My Process I paint landscapes. I live on a rural island surrounded by wild creatures, huge trees, ocean, mountains and open spaces. I ride a black Arabian mare through the old growth forest trailed by an Irish wolfhound named Griffin. As we move through the woods and vistas I notice colors as they contrast with one another. I notice color, shapes, line and form that I would never have conjured on my own. I especially pay attention to the abstract spaces and patterns. We pause under ancient cedar and listen to water falling. Feeling into the spirit of the place. The forest, especially the ancient ones are rich with a presence. In the studio I stretch canvas and linen. I do this because I want the finest of quality and workmanship but also to honor and form relationship with surface. I use oil paint because of its buttery quality and vibrancy of color. I love the smell and the feel under my brush. I love that it is the medium of my lineage of painters. I love its softness and that it is archival and in my opinion the highest quality medium I can use. I love that I can create soft edges and blend beautiful passages. I use lavender essence or soybean oil to clean my brushes and make mediums of lavender, alkyd and walnut oil for making glazes. I worked in watercolors for many years and as with that medium see the benefit of glazing. That is using layers of paint and alkyd mixtures to create luminosity and light that makes a work “glow.” I work on several paintings at one time allowing them to dry between layers. It takes weeks, months or longer to finish a painting but in the end the work and time pay off. I am a contemplative painter. My time in the woods is separate from the studio but the influence is present. I paint from the heart. What comes up as first thought is what I put down. The thought that happens before it is analyzed and translated. I don’t usually have any idea of a direction when I start a painting. I begin with a thin drippy wash in a warm color like Indian yellow, ochre or transparent orange. I let the layer dry, then the next day create some chaos. Without any pre contrived ideas throw, squish, drip, scrub or scrape some paint on the canvas. The more chaotic the better. At this point I begin making order of the chaos one brushstroke at a time. This is where knowledge of color, composition, design and painterly quality come in. I begin to embellish and refine the shapes that were formed during the first couple of washes. Color is probably my most important consideration. I now focus on what color is a perfect combination to one that is down already. I contrast texture – thin wash next to impasto, for example. I work the shapes as if they are puzzle pieces, I use thin glazes to add luminosity and create colors that are unique and luscious. If things begin to seem too contrived I will grab a palette knife and arbitrarily add thick layers of paint. I will take a sharp instrument like a palette knife and cut through the layers revealing the colors underneath. There is really no beginning and no end. The work goes on for days, weeks or months. The closer to done a painting gets the slower I go. I stop when the painting feels resolved and seems to have a life of its own. EDUCATION 2012 Bachelor of Arts, Naropa University, Boulder CO...

Signed lower center, 'Widman' for Harry Widman, Jr (American, 1929-2014) and painted circa 1956. Exhibited: Artists of Oregon, Painting and Sculpture Sho...

Signed lower right with initials 'H.L.' for Harald Leth (Danish, 1899-1986) and painted circa 1935. Leth commenced his art studies with Johannes Larsen (1921) before attending Harald Giersing...

Signed lower left, 'Davenport' for Jill Davenport (American, 1930-2019) and dated 1987; titled, verso, 'Attic Series - Pink Dress'. Framed dimensions: 31 x 1.5 x 25 inches Born in Kansas, Jill Davenport moved to California in 1963. A lifelong artist and art enthusiast, she raised a family before focusing, in her early forties, on her vocation as an artist. In 1976, she graduated from Sonoma State University with a Bachelors in Art, subsequently continuing her studies with the California Post-Impressionist, Maury Lapp. During this period, her work was primarily representational and her favored medium was oil. In the late 1980's, however, she became an early exponent of computer-aided design and worked with some of the earliest Mac computers...

EXPECT Size: 43 x 53 cm (including frame) Oil on Canvas A mid-century modernist style interior still life painting that captures a moment of tranquil elegance, executed in oil onto...

Mid Century Naturaleza Muerta Con Mangoes (Still Life w. Mangoes) by Francisco Dosamantes Substantial and brilliant modernist still-life painting mangoes by Francisco Dosamantes (Mexico, 1911-1986) Exhibition label on verso (circa 1957), "Salon De Plasticas Mexicana - Instituto Nacional De Bellas Artes - Francisco Dosamantes, Naturaleza Muerta Con Mangoes." Image 24"H x 31.5"W. "Francisco Dosamantes was born in Mexico City on October 4, 1911. His father was Daniel Dosamantes who was a builder, interior decorator and painter. Since its founding in 1949, the Hall of Plastic Mexican SPM, has accommodated the most representative work of the national art. Throughout its existence they have been part of hundreds of painters, sculptors, engravers, designers, ceramists and photographers of all tendencies and generations. Jut names: Diego Rivera, David Alfaro Siqueiros, Gerardo Murillo "Dr. Atl" Frida Kahlo, Rufino Tamayo, Francisco Dosamantes, Jorge González Camarena, Leopoldo Mendez...

Wonderful mid-century modern oil painting of wheat and fruit by Wanda Faust (American, 20th century), c.1950. Signed lower left corner "Faust." Displayed in rustic wood frame. Image,...

Gordon Scott ARCA 1914 - 2016 Summer Flowers Oil on canvas, signed lower left Image size: 23.5 x 20 inches Contemporary style frame Gordon Scott was trained at the Royal College of Art (1934-38) under Gilbert Spencer, Alan Sorrell and Charles Mahoney. In 1938 he was awarded a Travelling Scholarship by the R.C.A. for painting. A reserved and highly principled man, during WWII he was a conscientious objector, stationed at Bulford Camp on Salisbury Plain. His defined role there is unknown, but during his time there he produced a number of sketches and paintings of soldiers and other personnel who passed through the camp. In 1946 Joseph Dixon...

SALE ONE WEEK ONLY “Vernors and Oreos” is a clever colorful piece by Richard Wilson that is full of significant meaning for native Detroiters. The beverage and cookies are specific treats for many people in Detroit and Michigan, but for Stevie Wonder in particular who is also a native Detroiter. The soda is produced and has been manufactured in the city of Detroit since 1862 by the Vernors Co. The story goes that prior to his concerts, Stevie Wonder, always requested that Vernors' Ginger Ale and Oreos be provided in his dressing room. Wilson has a great admiration for Stevie Wonder and as a gift to the city of Detroit he painted a mural of Stevie Wonder on an outside wall of the Music Hall. The “Ginger Ale and Oreos” painting...

Flowers Basket is a beautiful oil on canvas painting probably realized in the 1990s by an Anonymous artist. Indistinct hand-signature overleaf. The piece is in good conditions with...